New York, New York, an iconic song representing an iconic city and one assumes it would be extremely difficult to overcome such standards, but as the minor tones of Digital Daggers techno remix (and I would even argue rejuvenation) of Sinatra’s anthem pound out around the seduction and murder, or I guess I should say murder and seduction, of a young woman I am convinced it’s possible. Just as the remake of the song breaks away from what it typically accepted or understood, so too does the entire opening sequence of this week’s episode Nothing for Something. Typically the show utilizes slow motion to propel motion forward, but as we see the first shots of a dead body, then follow the sequence of events in reverse at an accelerated pace, it is clear nothing is going to so easily fall into place in this episode. Conceptually the idea was cool, interesting, and entertaining, I just felt the execution came up a little short, not quite living up to the potential set by such a powerful song; an intense opening sequence for an episode that lost steam. This seemed to set the tone for the rest episode—so close to being phenomenal, just not quite living up to expectation.
My biggest issue with this episode was the lack of balance. I have a lot of respect for John Dove and his contributions to the show over the years, but I couldn’t find my footing with this episode. There was some great dialogue: Flack’s musings in the diner about dog years and cop years was strong. While other times the dialogue was weak and almost comical: Jo tells Mac that the killer—Charles Martin—had “no motive to kill Christina” as part of her argument that she believed him innocent with regards to the woman. The only problem with that is, of course, that they established no real motive for him killing either of the other two women beyond it was something he felt propelled to do and enjoyed it. So he liked killing the other two women, but wouldn’t like killing this woman? What sense does that make? Similarly, Adam’s “improve” dialogue was pointless, but I loved the interplay and dialogue between Danny, Jo, Flack, and Lindsay as they processed Martin’s apartment. There were also lines that I didn’t get at all. Jo asks about the basketball player and Lindsay tells her that it is linked to the shoe print of the killer. How did she know the shoe print belonged to the killer? They found the body in a public park. I could see how the print may eventually be found to be the killer’s, but at this point there is no evidence that is the case. And don’t get me started on Jo’s save-the-day moment as she “talked” Martin down from the ledge. I like strong female characters, but I roll my eyes when Mac does it, I rolled my eyes when Stella would do it, and I rolled my eyes when Jo did it. Let the CSIs be CSIs, they don’t have to be negotiators, interrogators, snipers or any other scenario the writers come up with. They can be scientist fighting crime and I’ll like them well enough.
I will say that I felt this was a strong episode for Gary Sinise. It’s these types of episodes that remind me why he is my favorite boss out of all three shows in the franchise. He wasn’t Mr. Self-Righteous in this one. He was a tired guy, who got frustrated, a little ridiculous, but ultimately focused on doing what’s right. Mac was funny, intense, emotional, apologetic (if you can believe it), and fallible; a great range for Sinise to play with. Even when he and Peter Fonda had the great “jaw lock” stare down I was struck with the comparison of the two men. Is Mac destined to such loneliness? To be an old man in a diner keeping teenage boys from skipping out on the bill? I loved the juxtaposition of that thought to the one I had as Jo was ordering…um…I mean, convincing Mac to go home. She cares about him, Flack cares about him, as I would wager most who work with him care about him. I am not suggesting a Jo/Mac romance, I am talking about something more than flirting, a real sense of caring for each other. Will that save Mac from a future of coffees alone? I hope so.
I refuse to comment on the scene involving those “famous” sports people. I don’t know who they are and I couldn’t care less. I cringe at those forced, useless cameos, and that’s all the space I will spend on it.
I wasn’t a fan of Eric Laneuville’s directing in this episode. Again, it goes back to balance. There were some creative shots that worked well with the story, but the flow and pacing was choppy and clunky. Each scene felt more like its own episode rather than a collection of scenes that form an episode. We went from a dead body, to Mac’s wallet being stolen (Note: Mac immediately canceled his police badge and credit cards…so they can deal effectively with a wallet being stolen! *grumble* *pointless Danny storyline last season* *grumble*), to shoe prints, to an apartment that had already been processed, to an old case, to a new missing woman, to Pissy Mac shoving a guy into a wall, to a private investigator, to a “grieving” husband, to Wild Bill Hunts’ “Go ahead Mac, make my day,” to a hotel room, to Hunts’ vigilante grocery shopping, back to the grieving husband, to a third dead body, to Flack’s leopard-print travel bag, back to Hunt…my head is spinning just thinking about it all! The word convoluted comes to mind.
However, I then think about Flack and Mac’s interrogation of the husband and I liked it. I always complain about how the killer just suddenly caves in the last 10 minutes of an episode and confesses. This time they legitimately tricked him into a confession. I loved it. Clifton Collins Jr. was great as the ambiguous bad guy and Peter Fonda wasn’t bad as the ambiguous good guy.
This was a hodge-podge episode that did really well in some parts and abysmal in others. I will at least applaud their efforts in trying new things and braking out of their self-constructed narrative box they built around themselves. If this is the first step into some newer, meatier storylines then I say it’s not bad. If this is just a flash in the pan, then we truly did get nothing for something.
Highlight of the episode: Eddie Cahill’s comedic timing.
Guilty Pleasure: I love Lindsay quietly processing the shoe print while the others talked. It just seemed so old school, and sweet in a weird way.
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