“Watershed” is a study in opposing forces. There are those who talk about how incredible this job opportunity is for Beckett and there is Castle inadvertently reminding her how incredible they are together. If there’s a single image from the show that can best represent this episode, it would be the moment when Beckett tosses out the coffee that Castle gave her the day before and it splashes violently across the divide of the sink, dashing both sides of the sink with the symbolic imagery.
This is the divide, a branching of choices that will change everyone’s lives for better or worse. (See what I did there?)
“Watershed” is perhaps the most introspective episode we’ve ever gotten. Interestingly, for an episode so heavily centered on where Castle and Beckett’s relationship is going, a large bulk of the significant progress occurs during conversations with their respective confidantes. I’m going to walk through this nearly scene for scene because this is one of those rare episodes where almost every moment is significant.
“There was only one Saul Bass. He was a gentleman, a brilliant raconteur, a marvelous collaborator and, as I’ve said before, a truly great artist. And – let’s be honest – a giant.”
— Martin Scorsese
“Saul Bass wasn’t just an artist who contributed to the first several minutes of some of the greatest movies in history; in my opinion his body of work qualifies him as one of the best film makers of this, or any other time.”
— Steven Spielberg
“Bass fashioned title sequences into an art, creating in some cases, like Vertigo, a mini-film within a film. His graphic compositions in movement function as a prologue to the movie – setting the tone, providing the mood and foreshadowing the action.”
— Martin Scorsese
“I’ll see Stana running up and down the lot with some kid and I’ll say, ‘Who is that?’ just assuming it’s one of her relatives. And she’ll say, ‘Oh, this? This is so-and-so’s daughter.’ All the producers bring their kids to the set and they’re all in love with this girl. They’re all, ‘Staaana!’”