But after three and a half season, fans are still asking “will they or won’t they?” We took the question to creator and exec producer Andrew Marlowe, and what we found out should make Caskett fans very, very happy.
Wetpaint Entertainment: I know that Stana is on Team “Get Them Together Already” and Nathan is for Team “Let Them Try To Get Together.” Have you picked a team?
Andrew Marlowe: I don’t believe in teams. I believe in really good storytelling. I think that there are really interesting stories to be told with these two. And the interesting stories take place while they’re apart trying to get together and after they’re together.
So to me it’s not a matter of "if," it’s a matter of "when." And then it’s a matter of consequences.
Once you’re in a relationship, you have to deal with the fact that you’re in a relationship. And that changes things radically and can make it really interesting.
Are you worried about bringing them together?
People talk about the curse of Moonlighting. I do not think that Moonlighting went off the air because they slept together, I think that show fell apart for a number of other reasons.
There are all sorts of ways of doing it. It’s all about keeping the audience compelled in the characters’ journey. And you can do that if they’re not in a relationship, if they are in a relationship, if they get into a relationship and something tests that relationship.
But I feel like the characters aren’t there yet. Beckett has some healing to do, Castle has some growing up to do. And we have to make sure that Castle doesn’t grow up at the expense of him having fun on the show.
Any thoughts about bringing in temptations for Castle that aren’t Beckett?
Temptations abound and we had some temptation in episode 5 this year, with the insurance investigator. It was really fun to see a slightly more mature Castle wrestle with his feelings for Beckett and a slightly more mature Beckett wrestle with her feelings for Castle.
In any relationship there are numerous obstacles and right now we have two characters sitting on their own emotional time bomb. It’s really compelling to think that Castle has a huge secret from Beckett and how is she going to feel when she finds out about that, and to also know that Beckett has this huge secret from Castle — that she heard him, and she knows.
She just feels like she’s not there yet, so she’s conveniently not remembering it. But what happens when he finds out that she’s been lying to him all this time? That’s pretty compelling stuff.
Is Beckett’s spiraling under control now? What can we expect from now on?
I think that for anybody in a situation that Beckett’s gone through, or anyone with PTSD, it can come and go in waves. I think there were some vital recognitions on her part that she’s no longer denying where she is, and that can be enormously helpful.
But I can’t say it won’t rear its ugly head because reality is that these are deep wounds, both psychological and physical, that show up from time to time. But we’re not always going to be dealing with it on the show, because we don’t always necessarily have triggers that will put it out in the open. But it’s very much a part of who she is.
We have the expectation that we’re going to treat Beckett as a real-life human being where the problem may have been temporarily solved within the confines of that episode, but things like PTSD are too complicated to be solved in 42 minutes.
It also seems like she’s ready to tackle certain emotions, and I think every fan has been wanting her to come to terms with the “I love you” — is she ready to explore that?
I think she is ready to explore that. I think that’s going to be part of her growth in the spring. She’s got some big questions she’s wrestling with.
And the nice thing about the introduction of the therapist is that Beckett has always been a bit of a closed book for the audience and they’ve only been seeing her through Castle’s eyes.
So, for us, using the therapist was a way to give us some real insight into the character and for her to find some real insight into some stuff that she has not been dealing with, because she just wanted to be a good soldier and soldier through it.
But now the audience knows what she is looking for and why she wants it and why she’s not acting on it at this moment. She wants it to be authentic. She wants it to be real. And she knows that she needs to get to a place and he needs to get to a place where she can have that, because otherwise I think it’s going to be a roll in the hay and everybody is going to lose interest.