Castle: "Linchpin"

Since tonight's episode of "Castle" is a repeat, I thought I would get around to sharing my thoughts on "Linchpin," which was the second in a two-part series a few weeks ago. As we all know, "Castle" is my favorite show. So I hate to bash it, but...

As I touched upon in my review of "Pandora," I understand that the writers want to build tension. But unless they're planning to whack Castle (which would necessitate a name change..."Ghost Of Castle," perhaps??) or kill off Beckett (I suppose a possibility in the early seasons; but now, she and Castle have too much chemistry) then you know that they'll get out of the sunken car. And you know someone will stop Sophia before she kills either of them. 

A few other things which I thought stretched the bounds of credibility...

When they were in the underground bunker, and Danberg was identified as the mole, he grabbed a human shield, a young lady whose whose head came up to maybe his collarbone. You mean to tell me that not one of those trained CIA agents felt that he or she was a competent enough marksman to shoot him in the head? Or, as my wife said, "Please, any one of them could have put a bullet one centimeter above his left eyebrow." Or, if I may come out of the closet as a geek, those agents, like Spock, know "that the needs of the many are greater than the needs of the few. Or of the one."  So given a choice between perhaps wounding or killing an intern (she didn't seem to be armed) and allowing a guy who wants to start World War III to escape...sorry young lady.

Speaking of not pulling the trigger, I had to roll my eyes at the very end. The rogue CIA killer spots his prey, the 10-year-old girl, about 20 feet away. He coolly walks up several feet behind her, levels his weapon, aims, and...

... takes a step in pursuit of her...

... and another step ...

... and another...

... and another.

What could he be waiting for? Oh, I know. He's waiting for Danberg to tackle him and save the day. Please!

And it probably was a little heavy handed when Sophia said, to Castle but in front of Beckett, "You can't rewrite the ending like you did with us," and then when she later -- while alone with Beckett -- broke down how the tension was what kept them interested, and once the tension was gone, so was their relationship.

On the plus side, I will say they kept me guessing. Was Gage playing Castle and Beckett, or was he being set up? Was Danberg the mole, or was it someone else?

And of course no review would be complete without a comment on a "look." My favorite had to be Sophia's icy stare when she commanded Castle to "Get in the car," followed by his obedient countenance-drop which said (without words) "Yes, ma'am."

All in all, I give it a B.

So, check back in this space sometime after "A Dance With Death."

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