Bedfellows

Two sisters in law are married to trust-fund brothers. They are sons of a prominent magnate (Rip Torn, a recurring character in "Men in Black") who cares just for one of them, a well-known historian who traveled a lot and used to write book about his memories. Instead, the black sheep son set up a Ponzi's scheme in real estates, embezzling a lot of money that needed to be payed back. Anyway the historian was a distant husband and father, so the wife cheated on him with the gardener, a lady's man who didn't give a damn about her. The uptown boys are killed one after the other and the murderer has to be found inside the family.

This plot is about payback, something that sometimes occurred between relatives, mostly inside marriages. But the scheme rarely managed to succeed.

I hate the father. I hate his character. And I dislike the actor. "Ohhh no not my Adelaide!" Like why couldn't he be the one that went bye bye?

But Carrie Preston is brilliant as usual. This episode is always the first in my mind whenever this show is mentioned. Partially because of Carrie and partially because the old crusty man and his disgusting tendency to "always has a scapegoat".

I thought the episode was excellent. The opening scene with the two EMS attendants was well framed and gave the actors a "bigger-than-life" look. It was fast paced and well-acted. I jumped out of my skin when I saw that the women in the bed was alive. I think though that there should have been some dialogue at that point between the wife and the attendants. Although the intent was to show the attachment initially to the dead husband, the scene where the attendants removed her from the bed only seemed like a frustrated struggle to get her out of the bed rather than a sympathetic, gentle coaxing and understanding of the situation. There should have been some form of dialogue. All-in-all, I thought it was a good plot. The acting, as always, was top notch and I enjoyed the show. Bring back the African-American EMS attendant. Although he was only in the opening scenes, he exuded strength, power and a certain star-like quality. He reminds me of Omar Epps! Love the show!

Love the early seasons of 'Law and Order: Criminal Intent', but the show became more hit and miss around Season 5 (with some great episodes, most in between and some disappointments) and stayed that way up to the end of the run. "Bedfellows" is one of those episodes with a premise that would have been easy to overplay and/or not do in good taste. Carrie Preston (who was so fantastic in her previous 'Criminal Intent' appearance "Magnificat") and the great Rip Torn are interest points though.

While "Bedfellows" is a long way from being one of my favourite episodes and it is a long way from perfect, it was not a bad episode at all (the opposite). It also handled its premise more tastefully than expected, as on paper it to me doesn't sound the most appealing, though suffers a bit from one character unbalancing the episode somewhat. Ranking it among the rest of the episodes of Season 6, "Bedfellows" is neither among the best or worst and is in the high in between category.

Starting with what "Bedfellows" does well, and there are a great many things done really well, it is always a delight seeing Goren hard-boiled and hugely entertaining. Can't get enough of how his mind works. Eames is a great contrast as usual, more understated while not losing her sass. Do like that she has a little more of a serious side since her trauma. The two work so well together and play off each other equally so well, easily the best of the 'Criminal Intent' duos. Carrie Preston is powerful and affecting, just as much so as she was in "Magnificat". While not liking his character, which the writers do go overboard with, Torn gives it one hundred committment.

"Bedfellows" story is from start to finish compelling, keeping one guessing and has much to say about the dark side of favouritism. Something that may not be entirely insightful, but still intrigues and shocks. The script is not too rambling and never confused, exploring the subject thoughtfully. The production values are solid and the intimacy of the photography doesn't get static or too filmed play-like. The music when used is not too over-emphatic and has a melancholic edge that is quite haunting. The direction is sympathetic enough without being leaden.

For me though the character of Jules was overwritten, Torn's performance is very committed but the character was rather too strange and over the top too often even for the story. Ross is still too much of the stock aggressive bias boss type of character.

In conclusion, very good. 8/10