Helen's in a real good mood with her class, talking about Andy Warhol and how he "forced us to look at images that had become invisible in their familiarity, and proved that the potential for art exists everywhere." As the bell rings, and everyone tears out, she tells them all that they did well on their projects. She tells Adam in particular: "Great job. I -- I have never seen you do work that's so technically proficient. This shows a real mastery of craft." Adam, a little bewildered by the praise: "It was kind of fun in the end." Helen thinks that's good: "You could have a real future in commercial design. Magritte, Lichtenstein, Warhol -- they all worked commercially. You could make a good living, and -- and you could still do your own projects on the side. It's just something to consider." Adam, fortunately, doesn't seem to hear this as "you're not good enough to hope to make a living from fine art" but as I'm sure Helen intended it, which is "almost no one makes a living from fine art alone and you could definitely make a living doing commercial/graphic art instead of cleaning toilets." There might also be a little undercurrent of, "And my daughter will be better off, too." He thanks her and leaves.
Will's in Roebuck's office with Roebuck, and Annie. Will tells Roebuck he can't just resign. Roebuck already did. He gestures to Annie, saying, "Lieutenant Preston will be taking over for me." Will accuses her of planting doubt about Roy. But Roebuck says she's got nothing to do with it. The dirty cops were his guys and the buck has to stop somewhere. I just noticed something weird: there's a pen on Roy's desk, which, when viewed in conjunction with his tie clip behind it, makes it look like there's a gold cross on his solar plexus. It's in the shot where he says, "Duncan and Simmons were my guys." It's even more amusing if you note the shape of a sheriff's star. Not that I'm trying to generate all kinds of theories about secret messages here. I leave that sort of thing to the forum posters. Will crabs, "The buck stops wherever the person in charge decides it stops! That's the way it works nowadays!" Roebuck asks if he's all right with that. Will doesn't say anything. Roebuck says Will would do the same thing: "Lieutenant Preston has been on the force for fourteen years. Coming from IA…she's unimpeachable." She turns to Will and says, "I know how tough this must be." She tells them she'll leave them alone. As she leaves, she tells Will they should grab lunch sometime: "I might surprise you."
Once she's gone, Will tells Roebuck he'd like to stand with him when he makes the announcement. Roebuck nods. I really have police force character fatigue. Will's on his third partner and second boss in a year. It's just a bit much. It's hard to care about characters when they're constantly coming and going. At this point, I can't see why any long-time viewer would bother getting invested in any police force character. We know better. None of them sticks around. If the writers can't commit to characters, why should we? I went through this on The West Wing, but that didn't start in earnest (with the exception of Mandy, and they couldn't have gotten rid of her fast enough for me) until the third season, when the show went down the crapper anyway. I'm dismayed that it's starting so soon here, at least with the police force. I love this show largely because I love all the primary characters, and I want to see them explored deeply, and not just have an ever-expanding cast of people with superficial stories. Maybe they just don't feel they've found anyone who clicks sufficiently with Joe Mantegna yet, which I might agree with (though I thought Toni was okay), but I don't think the chemistry is the primary problem. I think it's just difficult to find the balance between the police plots and the rest of the show; it's a hard thing they're trying to do here. I don't know. I do know I can't devote any more thought to it at this moment or I won't have this done in time to watch Lost tonight. Also, I think they've finally heard our pleas: the blue in the police scenes in this episode isn't nearly so oppressive. So, yay! for that. Maybe Annie Potts's casting signals the dawning of a new age of multichromaticism at APD.