NCIS, Season Six (2009)

Our rating: 3 out of 5

Rated: TV14

reviewed by Rissi C.
 

This show has offered me few disappointments since first embarking on its journey last fall. Season six resolves certain previous issues without losing its touch to deliver dozens of surprises.

Special Agent Jethro Gibbs (Harmon) doesn’t like incoming NCIS Director Vance (Rocky Carroll) choosing to break up his loyal team only to force him, as senior agent, to command a new team of rookie agents, one of whom is former protégée and FBI transfer Brent Langer (Jonathan LaPaglia). Special Agents Michelle Lee (Liza Lapira) of the legal department and computer whiz Daniel Keating (Jonathan Mangum) complete the team, but none of them have the natural savvy or team effort to work together nearly as well as Gibbs' former group. Gibbs' mainstay and one bit of sanity is forensics extraordinaire, Abby (Perette), who is the only one that can get by “sassing” him, and insists his days are numbered if everyone else isn’t back in two weeks. When the death of a Petty Officer occupies them, whom Ducky (McCallum) surmises has been deceased for four months, Gibbs eventually links the death to another officer that directs NCIS to a Mossad undercover mission headed up by Ziva (Pablo). More clues lead to a troubling revelation, all directing Gibbs to enlist McGee (Murray), now working in encryption, for answers, only to learn Vance has ordered McGee not to reveal anything, leading to the reasons behind his separating of “team Gibbs.” Bringing Tony (Weatherly) into the investigation while still stationed aboard the USS Seahawk for some privileged information, the unpleasant truth finally falls into place. And betrayal inside NCIS is discovered.

Most everything about this show is brilliant. Just one of those depictions encompass instances that rarely cover just “one” plot unfolding in the forty-some minutes of each episode. Sometimes they connect, others not, only to be brought back in later episodes. NCIS is known -- and has become popular -- for teasing and tempting its audience with anything and everything -- whether it be worthy of major hype or not; the wide episodic arcs never cease. Each question is eventually answered, maybe not the way we’d have liked, but its used to further the plot. Some viewers will find fault with this, since some of us prefer seeing everything neatly wrapped up with no room for mistakes in the assumptions. Each theme becomes an intricate part of the puzzling enigmas that have invented and provided structure for an otherwise intelligent show that did not need to make a great deal of effort to become what it has -- their fate was sealed immediately upon the signing of this cast. (Or in my opinion that seems logical.) These themes continually increase, which seldom allow “solid” evidence that an event took place, instead subtle references are the typical pattern. Ultimately what originators are allowing for in some cases is for the viewers to make up their own outcome or imagine what they will of the characters.

In a bid to continue to interest the large following and targeted audience, episodes have began regularly ending on a sort of “mini” cliffhanger. I’m not even able to say all of these were ever brought up again to be any sort of foundation with which to build an episode, but many in effect were explored again in some form or another. With nearly everyone of the billed cast returning, this season had little choice but to follow in its predecessor’s footsteps. Harmon’s Gibbs is my favorite character for a variety of reasons. The manner in which scriptwriters have built his friendships is both interesting and somewhat uncharacteristic of my original impression of him. He can say more in one look or expression than many of his co-stars. Of course, it doesn’t hurt that Harmon is a favored actor. Before this, most the others weren’t familiar but now this would be unimaginable without their presence. These people “are” NCIS.

Woven throughout the six seasons, and an entity it’s perfected in those years, is the wonderful ability to combine heart-stopping, tense sections and lighthearted banter that fades into heartfelt discussions. Unlike 24, this knows how far to take its thrills so that by the finale you aren’t doubting at the reality of what you’ve just sat through. Some of the more comical and memorable things about season six is Abby’s pursuit to find a cupcake thief, a petulant bid in Tony’s begging to return to dry land, and the “unique” interrogation techniques each individual has. Not the cleverest but definitely the most memorable episode is “Heartland” -- it’s priceless. “Cloak” and its accompanying episode prove just what an intelligent, strong show this can be, all without basing itself around a murder. Similarly, the final four episodes -- including a smart and fun spin-off for NCIS: LA -- continue to prove what a brilliant show this is in more than one sphere, but ironically these also prove more violent (including a tense but brief fight involving a lead). Some things are greatly missed no matter the insignificance, like McGee’s alter ego found in a pen name (or a noticeable lack of Gibb’s infamous “head slaps”); things that those of us who’ve been with the show from the beginning know have become irreplaceable. Unforgettable is a line in which McGee informs Abby she’s acting weird and her matter-of-fact reply: “I am weird!” What has quickly become a mainstay, unlike the first two seasons, is a distinctive role for the Director, something that started with the arrival of Lauren Holly. There was a character-to-character link with that introduction, so making an opening for a larger part for a Director persona to expand into.

Like before, content is less obtrusive. Victims are strangled, suffocated (under the guise of suicide), shot (sometimes in the back or multiple times) or stabbed -- rarely are these events seen, but are experienced in the aftermath. Autopsies are greatly downplayed in terms of their former more “graphic” nature, but a handful of episodes do depict the ugliness: “Murder 2.0,” “Hide & Seek” and “Love & War.” The latter is more visual (the victim’s internal organs were pulled out.) Some physiologically sick people provide twisted senses of justice in certain instances, making for killers that are even more detestable. Separate episodes confront war crimes and underground fighting. Leads have a knife plunged through their hand or a bone jut out of an injured finger. There is still some innuendo; mild sexual references (one episode suggests Tony is suffering from lack of physical contact; another ends with a couple in bed). “Caged” involves a fourteen-year-old girl forced to perform sexual favors. Suggestions entail extra-marital affairs, one of which involves a senator. Some profanities (he**, bas***d, sh**, etc) and crude expressions like “screw” are used.

As much as it became a disastrous bit to end on, the team separating was an interesting dynamic that sort of opened up new scenarios and in doing so created a perfect structure for other opportunities. The real cause for complainants would have come had it lasted any longer than it did. (What can I say, even one episode is one too many!) A minor cause for complaint comes in pretending there wasn’t a history between Langer and Gibbs; ultimately it was distasteful, made worse when representing a dislike between the two. Room for redemption is present when eventually realizing just how great a part the premiere would play in the show’s entirety and in a unique episode that finds Gibbs questioning his judgment (“Collateral Damage”). Additional redemption comes in more insight into certain characters potential romance. This season ends in an unfavorable way by not “knowing” the safety of a lead member, and above all anxious for the next box set to hit store shelves.