Meine Geschichte dazu habe ich bereits erzählt und auch das ich mich während diesen- viel zu knappen- 14 Stunden genialster Unterhaltung nicht nur in Firefly, sondern auch in Hauptdarsteller Nathan Fillion verliebte. Seit dem Abspann des zugehörigen Serienabschluss-Movies Serenity steht für mich fest: Nathan Fillion ist der beste Schauspieler den es gibt!
Ich will so sein wie Nathan Fillion. Ich will Bettwäsche mit seinem Konterfei. Herrje, Nathan Fillion, ich will ein Kind von dir!

Gut, letzteres ist schon rein biologisch etwas schwer zu realisieren, aber ein trauriger Mensch, wer keine Träume hat!

Firefly war vorüber und zwar endgültig, wodurch sich eine gewisse Leere in mir breit machte. Ich wollte mehr von diesem Humor, mehr von diesem Charm und mehr von diesem Universum- und wenn es das schon nicht geben wird, dann brauchte ich wenigstens eine Ersatzdroge- und diese war nach kurzer Internetrecherche schnell gefunden.
Nathan Fillion ist heute wieder Hauptdarsteller einer TV-Serie und diese wurde nicht von irgendwelchen, völligst gestörten, fetten Studiobossen nach der ersten Staffel abgesetzt. Sie läuft seit 2009 erfolgreich und es sind weitere Staffeln geplant.

Und an diesem Punkt beginnt dann eine neue Liebesgeschichte.

CASTLE

Castle hat auf dem Papier eine Formel, die man in vielen der unzähligen populären Crime-Serien auch schon gesehen hat. Man nehme ein kleines Team aus einer etwas speziellen Polizeieinheit, füge einen, auf den ersten Blick unpassenden, Helfer hinzu der eigentlich nur im Weg stehen kann und tada- los können die Ermittlungen gehen.

Dieses Schema wurde schon häufiger aufgegriffen und warum auch nicht- es funktioniert ja blendend. Ob der neurotische Ex-Cop Adrian Monk, der Mentalist Patrick Jane oder nun eben der Bestseller Autor Richard Castle- Sie alle geraten mehr oder weniger zufällig in ein gut eingespieltes Polizei-Team und verursachen in gleichem Maße graue Haare bei ihren Kollegen, wie Sie auch durch ihre ungewöhnlichen Fähigkeiten und Sichtweisen den Kollegen tatkräftig unter die Arme greifen.

Doch was macht dann ausgerechnet Castle zu etwas so besonderem?

Abgesehen davon, dass ich auch großer Mentalist Fan bin und “Castle” alleine durch den ähnlichen Aufbau schon einen Nerv bei mir traf, bietet die Serie noch einiges, was sie von den anderen genannten, oder auch den ganzen anderen CSI’s, Navi CIS’ und wie sie alle heißen abhebt.

Nathan Fillion-Faktor

Ich glaube es ist in der Einführung dieses Artikels deutlich geworden, dass mir Nathan Fillion auf der Mattscheibe einigermaßen zu gefallen weiß. Und genau dieser spielt den namensgebenden Titelhelden Richard Castle. Und das tut er in der selben selbstironisch unbeholfenen und gleichsam intelligenten Art und Weise, wie er schon Firefly’s Captain Malcom Reynolds verkörperte. Hierdurch nimmt dieser gewisse liebevolle und sympathische Humor Einzug in die Serie, ich bin versucht ihn als “Joss Whedonesc” zu bezeichnen, obwohl der “Firefly“- und “Buffy”-Schöpfer ausnahmsweise mal nicht seine Finger in einem Fillion Projekt hat. (Wer es noch nicht gesehen hat, “Doctor Horrible’s Sing along Blog” MUSS an dieser Stelle beworben werden, unbedingt ansehen!) Castle schafft den Drahtseilakt, diesen genialen, allgegenwärtigen Witz in jeder Episode unter zu bringen, ohne das dieser der Ernsthaftigkeit und Intensität der Geschiche(n) schaden würde.

Der Doppelte Rote Faden

Man kennt das ja: Es gibt in jeder Folge einen neuen Fall, und einen neuen Mörder den es zu überführen gilt. Der Weg dorthin ist das Ziel. Für alle Fans die jede Woche einschalten gibt es dann dazu noch eine übergreifende Geschichte, die alle paar Folgen wieder aufgegriffen wird um die jeweiligen Serie auch langfristig interessant zu gestalten.
Das muss richtig gut gemacht sein um nicht irgendwann im Sande zu verlaufen und den Zuschauer auf halber Strecke zu verlieren.
“The Mentalist” ist hier leider das perfekte Beispiel. (Achtung, es folgt ein Spoiler zur 4. Mentalist-Staffel) Wenn die Hauptfigur am Ende einer Staffel den Antagonisten kaltblütig in aller Öffentlichkeit zur Strecke bringt und damit selbst zum Mörder wird, dann ist es richtig spannend, wie das wohl weitergehen mag- Wenn er dann aber nach gefühlten 10 Minuten der nächsten Staffel unbehelligt weiter Hand in Hand mit der Polizei Fälle lösen darf und sich dazu noch herausstellt, dass er den falschen erwischt haben soll, dann kann ich irgendwann nur noch genervt den Kopf schütteln, ob der offensichtlichen “Wendung der Wendung” wegen…

Castle entschärft die Gefahr in diesen Fettnapf zu treten mit einem einfachen Kniff: Es gibt ZWEI übergeordnete Handlungsstränge! Zum einen wäre da die Beziehung zwischen Richard Castle und seiner Muse Kate Beckett, die sich durch verschiedene Entwicklungen immer weiter intensiviert. Außerdem ist diese Spannung in jeder Folge unterschwällig präsent.
Zum anderen ist da der Tod von Becket’s Mutter und die Suche nach den Hintergründen und den Schuldigen hierfür.
Hierdurch können beide Themen quasi abwechselnd aufgegriffen werden, was ungemein hilft die Abnutzungserscheinungen zu vermeiden.

Ein Team von Gleichberechtigten

Neben Beckett und Castle gibt es im Team noch die Detectives Esposito und Ryan, sowie Castle’s Tochter Alexis und seine Mutter Martha, mit denen er unter einem Dach wohnt. Sie alle bekommen nicht nur genügend Screentime in der sie sich entwickeln können, sie haben auch ein ums andere mal in Dialogen die Oberhand gegenüber dem Hauptdarsteller.
Hierdurch wirken sie viel greifbarer und gewichtiger und werden nicht lediglich als austauschbares Füllmaterial wahrgenommen. Man mag sie und freut sich auf jede Szene in der sie auftauchen, die sie auch oft ohne Beteiligung des Protagonisten stemmen können und dürfen.

Doppelfolgen in Spielfilm Qualität

Die Doppelfolgen! Herrlich! Zwei, drei mal pro Staffel passiert es, dass ein Kapitel der Geschichte nicht in 40 Minuten untergebracht, sondern in 2 Folgen erzählt wird. Hier gibt es dann zwei Varianten:
Entweder nehmen sich die Macher zurück was die beiden Hauptgeschichten angeht, sodass ich durchaus auch schon eine solche Doppelfolge anstatt eines Spielfilmes mit Leuten geschaut habe, die die Serie nicht kennen (z.B. Staffel 4, “Pandora” und “Der Auslöser” – Und alle Zuschauer waren begeistert!)- oder aber Sie gehen in Sachen Kate Beckett in die Vollen und treiben die Geschichte um Sie und ihre Mutter im Galopp voran.

All diese Punkte fügen sich perfekt zusammen, sodass “Castle” ein Gesamtpaket liefert, das von jedem Crime-Fan einfach nur geliebt werden kann. Außer man mag Nathan Fillion nicht. Aber dann schlägt man auch Hundewelpen und ist ein schlechter Mensch.

You have it or you don’t. But in some situations, it’s all a matter of perspective.

(Castle – S02E14 – The Third Man)

1. “Cops and Robbers” (4×07)

Castle and Martha being held hostage in a bank provided a perfect backdrop for an episode of suspense, meaningful moments, and Beckett badassery. Of course Beckett took it upon herself to rescue Castle from the bank, and their separation reinforced how much they really love each other. From the Castle/Beckett hand-clutch when Kate infiltrates the bank dressed as a paramedic to Beckett’s look of utter disbelief and horror when the building blows up, “Cops and Robbers” gave us all sorts of emotional scenes that kept us going through some of the lesser episodes of the season.

2. “Kill Shot” (4×09)

When a sniper begins killing people in New York City seemingly at random, Kate Beckett must grapple with the lasting impact of her own near-death experience at the hands of a sniper. As she spirals out of control, it becomes clear that the trauma of being shot is an ongoing and crippling problem. This episode addressed PTSD in a believable and respectful way, showing how debilitating and destructive it can be. Stana Katic’s acting was fantastic, and Jon Huertas revealed nuance and depth as Javier Esposito – ultimately the person able to connect with Beckett and help her through the serious implications of her shooting.

 3. “Cuffed” (4×10)

We loved the new level of flirting going on in “Cuffed” that drew heavily from the personal relationship of two of the show’s married writers Andrew Marlowe and Terri Miller. Now that Rick and Kate have been honest with each other about their feelings “Cuffed” saw them push the boundaries of their relationship while still attempting to hide behind a wall of humour. This was an episode that relied heavily on physical interactions to both illustrate the sexual tension between Castle & Beckett and provide some much needed comic relief.

4. “An Embarrassment of Bitches” (4×13)

This episode definitely makes the highlight list – after all, we see Beckett and Castle essentially co-parenting! With one of the best guest-actors of the season and cute puppies galore, “An Embarrassment of Bitches” harkens back to the fluffy, funny days of season 2. It is a good, well-rounded ep that encapsulates Castle as a whole: lots of lighthearted fun balanced with just the right number of poignant moments. Plus hand-holding!

5. “Always” (4×23)

Kate Beckett’s mother’s unsolved murder is a looming presence on Castle, and was revisited in the season finale, “Always”. Rooftop battles, confrontations, and near-death experiences ultimately lead to a big-time development on the romance front. Both Castle and Beckett’s declarations of love/desire are heartfelt and well-delivered, and their chemistry is sizzling as they take the next step in their relationship. We were left with a threat on Beckett’s life, but I think everyone’s biggest takeaway was a certain glorious scene that will be watched over and over until season 5 premieres in the fall.

Annnnd one more:

“The Blue Butterfly” (4×14) gets an honourable mention for its outside-the-box concept, character experimentation, and Tamala Jones’s wonderful singing!  Nathan Fillion’s voice and demeanour lent itself to the signature film noir narration and everyone looked gorgeous in their 1940’s getup.

Did we leave out your favourite episodes of season 4?  Share them below!  Surely “Rise” warrants some discussion.  Also, what were your least favourite episodes this season?  The Atlantic City one ranks pretty low on our list…

Things happened. Big things. Things that are meaningful and irrevocable and wonderful. So let’s jump right in as I try, like so many fans out there, to make sense of my Castle/Beckett feelings.

We begin with Beckett clinging to the edge of a building, calling out for Castle as she loses her grip.  Just as all hope seems lost, we cut to three days earlier. Oh, season finales. After discovering what appears to be a gang-related murder in an alley, Beckett, Castle, and the boys soon discover a link to Montgomery’s home and the files he was trying to keep hidden. Drama, stolen glances, and intensity ensue, highlighting how much Castle, Ryan, and Esposito love Beckett in their own ways. Each of them will do pretty much anything to support Beckett and keep her safe, and we see this play out throughout the episode. Of course, Castle is keeping a secret about the files and the case, and we all know that it’s only a matter of time until it comes out.

However, until then, I loved watching the trust and caring between the four main characters. Castle feels he has to stop Kate from investigating the case, but he still makes it clear that he’s there for her. When he tells her that she’s not alone and she takes his hand in the precinct, my heart did all kinds of flitter-flutters. They hold hands in public! This is major progression, people (especially not knowing what’s to come in the episode). I got the feeling that Esposito totally saw them surreptitiously letting go of each other’s hands; he sends a little knowing smile in Beckett’s direction as he and Ryan enter the scene.

The tension of the episode continues to build as they discover more about the case. Beckett goes Fallon-scary on Marisol in interrogation, threatening that she’ll go to jail, her kid will end up in foster care and probably dead on the street before he’s twenty. This was a clever, if chilling throwback to “Setup” and “Countdown” when Agent Fallon terrifies another mother with the threat of foster care for her child. At the time Beckett is horrified that he would use such tactics, but because we’ve followed Beckett for all these years we see how she herself gets to that point when the case is personal. In “Always” Castle is the one who is horrified, and tells Beckett to back off. In fact, he does this a lot until the confrontational moment of truth in Beckett’s apartment.

This was my second-favourite scene in the episode (you know what number one is!) and in my opinion the best-acted. It’s actually hard to sum up because pretty much every moment is significant. Unlike when Castle comes to her apartment in last season’s finale, this time Beckett welcomes Castle into her home with a trust and openness that we have rarely seen before. Her utter faith in Castle isn’t shaken until he begins to reveal the cover-up, the deal to keep her safe, and his involvement in preventing her from pursuing the case. The hurt on both their faces when he admits he is a part of the deal is surprisingly moving, given that we as audience members knew this was going to come out sooner or later. Stana Katic does a great job showing Beckett’s betrayal and loss (her voice wavering will hit you where it hurts), and Nathan Fillion reveals welcome nuances as Castle determinedly and pretty much unflinchingly declares his love for Kate to her face. The tears in his eyes, the exasperation and earnestness in his voice, it all adds up to a heartbreaking performance.

I can understand both sides of their argument. I’m with Beckett in that neither Castle nor anyone else should have the right to make decisions on her behalf. Plus he lied to her, and though that lie may have kept her alive, she should have the personal agency to decide how to lead her own life. On the other hand, Castle’s actions did keep her safe for a year after the shooting. He couldn’t stand to see her put her life in danger for the simple reason that he loves her. A case of doing the wrong things for the right reasons, maybe?

There’s also a great parallel to a scene in the season opener “Rise” in which Beckett lists all the people in the case who are gone. She mentions some of the same people in “Always”, including Dick Coonan and Hal Lockwood, but this time she’s using their deaths as an argument to keep pursuing the case. In “Rise” it was about Beckett dealing with loss, and the death of everyone associated with the case was a weakness. In “Always” it is a strength. She’s still alive and kicking while many of her adversaries are dead, and she takes this almost as a rallying cry. It’s a powerful throwback that shows how much Beckett has changed over the course of the season. She’s hardened, determined, reckless, and downright scary.

Tahmoh Penikett

This leads to Castle giving up and leaving Beckett to her own devices. She ends up on a roof facing off against Helo, oops I mean the military-trained killer who shot her. We were all very excited that Battlestar Galactica’s Tahmoh Penikett was going to be in this episode, even if he was playing the bad guy. Because we love him so much, it was hard to completely buy him as the steely killer he was portraying. Nevertheless, his confrontation with Beckett was pretty intense and leads to her hanging onto the edge of a building, pleading for help and realizing once and for all that Castle is what she really wants.

I think it’s kind of poetic that, as Beckett clings to a wall for dear life, she finally lets go of that wall she built up inside. Well done, show.  It’s a moment of revelation that actually makes sense. She’s almost disappointed to see Ryan (who just saved her life) because she wants Castle so badly.

And I’m going to say here and now that I am not mad at Ryan in any way – he just saved her life! Ryan and Espo both love Beckett like brothers and have her back…it’s just that Ryan had to go behind her back in order to have her back. Ryan and Esposito’s scenes together are always dynamic and authentic, especially when they’re serious or fighting. Their last moment together was very upsetting because they’re usually such a great cooperative unit. The immediate family has broken up, it seems, and I look forward to seeing how they reunite next season. Beckett resigning is a big deal, and there’s a great shot of her alone in the precinct elevator, just taking breaths. It’s as if she can’t believe what she just did and what she’s about to do. And you all know what that is!

So now on to the moment we’ve all been awaiting for the past four years: THE KISS! I’ll try to assemble my thoughts coherently beyond my initial reaction (“They’re kissing! And touching! And kissing!”) but it won’t be easy. The kiss was hot (very much so!), but it was also tender, loving, passionate, and communicative. It was more than just a titillating make-out session, it had real emotional resonance. Which actually made it hotter. The dialogue in the scene was great: him asking her what happened and her describing the realization that she cares more about him than chasing the case. That’s huge for Beckett! There are tears (again, amazing job, Stana!) and reaching, hesitant kisses and then they’re all over each other! Castle’s kissing her mouth and face and body and it is beautiful. I can’t believe it actually happened, to be honest. And not to diminish the import and emotion of Beckett guiding Castle’s hand to her scar, but when he unbuttoned her shirt we all shouted out “BOOBS!” loudly and  repeatedly. But back to the serious, pulse-quickening romance. After the disrobing/scar fondling they share a kiss that is soft and sensual and trusting, and then they walk, hand in hand, toward the bedroom. For sexy times! Cue the screaming and reminding ourselves to breathe.

But really this turn of events was all according to plan. Beckett had already surprised Castle by accepting an invitation to his house for a movie date on the night of Alexis’s graduation. And we all know they probably would have ended up consummating their relationship anyway, so the way I see it they’re right on track. It actually worked out exactly as they planned it, albeit with a near-death experience, life-changing revelation, and a big ol’ fight along the way.

Other things I loved:

• The cinematography and editing were really cool this episode: the fade from Castle’s murder board to Beckett’s; the montage of Beckett in front of her homemade murder board reliving all the worst moments of her case, shooting, and the aftermath; the aerial shots of the rooftop fight.
• Beckett visiting her mom’s grave was a nice touch and very sad. Stana looks beautiful even when she cries…well, pretty much all the time, really.
• Martha’s jacket at Alexis’s graduation is the best thing ever!
• Castle: “The most worthwhile things in life are often the most difficult.  For example…” (Beckett calls) “…wow, that really is a smartphone.”

There’s so much I didn’t cover, so I hope we can have a lively discussion! What did you think of Alexis’s role in this episode? How about Gates? Where do you stand on the Ryan/Esposito debate? And was the Castle/Beckett hook-up everything you hoped for? How do you think things will be patched up next season?

Now that I’ve gotten that off my chest, I can comment on the actual episode.  I felt that “Undead Again” was all about one person knowing better than another and pulling the wool over their eyes.  This plays out in the zombie storyline, but also more significantly in Castle and Beckett’s relationship.  In terms of the zombies, we (or the characters) are fooled into believing that they might actually be the walking undead.  When that theory is debunked, we see the case of one “zombie” being manipulated into committing a crime against his will and without his knowledge.  See: pulling the wool over his eyes.  As for Castle and Beckett, they simply can’t keep up their charade any longer, and there are many layers of the charade: first and foremost is the fact that they’re in love with each other and not acting on it, second is Beckett hiding from Castle that she heard him say he loved her last year, third is Castle hiding his knowledge that she heard him, and fourth is Castle hiding info about Johanna Beckett’s murder and Kate’s shooting (which will most certainly come up in the finale next week).

With all that deception, it was nice to see Castle and Beckett have a moment of true connection and communication at the end of the episode, even if Castle’s face was half-covered in zombie makeup (and there must be a metaphor in there about being halfway there, or beginning to open up but not quite being ready yet).  Despite the makeup, I was still yelling at Beckett to kiss him!  But alas, it looks like we’ll have to wait until next week for that (please please please!).  I think if nothing else, “Undead Again” – and that conversation in particular – set the stage for the high drama, tension, and hopefully lovemaking that we will see in the finale.  Plus the zombie conceit was a comedic way to get Castle back in some elaborate costumes and makeup, and gave the rest of the team a chance to have some fun.  Their reactions to the zombie horde were kind of hilarious.

Other than the final Castle and Beckett scene, their other significant moment took place in the hospital after visiting an unsuspecting murder suspect (no pun intended).  While it annoyed me that they were still using thinly veiled language to beat around the bush and NOT actually talk about themselves, I did really like when Beckett said a person has to feel safe in order to face life-altering moments.  This is a big deal for her because it accounts for much of her hesitation regarding a relationship with Castle.  It encompasses her trust issues, her shooting, her post-traumatic stress, hiding in her mother’s murder, and the concern that Castle’s been divorced twice already.  Therefore, it’s also a big deal that she shared this idea of safety with him.  It’s something that Castle should know if they are ever going to make their relationship work.

Behind the scenes of “Undead Again”

That being said, I think my favourite conversation from “Undead Again” was the one between Castle and Ryan.  When Ryan asks Castle if he actually believes in zombies, Castle reveals that he believes in driving Beckett crazy.  And that, folks, is the moment that the show returned to its old self.  That’s the Richard Castle we know and love, and we see a glint of recognition in his eye that he really doesn’t want to leave the 12^th just yet.  Ryan drives this home by commenting on how nice it is to see Castle and Beckett getting along again.  Even when he doesn’t know the whole story, Ryan says the right thing!

Finally, I will say that at first I was really mad at Alexis about laser tag, and although I haven’t particularly liked the trajectory of her character lately, she was redeemed by still wanting to play with her dad.  Again, pulling the wool over his eyes!  I’m glad she is embracing the fun-loving side of the Castle personality.  She’s still her father’s daughter, and next year she’ll be at Columbia, close enough for Castle to annoy when he wants some comic relief.  Although, hopefully he’ll have enough to keep him occupied.  And I do mean Beckett.  Wink wink!

Other things:

• Protective Castle is simultaneously goofy and sweet.  When facing a zombie horde, he tells Beckett to get behind him, even though she’s the one with police training.  And, you know, a gun.
• It was nice to see Perlmutter again but where was Lanie?  We hope she’s back for the finale!
• Loved Castle trying to call for backup in the morgue and not knowing the extension.
• If you haven’t seen the promos for the finale yet, please go watch them and prepare to hyperventilate!  Can’t wait!

Thoughts and feelings about “Undead Again”?  Overly excited for the finale next week?  Share your innermost Castle musings with us in the comments!

Lanie was really the best part of this episode in my opinion.  She tells it like it is, and always has.  She’s been aware of the attraction between Castle and Beckett from day one, and has never been shy about encouraging her friend to go for it with “writer boy”.  In “The Limey”, we not only see her supporting Kate, but also confronting her about her feelings for Castle.  And when she does, it doesn’t take long for Beckett to admit to those feelings.  In the course of the initial conversation in Kate’s apartment, this moment happens almost casually, but it’s actually a huge deal for Beckett!  She has been denying her feelings and declaring she isn’t ready for ages, so the fact that she owns up to being crazy about Castle is a really big step for her.

She spends the rest of the episode trying to find an appropriate moment to tell Castle how she feels, but this endeavour isn’t made easier by the presence of Castle’s blonde airline stewardess date or his dismissive manner.  Jeez, Castle, get over it!  You’ve got a strong, intelligent, passionate woman who is completely in love with you right in front of your eyes, and contrary to how you may be acting, you’re completely in love with her too!  Just talk to Beckett about it!  But no, of course that didn’t happen.  Even when Beckett tries to have a real conversation with him, he hastily brushes her off.  But more on that later.

Castle and Beckett spend a lot of time apart in “The Limey”, which gives Beckett some time to get to know the handsome British import from Scotland Yard, Detective Inspector Colin Hunt.  While he may or may not be trying to put the moves on Beckett, she really only has eyes for Castle.  Still, it was fun to see her looking swankified and beautiful in her evening gown as she and Colin go undercover.  Castle is suitably gob-smacked when he sees her, but I love that Ryan and Espo were ogling her too – they are both adorable puppy dogs when it comes to their teasing but fiercely protective love for Beckett.

Stunning as Beckett looked, she was also kind of awkward on Colin’s arm.  It’s pretty obvious she doesn’t feel entirely comfortable with him, especially because this is normally the kind of stunt she and Castle would pull together.  In fact there’s a whole range of Becketts in this episode that we haven’t seen for a while: awkward Beckett (she’s just not herself with the Brits), annoyed Beckett (re: Castle’s blonde “bimbo”), tentative Beckett (“Castle, is everything okay?”), and emotionally ready Beckett (I don’t think we’ve seen this one since the season 2 finale).

I didn’t really care too much about the case of the week or the spy/intrigue storyline…I was mostly waiting for the next Beckett scene to see what would be revealed.  There was a really nice conversation between her and Lanie (Dr. Parish is on a roll!) in the morgue in which the sassy M.E. tells Kate to take advantage of the time she has with Castle.  I like how references to each of their respective jobs came up in both their conversations.  At the beginning of the episode, Lanie tries to assuage her friend’s fears of telling Castle how she feels by saying that Kate hunts down murderers for a living.  This is true, of course, but it once again highlights the many layers of the Beckett onion: she has no problem being powerful, determined, and kickass when it comes to criminals but matters of the heart are much more difficult for her.  She is vulnerable in this regard and it’s nice to see that every so often.  Then in their second conversation in the morgue, Lanie uses her job as an M.E. to illustrate how her patients thought they had all the time in the world to seize the day, but ended up dead in one way or another.  All this to say that Beckett should just grab the bull by the horns and make the first move with Castle.

This is why the final scene was so maddening.  Beckett blows off handsome British dude’s offer of a drink so she can finally have the talk with Castle and, in true jerky fashion, Castle tells her he doesn’t have time for her and leaves to meet his date.  Beckett is understandably surprised but it’s not jealousy we see.  It’s confusion and disappointment.  The end of the episode naturally left me frustrated, but really my question is this: how many times can this show use the same infuriating getting-into-an-elevator-while-leaving-the-other-person-heartbroken device?  The creators seem determined to find out.

Other things:

• I find it kind of funny that whenever there’s a male British character on a show like this, he will inevitably be named Colin, Nigel, or Hugh.
• We missed having Martha in this episode, but Lanie’s awesomeness served as a kind of proxy.
• Colin’s English accent was definitely questionable.  Maybe it’s because the actor who played him is actually an Aussie, but it sounded like a mix between Cockney, South African, and Australian.
• JUST TALK TO EACH OTHER LIKE ADULTS!  (That needed to be reiterated.)

Thoughts on “The Limey”?  Do you think Kate made the right decision to call Colin at the end and ask him out for a drink?  Will Castle come to his senses soon, or will the writers leave their sexual tension unfulfilled?  Are you still on board with the Castle-Beckett tease, or have you had enough?

Allow me to clarify. I’m not talking about Beckett’s secret coming out, because (a) that was bound to happen and (b) it is kind of a big deal. Beckett heard Castle say “I love you” after she was shot in last season’s finale, and neglecting to mention it to him for almost a year is on the list of things you probably shouldn’t do to the man you’re clearly in love with. Thus the main drama of the episode is established, with a bombing setting the stage for Castle and Beckett to ponder how precious and uncertain their time is. It seems like the perfect opportunity for the couple to finally act on their feelings, make out, make babies, do all those things Stana Katic keeps advising for the characters.

Alas (or should I say, “of course”), it was not to be. After some great advice from Martha, Castle decides he’s going to once again tell Beckett how he feels. Here’s where they started to lose me. Castle sits Beckett down and begins his preamble about how the bombing showed him that nothing is guaranteed. When he starts with the line, “I’ve been thinking…” it’s pretty clear that he’s never going to get through the speech. Sure enough, Ryan pulls a Josh, interrupting them at precisely the wrong moment. Some words of advice for Castle and Beckett on this score: lead with your thesis statement, and then elaborate on it! Say “I love you” FIRST and worry about the rest after you’ve gotten those words out. They should know by now that something always appears to stop them from finishing a confession of love: another person interrupting, a phone call, a progression in the case, a bullet wound.

So after the adoring looks and promises to continue the conversation after the case, Castle accidentally overhears Beckett admitting to a suspect that she remembers everything about the shooting and its aftermath. There was some pretty cheesy writing as Castle puts together what Beckett is really saying (“all this time…you remembered?” to himself) but that wasn’t what really bothered me. I can understand his reaction of hurt and upset, I really can. But I felt like that wasn’t all it was. He was acting like a petulant child. After Martha very wisely tells him that he can’t just switch off his love for Beckett, he huffily says, “watch me”. Really, Castle? You don’t want to maybe talk to Beckett about this whole situation? But he goes from being sulky to being downright hypocritical when he condemns a suspect for “sinning by silence”. Yes, Beckett concealed something from you. Yes, you have every right to be angry and pained. But now you are doing the exact thing that irked you so much: sinning by silence.

Just tell Beckett the whole story! It is much better to air these things, work through them (or not), and try to move forward with or without her. Obviously I want Castle and Beckett to get together as much as the next fan, but that’s not going to happen if Castle puts himself in an unhappy state of limbo, working the case while being snappish and rude to Beckett. And I know, this is a device being used by the writers to make Beckett see the error of her ways and confess her feelings for Castle TO Castle. Great! I’ll be over the moon when I see it happen. But for now I find this constant toying tug-of-war kind of annoying.

Another thing I don’t buy: Castle assumes incorrectly that Beckett didn’t say anything to him because she doesn’t feel the same way. After an entire season of googly eyes, partnership, long stares, handholding, meaningful conversations, and family time, I honestly don’t see how Castle can think she is indifferent. Plus she explained things pretty clearly at the beginning of this season! I get how Castle would be insecure about it since she never mentioned her memory of his confession, but their relationship is longer and stronger than that. He must know they have a deeper connection, even if he is confused and hurt. But this is all the more reason for him to talk to her about it! After all they’ve been through together, she at least deserves that much, even if he assumes the worst about her.

A few things redeemed this episode a little bit for me, one of which was Martha. I know I continue to rave about her, but “47 Seconds” is an example of her being a great mother and giving Castle excellent advice. She, like the rest of us, is getting sick of watching Castle and Beckett avoid their obvious love for each other, and tells her son to act on it. I also appreciate that she thinks Castle should fight for Beckett but not forever. It makes sense. However, she also sympathizes with him when he finds out Beckett’s secret, and doesn’t think he can give up on her so easily. Way to go, Martha!

The other thing that I liked was Beckett (when don’t I, really?). She is ready, even eager, to hear what Castle has to say about seizing the moment. In fact, she seems about to spill the beans first toward the beginning of the episode until Espo interrupts them. See what I mean about that device being overused? Let’s not even get into the previous instances of it. In order to drive home the unfortunate turn of events, Stana really plays up Beckett’s love for Castle in the little things she does: beaming when Castle brings her coffee, laughing at his ongoing battle to get Gates on his side, noticing his absence when he’s away from her even for a short while. Also, her small looks of pain and confusion when Castle is curt and unfriendly were well-played. The end of the episode, when she asks what he wanted to talk about and he responds that it was nothing important (ooooh, that hurts!) is made all the more upsetting because of her luminous eyes and subsequent puzzlement as Castle leaves abruptly.

I do hope that Castle’s little fit prompts Beckett to tell him that she loves him. That would be the best possible outcome after this, and it’s an understatement to say that I would be extremely happy! I guess I just find this latest installment frustrating, unnecessary, and somewhat unbelievable. All I can say is that I hope I’m proven wrong in the remaining episodes of season 4.

Other things:

• I liked how they reconstructed the story of the bombing from different people’s points of view.  As the truth unfolds, we start to recognize suspects and witnesses.  I particularly liked the Beethoven guy and how he factored into the story from various perspectives.
• Alexis and Castle’s father-daughter bond is still strong and sweet, and it’s pretty obvious whenever Beckett sees it that she wants to be part of that family too. I loved the pancake exchange!
• There was some pretty prominent Battlestar Galactica-esque wordless singing/wailing that played in the background of a lot of scenes. All “47 Seconds” needed was rhythmic drumming and possibly the reappearance of Demming to make it a full BSG experience.

How did you feel about “47 Seconds”? Do you think my impatience is warranted or way off-base? Were you happy with the way things progressed? What do you hope for in the rest of the season? Please share your thoughts below!

Beckett in blue

For the most part, I was digging Beckett’s brightly-coloured wardrobe this episode. She’s definitely much more casual this season (and has been following an ever-increasing casual trajectory throughout the show) but we don’t often see her in those popping colours. From bright orange to electric blue to berry pink, this says a lot about what she as a character is comfortable with. Often when Beckett feels unsafe, threatened, or vulnerable, the dark colours and turtlenecks come out in great abundance. Here her wardrobe tells us that she is totally comfortable with herself, her job, her relationship with her co-workers, and her relationship with Castle. This might be lulling both Kate and the viewer into a false sense of security since I have a feeling one or both of the big secrets being kept by Castle and Beckett are going to come out before the end of season 4. But for now, hooray for colour!

It would be impossible to neglect Martha in a discussion about bright colours, and she certainly had some fluorescent stunners in “A Dance with Death”. Martha Rodgers has been consistently amazing from day one, and the fact that she is just as fabulous as ever is definitely a credit to Susan Sullivan. She plays Martha with just the right combination of dramatic flair and loopy impulsiveness, all the while maintaining her heart of gold. Martha is protective of her family, kind to friends (and falsely kind to some frenemies), and, as it turns out, incredibly discerning when it comes to Richard Castle’s love life. I know I’ve gushed about how wonderful Martha is before, but it bears repeating.

The indomitable Martha Rodgers

This week saw Martha facing off against an old rival – a theatre critic who lambasted her 1980’s performance in “Cat on a Hot Tin Roof”. It turns out under all that leopard print and gold lamé, Martha has a pretty thin skin when it comes to reviews. Trying to let bygones be bygones, she invites the theatre critic Oona Marconi to dinner chez Castle, but the evening doesn’t go entirely as planned. When Oona brings up the infamous Tennessee Williams debacle, Martha takes great umbrage and rescinds her request for a write-up of the Martha Rodgers Drama School in Oona’s column. Oona storms out and it seems that this is one fence that cannot be mended. However, in typical Martha fashion, she takes advantage of her son’s fame to sweeten the deal for Oona. If Castle promises to read and review Oona’s unpublished novel, Oona will look with a more favourable eye upon Martha’s drama school. Everything works out swimmingly and Castle, being the good son that he is, consents to do his mother this favour.

While the Martha storyline was my favourite of this week’s episode, I also must mention the little exchange between Castle and Beckett after they have solved their case. Castle, knowing that Beckett became a cop because of her mother’s death, asks her what the child Kate wanted to be when she grew up (I couldn’t help but picture a cute little mini-Beckett, all precocious and ambitious even as a kid). Beckett reveals that she had dreams of becoming a lawyer and eventually, America’s first female Chief Justice. Castle is suitably impressed by this, and they spend some time looking adoringly at each other…which I don’t mind at all! I only hope for more to come in the next few episodes.

Other things:

• It was nice to see that Alexis’s smarts served her well in the morgue. Sure, she’s Castle’s daughter, but she got the internship with Lanie because she is a driven, intelligent, capable young woman. And of course, I loved Castle’s pride when Alexis cracked the case wide open.
• When they came up with a sketch of their suspect, describing him only as a white male, handsome, with dark hair, I couldn’t help thinking that the description and the picture kind of matched Detective Ryan. Especially when he held up the sketch next to his face.
• Ryan and Esposito’s plotline provided some laughs, especially after Ryan’s wedding ring got stuck on Esposito’s finger. The problem-solving and ever-resourceful Beckett was the one who eventually came up with a way to get it off: hand lotion!
• I love Lanie. Her story about wanting to be a ballerina was so sweet.

What are your thoughts on “A Dance with Death”? Did it live up to your expectations after the long Castle drought? And what are you looking forward to most about the upcoming episodes? Feel free to share thoughts and feelings below!

Actually, in a lot of ways “Pandora” reminded me of the previous Castle two-parters, and not just because it concluded with the same nerve-wracking “to be continued” ending.  Plot-wise, I sort of saw it as a combination of the double episodes of season 2 and season 3 as well.  There’s definitely a Jordan Shaw-esque quality to Sophia Turner, the bedroom-voiced CIA agent who has a history with Castle.  Beckett’s jealousy over Castle bonding with Jordan and being impressed with her cool gadgets in “Tick Tick Tick” and “Boom” is definitely reflected again here: she’s just oozing with jealousy!  And the broader themes of terrorism and national security in “Pandora” bring to mind last year’s two-parter in which a dirty bomb threatens the city of New York.  However I also found that I wasn’t quite as invested in the plotline as I was during either of those two stories.

This might have something to do with the fact that we still don’t know exactly what Pandora is, who is involved, and how the rogue madman/ex-CIA agent Thomas Gage can be stopped.  I was following along peacefully (and not really on the edge of my seat) until, toward the end of the episode, Castle and Beckett’s chess-playing informant Blakely gets out of the car and promptly gets shot in the head.  Definitely not expecting that!  The tension levels ratchet up as Castle and Beckett are rear-ended by another car and plowed into the river.  I have no idea how they’ll escape from this one, but now I can’t wait to find out!

The elements that I took away from this episode were mostly character or relationship driven.  The precise kind of jealousy Beckett has for Sophia is one we haven’t seen before.  Although she’s displayed a range of resentment and suspicion when it comes to other women invading her Castle-territory (think Jordan, Kyra Blaine, Serena Kaye), Sophia threatens her on both romantic and professional grounds.  She’s got the attraction-factor, the history-factor, and the seniority-factor, all of which make it pretty tough for Beckett to feel valued as Castle’s muse.  Of course we all know he only has eyes for her, but that doesn’t stop our favourite detective from accusing him of a more-than-friendly relationship with Sophia.

It’s funny that the one time Castle doesn’t guess that the CIA is involved, guess what?  It’s the CIA!  There were some funny gags with Castle and Beckett being forced to put bags over their heads to prevent them seeing anything classified on the way to the CIA headquarters.  I also enjoyed their attempts to escape from the trunk of a car…any time they’re in close physical proximity is alright by me.  And I have a feeling that their conversation while playing chess in the park is going to be continued; I can’t see Beckett letting it rest not knowing exactly how close Castle and Sophia were.

One of the moments that really threw me off (and Beckett too) was when she gets disarmed by Gage in the garage.  Seeing that he’s not even carrying a weapon, Beckett turns around with some substantial swagger and tells him to put his hands in the air.  In a split second, Gage has seized her gun and pointed it at both of them.  But…but…Beckett can’t get disarmed, it just doesn’t happen!  She’s playing in the big leagues now, and we see her facing a foe that actually matches or exceeds her own skills.  This is also demonstrated when they arrest him at the beginning of the episode (he nonchalantly continues to eat a sandwich) and when he steals a body from the morgue and walks out of the precinct in a police uniform with information from their database.  I certainly look forward to seeing how Beckett and Castle thwart him next week.

Other things:

• Martha calls Beckett Castle’s better half!
• I love that Alexis is interning with Lanie, and they have a really nice rapport.  It creates a great dynamic, and lets us see the gossip mill in action: news about Castle and Beckett spending some time apart goes from Beckett to Lanie to Alexis to Martha and back to Castle.
• Gates’s wrath is scary.  That is all.
• Beckett: “I don’t like keeping secrets from my own people.” Oh, honey, if only you could hear yourself!

What did you think of “Pandora”? How did it rank in comparison to the first halves of the other Castle two-parters?  And what do you think next week will have in store for Castle and Beckett? (I just want to know how they’re going to get out of a sinking car.) We’d love to hear your thoughts and feelings!

Castle and Beckett’s case begins when they find a dead naked dude covered with some fruit.  As they dig further into this guy’s life – full of secret identities, espionage, and picking up women – in addition to watching Ryan prepare for his upcoming wedding with Jenny, their conversations inevitably turn to sex, commitment, honesty, and marriage.  While most of these exchanges are light-hearted and teasing, they do reveal how much Castle and Beckett are scoping each other out for that day when they WILL tie the knot for real.  Sometimes they seem perfectly oblivious to the romantic undertones (or overtones – they weren’t that subtle) of their own words.

I think this was largely due to Beckett’s behaviour, which was very chipper, joking, and flirty; she was just having the time of her life on this case!  Why so happy, Beckett?  Hey, don’t get me wrong, it’s sometimes nice to see the lighter side of Katherine Beckett, and it gave Stana Katic the chance to send some of her signature meaningful, adoring looks in Castle’s direction.  There was one in particular glance when Castle demonstrates his knowledge and usefulness in the precinct that made it pretty clear how much she not-so-secretly loves Rick.

But despite some of these moments, I think Castle and Beckett can run the risk of becoming a bit silly when the plotline isn’t really strong, which was my feeling with “Till Death Do Us Part”.  The episode didn’t really advance the wider story arc of the show, and given that, it was not super amazing as a self-contained plot.  The case they were solving wasn’t particularly interesting and while there were some funny jokes and bits I really liked, on the whole I don’t think it was anything to write home about.

To be honest, I was more interested in the secondary storylines that followed Ryan, Jenny, Esposito, and Lanie than I was in the main action of the episode.  Ryan and Espo were both funny in their own naturally ridiculous ways.  Poor Ryan drinking that gross green concoction was of course a target of some taunting by Esposito.  I loved the constant battle over food (mostly donuts) that came to a head when Ryan started devouring a whole lot of Chinese food in the break room.

Esposito’s hunt to find out who Lanie’s plus-one was for the wedding, while simultaneously trying to find his own plus-one, was my favourite part of the episode.  The one time I laughed out loud was when Espo, attempting to impress a lady cop at the precinct, inadvertently sprayed her in the face with steam from the coffee maker.  Sometimes well-placed physical humour is just more effective than anything else!  And the exchange between Lanie and Esposito at the wedding made it clear to me, and probably all you Castle viewers out there, that those kids should just work it out and get back together.  They are so cute!

Everybody looked very dapper at the wedding and I was particularly taken with all the gents in their tuxes.  If you watch closely, you can see Beckett do a double-take when she sees Castle enter the church.  What more can we say: it’s love!  They almost didn’t seem to recognize the import of what they were saying when they decided to go as each other’s plus-ones.  Thus we get another Castle/Beckett “date” that we can add to the ever-growing list.  And I did enjoy their discussion about future marriages on the horizon.  Come on Beckett, we all know you will be the next lady Castle walks down the aisle with (a fact that is reinforced by them walking down the aisle together a few seconds later).  But I was hoping for at least a dance between Rick and Kate.  Plus we didn’t even get to see Ryan and Jenny get married.  After all that talk of the wedding, I think it would have been nice to see at least a little of the actual ceremony.  So basically, I wanted more wedding and less convoluted espionage plot.

Other things:

• I loved Castle’s punning and rhyming about one of the suspects until he gets stuck on “shiatsu”
• Colette Roth’s Israeli accent could use some work, methinks
• I was so happy Beckett referenced (and remembered) the ugly tie Jenny got Ryan for their two-week anniversary back in season one
• All the talk of plus-ones made me think of “Doctor Who”.  I could just hear Christopher Eccleston saying, “I’m the Doctor, this is Rose Tyler.  She’s my plus-one.”  Awww!

What did you think of this week’s episode?  Was it strong enough to make it into your list of favourites, or did it lack a certain something?  Where do you stand on the three couples: Ryan/Jenny, Lanie/Esposito, and Castle/Beckett?  And what do you think will be in store for the team when Castle’s bud the mayor gets involved in a case next week?

We start with Beckett and Castle in bed together…and this is already enough to get the fans excited.  Beckett is clearly enjoying snuggling with Castle until she realizes that they’re trapped in a dungeon of sorts, handcuffed, with no memory of how they got there.  So begins a ridiculous and wonderful quest to piece together what happened and find a way out.  Because of the nature of the show and characters, the sexual tension usually arises from the witty writing, banter, and smouldering chemistry between Nathan Fillion and Stana Katic.  Here we have much more of an emphasis on physical innuendo, with almost slapstick-style gags, heavy breathing and grunting, and Beckett literally climbing all over Castle.  Needless to say, it was lots of fun to watch!

However, perhaps more significant than the suggestiveness of “Cuffed” was the willingness of both characters to address that suggestiveness.  When Castle braces himself behind her as they try to shift an impossibly heavy freezer, Beckett tells him he’d better not be enjoying their proximity.  His reply as they push and strain is, “I’ll let you know in a minute”.  There are other moments in which they make comments about the merits of each other’s legs, and at one point Beckett essentially gives Castle permission to fantasize about her…once they get out of the basement, that is.  They are comfortable with each other, and aware enough of their own feelings and desires to pass beyond innuendo and make their teasing explicit.

This culminates in the final scene of “Cuffed”, when the prospect of Castle and Beckett spending another night together is both directly and indirectly addressed.  In a really sweet moment, Castle has a little Freudian slip and declares that he would want to get hitched to Beckett.  While he protests that he meant to say “cuffed” not “hitched”, Beckett’s reply, “I understood what you meant” speaks volume even though it’s delivered lightly.  There’s also a nice tie-in to their earlier basement conversation (in which Castle chides Beckett for never accepting courtesy from anyone) as Castle helps her put on her coat.

But the icing on the cake really comes in the form of Beckett’s response after this moment.  She tells him she wouldn’t mind being handcuffed to Castle for another night either, but that next time she’d prefer doing it without the tiger.  It takes Castle a beat to realize the full meaning of this and call her on it (and while I was convinced that she was propositioning him for sex, H and S assured me this was all hypothetical…rats!).  Beckett’s glance back at Castle is perfect: there’s a combination of amusement, seriousness, and openness.  She’s not laughing off the comment, covering it up, or dismissing it; rather, she commits to it in a way that Castle can’t help but realize.  So while I was hoping that the tiger was only ONE of the reasons that they filmed “Cuffed” on a closed set, I actually really liked the ending.

And speaking of tigers, I should probably talk about some of the other parts of this episode that weren’t centred on Castle and Beckett (ummm, other parts?).  The idea of having a tiger in the next room as opposed to another prisoner – throwing all of our human-trafficking speculations out the window – was bizarre but also really scary.  And another frightening and shudder-inducing factor was the creepy old witch-lady locked in a cage.  But in all honesty, she did facilitate one of my favourite moments of the episode by saying to Ryan and Esposito that she’d shoot the pretty one first.  They both steal glances at each other, wondering, like all of us, which one she means.

This wasn’t the only moment in this episode where Ryan and Esposito shone.  I realize more and more what excellent cops they are in their own right.  Not only do they eventually discover the same leads as Castle and Beckett, but they often solve the case themselves in addition to rescuing the writer and his muse from whatever horrible situation they have gotten themselves into.  We’ve seen this over and over again: from “Setup” and “Countdown” to “Cuffed”, with some parts of “Knockout” and “Kill Shot” in between.  Kevin and Javi are funny, intelligent, loyal, diligent, and absolutely supportive of each other.

Great as all these elements were, I think my favourite thing about this episode was Castle and Beckett’s exchange about Lanie and Esposito’s relationship troubles…which were played with just the right amount of sass and humour by Jon Huertas and Tamala Jones.  Beckett explains that they both want to be together but neither wants to admit to it.  When Castle wonders how people can do that to themselves, Beckett speculates that maybe they just don’t see it.  To which Castle responds, “how could they not?  It’s so obvious!”  Ohohoho! Well done, writers, well done!

Other things worth mentioning:

• Castle saying, “do I begrudge you your coping mechanisms?” This was a one-off line but I love what it says about them and their relationship.  He knows what losing the watch, badge, and gun means to Beckett, but isn’t so scared of her that he can’t joke about it
• Beckett, in response to Castle’s claim that she never accepts help or lets anyone else go first: “You do realize that if someone opens the door for me, then I will be going through it first anyway, right?”
• I loved the lock-opening scene.  Very sweet, intimate, and fun all at once
• Please please PLEASE let us see the police picnic and the three-legged race!!

What were some of your favourite parts of “Cuffed”? What do you think Castle and Beckett learned about themselves and each other while they were handcuffed together?  Any other thoughts? Share them in the comments!

This exchange set the ball rolling for a fun-filled ghost-themed episode of Castle.  While we didn’t get to see Rick and Kate decked out in costumes, as in the Halloween episode of season 2, we did get some funny one-liners, some ridiculously cheesy-but-awesome spookiness, and some great hair.  It’s not a secret that I haven’t been crazy about some of the season 4 episodes so far, but I feel like “Demons” and last week’s episode, “The Eye of the Beholder”, represent a return to the old-style Castle that gives us love-filled banter, outrageous scenarios, and the right amount of longing glances to make us hungry for more.

One thing I really liked and appreciated about this episode was the way they fit in numerous throwbacks and parallels to previous episodes.  We’re all familiar with the Beckett-Castle argument about the existence of supernatural forces from “He’s Dead, She’s Dead” (in which Beckett is sceptical about psychics) and “Close Encounters of the Murderous Kind” (in which Beckett is sceptical about UFOs) – and here we have Beckett being sceptical about ghosts and demons – another one for the books!  There was also a great link to the scene in “Vampire Weekend” when Castle spins a gruesome tale about where his fascination with death and murder comes from…only to reveal that he’s pulling Beckett’s leg.  In “Demons” the tables are turned as Beckett totally plays Castle, reeling him in to believe a story about a mysterious childhood encounter with a ghostly voice.  Castle, engrossed, completely falls for it.  Which also proves just how well Beckett knows Castle – she spins a story that she’s sure Castle won’t be able to resist.

And this leads me to my next point, which is that it was nice to see Beckett laughing and joking and generally acting a bit more casual.  Obviously we know Beckett has deep layers, trauma, and demons (not the supernatural kind), but it’s also really fun to just watch her and Castle having a good time together.  They’re familiar with each other in a way that allows for a new kind of humour.  The character progression of both Rick and Kate is clear from the way Beckett lets Castle simply walk into her apartment and then indulges him by exploring the haunted house immediately (and by saying, “I ain’t afraid of no ghosts”!).  Where she might have been irked before, she’s now amused and – let’s face it – mostly in love.  And she seemed pretty comfy with the idea of Castle massaging her neck, even though it turned out to be a rat crawling on her.  About the rats and corpses, I’m with Castle: eewwww!

“Demons” also shook up the usual pairings of investigators, with Ryan and Castle tracking down the ghostly leads while Beckett and Esposito pursue more concrete evidence.  I really enjoy seeing the team mixing it up (I loved the Beckett-Ryan duo in “Kick the Ballistics”); in separating Ryan and Esposito, it also set up the debacle of the double-date nicely.  Everything about the dinner was going so well until Jenny asked Lanie and Esposito the taboo question about marriage.  Esposito making fun of Jenny afterward was perfectly understandable (and funny!) although it’s too bad that he and Lanie are putting their romance on hold.  While Castle and Ryan were the recipients of a serious glare from Beckett, I actually think Lanie wins the prize for fiercest glower after Castle asks her how the double-date went.  If looks could kill, Beckett would be investigating another murder!!

And I must quickly mention the final parallel I saw, which was in the very last scene of “Demons”.  When they get on the elevator, Beckett shoots Castle a mischievous grin, and I couldn’t help thinking of similar looks of roguish glee on Castle’s face at the end of “Poof! You’re Dead” (when Beckett gives him flowers), and “Law and Murder” (when he pretends not to have seen “Forbidden Planet” so Beckett will take him to the movies).  In short, I love parallels and I love that in this episode most of them came from Beckett – she gave us throwbacks to things Castle did in previous episodes.  Which obviously equals romance in the world of Castle!  I look forward to next week’s tense bank robbery/hostage episode for more of those feelings to come to light.  I’m hoping for a declaration of some kind from Beckett…anyone with me?

Other things I liked:

• Beckett’s hair and clothes (especially the curly braid and the jacket with red buttonholes)
• Beckett teasingly calling Esposito “Castle”
• A small moment in which one of the suspects talks about how he remembers every detail of the night a loved one was killed – we see Beckett betray a tiny hint of emotion and Castle glance over at her as if he knows she’s thinking about her mother’s murder

What did you think of “Demons”?  Was it spooky enough for you?  Any opinions on the progression of the Castle-Beckett, Ryan-Jenny, or Lanie-Esposito relationships?  Share them in the comments!

Kate Beckett: I do. Every Saturday night.

Lanie Parish: A little lipstick wouldn’t hurt.

(Beckett glares at Lanie.)

Lanie Parish: I’m just saying.

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Castle 1×1 – Flowers for Your Grave