S3 Revisited: Chuck vs. The Honeymooners. (3.14)

Everything they need.

They quite like it here.

The season wasn’t very old when the rumors started, and were quickly confirmed by TPTB. Chuck and Sarah would be together by the end of the season.  Small details about the back 6 started to emerge. Casting calls started leaking plot points, shooting schedules showed up online, and all of the sudden there was a lot of talk about the destination and the payoff.  This was the payoff episode.  In the dark and angsty times it was our beacon, our hope.  A light shippery piece of fluff we could just enjoy and go SQUEE! over.  Chuck Versus The Honeymooners was that, but it was also more than just that.  It was the reset of the show’s original premise.  Let’s review and discuss, after the jump.

Chuck and Sarah are together.  We knew it was coming and finally it is here.  We can argue about how long it took, if the journey was worth it, how contrived it was, or how much angst is too much angst, but let’s not.  For whatever reason the Central Relationship Misunderstanding (CRM) is resolved.  Except it isn’t.  Quite.

In Seasons one and two there was little doubt our two heroes wanted to be together, but they couldn’t.  In the typical hollywood WT/WT there are two main scenarios.  There is the classic Moonlighting, opposites attract where the “couple” duels for advantage, each aware of the other’s attraction and their own, but unwilling to give in lest the other “win”.  The other is the Ross/Rachel where one loves in silence from afar while the other, unaware, moves through a relationship.  Finally aware of their true feelings the clueless half breaks it off only to find the once devoted lover has moved on.  In this scenario it’s always about the timing.  With Chuck and Sarah in seasons one and especially two it became evident that they both wanted to be together.  They were aware, they just couldn’t because of circumstances.  Professional boundaries, constant surveillance, the 49B, all conspired to keep Chuck and Sarah apart.  The question was not will they or won’t they, but can they?  In season two, while on the run in Barstow our star-crossed lovers got their chance.  And of course it was interrupted.

As the conceits of the show require that resolution, seemingly so evident and final was not to last.  The question was flipped back to do they want to be together by seeming to force a choice upon them both.  Give up everything for love or give up on love to make a difference in the world.  Both Chuck and Sarah, now freed for the most part from what constrained them before, have had to ask Joe’s questions.  Who are you?  What do you want?  Throughout the front 13 episodes Chuck and Sarah have come to terms with both questions.  They are spies.  They want to make a difference.  They also want each other.  This is where the work starts.  Can they have it all?  And if not what do they give up?

At first they seem afraid to ask the question.  Tucked away in their own world, interrupted only for room service, they finally have what they’ve yearned for years.  Each other.  But such bliss can never last and Chuck and Sarah are faced with their first decision as a couple.  Can we risk it?  The same forces that came between them and pulled them apart again and again are still there, waiting for them in Burbank, and reaching out to bring them back in the visage of General Beckman and in the person of John Casey.  The answer seems obvious at first.  Don’t risk it.  Don’t go back.  Make a life together and none of the rest matters.  Resolved to be together no matter what at last our honeymooning heroes can cross the threshold and rejoin the world on their terms.

They quickly find that though they’ve resolved to run away to be together they can’t change who they are.  Chuck can’t help flashing and Sarah can’t stop looking for threats and protecting Chuck.  They can’t run away from who they are and the spy in both of them needs to make sure nothing bad happens by finding out what a Basque terrorist is doing on their train.  And here we arrive back at the CRM.  As Chuck and Sarah have tried to figure out who they are, what they want and whether it is worth it they’ve occasionally been ready to do some seemingly contradictory things.  Sarah wanted to run to be with Chuck and to protect him from the moral compromise she felt the spy world would force on him.  Chuck wanted to be a spy and make a difference, he wanted to matter, so he couldn’t turn his back on his newfound calling.  Later, when Chuck sees what Sarah wanted to protect him from, when he sees that being a spy might ask him or even force him to things he doesn’t want to do and force Sarah to ask of him things she can’t bear to ask, it’s Chuck who decides it isn’t worth it.  And Sarah is ready to agree with him at that point.  They were both so close to the same point, running away to be together, that it seems natural to both that this is what the other wants, and that each is willing to give up everything for the other.  Chuck is willing to give up his calling and his family and Sarah is ready to give up “the one thing she’s good at” and the only home she’s ever known (even if it is Chuck’s).  As is their well established pattern both Chuck and Sarah try to do what they think is best for the other and what the other wants without risking talking about it and letting their own desires slip out.  It’s almost heartening, this time, that they feel the relationship so fragile and so precious that they won’t even risk talking about what they want out of life.  Before it was just maddening but with some resolution in sight I can swallow it one more time.  This time something is different.

Sarah Walker had a bit of a breakthrough in Chuck Versus The Other Guy.  Once again her silence and her reticence to open up to Chuck had left Chuck, poor neurotic insecure Chuck, her Chuck, to draw his own conclusions, much to Morgan’s misfortune.  This time however something was different.  Sarah had made the decision to be with Chuck, so this time, when she saw the consequences of her silence and watched everything come crashing down for Chuck she did something amazing.  She spoke up.  She interrupted Chuck and told him how she felt.  And the sky didn’t fall.  And she got her Chuck.  And he saved her.  And she got her Chuck.  Maybe there is something to this whole talking about your feelings thing of Chuck’s after all?

Sarah decided she couldn’t lie to Chuck.  Sort of.  She’s still holding back, but we’ll get to that.  Sarah tells Chuck the reason for her late night craving was to gather some intel, only to find that Chuck has done the same.  Are they starting to get an inkling that maybe they do want the same things after all?  Sharing their spy adventure and plans clearly awakens something in them.  Their (ahem) mutual admiration seems rather evident.  And Sarah even makes terrorist groups sound sexy.  The next morning their plan comes together.

Chuck and Sarah make quite a team, and as an aside so do Zach and Yvonne.  I can’t describe the feeling I got watching Zach and Yvonne play Chuck and Sarah playing the Charles (the Charles’s?).  Part of what I felt was anger.  They spent 13 episodes with Sarah looking sad when Yvonne can play this kind of comedy?  We knew Zach could, he get’s the chance a lot more often.  Part of it was joy, something I’m sure even Zach and Yvonne felt as they got to play something other than emotionally constipated angst for a change.  Some of it was just relief.  It was still my Chuck after all.  They hadn’t given up on the comedy and the lightness I loved so much.  The scene still plays well as Chuck and Sarah as a spy team.  Partners in every sense of the word, both in love and doing what they love together.  Too bad they decided to give it all up.

Back to the matter at hand.  With their plans in motion Chuck and Sarah are confronted with the other part of their decision to run.  Somebody found them.  Namely Casey, much to his disgust.  He can’t seem to catch a break.  If it isn’t the bearded troll it’s these two letting their lady feelings cloud their judgement again.  One re-captured terrorist later it’s time to sit down for a talk about what Chuck and Sarah want out of life and what their decision might cost them.

Chuck and Sarah talk?  Who ever heard of something so absurd.  No, time for Sarah and Casey to talk and Chuck and Morgan to talk.  Gotta milk that CRM for all it’s worth one last time, because it’s almost over.  But at least we get to see both of them being honest about their decision, as does one Basque terrorist.  They really should have had some nut-cake before they left.

Sarah Walker has changed.  So has Chuck Bartowski.  Before they’re so rudely interrupted they actually start to talk.  Chuck actually asks Sarah what she wants, and then lets her answer.  And Sarah actually starts to answer.  Sorry, too easy, we’ve got a spectacular fight scene to get in first.  So good to see Team B 2.0 kicking some butt.  Chuck and Sarah in particular.  In a call back to Nemesis we get to see just how great a team they make (with an assist from Casey and Morgan in a call back to Undercover Lover).  Day saved, and now they can get on with their lives, their real lives.  Juan Diego refuses to be interrupted, thank goodness, and Chuck and Sarah finally finish that conversation.  Thank goodness.

Back to Burbank to face the music.  Chuck and Sarah make a great team.  Everyone knows that.  And as we’ve seen along with the rest of the world, they make a great couple.  Even Beckman sees it (though officially disapproving).  That seemed way too easy.  But then maybe it wasn’t ever that hard to begin with.  All it took was some time alone and a real conversation.  Too bad they never found the time till now. 😉

So the Honeymoon is over.  Not in the bad way, in the good way.  While locking yourself away or running from the world can have it’s advantages, it’s no way to live.  Chuck and Sarah finally have their shot at having it all.  Sarah can still be a spy, but have Chuck and that home and family she’s wanted for so long.  Chuck can have Sarah, and not give up his calling, or his friends and family.  And we have the nearly perfect ending to the nearly perfect episode of Chuck.  Sarah Walker sits in a pair of Chuck’s borrowed boxers in Chuck’s room on Chuck’s bed, listening to music, and it isn’t cover.  It’s a new day for them, a new show for us, and a ton of new possibilities we’ve all been waiting for.  Oh, and it is real.

Vows

Joe adds –

You probably know by now that I’ve been having a hard time criticizing anything about Chuck, especially those last six episodes, starting with Chuck vs. The Honeymooners. Wait – I lied. I can’t get myself to start there. I have to watch Chuck vs. The Other Guy to see Paris, and even more, to see Sarah answer Chuck’s direct question. “Sarah, do you love me?”. Hearing her answer “yes” four times isn’t enough – I’m too much of a romantic.

But I can’t pick it up there, either. I want to see the expression on Sarah’s face when she learns that Chuck didn’t – couldn’t – pull the trigger, and she realizes that he’s still “her Chuck”. That’s in Chuck vs. The American Hero. I want to see their stake-date again! I want to see Chuck tell Sarah positively, definitely, that he chooses to help Casey even if it means treason, and I want to see her be happy to have him join her in that. I want to (forgive me) laugh when she punches out Fitzroy in Tic Tac.

And on and on it goes, until I’m back to the beginning. I don’t have the time I fear, but in my mind, I really do seem to replay so much of this show from the beginning. I love the memories, and I’m sure you do too. They all take us to one place, Paris and that train ride.

Ernie’s done a great job reviving the details of that episode in my brain. Hey, it’s only been 4 days since I last watched it! What jumps out at me is how carefully, gingerly and deliberately Chuck and Sarah work to communicate now. Back in their room after discovering the “ETA terrorist” in their midst, both realize that there’s a mission. Both realize that there is a decision to be made, that there is a right and a wrong choice, and they remember that they made a vow to each other to give up the spy life. That’s important, right? What will they do?

They talk, of course. It’s as surprising to real couples as it is to fictional ones, but most of the time the fears that keep you from saying something important to your loved ones are way overblown, and often they’re the wrong fears entirely. Trust me on this; your loved ones want to be included in the bad news as much as they do the good.

If Chuck and Sarah are being careful and deliberate now, they should be. It’s a sign of newness of their relationship – its not a time to take anything for grated. Perhaps that time is coming, when their fears are forgotten and the focus they have on each other become habitual – a “mere” habit – and melts into the background. That’s a danger. It’s what happened to too many couples after a few years. Attention strays, and it’s not necessarily to other relationships. Sometimes it’s work, hobbies that get too serious and sometimes it’s other family, like children or parents that need attention. Without getting ahead of ourselves, the start Chuck and Sarah make with their vows and then by reconsidering them is a good one. You see, mistakes can and will be made. They can be corrected though, and it’s a lot easier when that’s done together – especially when it’s Chuck and Sarah we’re talking about.

What’s wonderful isn’t that they break their vow to each other, but that they make a new and stronger one.

Dave’s Two Bits

The main thing I want to add to the discussion is just the pure joy of this episode.   Of course we can pick holes with the plot or continuity,  there was even some trace amounts of angst;  but the overwhelming feeling to me was just how much absolute fun it was.   I think Chuck smiles more than he had all season;  and Sarah beats her season long tally by the opening credits! And those smiles are infectious.   I laughed hard in almost every scene and grinned from beginning to end.   This was a pay-off episode to end all pay-offs.   I understand the theme of the show ensures there will be danger, risk, and dark drama on occasion.   That can’t be avoided unless Chuck and Sarah decide to leave the spy business to run the yogurt shop full time.   But it sure is good to have fun from beginning to end of an episode every now and then.   Going forward,  I do hope we’ll get more of the “Hart to Hart” sort of moments;  but I don’t expect them to do too many more full episodes like this  (maybe an engagement or wedding episode?).

I’m a little surprised neither Ernie nor Joe really addressed the end scene.   Okay,  maybe I’m not so surprised, we are all guys after all.   But to my horribly unqualified mind,  that was possibly the most romantic scene I’ve ever seen on television.   A stunningly beautiful end to what is officially my favorite episode of Chuck ever.

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About Ernie Davis

I was born in 1998, the illegitimate brain child and pen name of a surly and reclusive misanthrope with a penchant for anonymity. My offline alter ego is a convicted bibliophile and causes rampant pognophobia whenever he goes out in public. He wants to be James Lileks when he grows up or Dave Barry if he doesn’t.  His hobbies are mopery, curling and watching and writing about Chuck.  Obsessively.  Really, the dude needs serious help.
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67 Responses to S3 Revisited: Chuck vs. The Honeymooners. (3.14)

  1. Paul says:

    I concur: The final scene of Honeymooners was THE MOST romantic scene I have ever scene on TV…and I am a self-avowed romantic.

    • sd says:

      Excellent post.

      Serious agreement from me. I thought Honeymooners was an amazing episode on so many levels…but that last scene was note perfect—no pun intended–the Nina Simone song is a fave of mine and it perfectly underscored the characters future together.

    • Crumby says:

      That last scene is just amazing. In concur as well.

  2. herder says:

    One thing in this episode that I especially liked, as opposed to all the other things about it that I especially liked was the touching.

    For the first two years, when Sarah felt especially close to Chuck she would adjust his collar or in some way touch him. Chuck, on the other hand wasn’t an epecially PDA kind of guy (except in Fake Name with Hannah). This season through 3.12 I don’t remember Sarah touching Chuck once in that manner.

    Then in this episode in almost every scene they are touching one another either holding hands, he’s rubbing her shoulders (in a non-creepy way) or she’s got her arm through his. It is a return of all the nonverbal parts of their relationship at once. Not only do they their feelings for each other be expressed but there is a certain physical comfort with one another that was missing for the whole earlier part of the season. Compare their holding hands in the restaurant car with their handshake at the end of Angel Del Muerte. Little things like that lightebn the atmosphere of this episode in the way that their absence made the first dozen oppressive.

    • BDaddyDL says:

      I really loved this episode, although my favorite will always be the other guy because of yes, and shut up and kiss me. Herder, you are so right, C/S could not keep their hands off each other, and it always made a difference. I have heard that the the episodes pre beard are easier to watch now. I hope so, but I am just not prepared yet to find out. I just like watching the ones after, and season 2. When the dvd comes out I know I will watch, but I will probably watch the commentary episodes first. Hopefully we will get some answers.

      • atcdave says:

        I don’t really see any scenario where I would watch Mask or Fake Name again. I do agree some of the earlier angst is a little easier to swallow now. But I mainly mean the S1 and S2 stuff, S3 LIs seriously tick me off.

      • Merve says:

        It’s worth watching “Fake Name” again just for the hilarity of Chuck impersonating Rafe and Jeff, Lester, and Big Mike trying to sell crock pots. Close your eyes when Chuck and Hannah are onscreen together and turn your TV off after Chuck punches Shaw and you should be fine. 🙂

    • Crumby says:

      One of my comments after the episode was: “I know after the interview where TPTB said how good C&S were together after seeing the 314, we all thought “what the hell , we knew it from the Pilot”, but geez, it was SO good. They were afraid to do it, but it makes sense that after seeing that ep, they were relieved and amazed about it.” Personally, I’m still amazed about it and I’ve seen the episode more than I probably should.

      The chemistry between Zach and Yvonne and the amazing job they’ve done to give us that pay-off episode is really outstanding. The touching, the looks, the smiles, the fight scenes, everything really between those two in the episode is SO good to see. And well there’s that last scene…

  3. JC says:

    I guess I’ll be the negative guy here.

    Didn’t we go through a bunch of episodes where Sarah didn’t want to be a spy? But now she wants to be one again?

    The same goes with their fear of Beckman doing something about them dating. Wasn’t she dating another spy just two episodes ago? A guy who was married to another spy at one point.

    Don’t get me wrong I loved the episode but it seems like this episode just swept most of issues of the first 13 under the rug without any explanation.

    • Ernie Davis says:

      I didn’t think it was too confusing if you accept one thing. Neither Chuck nor Sarah were quite sure what they wanted for much of the season. Chuck wanted to be a spy, until he realized it would cost him the woman he loved, and possibly his own sense of himself, then he was ready to chuck it all. Sarah didn’t want to be a spy if it meant making Chuck into another soulless CIA killing machine, then she was ready to chuck it all. Chuck still thought running was what Sarah wanted, but what she really wanted was to save her Chuck and be with him. Sarah thought Chuck wanted to be away from the spy life, but what he wanted was to be with her.

      Given how determined Beckman seemed to send Chuck and Sarah to opposite sides of the world in the past few episodes I could see them concluding that Beckman saw them together as a liability, perhaps because of Sarah’s well known influence on Chuck (i.e. a full tactical assault, complete with stealth bombers) and his ability to use the intersect.

    • weaselone says:

      At the beginning of the season I was fairly confused about why Sarah would want to run away with Chuck when it looked like she could now have him and her spy cake too. The woman just barely chose a normal life with Chuck over her career in the waning moments of the Ring. To me it made little sense to then insist on running at the expense of everything else in their lives when the option to have it all seemed open. In that vein, it was also confusing to see her failure to respond to Chuck’s confession of love in “Three Words”.

      I was wrong. Sarah never really wanted to leave the spy world. She just didn’t want Chuck to become like her. First, she wanted to protect Chuck from all that pain and those type of sacrifices and moral eroding choices. Second and probably more importantly, Sarah didn’t and still does not love herself. It’s a horrible burden and a grotesque double standard, but if Chuck had become a male Sarah, if he had become Shaw then Sarah would have been unable to love him. She could have comparatively shallow relationship based on sex and companionship with a man who could never love her due to the flame he carried for his ex wife, but she would never have been able to have that sort of relationship with Chuck. She would have felt too guilty and too much pain over what she had lost and the changes she had wrought.

      • lucian says:

        Well said. You can’t explain (IMO) Sarah’s double standards on a number of issues without including a strong dose of self-loathing. It still isn’t clear to what degree it is okay for Chuck to use “deadly force” and still be “her Chuck”, as compared with what she thinks she can and will do.

    • BDaddyDL says:

      OK Chuck is a spy, but also he is still an asset. there is the difference there. I don’t think Sarah did not want to be a spy, she wanted to be with Chuck, and if it meant not being a spy great. She did not want to loose Her Chuck.

      On a different note JC what name do you want me to use in the story, I can use JC but it might me confused with John Casey. Please let me know soon. Your Character is set for release Friday.

    • jason says:

      I think most of the famous ‘3D chess match’ was simply between sarah and chuck, spy life vs normal, it was going on in in 2.22, it is still going on, each of them has seemingly made a choice with or without the others consent in these areas anywhere near a half dozen times apiece – that is why the chuck / ellie scenes in 3.19 did not go over too well with me, its like get on with this already. I thought sarah’s reaction in 3.19 kind of mirrored my own, sort of like “whatever, I’M getting the lanky nerd either way, let’s get on with it!”

      • Ernie Davis says:

        I thought Sarah’s reaction in 3.19 kind of mirrored my own, sort of like “whatever, I’M getting the lanky nerd either way, let’s get on with it!”

        Jason, pure genius. That was exactly my reaction to where Sarah more or less landed on re-viewing 3.14, and I thought it was pretty apparent that was where she came down in 3.19. Her focus was that she wanted to be with Chuck, and if he wanted to be a spy, she’d be a spy with him. When Ellie asked him to quit I think she was fine with that and will probably end up quitting too. It’ll be interesting to see how they handle it.

    • JC says:

      Don’t get me wrong I know what we were supposed to get Sarah not wanting Chuck to change but I never saw that as the main issue. She really came off as an angry ex who got dumped and was looking for things to hate about Chuck. All the things she hated he was doing she had no problem with as long she was alongside him.

      As for Beckman’s reaction to the relationship didn’t the 49B from last season give them the green light?

      @BDaddyDL You can use Josh, JC is just a nickname that stuck since I was little.

      • atcdave says:

        I think the 49B was pretty painfully vague. They only acknowledged an emotional connection, and let it pass. We know Sarah was still struggling with professional issues to the end of S2. I found the idea of having to clear it with Beckman in 3.14 a little silly; I would have said, “look you know we like each other, we’ll do our jobs, don’t worry about what we’re doing off duty.” As I said, Sarah was apparently not ready to be that bold yet, but I see no reason for Beckman to ever know more than that. Beckman already knows Sarah isn’t the ideal candidate for putting a bullet in Chuck’s head if the need arises, balance that against the knowledge neither is vulnerable to an outsiders romantic overtures and call it good. Of course now its a whole other ball game with this officially sanctioned couple/partnership thing; I suppose that’s good news, I just still don’t quite get talking to your boss about it.

        For the record, I’m just rambling, take none of the above seriously!

      • BDaddyDL says:

        Quick Quote from Chapter 5,

        “I don’t know,” Chuck said, “I saw agent Josh on the security detail. “I think he likes me.”
        “Yeah I am sure Josh’s wife and 3 kids would be surprised to hear that.” Sarah smirked.

  4. jason says:

    CS is my fav topic, 3.14 is my fav episode.

    I would guess I might get a list of things / lines I liked about the episode up to triple digits, but I want to focus on 5 themes of 3.14.

    Theme 1: wt/wt is out td/mt is in (They Did / Many Times)

    I have been hard on the writers all season, but in the first 141 seconds of the prologue, the writers found a way to represent an abundance of ‘appetite’, without showing the couple together much at all. Chuck and sarah are ‘all in’, so is the creative team after that start – nuf said. Really well played.

    Theme #2:3D chess match is on

    From the point chuck flashes and sarah spots the gun, through the “chuck, I can’t lie to you’, ‘you’ve been faking it???’, ‘that was YOU in the room with me’ and ‘you have a way to even make peruvian terrorists sound sexy’, followed by a tackling of each other like a pair of high school kids at a drive in – our fav couple (and the ever increasing in good standing writing team) told us the back 6 was going to work different

    Theme #3 – The Charlesss’ssss

    When you wake up in the morning, I can only wishfor every man in the world at some point gets to sip coffee with a lady looking at him like sarah walker was looking at chuck, with her leg draped over him, asking him with wide eyes – ‘what’s the plan’. Texas bimbo sarah may not play well every episode, but she was a blast in the dining car playing the ‘marks’, waving, smiling, giggling, saying you all, totally ‘over the top’, which is what this show does best. Chuck still wants to find some way to screw things up with the hand wringing was ‘honeymooners’ too much, sarah’s response seems to be a theme looking forward, something like chuck, we running away together …. chill out …. you got the girl

    Theme #4 – dun da dun da – the casey-nator shows up, its action time

    If the charles were fun, the hart’s were even funner, as a fighting action spy couple, chuck and sarah kicked butt, I still haven’t totally figured out where both of sarah’s legs are as they ride the motorcycle, really not important – wow, plus the fight scene, plus two handcuffed together one punch scenes, plus sarah fighting a terrorist one handed, ok, nuf said

    Theme #5 – The Water Fountain – YESSSSS

    Didn’t really take place at the water fountain, but from the point chuck walked into ellie’s place, made peace with ellie, introduced ellie to his new girl (who was wearing a bracelet), to the point sarah snuggled in (she almost looked like she was trying to crawl in his skin) with chuck to the tune her favorite song, I hope Liz James’s test for the ‘truth’ was met, awesome.

    No matter how the future proceeds for Chuck, the series was well served by this episode

    • Merve says:

      When they were riding the motorcycle, one of Sarah’s legs was draped over Chuck’s legs and the other was behind him. It’s kind of an uncomfortable position, but Strahovski has the flexibility to pull it off, probably because of her dance background.

      It’s sad that I can remember a silly detail like that without even watching the episode or looking at a screencap.

      • joe says:

        It’s sad understandable that I can remember a silly detail like that…

        There. Fixed it for you, Merve. 😉

      • atcdave says:

        Merve that’s an important detail for continuity and believability. We would revoke your credentials as a true fan if you hadn’t at least pondered the issue.

      • Merve says:

        No kidding. One-legged Sarah wouldn’t last long in the spy world.

      • JC says:

        After watching Planet Terror, I think Agent Walker could make it work.

  5. PeterOinNJ says:

    What I liked most about this episode is that it appealed to me – to all of us – on an emotional level. By now you know that I have trouble looking at Chuck analytically. The ability to do that disappeared when all of the governments secrets were downloaded into the hard drive know as Chuck Bartowski (really, come on now). So I don’t look for things to make sense on an analytical front – I do however connect with the characters and story on an emotional level, where relationships and feelings come into play. S3 was a series of ever increasing pendulum swings from the emotional lows of Pink Slip thru Three Words to Angel de la Muerte; First Class to Fake Name; Beard to Final Exam; American Hero to Honeymooners. Honeymooners was the high point of the pendulum swing to this point and most of us consider it the best Chuck episode to date – even with the significant plot holes; even with the retcon regarding leaving/staying in the spy life. As Bill Murray said in Meatballs, it just doesn’t matter because we loved the episode. We felt their love, their happiness, their commitment, their sheer joy. This is what love is all about! The characters we cared about were in a great place together and we went there with them too. We were all allowed to feel good about feeling good. It was a new dawn, a new day and a new life for us and we’re STILL feeling good!

    • atcdave says:

      You know I agree with that! The emotional tone on Chuck is often more important than mere details. As we’ve observed here a few times, when the stories get depressing, we start picking on all those plot holes and logical failings; but when its fun, its easy to forgive a lot.

  6. aardvark7734 says:

    To understand what this episode meant to me, it’s not adequate to talk about its merits as a standalone episode. It’s pretty strong, but if I was to rate it that way, it’d only make my top ten. When I include the context surrounding it, however – how I was feeling about the show and its prospects when it showed up – then it moves into my top three.

    You have to understand, I’m a pretty determined Chuck fan. I’ve posted about it endlessly, gone to the conventions, written articles for web sites, joined cabals where we tried to predict (in detail) what was coming next episode, proselytized other viewers, etc, etc… All kinds of fanatical stuff. I was (and still am) very deeply invested.

    But after eight months of high expectations most of what I loved about the show withered on the vine in S3. There were still good moments in the show here and there, but overall I felt the show had become less and less entertaining. It was as if TPTB had decided to systematically crush everything I really cared about. They made characters I thought I understood act in bizarre ways and introduced new characters I had no affinity for or openly despised. But most of all they told a story I didn’t want to see. And as the cherry on top they didn’t even tell it well.

    The crushing disappointment of watching it erode, episode after episode, eventually brought me to the point where I lost faith that TPTB could ever find their way back to the show I wanted to see. It was like trying to hike out of the desert, finding nothing but scrub over every ridge and gradually losing hope you’ll survive the attempt. I was in a pretty dark place.

    What’s funny is that I knew ‘Other Guy’ was coming, and the leaked casting call from ‘Honeymooners’ plus overwhelming circumstantial evidence made me almost 100% certain they were going to put Chuck and Sarah together, which should have been great news. But you know, at the time, it wasn’t.

    Instead of being excited, I was kind of depressed about it. Something that I should have been highly anticipating – the long-awaited resolution to the most cherished relationship of my favorite show – was about to happen. And yet I felt only dread. Why? Because when that moment occurred, it had to be delivered with finesse and artfulness. It had to be *great* to be a worthy payoff for all of the angst and suffering that we dealt with vicariously over three years. But everything I was seeing on the show up to that point was convincing me that the moment, when it came, was going to be underwhelming at best and crap at worst.

    So, ‘Other Guy’ came and went. Yes, Shaw took three to the chest and I hollered and hooped along with my girlfriend. And Sarah did the things we know she did in that episode, some of which were sort of pre-shocks to the earthquakes to come in ‘Honeymooners’. But while they made me blink and a ray of hope came through the clouds, these good omens weren’t enough to overcome the cynicism and low expectations that TPTB had coated me with in layers by this point.

    So now we get to ‘Honeymooners’. And it was like the sky parted, the sun came out, it was Christmas morning and everything I was worried about just evaporated away like morning mist. Like I finally crested that last ridge in the desert only to find a Crispy Creme shop next to a topless beach resort.

    OMG. What a turnaround! Suddenly, not only was the show fun again, it was fun turned up to eleven. Not only were Chuck and Sarah together, but they were having fun BEING together. Nothing was held back – it was all on the table. The sense of adventure was back, the romance was back, the lightness was back. And some of the scenes were potent and perfect. It was a nuclear bomb of joy and celebration just when I needed it the most.

    And it almost single-handedly reaffirmed my belief that TPTB had the ability to bring the show back into balance. Back to something I couldn’t wait to see every Monday, instead of something that made me cringe for fear of what they were going to screw with next.

    No, it’s not a perfect episode. Every episode can’t be this lighthearted or chock full of gushy romance and hi-jinks. There has to be a balance. But for one Monday in March, it was the best thing ever.

    Because it saved Chuck for me.

    • Ernie Davis says:

      Well said. I felt much the same, though perhaps to a lesser degree. Through the Mask arc I’d lowered my expectations quite a bit and by Other Guy I was enjoying it again, but Honeymooners did exactly what you said, it restored my faith that while TPTB decided to beat us over the head with drama and angst for far too long they still understood that Chuck was at some level a fun comedy, not a soap opera or 24.

    • atcdave says:

      Really well put Aardvark. It can’t quite make up for what we went through, they seriously damaged my favorite part of the show; mainly the idea Chuck and Sarah believed in each other no matter what. The season started with that idea blown to bits, and it went downhill from there. But Honeymooners certainly made the show fun again. As you said, the storm clouds parted. They can’t undo the mistakes of S3, but they can make it right going forward, and they have.

  7. OldDarth says:

    Chuck Versus the Subway is my all time favourite Chuck episode. It has the perfect balance of ALL the elements that I enjoy from the show.

    Chuck Versus the HoneyMooners is a great episode, and a deserved payoff for those for whom the relationship is the raison d’etre to watch the show. I like it a lot too. But since the relationship is about fifth on my list of why I watch the show it cannot meet the brilliance of Subway.

    Subway is my all time favorite Chuck episode was the excellent use of all the 5 main leads most notably Ellie. Getting to see Sarah Lancaster flex her acting muscles with new material was a jolt of excellentness. That is why I hope the show does not try to perpetuate a new set of lies in S4. Please keep it to an episode or two at the most.

    The end result of everyone finding out has been more character maneuvering room for the 5 leads. Not only would it be fantastic for Ellie to have more to do, no secrets also means that Sarah can have ‘real’ moments with Morgan, Ellie, and Devon too now. Stopping the lying is a win-win scenario after three seasons and allowing the leads to interact freely would be a fantastic and exciting new direction for the show. The synergistic effect of having the five leads on the same page could only make things better IMHO.

    • Ernie Davis says:

      Without quibbling too much I’d contend that there are now 6 leads. The Spy Couple, the Doctor Couple and the Odd Couple. And while I agree that the new openness has a lot of room for dramatic or comedic conflict I doubt they’ll do away with the secrecy angst. They’ve gotten too used to it as a feature of the spy world. That said I think a lot of posters have commented on how it really depends on how they play it. Is it the overdone angsty beat you in the face way the romance and fauxmance were played in s3, and Chuck’s lies in the back 6, or is it the more subtle way they played it in s1 and s2 for both the romances and the fact that Chuck needed to lie to his family as just features of his new life that existed in the background, not a deliberate choice.

      • OldDarth says:

        Quite so. I keep forgetting to add Devon to the equation.

        And who knows it may be bumped up to 7 if Alex becomes a bigger player than suspected right now.

    • jason says:

      darth, you and I are invested in a very different show, but from what I can tell, great to you is still very good to me, great for me is still at least ok for you, but we all seem to agree on what is bad, the best news (albeit just one interview as far as I know) is Fedak essentially told sepinwall that he seemed at least to understand the common ground most fans share – time will tell I guess – I am a huge sarah lancaster fan too, and was very happy to see her finally get a chance, just hope they don’t bury her in this lie / deception / angst angle some are describing

    • atcdave says:

      I really agree with every bit of this OD. I love the idea of all the leads involved in the “A” plot to one degree or another, and I don’t really care for the lying and secrecy between people who ought to trust each other. I do think, as Ernie said, they won’t let it go entirely; but hopefully it will be more understated and not be played has awkwardly as it often was in S3. And man do I ever hope they add Alex to the mix, what a perfect source of tension between Casey and Morgan, it makes me laugh just thinking about it!

    • jason says:

      I too loved alex right away, when she showed up for the water fountain scene at the family table, she seemed such a perfect fit, if she does want to become a spy, she could become a source of angst (funny angst) between sarah (who probably would be her handler) and casey (who just isn’t ever going to be happy), which man would should practice seduction skills on – morgan or chuck

      • BDaddyDL says:

        Now that would be AWESOME, but I dont think after the first few episodes that Sarah will be a CIA agent if at all, if she is, well then they would be apart.

        AM i right on this?

      • weaselone says:

        Certainly they would be apart, but that doesn’t necessarily mean that the moments in their life they chose to highlight would be when they were separated. The might simply choose to show the moments when they are together for the first couple episodes, using Sarah and Chuck’s separation to cause stress on the relationship and generate angst.

      • jason says:

        sarah could train alex as a part of team orion, that team we are hoping for to function outside of the CIA – this would give ‘everyone’ a second female spy lead, another source of angst, forget the seduction training, how about a seduction ‘mish’ – how happy would casey and morgan be then, etc, they probably should have made her older, but somehow, she went from in my mind 18 years old in 3.10 to graduating college in 8 or 9 episodes – didn’t she?

      • Merve says:

        The timeline would put Alex at around age 20 or 21. 20 might be a little young to be graduating from university, but I don’t mind fanwanking it and saying that she skipped a grade or two.

      • atcdave says:

        I think the most likely scenario is either Chuck and Sarah both are CIA, or are not. They could be mixmatched, in the real world we have federal employees and contractors working together for long periods of time quite often; but that might be confusing on the show, so I say either Chuck rejoins or Sarah quits.

        Casey could be another matter entirely; but I’m thinking he’ll probably quit too, simply because they’ve already talked about Morgan and Casey as the odd couple; and I just don’t see Morgan staying with the agency if Chuck quits.

        Alex is an interesting question. We know she was studying criminology, but that could be for Law, Law Enforcement, or (ahem!!) other government work. At 20 (or 21) it seems unlikely she would be anything more than a trainee or student for a few seasons, but they have rushed Morgan into field work so what the heck! It shouldn’t be too hard to come up with some circumstance where Alex is forced into spy work; but I truly hope they resist the temptation of having her do seduction work. Although it might offer some humor, I think they’ve generally overplayed that hand on the show. Now Alex beating up bad guys while Morgan is doing something with electronics, that could be fun; they’d be kind of TeamB’s “B Minus Team”.

      • Crumby says:

        Alex could join the FBI. Hihi! How Casey would react to his daughter doing ‘lesser work’?

    • aardvark7734 says:

      While your first sentence was a jarring non sequitur as a reply to an original post about ‘Honeymooners’ 😉 I agree with all of the reasons you gave for what made ‘Subway’ great. I even agree with you about the lying – the show could be really fun if the extended family Bartowski just goes full bore into a frantic race to become familiar with all of Orion’s nemeses (nemesis’s? 🙂 before they overwhelmed them. Who knows? Maybe TPTB will even do that.

      But despite all of that, while ‘Subway’ made my top ten list of episodes, it’d never get close to being my favorite. It’s just too dark and that kind of serious drama is not what I want from this show. From ’24’, yeah. From ‘Alias’, sure. But not from ‘Chuck’.

      When the show gets too serious, it starts to put pressure on the underlying premise and plot consistency that the show has not sufficiently invested in. While we’re generally able to overlook plot holes and continuity gaffes when the show is played for humor and light drama, it becomes much harder not to question the characters’ actions or ability to grasp the seemingly obvious when things get tense.

      This is manifested on the various forums and blogs by the ever more byzantine and convoluted rationalizations applied to explain the plots and character actions in these episodes.

      Not to put too fine a point on it, but TPTB aren’t as good at writing darker, more dramatic material. They’re not detail-oriented enough and they’re too focused on 80’s homages and “cool” gimmicks to get the story fundamentals solid. But to be fair, none of those writers were hired to write ’24’. They were hired to write ‘Chuck’, a show whose proportion of elements was most perfectly exemplified in its pilot.

      ‘Subway’ is also a setup episode, not a payoff episode. In this way it’s very much like ‘Dream Job’ or ‘Predator’, where ominous plot threads are set in motion to bring about a bleak cliffhanger. There’s nothing wrong with that, it’s just that I tend to enjoy savoring the journey’s end more than its start. Again, these are strong episodes, they’re just less entertaining to me due to their roles.

      • OldDarth says:

        “It’s just too dark and that kind of serious drama is not what I want from this show. From ’24′, yeah. From ‘Alias’, sure. But not from ‘Chuck’.”

        There we go because that is exactly what I want from Chuck. And much more of it.

        It disappoints to no end when I read posts like yours Aardie, especially given how articulate you are, that you want to cripple – IMO – the show by wanting it to stay light.

        The characters are TOO good; the actors are TOO good; to NOT want to see them take on heavier material.

        The occasional installment of levity is fine, after all variety is the spice of life, but these characters and the world they inhabit are ones I want to see pushed to their limits.

        Limits, that may or may not be dark that tests them and has them come out the better for it on the other side.

        There will be a lot of new writers on staff for S4 so with that and the setup for S4, anything is possible. Certainly LeFranc and Judkins have shown they can handle heavier material.

        Chuck has a brand new sandbox to play in. I want to see them use all the sand.

      • OldDarth says:

        PS – you forgive me the jarring non sequitir and I’ll look past the hyperbole on HoneyMooners saving Chuck for you. 😉

      • Ernie Davis says:

        I agree Aardvark. This is one of my quibbles with the direction this season. If they want to go more dramatic they need to make the character motivations more apparent. If they want to go deeper into the spy story, the plot holes need to get smaller. That to me is why Honeymooners was such a relief.

        Speaking of non sequiturs I bought a new laptop today. The very knowledgeable sales guy who all the other employees came to for help and who I talked to for 30 minutes about all kinds of computers and systems. You guessed it, his name was Chuck. And yes I mentioned the show. And of course he was a fan. He also said I’d be surprised how often someone brings up the show when they see his name-tag.

      • AngelTwo says:

        I find it interesting that TPTB say the Chuck-Sarah relationship is the heart of the show. And they have said that the third season (the bad parts AND the good parts) was all about Chuck and Sarah’s relationship.

        Yet here’s someon who says the Chuck-Sarah relationship is “about fifth on my list of why I watch the show” opining about where he thinks the show should go.

        I would care about that opinion because?

        Or should the rest of us five million viewers leave now, too?

        Just sayin’…

      • aardvark7734 says:

        OD, I’m pretty sure we’re not communicating, but that’s okay – there’s no rule of the universe that says we’re ever going to (or have to) understand each others position. 🙂

        But just as friendly debate:

        I don’t watch “Chuck” to see the actors push themselves to the limit. I watch it to be entertained. For me, for what entertains *me*, that’s light comedy, action, romance, light adventure, some poignant moments. A few dark elements are great, but not so much as to overshadow the fun. As I said before, the pilot episode captured that tone perfectly, IMO.

        We’re just flip sides of the same coin – instead of your “occasional installments of levity” (by which you mean ‘Honeymooners’, ostensibly) I’d say ‘occasional moments of heaviness’ like ‘Dream Job’, or ‘Subway’. I *like* those episodes, mind you, but to me they verge on the dark side and I wouldn’t want to see them become the median.

        As a matter of being a good forum citizen, I’m trying to stay short of claiming that lighter or heavier drama are “bad” or “good” directions for the show to pursue. They’re not absolutes. You subjectively want darker and I subjectively want lighter. I don’t see how your desires are any more valid than my own.

        As an aside, I don’t think “lighter” is a less difficult target to hit – there are more than a few shows that have aimed to capture that tone and failed miserably to achieve it.

        P.S. That might not be as much hyperbole as you think. I was frustrated and fed up with the show. I wasn’t enjoying the episodes much at all. Even after ‘Other Guy’, I didn’t *love* the show again. It wasn’t until after ‘Honeymooners’ that I felt I could do that.

      • weaselone says:

        If they go dark and serious then they have some serious work to do on the show because as others have noted they have yet to show us they’re capable of doing so well over the course of an entire season. The spy missions would need to be less sophomoric, the plots much tighter, the dangling ends fewer, and the character consistency higher.

        But seriously OD, I don’t think you want that. I’ve read and listened to you fawn over the Morgan character this season. If you’re that enraptured with Morgan who is basically an even more extreme version of Chuck as he was in season one complete with silly spy antics and accidental store detonations then you don’t really want a show that takes itself too seriously. If you were really a fan of the serious, then the more grown up version of Chuck, complete with his lies would be the character you find more compelling.

      • jason says:

        darth – i find it amazing that a smart (and by the way very articulant – even when we don’t agree always enjoy reading your stuff) guy like you takes chuck seriously – the show is a parody of serious – or at least was until 3.1 thru 3.13 – even if you liked the direction of the arc – most fans really did not – by the end even the sepinwall’s and ryan’s of the world were making fun of it –

        I like just the opposite – everything over the top and played for laughs & warmth – which is why I liked 3.14’s sarah and chuck interplay so much

        however they approach season 4, they probably have one shot at getting it right, hope it all works out, I have no insider knowledge of what the arc will be like, I hope lite, warm, truthful and fun – plus more episode driven and less serialized – sounds like you are hoping for something else?

      • Merve says:

        I find these debates about the tone of the show kind of interesting because I don’t know if there’s a single tone that works for the show. We can even look at back-to-back episodes for examples. “Tic Tac” and “Final Exam” were arguably both “dark” episodes. The former was well-received. The latter wasn’t. “Honeymooners” and “Role Models” were arguably both “light” episodes. Both were well-received on the whole, but “Role Models” also received a significant amount of criticism.

        Where “Tic Tac” and “Final Exam” differed was that the latter was bleak, whereas the former was not. “Final Exam” left me with a lingering feeling of dread and hopelessness. I may be going way out on a limb here, but I don’t think that it’s “darkness” that generates negative fan reaction so much as it is “bleakness.” (This theory is very hard to prove, though. “Final Exam” is one of the few “bleak” episodes of Chuck; even “Nacho Sampler” ended with Ellie and Morgan determined to find out what was wrong and fix it.)

        Where “Honeymooners” and “Role Models” differed was that the former had the dramatic weight of a potential roadblock to Chuck and Sarah’s relationship, whereas the latter lacked such a weight. The result was that “Role Models” sort of drifted off into La La Land. It was kind of fun, but a bit too fluffy and a little unsatisfying, in my opinion. Again, I might be going out on a limb here, but I think that Chuck works best when there’s some sort of dramatic undercurrent to anchor the show.

        As for I want from the show, I want it to keep mixing things up by using a combination of lighter and darker episodes. Fedak seemed to indicate in his interview with Sepinwall that this would be the case in season 4, so I’m excited. I agree with OldDarth – the cast is certainly capable of pulling off the wide tonal range of the show. Honestly, is there anything that Zachary Levi can’t do? And Sarah Lancaster can do everything from silly (e.g. “Mask”) to serious (e.g. “Subway”) without missing a beat. But I have to agree with the sentiment of some of the other commenters that just because they can do it doesn’t mean they should. For example, I’m sure that Zachary Levi could ape Will Ferrell, but I don’t want to see Chuck acting like a total buffoon.

        I think that what Chuck needs is balance. The show needs some emotional and dramatic weight; Chuck is not a sitcom. But the show can’t rely on bleakness, pointless angst, or dramatic storylines that damage the characters we know and love. In my opinion, the best strategy is take advantage of the show’s wide tonal range, but to avoid extremes.

      • aardvark7734 says:

        Damn mediators! Pick a side and stay on it!

        (JUST KIDDING)

        Sage words, Merve.

        I think balance is fine, but static balance would be boring, of course. Having the pendulum swing between ‘Honeymooners’ on one edge and ‘Subway’ on the other dynamically would suit me just fine, as long as the average stayed right between the two and it hit both stops with identical frequency.

        This formula should keep TPTB from committing another 13 episode run of persistent “bleakness” 😉 yet still allow them the freedom to pop out a ‘Subway’ or ‘Ring II’ when necessary.

        Sound okay?

      • JC says:

        I wouldn’t even say its bleakness as much as being forced.

        The key difference to me was that Tic Tac felt true to the Chuckverse while Final Exam felt completely out of place and heavy handed.

        Final Exam is a perfect example of my problem with the season. It tried too hard and ended up being melodramatic.

        And like others have said if the show is going to play up the serious nature of the spy business and go darker, they really need to tighten up everything on the show. The continuity, motivations of characters and spy plots need to actually make sense, not casually tossed aside to move the story forward.

      • Ernie Davis says:

        I think we need to keep one thing in mind when it comes to tone. It isn’t necessarily all about dark and serious or light and fluffy. It’s also about having a deft touch versus a punch in the face.

        I’ll use Chuck’s lying as an example. He’s had to lie since the very beginning of the series, but it was always played as part of the new life he’d been involuntarily pushed into and something he did reluctantly. Lately they’ve played it as something totally unnecessary that he chooses to engage in out of choice or convenience. They do this by portraying the cost of telling the truth as negligible and by continually adding a little dagger twist at the end, like in Nacho Sampler when he tells his sister “there are no secrets between us” or in living dead where he tells his dad “you know me, I wouldn’t lie”. It makes for a far more heavy handed “in your face” approach. The romance and the fauxmance were dealt with in a similar fashion this season, to the show’s detriment.

      • Merve says:

        Ernie, maybe I’m splitting hairs here, but I think that the lie to Ellie in “Nacho Sampler” was played that way not because Chuck was lying to his sister, but because he was lying to his sister in front of her husband. The key thing for me is Devon’s subsequent reaction and Chuck’s terse dismissal. If anything rang false to me about that scene, it was Sarah’s reaction (which I guess one could attribute to her general unease about Chuck handling an asset).

        As for the lying in “Living Dead,” it was pretty unnecessary. Chuck didn’t gain anything by lying to his father. His father was involved in the spy world, so it wasn’t as if hiding the truth would protect either of them. At some point, Chuck should have manned up and come clean, but instead he chose to lie again. And again. And again. (I don’t want to get into Chuck’s lies to Sarah because they’re of an entirely different nature and I don’t want to conflate the two types of lies.)

      • Ernie Davis says:

        Merve, I agree with you about lying to his dad, that was part of my point about their heavy handed handling of these things. And in Nacho Sampler, again I agree, the point was to horrify Awesome at how cold Chuck could be, again handled as subtly as a punch in the face. As with the romance and the fauxmance they’ve handled this better in the past, in a way that doesn’t make the character unsympathetic.

      • JC says:

        Ernie

        I don’t know if your comment about tone was directed at me or not. If not just ignore this.

        I wasn’t talking about darkness of the episodes but the premise of the stories in Final Exam and Tic Tac. One felt like it belonged in the show I’ve watched over the last three seasons, while the other felt like something completely different.

      • Merve says:

        I’m kind of inclined to agree, JC. The way the story was going, it felt as if it was time to resolve the Chuck/Sarah subplot in “Final Exam.” The episode felt as if it were working against where the story wanted to go. Plus, the whole idea of a red test seems to come from somewhere other than the Chuckverse. But, I guess I shouldn’t complain too much because while “Final Exam” is my least favourite episode, I really enjoyed “American Hero.”

      • OldDarth says:

        Chuck needs to be neither light or dark to be enjoyable. Dislike restrictions being put on the show.

        The story being told should dictate the nature and tone.

  8. OldDarth says:

    My tolerance for angst is quite high. It is endemic in romance stories so I find it easy to filter out.

    It is the use of lying and the passing around of the stupid stick between characters to support a half baked storyline that I find much more egregious.

    • Merve says:

      I wholeheartedly agree. One of the main characters keeping another one of them main characters in dark about too much for too long is just going to get aggravating next season. I’m reluctant to say that the time for secrets and lies between the main characters is completely over, but I don’t think that secrets and lies between them should be the major driving force for any of next season’s plotlines. I’d rather focus on the secrets that Orion and Mama B have kept from the rest of the Bartowskis.

      As for angst, my tolerance is also quite high because I’m not very focused on the romance aspect of the show. I’d even go as far as to say that if handled with care, angst can work (which is why I think that “Suburbs” is brilliant). But if it’s too heavy-handed, it can totally flop.

    • lucian says:

      I really like the “stupid stick” metaphor. The show is best when all the characters behave as intelligently as we have come to believe they are. There are plenty of sources of drama without stupidity; lying; miscommunication; lack of trust; deception between the leads as the driving force of the story.

  9. kg says:

    Watching this episode again. So touching, on cue, Chuck and Sarah both take responsibility for their “honeymoon” when grilled by Beckman.

    That is such a positive little sign for the future.

    I think it was important for Sarah to step up and confront Beckman so to speak in explaing how they were now “dating – exclusively.” I’ve always had the sense that Beckman has been harder on Sarah, another woman, than her boys Chuck and Casey.

  10. Crumby says:

    I loved all the CS scenes, they were amazing to me.

    I really liked Sarah in that ep, it was the character that suffered the most in the Front 13 for me. I loved her “I can’t fake this, not with you”, “General, Chuck and I are dating” or “I don’t want you to choose me over something that you want for yourself”. It was good to have Sarah back, and back as happy as ever.

    I loved the tone, because it is a pay-off episode which means, it is unique. A whole season of Honeymooners can’t work IMO.

    I loved that everybody was involded. We had romance, we had bromance, we had partnership, we had action, we had comedy…

    Morgan was hilarious and still he had some of the most impressive quote of the episode like “Just do me this favor. Before you quit, make damn sure that quitting is what she wants” or “these two were born to be spies – together” (with the hand gesture, lol, so funny). Simply put: it was Season 3 Morgan!
    Casey openly caring for Sarah and Chuck but still disgusted by seeing them impressed their lady feelings! I like that Casey. Too softy Casey is weird!
    Ellie having a hard time leaving her little brother, emotions guaranteed.
    Crimes in action, Beckman (“release Agent Walker”), and so on…

    Finally, how come nobody mention the spectacular Jeffster performance? They seriously impressed me!

  11. Pingback: Episode of the Week: Chuck vs The Honeymooners (3.14) | Chuck This

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