Rating: Castle Season 4

Season 4 of Castle is mostly solid, with a mix of highs and lows. Here’s how we rated the episodes:

  1. “Rise” – 2
  2. “Heroes and Villains” – 9
  3. “Head Case” – 6
  4. “Kick the Ballistics” – 2
  5. “Eye of the Beholder” – 6
  6. “Demons” – 8.5
  7. “Cops and Robbers” – 7.5
  8. “Heartbreak Hotel” – 6
  9. “Kill Shot” – 6
  10. “Cuffed” – 5.5
  11. “Till Death Do Us Part” – 6
  12. “Dial M for Murder” – 5
  13. “An Embarrassment of Bitches” – 6
  14. “The Blue Butterfly” – 4
  15. “Pandora” – 1.5
  16. “Linchpin” – 1.5
  17. “Once Upon a Crime” – 6
  18. “A Dance with Death” – 5.5
  19. “47 Seconds” – 5
  20. “The Limey” – 3
  21. “Headhunters” – 1.5
  22. “Undead Again” – 8
  23. “Always” – 0

The average for this season is 4.8, a bit of a comedown from season 3’s 5.9. Still, this season has a lot to offer. The average is dragged down by a bunch of boring hyped-up drama episodes, but this season still delivers the crime-solving comedy action we come to Castle for.

The bottom of the heap is the finale, “Always,” that we gave a complete 0. This episode is one more step in the long, drawn-out saga of Beckett’s mother and has absolutely nothing to appeal to us. A number of other episodes also hang out near the bottom of the pack, including “Headhunters,” at 1.5, which, despite reuniting Nathan Fillion with an over-the-top Adam Baldwin, spends too much time wallowing in the dysfunction of Castle and Beckett’s relationship. There’s also the bizarre two-parter “Pandora” and “Lincpin,” both at 1.5, which takes the Castle crew into a hard swerve from crime-solving into international intrigue. It’s not something this particular writing/production team does well.

At the top end, though, we have a good set of wacky cases-of-the-week, which are just what we want from Castle. The best is “Heroes and Villains,” at a 9, about do-it-yourself superheroes. Some of the other great episodes this season similarly dig into geeky subcultures, like ghost-hunting in “Demons” (8.5) and zombie LARP in “Undead Again” (8).

Along the way there’s also a good batch of episodes in the mediocre but perfectly serviceable 5-7 range. There’s a lot to like this season, even if there are several episodes well worth skipping.

Image: Beckett and Castle research superheroes, from “Heroes and Villains” via IMDb

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Rating: Castle, Season 3

Season 3 of Castle keeps the mystery/comedy engine chugging along nicely with some fantastic episodes. Here’s how we rated them:

  1. “A Deadly Affair” – 8
  2. “He’s Dead, She’s Dead” – 8
  3. “Under the Gun” – 8
  4. “Punked” – 9.5
  5. “Anatomy of a Murder” – 7
  6. “3xk” – 2
  7. “Almost Famous” – 9
  8. “Murder Most Fowl” – 8.5
  9. “Close Encounters of the Murderous Kind” – 10
  10. “Last Call” – 10
  11. “Nikki Heat” – 6.5
  12. “Poof! You’re Dead” – 4
  13. “Knockdown” – 1
  14. “Lucky Stiff” – 7.5
  15. “The Final Nail” – 6
  16. “Setup” – 1.5
  17. “Countdown” – 1
  18. “One Life to Lose” – 6.5
  19. “Law & Murder” – 6.5
  20. “Slice of Death” – 7
  21. “The Dead Pool” – 4
  22. “To Love and Die in L. A.” – 4.5
  23. “Pretty Dead” – 4
  24. “Knockout” – 0.5

This season’s average rating is a pretty good 5.9, but that average is the product of a lot of really good episodes and a bunch of real stinkers.

The bottom of the barrel is the final episode of the season, “Knockout,” which gets a measly 0.5. This episode and the earlier “Knockdown” (1) are both part of the interminable story arc about Beckett’s mother’s murder and the shadowy conspiracy surrounding it. Another interminable story arc is introduced this season with “3xk” (2), in which Castle picks up his very own obsessed serial killer, which seems to be an accessory that every tv detective must have, no matter how boring or implausible. These plus the tedious terrorism-themed two-parter “Setup” (1.5) and “Countdown” (1) drag this season down by a lot. We come to Castle for the quirky murder-of-the-week stories and the fun interactions among the characters. Serious Drama just gets in the way of the fun.

But there is definitely fun to be had this season! There are two episodes that we rated a full 10; “Close Encounters of the Murderous Kind,” a fun X-Files pastiche that pits Castle and Beckett against space scientists, men in black, and (not quite) aliens. After that comes “Last Call,” about a murder connected to the discovery of a secret Prohibition-era stash of fine whiskey. Both of these episodes offer good mysteries for the team to solve while leaving lots of room for the usual antics. Beyond those two, there are plenty of episodes in the 8-9.5 range as well.

This season also solidifies a trend, emerging in the first two, in which the week’s case takes the team deep into some particular subculture—be it steampunk, stage magic, or pizza—before finding a familiar human story at the center of it. These episodes give Castle and the boys (Ryan and Esposito) lots of room for goofy side adventures while Beckett rolls her eyes and gets on with the business of crime solving. And what else can you ask for from Castle?

Image: Castle and Beckett consult with a man in black, from “Close Encounters of the Murderous Kind” via IMDb

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Rating: Castle, Season 2

We’re back with our ratings for season 2 of Castle, and it’s a decent second act for this crime-solving comedy. Here’s what we thought of it:

  1. “Deep in Death” – 5
  2. “The Double Down” – 6
  3. “Inventing the Girl” – 4.5
  4. “Fool Me Once…” – 5
  5. “When the Bough Breaks” – 6
  6. “Vampire Weekend” – 8
  7. “Famous Last Words” – 4.5
  8. “Kill the Messenger” – 8
  9. “Love Me Dead” – 5
  10. “One Man’s Treasure” – 5
  11. “The Fifth Bullet” – 8
  12. “A Rose for Ever After” – 3
  13. “Sucker Punch” – 2
  14. “The Third Man” – 5
  15. “The Suicide Squeeze” – 3
  16. “The Mistress Always Spanks Twice” – 7
  17. “Tick, Tick, Tick…” – 8
  18. “Boom!” – 4
  19. “Wrapped up in Death” – 7.5
  20. “The Late Shaft” – 4
  21. “Den of Thieves” – 4
  22. “Food to Die for” – 7
  23. “Overkill” – 3
  24. “A Deadly Game” – 8.5

The overall average this season is 5.5, a step down from the first season but still respectable. The episodes are fairly evenly spread between a number of weak offerings in the 2-4 range, a chunk of solid ones in the 5s and 6s, and quite a few good ones at 7 and higher.

Our lowest rating for this season is a 2 for “Sucker Punch,” the start of a long and tedious multi-season arc about political corruption and the murder of Detective Beckett’s mother. None of the episodes in this arc are much fun and most end up being unsatisfying dead ends with conveniently missing evidence, abstrusely shadowy conspiracies, and no end of boring angst for Beckett. When we want to watch X-Files, we’ll watch X-Files. We come to Castle for spark and wit, and these episodes have precious little of either.

At the other end of the scale, “A Deadly Game” gets an 8.5 for a story about a spy LARP gone wrong. This episode has the classic Castle qualities we love: a quirky premise that gives our characters plenty of entertaining rabbit holes to fall into before finally resolving in a serious and satisfying story of human emotion.

In many ways, this season is exactly what a season of Castle ought to be: not always brilliant, but usually imaginative and and entertaining, with room for all the characters to laugh, live, and grow.

Image: Detectives Beckett, Esposito, and Ryan from “When the Bough Breaks” via IMDb

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The Letter for the King Trailer

A new Netflix young adult fantasy The Letter for the King has a trailer out:

The Letter for the King | Official Trailer | Netflix on YouTube

The Letter for the King is based on a novel by Dutch author Tonke Dragt and, according to IMDB, filmed in Czech Republic and New Zealand. (I thought I recognized the Southern Alps from Peter Jackson’s LotR films!)

Apart from what Tor.com has to tell, I don’t know anything about the series except that it reminds me of The Shannara Chronicles (both in the good and the bad). Of the writers I know nothing; of the cast, I’ve only seen two of the adults (David Wenham, Andy Serkis), so neither helps me decide whether it might be worth tracking down. Anyone know anything interesting about this project?

The series will be available on Netflix March 20, 2020.

Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.

Quotes: She Gets to Screw It Up

After the release of Terminator: Dark Fate in November of 2019, Emmet Asher-Perrin wrote at Tor.com about the Terminator franchise. This section at the end describes perfectly why the original T (1984—oh gosh!) will always be my favorite of the series and why we need more (super)hero stories with women in the focus:

“The end of The Terminator is maybe more entrancing than any other finale in the franchise for that reason. It has more in common with a horror film than a sci-fi action flick. Sarah Connor, the final girl who has to make it through for so much more than the sake of her own life, crawling away from two glaring red eyes. Her leg is broken, she’s barely fast enough, but she pulls it all together to crush the T-800 into scrap parts. You can see the moment where the unflinching hero of Judgement Day is born, and it’s right when she says ‘You’re terminated, fucker.’ It only took a span of days to rip her normal, unremarkable life apart, but we get the chance to take the entire journey with her, to sit in her emotions and think about how it would feel. It’s just as fast as most ‘Chosen One’ narratives tend to be, but it doesn’t feel rushed because we are with her for every terrifying second of that ride.

“There are a few more heroes who get this treatment, but they are rarely women. Black Widow has a few muddled flashbacks in Avengers: Age of Ultron. Captain Marvel gets flickers of her past in formative moments. Wonder Woman gives us a brief introduction to Diana’s home and the women who raised her. Rey doesn’t get much time to wrestle with her budding Jedi abilities before heading off for training. We get brief hints of where these women came from, of how it feels to take everything onto their shoulders. But Sarah Connor gets to muddle through it. She gets to wear weird tie-dyed t-shirts and shiver when she’s cold and decide whether or not she can accept the idea of time travel and unborn sons and machines that will always find her no matter where she hides. She gets to present herself as wholly unqualified, and she gets to screw it up, and she still makes it out the other side to fight another day.” [original emphasis]

– Emmet Asher-Perrin

We’ve recently watched a few excellent crime procedurals (for example, Vera and The Fall, plus a new Finnish-Spanish production called Paratiisi) where the female protagonists were written with multiple characteristics that television’s stereotypical damaged males have (like a traumatic past, superficial sex / multiple throwaway partners, alcohol use, difficulty maintaining meaningful human relationships or, indeed, behaving professionally towards your colleagues, to mention a few).

Criticism of these kinds of women in stories is often framed in terms of likeability: you can’t like a woman who behaves in “un-feminine” ways. Well, assuming we’re not talking about comfort-watching or reading (which I’d allow some liberties to), do you have to? I’ve never met anyone who liked everyone they ever met.

I’d say it’s lazy storytelling at its core to plop in a feature of a given character or culture or setting without examining its purpose in the story. For example, while I appreciate the performances of Martin Freeman and Benedict Cumberbatch in the Sherlock series by Mark Gatiss and Steven Moffat, I detest the selfish, egotistical, arrogant, inconsiderate way Moffat and Gatiss have their Holmes behave. (There’s a reason we haven’t rewatched the series.) He if anyone is unlikeable, to put it mildly, but somehow people can only see his genius—even when the original Sherlock Holmes emphatically behaves with kindness.

And while it’s true that none of these “unlikeable” people would be easy to have as friends, it’s also true that none of them is without any redeeming qualities either. The point is, depicting one gender only in a certain light and cutting off other possibilities of being from them is overly limiting, because in the real world possibilities are nigh on infinite.

Depicting a variety of individuals is exactly what makes for instance heist stories like Ocean’s Eight or Jane Austen’s novels so enjoyable and delicious. Flipping details around, reversing patterns, defying expectations—these are exactly what make a story shine. Women are people and people come in a range of shapes, sizes, and mentalities. Just think of the range of abilities and body shapes Olympic athletes represent, for example.

Just like I do not want all men in my fiction to be cookie-cutter copies, I certainly don’t want all women in my fiction to be cast from the same mold. Expecting all or even most members of any group be an amorphous mass is really rather ill-advised, for it ruins many a good tale and taken to extremes would make stories untellable.

To re-phrase Asher-Perrin: what The Terminator really gets right is that Sarah Connor gets to feel her feels, to react, emote, and flail (like Ye Old Female Protagonist)—AND she gets to win the day.

Asher-Perrin, Emmet. “The First Terminator Movie Gave Sarah Connor One of the Most Compelling Origin Stories”. Tor.com, November 01, 2019.

Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.

Rating: Castle, Season 1

We enjoyed the mystery/comedy Castle, despite some problems, and it makes a good comfort rewatch when we’re in the mood for something light. Here’s our take on season 1.

  1. “Flowers for Your Grave” – 10
  2. “Nanny McDead” – 6
  3. “Hell Hath no Fury” – 7
  4. “Hedge Fund Homeboys” – 6
  5. “A Chill Goes through Her Veins” – 7.5
  6. “Always Buy Retail” – 7
  7. “Home is Where the Heart Stops” – 9.5
  8. “Ghosts” – 6
  9. “Little Girl Lost” – 5
  10. “A Death in the Family” – 5.5

The short first season is excellent, with a lot of strong episodes from the beginning. At an average rating of 7, it’s one of the best seasons of any series we have. It starts right form the beginning with “Flowers for Your Grave,” at a full 10, the best of the season, which delivers a perfect combination of the mystery and comedy we expect from Castle with well-realized characters. Even the lowest-rated episode this season is a perfectly decent 5, for “Little Girl Lost.”

A big part of what makes Castle work so well is the characters. There’s Richard Castle, mystery writer and overgrown child, who foists himself on hard-nosed detective Kate Beckett in the name of “research,” but mostly just to pull her pigtails. There’s Espo and Ryan, the secondary-character buddy cops. There’s Castle’s flamboyant actress mother Martha and his teenage daughter Alexis, who seems to have gotten all the maturity that missed her father and grandmother. Any of these characters could easily have fallen into annoying caricature, but between smart writing and strong acting, they remain alive and enjoyable. Nathan Fillion’s sweet goofiness keeps Castle from being overbearing, while Stana Katic gives Beckett a depth and canniness that makes her more than a match for Castle’s antics. Jon Huertas and Seamus Dever, as Espo and Ryan, have a brotherly bond that only grows over the seasons. Susan Sullivan makes Martha infuriating and endearing in equal measure, while Molly Quinn makes Alexis both a rock of level-headedness in the madness of the Castle household and an awkward teenager growing into self-confidence step by stumbling step. The show may be named for one character, but it is the brilliantly balanced ensemble that makes it work.

Another part of the strength of Castle is how well it balances the mystery and the comedy. The cases that the team tackles are sometimes wacky, but they revolve around real and powerful human emotions, as all good mysteries do. Castle’s off-the-wall leaps of logic are often important in solving cases, but so is the solid investigative work that Beckett and the boys do. The characters often play off each other in funny ways, but they also have real and growing emotional connections. Castle is as much a show about family, in all its weird and wonderful permutations, as it is about solving crimes.

Any other Castle fans out there? Let us know what your favorite episodes of season 1 were!

Image: Castle and Beckett at work from “A Death in the Family” via IMDb

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Rating: Elementary, Season 6

Season 6 was originally intended as the final season of Elementary, and it would have been a strong season to end on if the show had not been unexpectedly renewed for a short seventh season. Here’s our take on season 6.

  1. “An Infinite Capacity for Taking Pains” – 6
  2. “Once You’ve Ruled out God” – 8.5
  3. “Pushing Buttons” – 5.5
  4. “Our Time Is Up” – 7
  5. “Bits and Pieces” – 8
  6. “Give Me the Finger” – 7
  7. “Sober Companions” – 2.5
  8. “Sand Trap” – 5.5
  9. “Nobody Lives Forever” – 4
  10. “The Adventure of the Ersatz Sobekneferu” –4
  11. “You’ve Come a Long Way, Baby” – 5
  12. “Meet Your Maker” – 7
  13. “Breathe” – 8
  14. “Through the Fog” – 8
  15. “How to Get a Head” – 6.5
  16. “Uncanny Valley of the Dolls” – 6
  17. “The Worms Crawl in, the Worms Crawl out” – 6
  18. “The Visions of Norman P. Horowitz” – 7
  19. “The Geek Interpreter” – 7.5
  20. “Fit to Be Tied” – 2
  21. “Whatever Remains, However Improbable” – 3

The average rating for this season is 5.9, which is pretty strong, but also a little misleading, as averages can be. A few bad episodes drag down what is otherwise mostly a good to very good season.

The problem with this season is, as it has been in previous seasons, the ongoing arc story. This time it’s Michael, a fellow addict who befriends Sherlock, then turns out to be a serial killer who is using the cat-and-mouse game with Sherlock as a substitute high to stay off drugs. Desmond Harrington gives an excellent performance as Michael, and the interplay between him and Sherlock is better handled than in most mystery series where the heroic detective faces off against a serial killer, but we are tired of serial killer stories altogether, especially stories about serial killers who have unhealthy emotional attachments to the detectives hunting them. The shadow of Professor Moriarty looms so large over the legacy of Sherlock Holmes that many writers forget that the professor was no more than a convenient plot device to kill off a character that Conan Doyle had gotten tired of writing. Holmes has never been at his best when chasing an enemy but rather when untangling a mystery, and that fact is as true today as it was a century ago.

On the other hand, the non-arc stories this season are some of the best ever written for the series. It looks like the writers pulled out all the stops for what they believed to be their last season. Many episodes are richly complicated mysteries that unfold through surprising twists and turns. Our highest rated episode this season, “Once You’ve Ruled out God,” at 8.5, begins with a murder by lightning gun, ends with a daylight diamond heist, and goes through stolen plutonium, neo-Nazi prison gangs, and terrorist threats to midtown Manhattan along the way. Your average television mystery series would be content to take any one of those ideas and make a whole episode out of it, but Elementary barely slows down to take a breath as this exhilarating episode rockets form one big thing to the next.

Other highly-rated episodes are similarly daring in the inventive problems they offer up for Sherlock and Joan. “Bits and Pieces” opens with Sherlock carrying a severed head with no memory of where he got it, “Breathe” finds Sherlock and Joan investigating the death of a professional assassin, and “Through the Fog” has a suspected biological attack on the police station as cover for a more daring crime. All these episodes come out at an excellent 8.

This season ends with Sherlock banished from the US, but carrying on his partnership with Joan in London, what would have been a fitting end for our characters. We hardly regret getting a little bit more of such an excellent series as Elementary, but if season 6 really had been the end, it would have been a final season to be proud of.

Image: Sherlock, Joan, and Detective Bell from “Sand Trap” via IMDb

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Rating: Elementary, Season 5

Season 5 marks a return to form for the excellent mystery series Elementary. Here’s what we thought of this season’s episodes:

  1. “Folie a deux” – 5
  2. “Worth Several Cities” – 6
  3. “Render, and then Seize Her” – 6.5
  4. “Henny Penny the Sky is Falling” – 7
  5. “To Catch a Predator Predator” – 6.5
  6. “Ill Tidings” – 6.5
  7. “Bang Bang Shoot Chute” – 5
  8. “How the Sausage Is Made” – 6
  9. “It Serves You Right to Suffer” – 3
  10. “Pick Your Poison” – 6
  11. “Be My Guest” – 8
  12. “Crowned Clown, Downtown Brown” – 6
  13. “Over a Barrel” – 7.5
  14. “Rekt in Real Life” – 8
  15. “Wrong Side of the Road” – 6
  16. “Fidelity” – 9.5
  17. “The Ballad of Lady Frances” – 5.5
  18. “Dead Man’s Tale” – 7.5
  19. “High Heat” – 6
  20. “The Art of Sleights and Deception” – 5.5
  21. “Fly into a Rage, Make a Bad Landing” – 6
  22. “Moving Targets” – 6
  23. “Scrambled” – 4.5
  24. “Hurt Me, Hurt You” – 4.5

Season 5 builds on the series’ strengths: the unraveling of complicated mysteries and the growth of the friendship between Sherlock and Joan as complicated people. The average rating for this season is 6.2, the best since season 1, and the continuing overall quality of the series shows in our individual ratings. Only one episode falls below 4, our unofficial cutoff point for being worth rewatching, and a lot are in the 6-8 range of not extraordinary but well done.

The only real drag on this season is the arc story about Shinwell, an ex-gang member former patient of Joan’s who may or may not be trying to go straight. This arc never lives up to its potential and ends up being an unsatisfying shaggy dog story.

The one real disappointment of an episode this season is “It Serves You Right to Suffer,” at 3, mostly because it is primarily concerned with Shinwell’s story. The episode revolves around a shady FBI agent and it never grows into anything interesting.

By contrast, our favorite episode of the season, “Fidelity,” coming in at 9.5, does a much better job of playing into the series’ longer story arcs. “Fidelity” is the second half of a two-part episode, after “Wrong Side of the Road,” in which Sherlock and Joan, along with Sherlock’s former protege Kitty, investigate a series of deaths that seem to be linked to a traffic accident in Britain years earlier.

Another touch we appreciate this season is that a number of episodes end with living victims being rescued, which is a nice change in a series mostly focused on solving murders. Episodes like “Be My Guest” and “Rekt in Real Life” have happy endings in which people in danger are found safe. Marcus’ girlfriend Chantal, after being assaulted at the end of “The Art of Sleights and Deception,” makes a full recovery, which is a better fate than often happens to detectives’ loved ones and people of color on television.

All around, it’s another satisfying outing with Holmes and Watson.

Image: Sherlock and Joan at work on a case, from “Folie a Deux” via IMDb

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Delightful Music: Fringe Theme

One of the most enjoyable things about Fringe is the theme song. Here is a full, 6-minute version:

Fringe Theme [FULL] via mrbrzoskwinka on YouTube

It’s composed by Michael Giacchino, who has an extensive music department background in genre tv, movies, and games (Jurassic franchise video games and movies, Alias, Zootopia, some rebooted Mission Impossible and Star Trek movies, Rogue One and both of the new Spider-Man MCU movies, for instance).

It’s rare to come across a speculative show theme that uses the piano so unapologetically, let alone a story of an FBI agent investigating weird crimes. I’m in no way an expert, but I seem to have noticed that piano has fallen out of fashion these days, so for me the Fringe theme is valuable on those grounds as well.

An occasional feature on music and sound-related notions.

Rating: Elementary, Season 4

Here’s our take on Elementary‘s fourth season:

  1. “The Past is Parent” – 4.5
  2. “Evidence of Things Not Seen” – 4.5
  3. “Tag, You’re Me” – 7
  4. “All My Exes Live in Essex” – 5.5
  5. “The Games Underfoot” – 4
  6. “The Cost of Doing Business” – 5
  7. “Miss Taken” – 3.5
  8. “A Burden of Blood” – 5
  9. “Murder Ex Machina” – 4.5
  10. “ Alma Matters” – 5.5
  11. “Down Where the Dead Delight” – 6
  12. “A View with a Room” – 8
  13. “A Study in Charlotte” – 8
  14. “Who is that Masked Man” – 4.5
  15. “Up to Heaven and Down to Hell” – 6
  16. “Hounded” – 8
  17. “You’ve Got Me, Who’s Got You?” – 5.5
  18. “Ready or Not” – 7
  19. “All In” – 6.5
  20. “Art Imitates Art” – 5.5
  21. “Ain’t Nothing Like the Real Thing” – 4
  22. “Turn it Upside-Down” – 7
  23. “The Invisible Hand” – 1.5
  24. “A Difference in Kind” – 2

Elementary continues to entertain with complicated mysteries and the ongoing evolution of Sherlock and Joan’s partnership. This season’s ratings average out at a perfectly respectable 5.5, but it could have been better.

The big weight dragging this season down is the ongoing arc about the tangled relationship between Sherlock and his father Morland Holmes. Although John Noble gives a fantastic performance of Morland Holmes as a rich man who can’t quite buy off his own conscience, we are sick to death of stories about fathers and sons who don’t get along. The arc takes up too much oxygen in this season and leaves some episodes that otherwise had potential with not enough air to breathe.

The lowest episodes of the season are at the end, “The Invisible Hand” (1.5) and “A Difference in Kind” (2), a two-parter in which the Daddy Morland story crashes into the ongoing saga of Moriarty and her international network of evil. The collision of these storylines is poorly handled and ends up feeling perfunctory and more the product of the need for an “exciting” season finale than the internal logic of the characters involved.

For the best of the season, though, we have a trio of 8s, each of which stands alone and apart from the Morland drama: “A View with a Room,” in which Holmes investigates a video shot inside the headquarters of a violent biker gang, “A Study in Charlotte,” about a dead mushroom expert, and “Hounded,” in which a man is chased to death by what seems to be a glowing dog. Two of these episodes—“A Study in Charlotte” and “Hounded”—riff on classic Holmes novels (A Study in Scarlet and The Hound of the Baskervilles) in interesting ways, although “Hounded” is more faithful to the original while “Charlotte” just borrows some scene-setting. All three of them present Holmes and Watson with unusual problems—a video that seemingly couldn’t have been shot, a set of deaths that may have been accident or murder, and a phantom hound on the streets of Manhattan.

Apart from these episodes, though, most of this season is in the okay-but-not-great range between 4 and 6. This season is solid, but not exceptional. Still, the chemistry of the characters and the inventiveness of the mysteries keep Elementary afloat, as always.

Image: Sherlock and Joan consult a skeleton, from “All My Exes Live in Essex” via IMDb

In the Seen on Screen occasional feature, we discuss movies and television shows of interest.