Recently, the hubs and I watched the series finale of Castle, which has dominated our Monday nights for several years now. The show has suffered over the last couple of seasons, amid writer/producer turnover and a few casting changes. But we love Rick Castle and Kate Beckett and their ensemble cast, and we wanted to watch the end of their story.
In case you’re not familiar with it: Castle features Rick Castle, bestselling mystery writer, and Kate Beckett, NYPD homicide detective, who are thrown together when Castle begins shadowing Beckett as inspiration for his novels. Nathan Fillion plays Castle to cheeky, charming, boyish perfection, and Stana Katic is Kate Beckett: sharp, intense, brilliant, good with a gun. The supporting cast is equally beloved at our house, especially Beckett’s fellow detectives Kevin Ryan (Seamus Dever) and Javier Esposito (Jon Huertas).
We fell in love with Castle after our friend Nate practically shoved the DVD of Season 1 into my hands, telling me, “You’ll love it. He’s a writer!” And it’s true: one of Castle’s unique pleasures is its focus on, and delight in, good stories.
Especially in the early seasons, Castle is often able to help solve a homicide by thinking of it as one of his mystery plots. At least a dozen episodes include the line “If I were writing this story…” and feature Castle pacing around the 12th precinct or his apartment, trying to fit the clues into a narrative arc. Beckett – ever the practical cop – sometimes gets impatient with this line of thinking, but Castle’s narrative framework often leads them to a solution. Sometimes it provides the episode’s final twist, when the case seems to be neatly wrapped up, but the story is missing something.
As the show continued, its narrative arc expanded beyond each episode’s murder and solution: Beckett recommenced her longtime quest to track down her mother’s killer, and Castle wrestled with a few of his own demons, writing-related and otherwise. The show has traced his relationships with his whip-smart daughter Alexis, his ebullient actress mother Martha, and Beckett herself: what was at first a grudging partnership (on her end) became a dramatic love story. Meanwhile, the wisecracks from Ryan and Esposito made me laugh every week, and their quiet, steadfast loyalty to Beckett and each other has often made me cry.
After sticking with these characters through some serious highs and lows (and a mind-boggling number of homicides), I was hoping for a satisfying finale. We did get some resolution of a few major plot threads, but the ending was…not great. As the final credits rolled, the hubs and I looked at each other and said (almost in unison), “If I were writing this story…”
Maybe we didn’t get (exactly) the ending we wanted. I know that Hollywood studio politics, and the last-minute decisions of producers, had a great deal to do with that. It didn’t feel smooth or coherent or clean, and I’m also sad that I won’t be spending Monday nights with these characters any more. We’ll still quote episodes and watch reruns occasionally (and Esposito’s trademark “Yo!” is now a staple at our house). But it won’t be the same.
I love shows that make me laugh and make me think, and Castle has done both, in spades. I’m going to miss the folks at the 12th precinct. But I’m grateful for the hours of enjoyment, and the insights into what makes a good (heart-pounding, witty, compelling, highly entertaining) story.