ABC’s Castle wrapped up March sweeps with a two-parter episode to lure viewers in, perhaps with the goal of combating a ratings slip. It seemed to work; 8.99 million viewers tuned in for ‘Setup’ and 10.11 followed through to see what happened in ‘Countdown.’ The desperate grab for viewer eyeballs is a reflection of deeper problems with the series, which has undergone a radical shift since its premiere, and not in a good direction.
Castle started airing as a midseason pickup in 2009, at the same time ABC started airing The Unusuals. Both shows were presented as crime dramas with an unusual bent, mixing elements of comedy and absurdism into the usual format of grim people running around and flashing police badges. Apparently viewers weren’t that enamored with the idea of two quirky crime dramas set in New York City, because only one of the shows made it to a second season.
With Nathan Fillion and Stana Katic in the leading roles, Castle takes us into the world of a New York police precinct, with a twist; Fillion plays Richard Castle, a writer following Detective Kate Beckett (Katic) around as research for his popular series of crime novels. The novels star Detective Nikki Heat, a fictionalized version of Beckett, and frequently come up as a topic of conversation on the show. On Castle, writers can apparently afford nice New York lofts large enough to put up their mothers and daughters, and swan around attending poker matches and gala events.
What made Castle stand out from the gamut of crime dramas on US airwaves was the tone. The show struck a light, silly, irreverent note in numerous episodes, with quirky, off-beat crimes and character relationships. It quickly abandoned the pretensions of exploring class issues seen in the first episode, and Castle himself shifted from being a callous, arrogant man to a simply bratty one in response to viewers. They even manage to throw in a few Firefly references for loyal Fillion fans.
This season has seen a marked departure from the show’s original style. It has been a grim season in general for television and Castle has been dragging viewers along slow, serious, sombre plot lines. Someone somewhere seems to have decided that the show needs to have more of a conscience, perhaps, or must comment on social issues. The result is a stiff, stilted presentation and a complete breakdown of the previously enjoyably platonic dynamic between Castle and Beckett.
The two part episode stretching over last week and this one revolves around a bomb plot. A dirty bomb, of course, and this being New York City, the show takes care to embed so many references to the 11 September attacks that viewers never really had a chance to escape from the heavy-handed nature of the storyline. Our original suspects are Syrian, but the characters take pains to tell us that, of course, not all people of Middle Eastern descent are terrorists. Just some of them.
As the storyline unfolds, the plot turns out to be the scheme of a former US service member, a white man, who attempts to frame the Syrian characters in order to ‘wake the country up.’ Castle gets a nice moralising line about how people in the United States largely ignore the war, so he can understand the former soldier’s frustration with the lack of public attention to ongoing events in a war that has claimed almost 2,400 coalition combatants in Afghanistan alone, and an untold number of civilians.
The episode very much toes the party line in terms of presenting a politically correct terrorism storyline without being too sympathetic. Our nice police officers would never, of course, engage in racial profiling. It is the Department of Homeland Security agent who swoops in to take over who fixates on the Syrian suspects to the exclusion of other evidence. Our nice police officers and their helpful writer think outside the box and don’t get trapped by stereotypes in their quest for justice.
The episode depicted multiple scenes of police brutality, including an officer threatening to take a witness’s child away and threatening a suspect with a gun. Our nice police officers tell him that’s not nice, but they don’t report him and don’t attempt to retake jurisdiction. And the end of the episode, Castle humanises him by telling us that his wife lost her life in the Twin Towers; maybe if his wife hadn’t ‘ridden the second tower down,’ he wouldn’t have felt compelled to engage in brutality and torture to get his information. With this manipulative storyline, Castle implies that acts of torture and violence are the result of individual responses to systemic events, rather than the result of living in a culture where these things are normalised and institutionalised, from Guantanomo to the solitary confinement blocks littering US prisons. Such gross exploitations of the 11 September attacks to justify institutional violence are nothing new, but no less appalling.
At the same time the show tries to justify this, it’s notable that his ‘enhanced’ interrogation tactics didn’t actually yield any solid leads, so the message appears to be conflicted. We should dislike him for engaging in brutality, but then we shouldn’t because of his wife, but, oh, it doesn’t work anyway. How’s that for moral ambiguity?
With such a departure from the show’s strengths, it’s likely Castle viewers are starting to experience a sense of alienation from the show, and a few more moralising episodes like this one may well be the nail in its coffin, and the starting bell for another Browncoat-led ‘revive Firefly‘ campaign.
Editor’s note: The suspects were originally mistakenly attributed in the piece as Libyan, not Syrian. Post corrected March 3rd.
I agree with much of what has been said here. This episode was a disappointment, a real disappointment. If I wanted to watch serious shows, I wouldn’t be watching Castle!!
Also, you forgot to mention the highly annoying Josh, Kate’s boyfriend who further throws Kate’s and Castle’s relationship in doubt.
I might just start watching season 1 again!
S.E. Smith begins having a reasonably valid point to make. “Castle” started out as Monday night “dessert” and she, personally, thinks it should remain that way. But that’s why it’s called evolution; why it’s called growth.
One of our greatest “dramadies” of all time (long before we started compounding words for no greater reason than the world of Twitter) was “M*A*S*H*”. What began as a slapstick look at a grim and all-too-real environment grew over the years as well. There were episodes that were strictly drama in its highest art form. One episode ran with a clock superimposed in the corner of the screen throughout entire program to reflect the serious, time-sensitive nature of the storyline. It’s success in morphing comedy and drama, going back and forth between being stoic and being sarcastic, is why it remained on the air for more than ten years.
I will agree with Smith regarding the show’s periodic stabs at social relevance, though I suspect with a point of view contrary to her own. In one episode Castle asks Beckett for her views on deficit spending, as a practice run for meeting the economist-type parents of Alexis’ boyfriend. In true Hollywood style, Beckett’s dialogue was a direct reprint of the talking points from the Democrat handbook. I can do without that kind of thing as well. But that being said, I think Ms. Smith doth protest too much.
Either she is far too focused on the problems in the Middle East to turn off her “filter”, doesn’t know the difference, or wrote this piece with the intentional purpose of manipulating the episode to make her own political statement. Smith writes on numerous occasions throughout the piece that those being setup up as the supposed terrorists were Libyan. They were Syrian, Ms. Smith. Actually paying attention to the program – over two nights – would have made that clear to someone who wanted to be accurate in espousing her views. And based on her writing, she apparently exposes her mis-guided and ill-informed perspective that somehow we will all feel better about a dirty bomb going off in Manhattan if later we learn that the authorities’ first concern was for ensuring those they suspected were behind the plot remained comfortable and un-conflicted throughout their interrogation. Maybe Ms. Smith will, but…
Character development and evolution goes hand-in-hand with the efforts of any program to broaden one’s audience. Smith’s comment that the storyline was all about getting a ratings boost during sweeps week was plebian at best and self-centered at worst. Gee… ya’ think?
Insisting even the world’s most astute program, one that stays true to it’s premiere episode for as long as it can survive, is all well and fine – as long as you’re not the one financing it and likewise responsible for the livelihood of more than 100 members of the cast, crew and production company. Broadening a programs audience, and playing to the desires and expectations of the greatest numbers within that audience, is and should be the first priority of “Castle” creator Andrew W. Marlowe, and the show’s production company Beacon Entertainment. I for one think they’re doing one helluva job.
“Castle” has been, and continues to be, my favorite show on television today. Perhaps Ms. Smith needs to either broaden her own expectations or find herself a Bridge club that meets on Monday nights.
Seriously!? I have a few points I would like to make about this review and about Castle in General.
Concering your review of the two parter…
First of all, they were Syrians from Syria, not Lybians. Second, Fallon was an FBI agent not a Cop. Third, Do you not think Stephen King or James Patterson could afford a loft in New York City? The character, Richard Castle, is supposed to be of that stature, famewise.
About Ethics on TV….
Since when are TV Shows in general responsible for taking the High Road on moral issues (Police Brutality, Terrorism, Racial Profiling to name a few) Is that the only way to be thought provoking? If Castle makes at least one person stop and think about their own Morality and Sense of Ethics, then it has done a million times better than half the crap that passes for Entertainment these days.
About the overall tone of the Show….
Castle’s writer and Creator Andrew Marlowe has said that Castle is not a Cop Drama, but a Grand Love Story between Beckatt and Castle. In that vein, the show has and will develop much like a budding relationship. (Season 1) First you meet someone and Judge them instantly, there is flirting, antagonizing and lightheartedness. (Season 2) A deeper knowledge and respect of each other becomes apparent by actions taken and by circumstances they are placed in together. Such as Castle Delving into the murder of Beckett’s Mother despite her misgivings about letting him in. (Season 3) As feelings go from Friendship to Love you let the other person see all aspects of your life and trust them with your life. That is where this couple is now. She doesn’t just let him work on her mother’s case, but actually runs to him for support. He lets her get closer to his daughter than any woman has previously, even his ex-wife. This ‘slow dance” is a far departure fom most shows that just have people jumping into the sack at the drop of a hat and then having to find their way together with those added stumbling blocks in their way.
About your False Assumptions…
Castle fans are more connected to the show now than ever. No alienation there. The proof of that can be seen all over Twitter and FanFic sites. The Actors and the Crew very openly interact with the Fans. They are obviously grateful and often times humbled by the dedication their fans have shown them. I think, like me, the initial fans came for Nathan Fillion, he is funny and self depricating, much like the Castle character. But have quickly discovered that Stana Katic is a Gem. She is truely appreciative of the doors this show has opened for her. Their portrayal of these flawed yet fiercely loyal Characters is spectacular.
Please, before reviewing a show, please take time to actually understand what it is you are talking about. You don’t have to like the show, that is your choice, but at least be knowledgable enough to make a convincing argument against it…
It is blatantly obvious that you do not watch this show a regular basis because if you did you would know that in the two and half seasons this show has been on (51 episodes to be exact) there have been all of three [mainly] “serious” episodes; “Sucker Punch” (from season two), “Knockdown” (from this season and a sequel to “Sucker Punch”), and the just aired “Countdown” (the episode you’re supposedly “critiquing” here). All other episodes have been just as funny and quirky as usual. Really, three “serious” episodes out of fifty-one and the show, “has lost its way?” Please!
Serious shows, mixed with fanciful has alway been our show’s DNA. Last seasons two parter brought in a serial killer targeting Beckett. Certainly, this year’s sweeps two parter raised the stakes, but we believe our audience can handle the gamut of a storytelling that runs from terrorists to the curse of the Mummy. This year we’ve had episode centering on treasure maps, psychics, space aliens, magicians and entered such diverse worlds as the steampunk genre, male strippers, Hollywood, and the soap opera world. But to be frivolous in our storytelling every week denies the nature of the world the show occupies, and since Castle is fundamentally relationship story, things need to evolve or they will become repetitive. Everyone has favorite episodes, and those that are not their taste. I understand and respect that, but I would not generalize from two or three shows out of a 24 episode season that we are fundamentally changing course.
kbakko, the name is s.e. smith, not S.E. Smith, not Ms Smith. If you’re going to critique someone’s critique, you can at least leave unnecessary and rude comments about bridge clubs and misgendering out of it, for goodness sake.
Thank you Andrew Marlowe, the fact that you come on here and defend your work is highly commendable but also shows how much you care about all points of view. I believe this season to be the best and being a loyal OCDer I can tell you that many of my fellow Castle companions agree. The mix of humour, drama and intensity this season has been just enough. I personally think Knockdown and Countdown are the best yet out of all seasons. Kudos to you Andrew and to your brilliant co-workers and cast.
Respectfully, what show are you watching?
In 17 episodes this season they have 4 that I would consider lighter in tone and telling. Did you watch ‘Punked’, ‘Anatomy of a Murder’, ‘Last Call’ (my personal favorite this year), “Close Encounters’? They are funny and light and have the banter we have come to love between our leads.
I don’t like Josh anymore than most, but trust the people in charge have a plan, and I will enjoy the journey.
I don’t think Castle has lost its way but I do believe that this season’s two parter was bellow the show’s best. The action was more than predictable and the back and forth with Castle/Beckett is somewhat losing its charm. Anyways until this last ep. I’ve enjoyed all the more dramatic episodes, “Knockdown” and “3xk” for instance are just awesome tv. If Castle sticks to now-and-then powerful drama like that and great comedy like in “Nikki Heat”, it should be fine.
I really enjoyed the first two seasons of Castle, but have become very bored of the current season. (This is really unfortunate because I think Stana Katic is such an excellent actress, I love watching her, and Nathon Fillion usually looks like he’s having a lot of fun.)
Partly for me it’s the one-dimensional “love interests” who never do anything except exist to put up reasons for Castle & Beckett to never get together, but the big problem for me is the tone-shifting of this season. Yes, there were serious episodes in Season 2, but I didn’t terribly like them, either, and there just seems to be more of them this season.
I also feel that a lot of this season has been pointing out the absurdity of the plot. Normally I don’t think about the absurdity of “He’s a writer who just happens to be able to work week in, week out with a highly respected police investigator because he signed some forms that made that okay”, but when it seems to have been commented on several times this season, I’m having some greater difficulties with accepting the premise. I don’t want to think about it! Stop pointing out how wrong it is! Just let me watch and enjoy!
But I think the turning point for this season, for me at least, was when Martha asked Castle why he was still doing this in the episode with the former office shot down in front of him when they were investigating Beckett’s mom’s murder. The previous season Castle had been taken hostage by someone who Beckett had to shoot in order to save him, he’d been taken hostage by someone else and his last word’s to Martha on the phone were what tipped her off that something was dreadfully wrong, and this is what made her finally say something? Did she not care any earlier, or was Castle not telling her everything?
I really loved the first two seasons of this show, and I’ve been watching the third season, but I think it’s not for me. I can’t even get myself to watch the second part of this two parter because I just don’t care much anymore. And I hate that, because I seriously love the actors and the first two seasons of writing.
I agree: what show ARE you watching? I really appreciate that fact that Andew Marlowe likes to communicate with people watching the show – but he hardly needs to defend himself in this case. Watching Castle has become a relaxing and light-hearted ritual for me and my husband, after the kids are in bed. Of course, we’re also huge – and still sad – Firefly fans which is why we watched in the first place, but Castle has become the perfect remedy to a long day. Sure the show was darker the past two weeks but this is not The Wire (which while great television was never a show you could just sit back and savour) The winks were still there, and who didn’t get a big smile from how Nathan Fillion played the whole bomb-diffusing scene – a true Rick Castle moment. Finally a show that’s old-fashioned fun and romantic with enough depth to steer darker at times, that doesn’t leave the characters stuck in one place. (And where the writers have the good sense to leave the SOs mostly off-screen.) I think they could even pull off putting Castle and Beckett together (eventually), and it would still make for the best matinee-movie-with-buttered-popcorn fun on television.
Like several others commenting on this article, I also seem to be confused about which show you are actually watching. A few serious episodes here and there do not change a series’ course. Additionally, I take offense to the fact you seem to labor under the delusion that us viewers are simple people with short attention spans. Some people may not be in favor of certain aspects of the show, but moralizing has little, if anything, to do with it. Their reasons probably can’t be generalized. We all have favorite plot lines/episodes/elements, just as we have some things that don’t fall into a favorites category. For those of us who do enjoy it, the list of why goes on and on.
I am personally more excited than ever, and am certainly not alone in my love for the series. The fervor for it has grown, so I’m afraid I don’t know where you are getting your ‘alienation’ vibe from. I also know I have gotten a handful of friends involved who are now firmly hooked on the series from the last three or so episodes—two of which were “serious”.
And, yes, last two episodes were of a more serious nature, but I don’t believe they faltered from the spirit of the show. As Mr. Andrew Marlowe already stated: That is their world. Not everything is fun and games. There were distinct moments of the comedy side in both episodes that can crack you up at the same time you feel your stomach has dropped to your shoes. I was emotionally invested in every bit of the two-parter and it felt like an incredible sweeping story that provided both a resolution for the story and another hurdle for our dynamic duo. The latter was the next step in character development, a point you do acknowledge is key. The reality of the situation provided that in a way that lightheartedness cannot touch. Overall, the entire thing remained true to each of the characters while putting them up against impossible odds.
I respectfully suggest that you leave your broad generalization of ‘Castle’s’ fans and the tone of the show out of your next review if you continue with this negative viewpoint. Most of us believe the season has been wonderful, and the series gets better with every episode. ‘Countdown’ absolutely raised the bar for what kind of potential this show has for being versatile. My feeling is that this is one hell of a smart show; it has wonderful characters and chemistry between all of them, a delicious tension and dynamic for the two whose love story is being told, and a way to make you feel immersed in every moment. This is the magic that a lot of shows are missing, and it is just getting started. If we have anything to say about it, it will be around for a long time.
Oh: and kudos to Mr. Marlowe, the entire team of writers, producers, and everyone behind the scenes, as well as to the wonderful cast. Thank you all for sharing your talent and for the brilliant work you do. Keep it up!
I watch Castle because of Firefly, but do not have particularly strong feelings about it. I think s.e. is basically, well, right.
And as Fillion vehicles go, it’s my least favorite. I think I’m the only person who remembers the genius of “Drive,” which only aired for 4 episodes on Fox in 2007. (It involved Firefly associates… It was *genius.*)
And I’m commenting after the fact, but y’know, I’m pretty sure we’re all commenting on the same show.
(I also think there are moments in The Wire worth going back to savor…)
Meantime, here we all go into unscripted, awful TV for the summer. You know, when Burn Notice is the best thing on…
Look, I ain’t going to post an essay. I’m just going to say that you need to understand the difference between a show moving away from its roots and a show evolving and becoming mature. People interact, grow closer, and, naturally, things grow more serious. If the show remained superficial and light, it would’ve become stale and useless.