‘I appreciated the tank.’
Chuck and Sarah are together. Huzzah! The elephant in the room has been set free. What was so great about this episode is that the Sarah and Chuck relationship was resolved early in the episode. That early resolution allowed attention to shift to other matters such as tracking down the Ring Leader.

The episode opens with the best teaser the series has done to date. Like Chuck we rightly believe that Shaw is intent on seeking revenge on Sarah. He leads her to an abandoned Ring location where monitors show Sarah’s Red Test playing in a never ending loop. Sarah learns that Eve Shaw was her Red Test while Shaw hovers menacingly in the background. With that setup a hilarious payoff is delivered when Chuck arrives on the scene after seemingly mobilizing the entire military to rescue Sarah. Including stealth bombers and tanks.
From the teaser the episode never falters as it gives resolutions and changes for the main characters all done in that uniquely comedic touching and heartfelt way that the Chuck show does so well. When the show shifts back to the spy world, the little beats between Chuck and Sarah as they worry about Shaw in general and about him finding out about them specifically; continue the fun of the previous normal world moments.
‘You saved me.’
The show shifts gears in the final act as Chuck really has to save Sarah this time as Shaw’s end game plays out. Season long threads are revisited as Chuck’s aversion to violence, his priority on family and friends, his Red Test, and the struggle to not lose himself even as he must do necessary things he abhors. The final act is the serious version of the teaser and this time it is all about Chuck handling it on his own with no backup.
Chuck tries everything in his power to prevent the eventual outcome from happening but once he knows there are no other options he does the necessary thing and pulls the trigger. A trigger pull that he knows will save Sarah’s life but may cost him Sarah’s love. If Sarah remains steadfast in her belief that if Chuck kills it means he cannot be the same guy she fell for. Fortunately for Chuck, Sarah was able to witness the moment in her paralyzed state so she knows the truth of that moment. She knows what Chuck did was unavoidable. She saw Chuck trying everything to not have to kill. Sarah knows he had no choice and that Chuck’s love for her is such that Chuck was able to have the stones, as Casey would say, to pull the trigger.
Chuck saved her.
Most fitting that the theme of Chuck doing the right thing no matter what the cost is the very thing that brings him and Sarah together.
Episode Flashes:

• Opening sequence – one of the best ever for the series. Tense, action packed, and funny.
• ‘And the tank too.’
• General Beckman chewing Chuck out for his rescue mission – ‘This bill is longer than my copy of Atlas Shrugged.’ LOL
• ‘I appreciated the tank.’
• MORGAN! Like every scene he was in!
• Morgan saying goodbye to Big Mike
• Casey and Morgan wishing each other well in their respective old lives
• Chuck on a nerd bender mixing whiskey, mint ice cream, guitar hero, and John Hughes movies.
• Sarah’s amazing ability to conceal knives no matter how she is dressed
• OMD -‘If You Leave,’ on vinyl! Or at least the show used a needle on record sound effect
• Morgan yelling he hates the song now
• Sarah admitting she loves Chuck – without ever saying it – and fell for him pretty well from the start
• Morgan obviously eavesdropping on Chuck and Sarah’s heart to heart and popping out at the mention of a mission
• Chuck and Sarah worried about whether or not Shaw knows about them and resultant shot down the elevator shaft
• the elevator scenes – including the cheesy Ring logos at the end of the hallways
• Morgan sussing out right away that Shaw’s fight was staged – Sonny Chiba for the win!
• Beckman does sleep sometimes! Plus she uses the clapper!
• Morgan’s Yoda line delivery, ‘There is another.’
• Morgan rallying Casey to help out Chuck rescue Sarah
• Chuck trying everything to avoid killing Shaw but doing what was necessary in the end
• Casey getting back on the team and adding Morgan to Team Bartowski!
• Joy at RingLeader Mark Shepherd not being dead somewhat muted by him being captured
• Sarah’s realization that Chuck saved her for real
• Beckman’s interruption – very Bondish
• Sarah’s, ‘Shut up and kiss me, ‘ followed by Chuck’s you betcha head shake before diving in
• closing shot of Chuck’s Chuck hanging out of the bed before panning to the Eiffel Tower

‘Shut up and kiss me.’

‘Chuck Versus The Other Guy,’ is a crackling piece of enjoyment. The action, the humor, the drama, nerd/80s references, and of course – romance are mixed together to provide a finale in midseason. Chris Fedak has introduced several major changes, the key one being the long awaited, and for many – way overdue, resolution to the Chuck and Sarah, ‘Will They, Won’t They,’ storyline. Yvonne and Zac nailed their heart to heart scene with Josh hovering in the background. Chuck at its best. Funny and touching.
There were many other things to like in this episode. With the Love Interest storyline between Sarah and Shaw finally put to bed, so to speak, the shift of focus to Shaw’s revenge storyline was most welcome. Too bad it was undercooked and left till so late in the game. However the production budget was apportioned for the episodes, this one felt like it had something a little extra as there was never a moment where costs seem to be an issue. The Paris scenes especially looked very authentic. Kudos to the production crew!
Most enjoyable was Morgan’s role in this episode. He straightened out Chuck several times, pointed out Shaw’s duplicity, and gave Casey a kick in the rear to boot. His inclusion on Team Bartowski opens up a wealth of story possibilities and the comedy potential is off the charts based on his interactions with Casey and Beckman. Glimpses of him in action from the promo for the upcoming episodes are hilarious.
Quibbles with the episode? Three minor ones. First one; the lack of Ellie and Awesome was a disappointment in what is a midseason season finale. Secondly; thematically the same material was covered again contrasting Shaw against Chuck. It felt like the character of Chuck was treading water, waiting for everyone to catch up until the last act. Finally, it would have been a nice call back to 3.04 if Chuck had repeated his nothing matters more to him than family and friends creedo in response to Shaw’s belief that Chuck would not pull the trigger.
The gang is back together and the next 6 episodes should be a blend of the best elements of Seasons 1 and 2 mixed in with the evolved characters of Season 3 to date. Safe to say, everyone is looking to the next half dozen episodes with great anticipation.

‘No thanks. She’s still there.’
With the attainment of his goal of becoming a spy, Chuck believes he can finally be together with Sarah. Everything seems to be falling in place when Beckman tells him he can pick the members of his team. Naturally his first choice is Sarah. So Sarah’s angry reaction upon Chuck’s return and offer is a shock for him. Telling Chuck that because he has killed, Sarah; based on how her Red Test affected her, does not believe that Chuck can emerge from that test as the same guy she originally fell for.
Sarah is grieving for what she believes is the death of the Chuck Bartowski she fell in love with. If we apply the Stages of Grief to Sarah:
1)Denial
2)Anger
3)Bargaining
4)Depression
5)Acceptance,
in 3.11, she was in the denial phase, hence her proclamation of no longer loving Chuck. Now she has moved onto the anger phase which her behaviour and responses upon Chuck’s return validate. Chuck is trapped because he cannot reveal that Casey killed the mole and not him.

Fearful that Sarah is slipping away from him into a life in DC with Shaw; Morgan, Casey, and Devon rally to Chuck’s aide; albeit they do so with ulterior motives. As expected, the results of this mission are less than helpful but provide a lot of enjoyment as Civilian Team Bartowski(CTB) unknowingly vy with a Ring Team intent on capturing Shaw. This leads to excellent Ellie moments as she first scolds CTB and then Chuck.
This time Chuck returns to woo Sarah with a clear head. Rescuing Shaw, with the knowledge that Sarah may very well end up leaving with Shaw, Chuck does the right thing again. Even if it is at a personal cost. Through his actions, Chuck proves to Sarah that he is indeed that guy she first fell for. Chuck is the ‘True’ American Hero of this episode as what he did was for selfless reasons in stark contrast to the revenge reasons that motivate Shaw.
Chuck’s closing speech is much like the one he gave Sarah at the end of Lethal Weapon. Except this time he is blunt and direct in relaying to Sarah his feelings. And again, he leaves the choice up to her. He shows Sarah how deeply he feels by being willing to give up the spy life he has worked so hard to attain to be with her.
Episode Flashes:

• Beckman’s waiting area with multiple receptionists and spies waiting to see her
• Chuck trying to find out how to sit comfortably with a gun
• Chuck and Beckman scene – ‘I understand that the hand wringing and the second guessing are all part of your process.’
• Ellie excited to go to Africa because she thinks that is what Devon wants
• Chuck’s Civilian Team Bartowski(CTB) – Casey, Morgan and Devon!
• Morgan telling Casey to take a number
• Morgan telling Casey love is a battlefield
• Jeff and Lester being totally cognizant and up to date on the Sarah/Chuck/Shaw triangle -‘Guy knows how to fill out a pair of slacks!’
• CTB with their own agenda – ‘We help you get the girl back, you help us get out of Burbank.’.
• CTB and Ring Team targetting Shaw at the restaurant
• Morgan telling Devon, ‘You live in a bubble. A freakish bubble of awesomeness.’
• Morgan calling Shaw out of the restaurant and getting carried away with instructions
• Morgan getting tasered! ‘Man down! I’ve been tazzed! Bring a stretcher. Wheelbarrow….change of pants!’ LOL
• Ellie scolding CTB
• Ellie’s anger at Chuck for going to CTB instead of her
• Ellie’s pep talk to Chuck telling him to act like a Bartowski and that one can never go too far in the pursuit of love
• Jeff & Lester berating CTBs stalking skills and proving theirs by tailing Shaw in Loretta
• ‘Stalker’s Log: Possibly for sexual encounter. Both men are physically fit. Should be lively.’
• Casey selling ‘Hot Zone’ vacuum cleaner
• Chuck’s Batman jump into Shaw’s sports car
• Dr. Jibb Pop Machine elevator entrance into Ring base
• Ring Leader – very cool
• Chuck and bad guy’s reactions to impending flash bomb explosion
• Stealth Bomber Sequence
• Chuck’s rescue of Shaw – The ‘True’ American Hero
• Chuck’s final speech to Sarah – ‘One time because it feels really nice to say. I love you Sarah Walker.’
• Casey’s confession of killing mole in Sarah’s apartment. Adam really nailed it.
• Reveal that Sarah killed Shaw’s wife – Eve.

Phil Klemmer was tasked with kicking off the Sarah and Shaw relationship in 3.07 – Chuck Versus The Mask and along with Matt Miller in Chuck Versus The Greatest American Hero, he has drawn the short straw once again in ending it. If he volunteered for these two episodes then Phil is to be commended as the Real American Hero of the Chuck writing staff. If it was the luck of the draw then Phil should not take it personally if no one takes him up on an offer to pick lottery ticket numbers.
With this episode the final pertinent pieces of the Sarah and Shaw relationship have been placed in the open. I have been withholding final judgment until this moment, hoping that the writers would pull a rabbit out of their hat to salvage this arc. Alas, it is not to be. For all the props I have given the show in my reviews, I am behoven to call foul when appropriate. To be blunt, the Sarah and Shaw relationship was a sham. It did not work and the episodes that included it, suffered because of it. A further examination of why will take place in an article(s) looking back over the first 13 episodes during the upcoming two week break after 3.13 airs.
Proof that the Sarah and Shaw relationship is irrelevant is that if you can isolate and ignore those moments the episode still works. Works very well. The inclusion of Morgan into Chuck’s spy life continues to reap great dividends. The interplay between Casey, Morgan, and Devon is a hoot to watch. The action beats were great. The Chuck and Sarah moments were as good as they have ever been. Casey’s continuing struggle in the civilian world continues to intrigue.
‘I love you Sarah Walker. Always have.’

As mentioned in the 3.11 review, I was banking on a Casey and Sarah counterpart scene to bookend the one that Chuck and Casey had, which came to be true. While the scene did not prove to be the deciding factor in Sarah’s decision it did put to rest any lingering doubts she had during her packing. Adam and Yvonne played the scene beautifully. Casey’s furtive glances at Sarah’s packing on the bed and his round about way of wishing Sarah well was done to perfection. My favorite scene of the episode.
With the reveal that she killed Shaw’s wife the stage for the next episode has been set.   So glad that the episode ended with Sarah being shown as having clearly made up her mind.
Spy or not, Sarah believes it.  It’s just Chuck.

Note: the moments in question may reside in this episode but that is a matter of circumstance. There are preceding story telling decisions that led up to this point. It is not an issue that can be analyzed in isolation.


Chuck: ‘Sarah and I have a very unique relationship.’
Indeed they do. Relationships are what drive this show. Not just Chuck and Sarah but all of them. More precisely it is the characters. This is the crux of the matter about the unhappiness being expressed by what transpired during the last 8 mins or so of the show. It is not about  WHAT of the show. It is the HOW.
When a piece of creative work is put forth to be experienced by an audience there is an unspoken bond taking place between the two parties. The creators are offering a story telling experience via the use of dramatic tokens. In turn for these tokens the audience gives the creator their willing suspension of belief. The creator sets up the premise of the show and within the first half dozen episodes build up an array of dramatic tokens for the audience to use to suspend that belief.
These creative tokens come in various forms via characters, plotting, show mythology, story telling logic, internal consistency, etc. Those tokens create ‘buy in’ for the audience. They know from episode to episode the show will be worth investing in because the tokens will be be in play. The more dramatically and empathically these tokens are woven into each episode the more engrossed the audience becomes. Synergistically so does their suspension of disbelief. The better the creators can get the audience to suspend their disbelief the stronger the audience’s involvement becomes. There is a symbiotic relationship going on between the two parties.
The amount of initial suspension of disbelief is dependent on the type of show. Obviously shows grounded in the reality of our world require less suspension. Comedies and shows with fantastical elements require a greater suspension of disbelief. The creators of such shows must compensate for this by offering up bigger storylines, bigger characters, bigger action and so on.
While Chuck may take place in a real world setting, it is one rife with fantastical elements. The show’s basic premise, that a computer database can be downloaded into a person’s brain, allowing them to access information, and now physical abilities, is a big step for the viewer to take. In turn the show offers a mix of entertainment that includes comedy, action, drama, pop culture/nerd references, romance, music, wish fulfillment, spy world vs real life conflicts, and characters.
Out of all of these tokens the show offers, the bedrock one is the characters. Chuck is blessed with an awesome cast and the chemistry between the two leads is captivating. This has turned out to be both blessing and curse. Double-edged sword as it has been referred to elsewhere. For the character/romance token has become so powerful and so dominant that the other tokens pale in comparison.
What it has allowed the show to do is skate around most tokens with a greater degree of freedom. The tokens of story logic, internal consistency, and story mythology are not scrutinized to the same degree we would with other shows because the entertainment payoff is well worth it. We get some great laughs, action, music, spy intrigue, romance, wish fulfillment, and character interaction because of the cross genre show pedigree.
But the caveat is all of our suspension of disbelief hinges on the characters and, by extension, the Chuck and Sarah romance. They are the realest things in the show. They are the anchor for the viewer’s suspension of disbelief. The moment the show wavers on that token then everything else built around it comes crashing down like a house of cards.
The show has set up the dynamics of a, ‘Will they, won’t they?’ tension that has been carried over the 3 seasons of the show. The longer that tension is maintained the more mass it acquires. The more mass it requires the bigger the elephant it becomes in the room. I liken it to a dramatic ball of inertia, or DB for short.
The longer the show runs with this DB, the more history and emotional investment by the viewers it acquires. So it becomes more and more of a complex story telling exercise that the writers must address if they want to bring in other romantic parties to the mix. The days of having a guest star show up for 1 or 2 episodes and strike up a romantic relationship with Chuck or Sarah are long past.
Now it requires several episodes to set up a storyline that can overcome the inertia that the DB has accumulated. It is not just an operation of injecting the new characters into the storyline. That is the easier part of the equation. The more difficult part is positioning the two leads where the new characters can be integrated into their lives in a manner that is not contrived. To add to the difficulty, all this must be done in a manner that the viewers will find plausible and dramatically interesting.

Extremely vital is the storyline being told, must be told honestly. This means that story points, character traits, etc established previously must be adhered to going forward. With Chuck this comes down to being true to the characters. A difficult one to maintain too as character evaluation is subjective and varies from individual to individual. We may agree on the broad strokes but beyond that there are many interpretations on the finer points.
When it was announced that the third season PLIs were going to be around for 4 and 8 episodes it appeared that the story requirements would be addressed. However as we have seen that has not been done entirely successfully. Of the two, the Chuck and Hannah one has been the more successful. Hannah has been in consecutive episodes and it can be seen that her character is a perfect match for Chuck. Though in 3.06 little was done to advance her arc with Chuck.
(Total aside here – I find it hard to believe that Chuck would be interested in striking up a new relationship given his focus on becoming a spy. He, more than anyone, is aware of the danger he is putting Hannah’s life in by mixing civilian and spy worlds together. This is one of those out of character issues that arise based on previous character history. To date the show has given me little to remove this objection.)
Matching Chuck up is easier than it is for Sarah because of the fundamental nature of the characters. Chuck is open emotionally and provides many doorways to new relationships. Sarah is the opposite and hence requires a lot more story finesse to do so. So when Shaw is MIA in episode 3.06, any momentum built up between him and Sarah is lost. This was a tactical error.
Shaw’s absence places the Shaw/Sarah storyline in a difficult spot. Sarah may have expressed concerns over Chuck turning into a spy in 3.06 but, again, nowhere enough story time is allocated on this point to make the necessary dent in the DB. Especially when Shaw does return in 3.07 and Sarah spurns him for three quarters of the episode. This makes telling the story honestly no longer possible if the goal is to initiate these new pairings by the end of the episode.. What happens then is a rush to move the characters to a targeted position. An exercise in artificiality. In this rush corners have to be cut. This means corners that involve story logic concessions and the use of out of character behavior.
This is the overhead the show must carry when it decides to sustain the, ‘Will they, won’t they?’ dynamic over time. If the Chuck showrunners want to use that device then they must be willing to pay that price. A price that has to be based on honest story telling instead of rushed story telling.
Rushed story telling is what happened in the last 8 minutes of 3.07. That is the HOW that is the issue.
Rushed story telling takes away the capacity for true storytelling and diminishes the most critical dramatic token the show has to offer; that of the characters. That is why the reaction is the one that resulted from fans.
It is not about telling the showrunners what to do.
It is not about objecting to injecting new PLIs into the storyline.
It is about whatever the show does, it does so by being true to the story telling and the dramatic tokens it gave us.
It is about the implicit bond of trust between creator and audience.
A speedbump was encountered on the third season journey. We saw it, we hit it, and we have gone passed it. It was a bump. Not a supernova. Let’s look forward instead of back, shall we? Because the road ahead is oh so, very inviting!

Wow.
If 3.06 was Chuck’s watershed episode then 3.07 seems to be the one for the fans.
Sometimes it is better to sit back and let the dust settle before offering up one’s thoughts. Since this episode aired the internet; via forums, tweets, and blogs has been indundated with thoughts negative and positive; covering the range from well thought out to impulsive and silly.
Given the fallout from this episode I will forgo the normal review structure to throw my hat into the Ring – sorry could not resist that one – and speak my piece.
So I apologize for the length up front. I tried to condense things as much as possible but found it impossible to do so and get this out in a timely manner. Due to length it will be posted in two parts. Don’t freak out! They will all be posted at the same time. Look for the link at the bottom of the page.
Here we go: a combination review/soapbox piece. Enjoy
Some quick clarifying statements that hopefully will prevent discussion about issues that have been hashed on the internet already and keep attention on the points being made in this article:
1) calls for boycotting the show because of one episode are silly and counter-productive
2) Chuck as a series has a very superior batting average(in the high .900’s easily) when it comes to the quality of its episodes
3) every series, every season has an episode or two that does not sit well with viewers
4) fans are not entitled to dictate to the showrunners how to conduct their business
5) fans are entitled to voice their opinions both negative and positive about the finished product *
6) the issue with this episode is not what is being done but how it is being done
* – and do so in civilized ways. Communicate with the recipient in the same manner you expect someone to do with you.
Overall this episode falls within the bounds of what can be expected from a Chuck installment and it hums along pretty well for about 34 minutes of its 42 minute running time. There are some great action scenes centered on the musuem vault, some great comedy moments as well – the opening and closing vault doors taking the prize, and some entertaining beats between Chuck, Sarah, Hannah, Casey, and Shaw depending on the scene and whom is in it.
The ‘B’ story line with Morgan and Ellie is fun too; loved the secret knock that took Ellie awhile to master. In fact if I was Devon I would be a tad jealous of the chemistry that exists between Morgan and Ellie.
There is a beat earlier where Sarah raises a concern about using a civilian in a mission that is a Chuck line. Even after the point is made, Chuck remains in total spy mode. A little moment that shows how much the roles have switched between Chuck and Sarah.
Then the gas gets released and things start to get a little stinky.

Episode Flashes:

• Opening action scene with Shaw – nice Mission Impossible nod
• Casey sporting writer Phil Klemmer’s last name on his work overalls ID aka Klemmer Fine Art Movers
• Chuck and Hannah to the rescue using their brains
• Chuck’s abilities as a spy increasing
• Morgan and Ellie’s secret knock
• Casey’s coffee – black and bitter, what other way would he have it?
• Casey cutting the mics in the van under the guise of annoying gabbing to protect Chuck and Sarah
• Chuck and Sarah jealously mocking each other’s PLI or LI now
• Sarah and Chuck as a team breaking into the vault
• the opening and closing vault doors while Chuck dangles upside down
• Sarah kicking ass while Chuck dangles
• Chuck making the catch in the vault that Shaw could not – and upside down to boot!
• Casey’s chagrin at not being able to blow something up
• Morgan’s devestation seeing Chuck and Hannah together
• Ellie’s elation seeing Chuck and Hannah together
• Casey’s disapproving grunt at Sarah and Shaw as he leaves the Castle

It is up to Chuck to save the day and he does with aplomb; saving not only Shaw and Sarah but Hannah too. Team Bartowski regroups at the Castle. Chuck is told he is well on his way to losing the training wheels ie his team mates. This comes out of the blue and hits the floor with dramatic thud not because we know that Sarah and Casey are not going anywhere but because Casey and Sarah would not be so nonchalant about it. It appears to link back to Shaw, who is doing his best to accelerate Chuck’s training. This drive by Shaw to get Chuck out on his own and away from Team Bartowski for purposes foul or fair is yet to be determined.
Then Chuck and Sarah talk about their situation and within short order he and Sarah are on their way to exploring new relationships. This switch in show dynamics is played too quickly. It is these moments that have become the flashpoint of fan discontent.
Click here for Part 2 of MidSeason Melodrama – Episode 3.07: Chuck Vs The Mask

‘Catch 22,’ a novel by Joseph Heller:
“There was only one catch and that was Catch-22, which specified that a concern for one’s safety in the face of dangers that were real and immediate was the process of a rational mind.  Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions.”
‘I love irony.’
In 3.10, life changes were introduced for several of the cast members. This week those changes were explored in their various stages of progression for the three leads. Tied into those changes were barriers for each of the characters. In some cases the barriers are external. In others internal. In all cases there is a Catch 22 element to them. Damned if you do. Damned if you do not.
Catch 22 Scenario 1:
Chuck is convinced that in order for him to be together with Sarah, he has to become a spy. The catch? In order to become a spy, Sarah believes Chuck cannot accomplish that goal without losing the qualities that has endeared him to her in the first place. Those qualities are more than endearments. For Sarah they are lifelines to redemption as we later see.
Catch 22 Scenario 2:
This one is built on a false premise.
In order to be a spy, Chuck must pass the red test, which means he must kill. If he does not, Chuck goes back to his old life. This one has always struck a false note right from when it first arose back in 3.01. As long as Chuck has the Intersect, how can he go back to a normal life? It would be more plausible for him to go back to an asset status. Or bunkered. Maybe that is what the show means, but since they leave the details of what his old life are nebulous, the inference is that he will be a civilian. Which makes no sense if he still has the Intersect.

Catch 22 Scenario 3:
Chuck has become a spy dishonestly. With Casey taking the shot the cheat has worked in Chuck’s favour this time. In Stanford, the cheat cost Chuck his diploma. Ah yes, the smell of irony. The catch here is that Chuck cannot come clean for Casey is a civilian and what he did was murder. So Chuck’s hands are tied in being able to tell Sarah the very thing she needs to hear.
Catch 22 Scenario 4:
If Chuck passes his spy test, he gets everything he wants, except Sarah in his new assignment. If he fails he loses everything including, it is inferred, Sarah. What would anyone put the chances of Sarah resigning to stay with Chuck if he did fail though?
Some of these barriers do not bear up under examination but we must accept them for what they are. They are the factors being used to drive the actions of the characters. The main thing to take away is that for the story to continue the log jam has to be relieved. Which it looks like it will be in the next episode. With the relieving of these pressures, changes for the characters is inevitable.
Episode Flashes:

• Beware blue bubble wrap envelopes! They bring ill tidings.
• Casey finding his spy skills cannot be employed at the BuyMore
• For the men – nice legs shot of Sarah
• Chuck and his reaction to the spy test – #2 pencil and scantron!
• Chuck’s new cover as a billionare in Rome – pretty sweet for a first gig
• Chuck Bond! The Nerd is getting smoother all the time.
• Chuck Stake Out Essentials with his own specialized case of champagne, Sizzling Shrimp and Stake Out play list amongst other items
• Sarah’s twisty mouth ‘I shouldn’t be falling for this but I am,’ reaction
• Private Eyes!
• Chuck and Sarah showing the chemistry is still there in gobs during the stake out/date.
• Sarah hiding behind binoculars as Chuck’s words get past her emotional defenses
• ‘I can expense this, right?’
• For the ladies – Chuck in a towel
• One of the Russian baddies named Ivan Drago! Ala Rocky IV ‘I must break you.’
• Chuck fighting in the Steam Room in TV version of Eastern Promises
• Ka-kaw! Ka-kaw! Chuck bird call to help ID the CIA mole
• ‘I am a spy!’ – cue shot of dropping towel – ‘I am a naked spy!’ – eat your heart out James Bond!
• Chuck strutting in the OrangeOrange up to Sarah, ‘Hi there colleague!’
• Chuck’s gift to Casey
• Sarah having to deliver Chuck his final mission test – the red test
• Washroom fight – Casino Royale style!
• Chuck trying his best to bring the CIA mole in alive
• Chuck unable to take the shot
• Casey taking the shot
• Sarah’s remorse and the intertwining of her feelings of her red test with those of being responsible for leading Chuck down the path to taking the red test

Zev Borrow has crafted an episode that seems very much like the launching pad for some major story threads in the next episode or two. All done with the trademark mix of humor, drama, action and comedy. Characters are being positioned to make irreversible choices. Once again, this has become a mantra, the three leads turn in strong performances. With Chuck we get the first glimpses of the spy he will be. Zac Levi’s merging of the Bondian aspects of the spy world with Chuck’s innate goodly goofy qualities is a treat to watch. Adam Baldwin’s turn as John Casey as a hair triggered weapon with no place in the so called real world of the BuyMore was fun. Finally there is Sarah’s back story reveal of her red test which explains much, if not all, of her behaviour this season and the series. Yvonne nails the turmoil and anguish of that moment and encapsulates Sarah’s behaviour since Prague.
‘It was the worst day of my life.’
With Sarah’s backstory reveal of her red test, the final piece of the puzzle for her seemingly inconsistent behaviour this season has been added. Not only is she struggling with dealing with real feelings for the first time in her life, Sarah is seeing a chance to reclaim a part of herself through Chuck slipping away. Sarah has been struggling with her identity, as has Chuck and Casey, all season. Meeting Chuck gave her an anchor upon which to re-establish whom she was. When Chuck decided to become a spy, Sarah lost that anchor and has been adrift ever since. Staying with Chuck and watching him evolve by incoporating the very things Sarah hates about the spy life has been torture for her. Worse because she feels responsible for tainting those rare qualities of truth and honesty that Chuck has. This explains her request for transfer and distancing herself from Chuck all season as that process fermented. Now, believing Chuck has killed and knowing the fallout from her red test, Sarah is at her lowest point.
Her statement of not loving Chuck is a sympton of pain but Chuck is not the source. Sarah is. It is herself that she loathes. Chuck represents her past. And her shame. When Chuck passed the red test it equated to a lost opportunity for Sarah. A chance that may never come again to, in some measure, redeem herself. This is a line in the sand moment. Not a reinforced bunker. Such lines can be crossed. Sometimes the person making them is begging for someone to cross them.
‘You’re not a killer Chuck.’

Exciting times ahead. Sarah is about to discover that all is not lost through the actions and words of, not just Chuck, but Casey too. This is what we have been waiting for.
Payoff time!