“Castle, I think we bored them”
Last night was the season finale for season five of ABC’s Castle. To show you how engrossing I’ve found the season so far, I had no idea this was the finale. And, at the end when the announcer gave the “see you next year” sign off, I found myself not caring.
That doesn’t mean I dislike the show — quite the contrary– but this season was a substantial letdown compared to prior seasons, to the point that it felt like the series was running on fumes. I’ll watch next year, but they need to do some work to make the show interesting again.
More below the fold, to guard against spoilers.
The season opened promisingly with Beckett and Castle waking up in bed, having spent a passionate night together after finally admitting their love for each other at the end of the prior season. Beckett at last had some peace, if not justice, after identifying the murderer of her mother (the cliche “corrupt senator”), while Castle himself had grown up considerably from the “Peter Pan” character to become a responsible (mostly š ) adult and the man Beckett needed. And, to my pleasant surprise, they handled the “Moonlighting problem” of main characters transiting from “Will they/won’t they” to “yes they are” very well. They had become a great couple.
And that was, indeed, the problem: the theme of the season was their relationshipĀ and nothing else.
While there were good individual episodes, such as the two-parter in which Castle at last meets his father, the season overall felt flat, as if something were missing. Thinking about it, I realized that this year lacked what I think of as a “dramatic spine,” a season-spanning story arc that’s usually in the background, coming forth just a few times (such as mid-season and the finale), but always there, providing tension and leaving the audience to wonder what will happen next.
In seasons one through four, each arc has us dig deeper and deeper into the mystery of Joanna Beckett’s murder, until, at last, she confronts the man who ordered the killing. Ā And through those arcs (and in fits and starts) we watch Castle and Kate Beckett’s relationship grow, as well as each growing as a person. (Castle more than Beckett)
But, after the “corrupt senator” plot was resolved in the opener this season (in effect, a continuation of season 4’s finale), the season lacked direction. I expected some new story arc to take over, but nothing did. The show wandered from episode to episode, and the only continuing thread was the Castle-Beckett relationship. But, without the tension and momentum added by an external problem to help the relationship grow, the season-long drama was nothing more than the ups and downs of the relationship itself.
Castle had become a standard romantic comedy, and therefore flat and dull. The big season-ending cliffhanger? Kate gets a great job offer in D.C. that threatens her relationship with Castle and, realizing he can’t bear to lose her, he proposes marriage. Really. That’s it.
Boring.
There were other problems, too: both Molly Quinn (“Alexis”) and Susan Sullivan (“Martha”) had greatly reduced roles this season, and I think the show suffered for it.
Also, the writing just wasn’t as spritely as prior seasons: the “thriller” murders that provide each show’s A-plot were generally less imaginative, and the dialog, a strength in prior years, felt off. It made me wonder if the writing staff wasn’t running low on ideas, or had grown tired and was just “coasting.”
Regardless, this was the weakest season of the five so far. I’m glad it’s been renewed for a sixth, but let’s hope they can refresh the series next year. (More of Castle’s father, please!)
PS: I’m sure an episode or two at the start of next season will deal with, for some reason or another, Beckett turning down Castle’s proposal and accepting the job — but not leaving New York just yet. Then, something will happen where she has a change of heart and turns down the job, saying she’s “had a better offer” — the proposal. Cliche? Yes, but it also feels very “Castle.”
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