Bones, Season Three
  
Our Rating: 3 out of 5
Rated: TV14
 
Reviewer: Elle G.

I’m a night owl anyway, but I am discovering that there is one show that makes me forget about getting to bed at a reasonable hour. Bones continues to spin an intriguing tale of partners solving murders from unidentifiable bodies in the midst of their personal lives.

FBI Agent Seeley Booth (David Boreanaz) has a really confusing crime on his hands—a skull that landed in a car’s windshield, seemingly dropped from an interstate overpass. The problem is he cannot get anyone to go out in the field, identify the body… in other words, do what they always do. His partner, Forensic Anthropologist Dr. Temperance “Bones” Brennan (Emily Deschanel), won’t leave the Jeffersonian Institute; she is too busy looking for a temporary replacement for Dr. Zach Addy (Eric Millegan). Dr. Saroyan (Tamara Taylor) is busy trying to get Bones to make up her mind about the intern. Angela Montenegro (Michaela Conlin) and Jack Hodgins (TJ Thyne) are busy hiring a private investigator to search out Angela’s first husband. Get the idea? Everybody has other issues filling their mind.

Somehow, Booth gets Bones away from the lab and to the crime scene. As it turns out, this case is more than just an ordinary run of the mill crime. The skull is of a missing violinist, a violinist with a three million dollar instrument. But the violin is of zero importance. Wouldn’t you say that is the case when the skull has signs of being eaten by a cannibal?

From the first episode to the last, Bones is filled with memorable moments. You will laugh at the funnier nature of the Christmas mystery they must solve. We watch Dr. Brennan develop a relationship with her newfound family in the midst of also struggling with their past transgressions. Because Booth was the arresting officer of Bone’s father, the FBI assigns Psychologist Lance Sweets (John Francis Daley) to make sure their partnership is still sound. Within a few episodes, his character, despite his silliness, shows his vital importance to the team. Proving that things are okay between them, Booth and Bones continue to grow into better friends as well as colleagues; the viewer begins to wonder when one of them (my money is on Booth) finally say what is clearly visible—that there are more emotions between the two of them than just respect. Bones also gets her gun (and what ensues is quite funny).

Sadly, I have grown to expect some of the subject material that finds its way into almost every episode. Occasional language, consisting of God’s name in vain, d***, SOB, s***, etc., makes an appearance. Bodies are in various stages of decomposition—we range from fleshly bodies with insects crawling over them to the “boney” ones. Then there is the sexual element, the part that gets my goat every time. I can handle when they question suspects about such things (though sometimes it is asked a bit bluntly). It is the personal antics that bother me: known lovebirds Angela and Hodgins find time to make out (though thankfully, we don’t see them in bed together). Neither Bones nor Booth have a romantic interest, which means we get spared those scenes as well this season. However, we do have an episode involving a sex tape (“The Widow’s Son in the Windshield”), one involving fetishism (“Death in the Saddle”), and one that is barely salvageable, as it involves STDs, oral sex, sleeping around, etc. (“Player Under Pressure”).

If you are like me, you like recurring storylines. Let me tell you, this season has one that will leave you in shock. The finale caught me by surprise the first time I watched it, which meant that I wanted to stay up even later and begin season four... and I did.