Written by Rafe Judkins & Lauren Lefranc
Directed by Patrick Norris
The typical episode of Chuck can often be crammed with a lot of story threads. Masquerade wins the award for containing the most amount of material in a forty-two minute episode in the series. There are at least five concurrent story lines all dealing to one degree or another with characters moving on with the next chapter in their lives. Not only that but the entire cast appears in the episode as well as the introduction of the two new characters. If that were not impressive enough, this episode also serves the function of being the setup episode for the next story arc for the remainder of Season Four.
It is notable that as far as character beats go there is nary a false step here. This comes as no surprise when the writing credits show us that the writing team of Judkins & Lefranc are behind the keyboard. They have consistently displayed an understanding of the show and the characters that have made them fan favorites since they came on board in Season Three. The fact that they are writing a setup episode instead of a payoff episode, along with the most glaring example on the show’s quality because of the budget and scheduling cuts since Season Three, is more of a factor as to why Masquerade does not resonate as emotionally as their previous efforts.
Masquerade deals with people facing the fact that they are moving into a new phase of their life. Decisions need to be made that will take characters down new roads. For Morgan it is the awareness that he needs to move out and modify his bromance relationship with Chuck. For Vivian it is finding a purpose and direction in her life. For Chuck and Sarah it is the impending move towards becoming life partners. For Casey it is deciding whether after four years on Team Bartowski – his longest assignment, it is time to leave while on top. For Devon and Ellie it is the moving of Clara sleeping in their room to her own bedroom.
Opening with a shockingly graphic head shot, shades of the Emmett Millbarge death at the beginning of Season Three, we are put on notice that the next chapter in the series has started. The show quickly returns to its lighter comedic nature with the Valentine’s Day activities at Casa Bartowski. Morgan and Alex’s weird pastiche of tantric sex activities are played against Chuck and Sarah’s much tamer Love Machine T-Shirt and Sarah’s cute angel wings. All this comes to a crashing halt as Casey intrudes and has his own form of flashing as he tries to process what he is seeing. That is followed by a funny scene as Team Bartowski troops into the Castle still attired in their Valentine’s Day regalia.
Episode Flashes: Add your own in the comments.
- Head shot wake up call
- Chuck and Morgan rose petalled Valentine’s Day fist pump
- bear skin rugs and Love Actually
- Chuck’s Love Machine T-Shirt and Sarah’s Angel Wings and Pretty Woman references
- Casey breaking in on Valentine’s Day at Casa Bartowski
- Morgan asking GB if next mission has a party theme
- Eyes Wide Shut masquerade
- Casey and Morgan dealing with being the Third Wheel
- Scruffy Ellie and Devon â€“ smell like vomit and Cheerios
- Ellie’s breast feeding diversion
- Sarah and Morgan try to ‘hang’ with one another
- Sarah playing with Star Wars toys
- Chuck and Vivian comparing notes on the state of their lives
- Vivian has been fully trained as an agent
- Han and Chewie end up with up Clara a la Toy Story 3
- end of an era for many characters
- Vivian searching for her destiny at Volkoff’s headquarters
It was intriguing to see Vivian Volkoff’s life compared against Chuck’s. They are two people who grew up sheltered from their parents true natures. Yet upon discovery, both are directly impacted by that revelation. Chuck chooses the path of good. Vivian looks like she may be taking a different fork in the road. We know that she has been, for all intensive purposes, trained as an agent and that she has the character makeup to pull the trigger if the need arises. Will her discovery of her father’s legacy sway her to the dark side? Time will tell.
The initially more intriguing character is Robin Givens mysterious NCS Covert Ops Director Jane Bentley. She is actively recruiting Casey to take on a new assignment as the leader of a team she is putting together. Will Casey decide to leave Team Bartowski? Whatever he decides we know he will not leave Burbank. Is procuring Casey, Bentley’s true purpose or does she have other end games in mind?
Chuck and Morgan painfully realize through the difficult decision of how to deal with their Han Solo and Chewbacca collectible Star Wars figures that they are both moving on to the next stage of their life. The final solution arrived at by Morgan is a great Toy Story 3 homage with Clara Woodcombe inheriting the inseparable duo.
No doubt the show continually tries to do the best with its available resources it has at hand. Green screen effects shots are usually evidence of these reductions. At least they are quick and short in duration. In Masquerade there is an extended sequence starting when Sarah leaves on horseback disguised as Vivian until Vivian returns to the stable and the showdown with Boris which is undercut by these resource issues. Suffice it to say the outdoor horse sequences and Casey’s being on the top moment are not the series’s finest.
Masquerade has some great character beats; a scruffy looking Ellie and Devon, Sarah joking with Chuck about being knowledgeable about sex parties, Casey being praised for his bar tending skills, Ellie and Devon conspiring to steal the music playing lamb toy from Jeff and Lester via the breast feeding diversionary tactic, and Morgan asking GB if there is a party theme to consider on their next mission to name a few.
The table has been set. Questions have been raised with the multiple cliff hangers. A return of a sense of urgency and danger with this next arc would be an awesome development.