Is Chicago Fire Season 13 Off to a Good Start?

“A Monster in the Field” definitely lays out several different directions for Chicago Fire Season 13 to go, and it answers lingering questions left over from Season 12. It’s a pretty efficient episode in terms of introducing a major new character while also trying to service most of the existing ensemble. But some of the plot threads are more worth chasing than others. The reveal of Jack Damon as Severide’s half-brother felt weird in the Season 12 finale, and it’s not any better in this episode; perhaps it’s the time jump, but it’s strange to see everyone just accepting that fact. Lizzie Novak refers to Severide as “your brother” to Damon, so it’s now known among at least all of Firehouse 51. And Damon hitting on Novak is just cringe-worthy. He’s not an interesting enough character without the Severide of it all.

A similar complaint can be made against the subplot with Sam Carver’s mystery woman. It’s reminiscent of when Severide went to Las Vegas and came back married. That plot point was weird then, and this version of it is weird now. There’s no issue if the show wants to keep Carver and Violet apart, since as she laments in this episode, Violet pushed Carver away and has to suffer the consequences. Plus, this is a woman who was devastated when Chicago Fire killed her boyfriend. Hawkins’ death is just under two seasons old. If anyone deserves to slow-roll a new relationship, it’s Violet.

But there are some strengths, too. The writing for Violet’s partner Lizzie Novak is top-notch in this episode, as both Newman and actor Jocelyn Hudon seem more confident in the character than they did when she was introduced in Season 12. Novak’s “party girl” persona has been toned down a bit (though not entirely, based on her comments about Chief Pascal), and in Season 13 audiences get to see more of her commitment to the job and how it affects her. Hudon does underrated work in the episode. The Chicago Fire Season 13 premiere has a lot to offer, and it’s a strong start out of the gate, even if it ends with plenty for audiences to talk about.

 

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