Elsbeth is a delightfully captivating show—a symphony of bold, radiant costumes, mischievous humor, a parade of esteemed guest stars, and heartwarming friendships. Yet, beneath its spirited facade, darker undertones pulsate, often overlooked in the excitement. Can justice be an unwavering reality when the ultra-wealthy seemingly escape accountability for virtually any indiscretion? Much of the allure in each episode stems from witnessing Elsbeth and Kaya outmaneuver adversaries who blithely assume their immense wealth and influence will effortlessly dismiss murder charges. Since her fateful encounter with the late Judge Crawford, the fissures in Elsbeth's bright demeanor have progressively widened, becoming almost impossible to mend. In this season's climactic episodes, these cracks seem to be encroaching upon her very core.
Clad in an olive-drab NYC jail uniform, Elsbeth finds solace in the company of Captain Wagner and Kaya, her tears betraying the darkest depths she has plunged into over recent months. While it's permissible to indulge in momentary despair, to continue their battle, she must reclaim her identity and convictions. It's almost impossible to dismiss the post-2024 presidential election undertones in such scenes, with "I've Got a Little List" offering undeniable evidence that Elsbeth's world mirrors our contemporary electoral politics, as ICE agent Wes McCarthy (Ben Horner) prioritizes his investigation into the murder of Lichtenburg's Crown Prince Wilhelm von Hofer over the unfolding situation in Greenland.
Let's delve into how Elsbeth found herself ensnared in this literal and psychological darkness. Her arrest and subsequent failure to gain any traction at her arraignment hearing, though shocking, was less of an abrupt plunge than it initially seemed. In retrospect, her journey to this point had been brewing for quite some time. The psychic episode featuring Tracey Ullman revealed that Elsbeth's penchant for vibrant, intricately designed clothing, influenced by her late, vivacious grandmother, served as psychological armor. The episodes involving Crawford—including the one where he attempted to manipulate the ethical and legal landscape concerning her abusive former client's divorce case—left her staggered by the sheer extent of his power and influence, and his adeptness in wielding them until his dying breath.
Rushing back into casework after Crawford's shooting was ill-conceived. Initially, a flashback to Crawford's murder, triggered by her routine reenactment of the crime, overwhelmed her. Subsequently, her obsession with Rod Bedford (Billy Magnussen) potentially being the killer blurred the lines of legitimate investigation. While she was correct about Rod, whose apparent lifelong inability to experience joy propelled him from typical rich-jerk thrill-seeking to murder with impunity, her actions crossed into criminal harassment territory, rendering her correctness irrelevant. Elsbeth's near-nihilistic recklessness mirrors Rod's anhedonia-driven thrill-seeking, albeit in distinct forms. Disturbingly, neither seems capable of breaking free from their respective behavioral chains.
I cannot condemn her with the same vehemence as Judge Dousant, played with ever-welcome flair by John Carroll Lynch. It is undeniable that she once championed the cause of Delia Kirby, Crawford's murderer, but that was prior to the tragic slaying of the judge. It appears as though his emotions are driving him with the same intensity that he perceives in Elsbeth. There is more to this tale than meets the eye. Consider, for instance, Rod's entitled demeanor and his blithe confidence that his family's vast wealth from gun manufacturing can secure him anything he desires. This arrogant, deeply provocative. Magnussen's portrayal of Rod deserves special mention; it adds another exquisite chapter to his résumé of portraying ultra-entitled, profoundly insecure characters. While Byron Gogol in "Made for Love" stands as the pinnacle of his work in depicting intolerable douchebags, Rod gives that tech bro a run for his money.
Back at the office, Elsbeth and Kaya are incensed by Agent McCarthy's casual sexism towards the "angry feminists" of Lichtenburg's Crown Free Movement. His numerous assumptions about their violent tendencies, their alleged plot to assassinate Prince Wilhelm in the United States, and their use of a so-called "lady gun" are infuriating. Even as a viewer aware that this is a fictional TV show, I found myself raging at these injustices.
Yet, we know that the real Elsbeth still resides within her. Thankfully, her fever breaks, and she uncovers the final clue Kaya needs to arrest Rod in her typical nonlinear fashion, during an inventory of her personal belongings as she is processed into police custody. Beware, friends, of inadvertently betraying yourself to your imaginary AI friend meant only to boost your social-media engagement stats! Furthermore, never commit murder; it is detrimental to both the soul and business, even for a gun manufacturer.
Elsbeth even seems faintly excited at the prospect of being transferred to the Midtown Detention Center, where she will be incarcerated alongside many of the killers she helped convict. You cannot suppress a woman of distinctive taste in outerwear by making her appear pale in an unflattering jail uniform! This is Elsbeth Tascioni, and we are discussing the season finale! Let's embrace the excitement and dive in!
