Elsbeth Season 3 Episode 4 does Halloween — or, rather, Hallo-week — right. There’s a haunted house with so many fun details, kids experiencing the delight of a jump scare when they go trick or treating, and even a beheading. In a town called Sleepy Hollow, no less! Also, Elsbeth herself gets to wear not one, but a series of Halloween costumes inspired by My Fair Lady‘s Eliza Doolittle. But she doesn’t just wear them because that wouldn’t be as exciting and imaginative. Instead, she plays the character while she rocks those looks.
Because it’s Elsbeth, the spooky fun is much heavier on the fun than the spook, and there’s also an overwhelming amount of heart that, anywhere else, would seem out of place.. Father/daughter moments between Captain Wagner and Julia, an optimistic ending that shows neighbors sometimes can still help each other out, and Detective Donnelly getting in on the My Fair Lady gag by the end all contribute to that extra special something that defines this series. If our regular characters happen to be the warm and fuzzy opposites of everything happening in this hour’s Halloween horror, well, that’s pretty on brand too.
As is usually the case with this series, Elsbeth Season 3 Episode 4 also features incredible work from the guest star/murderer of the week. This third season has already knocked it out of the park in that regard, and Annaleigh Ashford’s turn as Sharon Norman is totally to die for. No pun intended there, but let’s go ahead and get a Halloween cliche out of the way by saying her performance is no tricks and all treats. From the very first second we see her on screen, before she barely takes a step toward welcoming that new neighbor, viewers know exactly who Sharon is and what type of overbearing, manipulative type of meddlesome neighbor and (ghoulishly imperfect) Little Miss Perfect we’re going to get. And get that, we absolutely do.
Ashford doesn’t just carry that character in her line deliveries or in her many, many (fake) sickeningly sweet smiles and dangerously disgruntled expressions. It’s about the rigidity of her posture, the way she pauses before straightening that sign at the beginning, and so much more in how she physically uses her body throughout the entire journey. And while this character requires a white-knuckled grip to control all those emotions, she’s more than capable of showing viewers how out of control Sharon is underneath it all — way, way before she’s allowed to fully let loose. Once she does have that opportunity, though, she’s every bit as unhinged as we need her to be.
Oh, and good luck to any guest star who has to play off Carrie Preston’s many hilarious quirks in the future because Ashford has set a new and extremely high bar for those reactions. Both actors remain extremely underrated gems, so having them play opposite each other makes what was always going to be an entertaining episode — I mean, it’s Elsbeth! And also Halloween, which I love! — the best it can possibly be.
The “most patient” of all Captain Wagner’s kids
When Elsbeth isn’t having fun playing Eliza Doolittle while solving our Halloween beheading mystery, Captain Wagner is fighting with technology coming to terms with the fact that his daughter Julia is an adult who can make her own choices. The way this relationship is written and portrayed is right on point. It’s heartwarming, with just enough humor. Tense at times, but always in a way that you know it will eventually turn out ok.
The characters’ closeness is obvious right from the beginning. There’s a fondness to the way Brittany Inge delivers Julia’s “hi, daddy. And you’re not” in response to her dad mentioning she’s “right on time.” It’s very easy to see this as a running theme, with the lateness something she’s simply accepted about her dad. The same can be said for how disgruntled he gets when he can’t get that computer to do what he wants, even with his baby girl’s help — it amuses her because she loves him, because she’s seen this before…and because Wendell Pierce nails the comedy every time.
The second Julia starts flirting with Cameron and inviting him to talk over lunch, you know there’s going to be trouble. Somehow, Pierce’s “we’re having lunch!” simultaneously conveys that dear ol’ Dad doesn’t want to lose his quality time with his girl, a need to step in and protect Julia, and scolding for Cameron even thinking of talking to someone who isn’t Kaya. Because, you know, Kaya’s kind of one of his kids, too. And she’s…well. We don’t know where she is, but it had better be a safe place by the time all of this is over.
The scene where Wagner gives Cameron a talking-to is, again, multiple things rolled up into one. For one thing, he’s that big, scary Captain Wagner and the intimidating father warning off a potential romantic interest. But he’s also just someone who cares about Kaya and is making sure her romantic interest doesn’t get harmed. In fact, he’s direct about why poor, scared Cameron’s getting this one-on-one time with the boss: “There are two people that I care about. That I don’t want to see hurt. Kaya…and Julia.” (Love that head tilt from Pierce there, as if to ask, “you get me?”)
But what’s interesting, and telling about how special the father/daughter bond with Julia is, is Wagner never actually brings up Kaya when he talks to Julia — not directly, at least. One could probably argue that “…but this precinct and these people? It’s my world” is a little nod to the one person who’s not here to warn Julia off Cameron herself. But when Julia argues with the old man, both characters are fully present in dealing with their own, personal issues. The focus is squarely where it should be: on the history of him doing exactly this kind of thing, whether the guy in question was already seeing someone he cared a lot about or not, and learning to do better.
Quite a lot about these family scenes in Elsbeth Season 3 Episode 4 is incredibly relatable. Anyone who’s had to help a parent or grandparent fight against modern technology — especially printers, for some reason. Seriously, what’s up with that? — should recognize Wagner’s almost tantrum-like response to all the tech fails. And anyone who’s lucky enough to have a father who adores them the way Captain Wagner obviously adores Julia while adoring him right back, yet frequently gets frustrated about being seen as a kid too much (no matter their age), will probably see a bit of themselves there, as well. Maybe some parents can learn a thing or two about letting the kids they raised to be independent actually be independent, too.
That last scene Inge and Pierce share is such a highlight for this hour. I love how Julia stands up for herself and is emotional about it without going over the top or getting into territory that would imply a more troubled relationship. The same goes for how easily she’s able to make that joke about giving her mom credit, complete with that sly, little smile. But when Wagner takes responsibility for his mistakes and promises to do better, she’s both super emotional about it — like he’s really seeing her and not the little girl in the picture for the first time — and quick to let him know he “could never be a bad dad.”
These two just do such an amazing job of taking turns hitting all the different emotional beats and knowing both when and how it’s appropriate to either match the other person’s level or take it in a different direction. I’m also pretty sure I jotted down every line of dialogue in the scene because it’s all so good. Just excellent TV all around.
More Elsbeth Season 3 Episode 4 reactions
Yes, I did watch Annaleigh Ashford’s EVIL episode immediately after screening Elsbeth Season 3 Episode 4. Thanks for asking! (Anyone who hasn’t watched that series yet is totally missing out, and if you want something more on the dark side of Halloween than what we see here with ‘Ick, a Bod,’ both Ashford’s possessed character and the series at large will fit that bill.)
Kind of dying just from the title of this episode: ‘Ick, a Bod’ like Ichabod Crane! …should’ve known that poor woman would lose her head, huh.
“No sugar, dairy, or gluten.” “So, no flavor.”
“Social Committee. So, you know where I can get the good drugs.” And her…face.
“MANY, MANY BAD DAYS LATER.”
“…and when I see our towering maple on the horizon, I know…that I am almost home…it grows, and it grows with us.” This woman is more in love with that tree than anything else on the entire planet, huh.
“It’s family. And no member of our family will ever — ever! — be touched by that woman.” Ok but like. She’s kinda scary here.
Watch the way Ashford plays Sharon’s response to that “we” from Beryl. She is so jealous the others actually like and want to work with the new neighbor. The way her face just, like, freezes in the middle of that fake smile falling kills.
“But we don’t want to traumatize the kids. Braeden had to sleep in bed with you for a week after last year’s.” “That’s because he saw a real spider in the maze.” Should’ve burned it all down.
“To realize the horror and gore deserving of our community, I’ll need help.” I like her. Sorry, not sorry, to Sharon.
…and I’m thinking the help this woman eventually gets is, uh, not what she’s asking for.
It’s giving “when you want the Halloween theme but licensing.”
No, seriously. I LOVE THIS HAUNTED MAZE. What a fun set!
The moment when she realizes that’s a real chainsaw and she’s about to die, though.
“They found a—…Halloween is over. What’s going on?” Wagner’s like mid-sentence telling Elsbeth about that case when he just…stops, looks her up and down, and has what he’s seeing catch up to him. Super moment there.
If you’re not doing Halloween costumes like Elsbeth Tascioni, you’re not doing them at all. Become the character! Those accents!
“They found a severed head…but you’re never gonna guess where.” “Great Neck?” BOOM. Sleepy Hollow sign. Iconic.
Should’ve named her Karen, to be honest. Check out the melodrama!
All this talk of “those people,” “roustabouts,” and “outsiders” tells you plenty about Sharon, and none of it’s good. (She’s racist. And classist. God knows what else.)
“We found her head. Then her body. How long have you been neighbors.” Every deadpan delivery like this one from Molly Price is golden.
Ashford and Preston, selling the heck out of it with those chimes. Going to go out on a limb and guess that the Sound folks had some difficult work there.
“I’m a software engineer who avoids exercise if at all possible.”
The way Pierce practically bites out the “tech issues,” though.
“Getting a high, no doubt.” “On cheeeeese.”
Love the callback to “it’s nature. It sucks sometimes.”
“Just because you don’t know your neighbors doesn’t mean that they’re not looking out for you. You’ll see.” “That’s very optimistic of you!” “Must be all the Halloween candy.” Elsbeth is so effing proud, and Donnelly’s just like…nothing. I love them. Also, notice how the murder of the week is about the worst neighbor, while there’s this little conversation and that sweet ending with Gonzo’s toy. Beautiful contrast.
“I understand. I just…I miss my friend. And I’m worried. About her.” It hurts.
“Well, I know one thing. Kaya would love your costume.” Perfect choice to have Wagner make this sound like a big secret/part of the conversation about Kaya’s undercover OP. And it totally works to get Elsbeth out of her gutting mood because she is so pleased when she’s all, “what costume.”
“What?! I didn’t make anybody meet their demise. What is that accent?” A question. (I love her accents.)
I hate the word shrill in general, but that’s pretty much the perfect descriptor for Sharon’s “quiet!!!!” And then…Elsbeth just swans in.
How is she the most ridiculous and out of place in the Ascot, out of all costumes? Especially in that house????
“I knew that Xander boy was trouble. He only got into state school.” Gross.
The way Elsbeth walks in that maze and gestures on “know things” and “control.”
“I saw the look of pain on your face when you learned about Mom Free Time. You think you’re in control; you think you know things. But most things are outside of anyone’s control — especially a parent.” Again with the contrast. Sharon and Avery’s relationship is a super funhouse mirror type distortion of the Wagner/Julia stuff. And, yeah, I also saw the pain when Sharon heard about MFT. The fact that I felt anything for her at all, considering what a monster she is, says everything about how great Ashford is in the moment.
“I’m not a cop, I’m a laaaady.”
Donnelly’s little gesture with the pen for “dead.”
“And why are you dressed like that? Is this a prank show?” “It can feel like that sometimes.”
“Got it. You’re 27. You know everything. Well, hotshot. Why don’t you tell me why I saved this file to my desktop and it’s not there. Huh?” “I can’t with you.”
“Don’t get cynical like the rest of us. Not yet.” My heart.
“You’re doing. A lot. Even for Sleepy Hollow. Halloween is over.” Never. I mean, I think Halloween should get as many days as Xmas, at least.
I don’t know about anyone else’s Halloween experience as a kid, but these jump scares with the chainsaw dudes in the final walkthrough? On. Point. Always the scariest when those guys would run after us at those things. We’ve got a couple scream queens here, too.
“WHY DIDN’T YOU JUST SAY THAT FROM THE BEGINNING? I HATE MAZES!!!” Whiny, shrill, gloves off Karen mode. Perfectly obnoxious.
“Oh, I think Sleepy Hollow will be just fine without Sharon Norman.”(“Without You” reference to go with the pink dress, yes?)
“Trace amounts of blood of the slain stayed mainly in the drain.” (“The Rain in Spain.”)
“How did you get this picture printed?” “Wasn’t easy. Let me tell you.” 10/10, no notes. Same goes for Wagner not even knowing “who” the cloud is.
“You could never be a bad dad.” Got something in my eye.
Cracked up at his reaction to the Rivers thing, too. Just the “ohhhhhh, d**n…”
“Thank you! Whoever you are…”
Happy Hallo-week, y’all!
