While still much the same, changes have been implemented in season four, mainly in the relationships and evolving of a particular character. After reading numerous synopses of the episodes and being stuck with a cliffhanger from the previous season, I was interested in the promised "changes" to the series but at the same time there were nagging thoughts in the back of my mind as to how particular issues would resolved. Before long it quickly became apparent that these new interactions come across as “real” on screen; they’re subtle enough to assume they could be in one’s imagination but things continue to progress, making the effects anything but normal. Gibbs has undergone some changes in his life that everyone notices, notably in he and Ducky’s friendship, which remains strained but happily everything is patched up in “Smoked.” Assumptions are the only things to go on for many of the characters, including Gibbs. Still, he and Abby share a deep connection and her adorable “hero worship” of him is so cute; little things she does (cuffing him, displaying his picture as a sort of mourning ritual) never cease to bring a smile. The real change of character comes in Tony. His being made team leader even if only for a short time allowed for a whole new view of him. In particular, we see his strengths and moral character. Likewise, we begin to see his life isn’t as wild as he professes. “Sandblast” and “Once a Hero” showcases his honorable way of treating women and encouraging someone where needed. Behind all his jokes and charm, there’s a character to be liked.

While things in general remain tense among this otherwise excellent camaraderie, things do come about which tend to iron themselves out during the course of a 24-season set. In an obvious variation, Gibbs begins to show more teaching skills, particularly when it comes to McGee. His team is so used to his abrupt manners, which routinely leads to bending rules to protect those innocents, they often don’t realize that his leadership in part is because of how he operates and so are unaware of what he is trying to do. No matter his gruffness, Gibbs remains a most interesting TV figure. His persona has undergone expanded drastic changes, making him more emotionally human when secrets are unveiled. Though a series that doesn’t promo itself as character-driven, it is all about individuals and makes it tolerable even when content intrudes.

The graphic autopsies have gradually been pared down to encompass cases that don’t always result in death, making it a bit less nauseating for those of a weaker stomach. Instances show victims being shot (along with a fair amount of blood) or meeting their fate in other ways. “Dead and Unburied,”  “Friends and Lovers,” “Driven,” “Brothers in Arms,” “Trojan Horse,” and “In the Dark,” feature visual autopsies; “Sandblast,” “Skeletons,” and “Grace Period" show disintegrated bodies; bombs, skeletons, etc. “Sharif Returns” has a man ripping his own eye socket out. Nude bodies are seen nearly each time with everything vital carefully obscured. “Angel of Death” repulsively depicts the horrors of drug addiction and consequences (a man smuggled it in his stomach). References are made to sexual material; it’s said a man has had three fiancées and married lover (remarks are made to making love, using forensics to identify the women). Later a couple meet for a tryst; we only see his shirt come off and them falling to the floor, out of camera’s view (in another instance, they sneak into a van; it shakes. McGee and Abby share some sexual banter (she tells him to stop “undressing” her with his eyes). “Twisted Sister” and “Once a Hero” deal with rape and/or the date rape drug. Implications suggest a couple consummate their relationship (up till then it was illustrated as nothing less than sweet); two others end with a couple in bed, sheets drawn up. One episode has a psychologically sick killer whose victims were graphically tortured beforehand (pictures are displayed).

Tony and Jenny share an awkward conversation about when it becomes “okay” to have sex, without relationship damage. Video footage shows an apparent attempt at rape (“Driven”). Double meaning-phrases are bantered about along with profanities (a--, he--). Training sessions at NCIS include sexual harassment. Tony wonders if a man has “something” others don’t prompting he and Ducky to take a peek at his privates; group baths are suggested between a couple. In an otherwise, usually tolerable show content-wise, the sexual material has been notably turned up. But it somehow remains “under control” by being more suggestive than visual and one has to applaud the elimination of any homosexual themes. Disturbing endings to certain cases leave questions whether or not the mystery has really been cleared up. Certain directions have been greatly heightened, making dimensions between characters intensely expanded. What makes this so interesting are the seemingly trifling minor details often become much bigger or are simply carried though as a comical twist at the close. Returning this time are intertwining plots tying into the finale; through deliberate clues, these build almost without notice.

Offering not only laughs but realistic life situations through the loss of an agent, another finds answers and a marvelous finale reveals secrets. From something that will touch you (“Dead Man Walking”) to a more lighthearted jaunt (“Witch Hunt”) to heartbreaking (“Grace Period”) there is more to NCIS. In my family it sis difficult to find something everyone enjoys. My dad’s the sort of viewer that once you’ve seen something, there’s no need to watch it dozens of times (so not the case with me). Television shows tend to be more challenging as he tires of the same characters and general stories. Imagine my delight when even he has grown to thoroughly enjoy the wit, humor and characters of NCIS, making this a sure winner that everyone readily agrees with when popping this into the player. And believe me, it’s frequently…