‘Law & Order: Organized Crime’ 4×10 Review: “Crossroads”

Law & Order: Organized Crime 4×10 “Crossroads” is another one of those episodes that makes us wonder if there is any limit, whatsoever, to this cast and crew’s talent. As of now, we’re pretty sure there is not. Every single time we think “no, this can’t possibly get any better,” or “we’ve seen it all. We know what to expect (insanely good performances) from this cast. But surely, there’s no way even they can top this,” something happens to prove us wrong. And while, as a general rule, we prefer to be right all the time, we’re more than happy to be wrong over and over again if it’s like this. 

For this latest episode, the emotional core comes from the gut punch of Elliot having to learn about Sam’s death and bury him while undercover, then find a way to get the task force that information. And then, of course, there’s the team’s reactions…and Stacy’s. Even in the midst of all that heartbreak, “Crossroads” still has plenty more story to tell — from the oldest Stabler brother’s late-night attempt at detective work, to Angus’ doubts about his relationship with his business partner, and even a reminder of how Angus and his group got here in the first place. 

The highlight of Law & Order: Organized Crime 4×10

If we have to pick just one aspect of Law & Order: Organized Crime 4×10 that stands out, one that shows what we mean when we say the talent here is limitless, it’s absolutely the scene where Stabler tells Bell about what happened to Sam…without actually being able to tell her directly. But even before the scene gets to “Hank’s” story, we have “Maya,” Sergeant Bell’s undercover persona who is — of course — just enough of Ayanna Bell herself to absolutely destroy us.

From minute one, Danielle Moné Truitt steals the scene — and, arguably, the episode. And it’s all about body language, seeing all that confidence and authority that usually defines Ayanna Bell…just stripped away. Instead, this is someone who is unsure of herself, vulnerable, and in a lot of pain that she just hasn’t dealt with. In addition to the protective posture of someone who’s lost all sense of fight and those quick swallows to hold back tears, she gives us that cautious speech, hardly any eye contact, and the very real grief of a leader who’s lost far too many people she cared for. While we’re at it, that bittersweet smile about celebrating the fallen on their birthdays…Oof.

Just like the real meaning behind “Maya’s” words is painfully clear to us, as viewers, Elliot Stabler is listening, hearing, and showing whatever small amount of recognition and support he can under the circumstances. In those little glances across the room and his own display of feeling, Christopher Meloni makes sure we see how much Bell’s story affects Stabler, and how much he realizes parts of what “Maya” has to say are actually about their shared traumas.

Later, when it’s Bell’s turn to hear from Stabler, Truitt is equally — if not more — brilliant. No one needs to guess when, or how, Bell gets her partner’s message about Sam because the performance tells us everything we need to know. We could even pinpoint that realization and its timing in infinitesimal parts of a second. Then, Bell has to keep a careful lid on her emotions, swallowing most of her her tears. Because Elliot’s life and hers both depend on it. But at least she doesn’t have to hide it as much as she might in other circumstances. Somewhat luckily, as the traumatized “Maya,” she can have some emotional response. Not so luckily, it just can’t be enough of one. Because if she shows too much, someone might get suspicious.

So, we’re left with both characters silently communicating their shared grief in these two truly gorgeous performances. Gorgeous is probably not the best word, even if there is some kind of terrible beauty in the moment. But there simply aren’t words for this — not really. (A problem we seem to have quite often with this series.)   

It’s over all too soon, as Elliot’s undercover persona has to get back to farm. But throughout the rest of Law & Order: Organized Crime 4×10, Bell and her team continue to show us just how much they’re hurting and just how much they care for, and want to protect, each other. There is, just like with Jamie, no real time for them to mourn. As Sergeant Bell tells her detectives (in yet another amazing scene), they have to keep going. Because Elliot’s still under, and they can still get to the bottom of this, can still keep him alive and try to save whoever else might be at risk because of all this. So, that’s what they do. They keep putting one foot in front of another, pretending like nothing has changed but breaking down in those rare, precious moments when they can. 

TL;DR Basically, everything about this hurts. But it hurts. So. Good.

Interestingly enough, we’d say this is a Bell episode. Or even a “team” episode moreso than one centered around Stabler. Yes, this is Elliot’s case, and Elliot’s personal connection through Joey’s drug habit. But “Crossroads” really, truly winds up being about how much of a toll this job has taken on Ayanna. To a slightly lesser extent, we can say the same for Jet and Bobby, whose reactions to the Sam news are just as powerful — just as devastating. 

Enough pain for a moment — time for some comic relief

Randall, you are not Elliot. And yet, you are so pulling an Elliot…which, thank the TV gods for that. Because we needed the break from all the heartbreak, and tension, and…everything, actually. When, in the absence of Elliot’s help (or ability to return a phone call) a frustrated Randall takes matters into his own hands and tries to search for Joey on his own, Law & Order: Organized Crime 4×10 takes this unexpected, yet extremely welcome, turn into the buddy comedy department.

Notably, though, it’s not solely there as a relief. First of all, there’s the obvious connection back to the wider arc. The task force is only on this case because of what Elliot found out, through Sam (crying forever), about Joey’s drug source. Maintaining that tie-in to the extended Stabler family and everything that’s going on with them — even outside the case — is vitally important. That’s especially true, considering how everything comes full circle with Redcoat’s guys going back to the warehouse and (pain) Sam’s blood being found there.

But, wait! There’s more! We learn that Vargas is (still?) keeping track of when Elliot gets in trouble. (Someone certainly needs to. Imagine if he’d been around to track this MF down in, say, 2011.) More to the point, he may be new to the team, and everyone — Elliot, in particular — may have given him a hard time at first. Even so, he genuinely cares. Vargas could easily have gotten that Stabler ping, realized it wasn’t about Elliot, and moved on. But he didn’t. He came, got Randall, and didn’t even tell anyone about it — no need for recognition or gossip — until it became important to the case.

…we have become huge fans in a very short amount of time is what we’re saying here.

Randall’s role in this also manages to be educational. We’re able to learn that the Stabler brothers both have about the same initial reaction to Vargas, and they’re equally lacking in geek knowledge. No, seriously. Same reaction. Dean Norris manages to pull off almost the exact same facial expression we’ve seen on Meloni whenever Stabler and Vargas have had their “moments.” So, it just further develops this storyline around just how close, or at least similar, Randall and Elliot are as brothers — even in the absence of any realistic opportunity for putting the two characters together in the same scene right now. (Imagine that! You can 100% tell a story about a relationship without having to have the actors in the same place at the same time!!!)

Which, again, to be clear: throwing some light-hearted scenes into all this darkness would be enough. On any other series, we’d be lucky to get anything at all. This is just so much better, though.

Hank & Angus

As far as the main body of the case goes, Law & Order: Organized Crime 4×10 makes great use of Stabler’s somewhat infamous tendency toward expressing his rage in unhealthy and dangerous ways. Here, though, it’s precisely because Elliot is passionate enough about Sam’s death (nope, still not ok) to go back to his UnStabler roots that he, ultimately, manages to gain Angus’ approval and trust. Put another way, Elliot doesn’t have to “sell” Angus Hank’s anger and righteous indignation over Sam’s murder — the murder of a fellow Marine! By these people! At this place! — because he feels it deeply. So, any doubts Angus might’ve had about him are easily erased by seeing such a convincing outpouring of emotion.

And because Elliot knew Sam was a Marine Henry saw the nameless victim’s tattoos and threw that in Angus’ face, things start to take a turn. He has that heart-to-heart with Ma about his deal with the devil. And he starts to let Elliot Hank in on more and more details of his operation. Then, when they see Nolan’s tragic breakdown in group therapy (another stunner of a scene), Angus decides he has had enough of his partnership with Redcoat.

But getting out of the business proves far more difficult than Angus might’ve expected, and that…sets us up for the future. Everyone at the honey farm gets roped into his war, much as all — or at least many — of the people he aimed to help have become guilty by association with respect to his criminal enterprise. And that…is about where we end up.

Except, again…that connection with Joey…Elliot in Angus’ militia…

Y’all, this can’t end well. Can it?

More on Law & Order: Organized Crime 4×10

• The flashbacks as Elliot’s burying the body take a moment that was already gutting and made it about a zillion times worse. And all those emotions all over Meloni’s face…ouch. Honest question: How is Elliot ever supposed to recover from this?
• This redneck bearded dude basically said ACAB with that whole, “stopped being one of us” line. I’d respect him for that if he wasn’t so heartless about, you know, burying innocent people and taking their wedding rings off in the process.
• “I haven’t forgotten a damn thing.” Me when I hold a grudge against this man for leaving for 10 years.
• “Price of doing business.” “It’s too high. The man that you used to be would’ve seen that.” Listen to Meg from Twister! (aka Ma, aka Lois Smith.)
• “El. It’s me. Again.” Randall and Liv talking about this man’s inability to return a phone call when.
• “Joey. Running out. That’s on us. We should be out there looking for him, ok? …you know what? Nevermind. I’ll do it myself.” The older brother, forever taking responsibility.
• Seriously, Elliot. Quit flirting with everyone else but.
• “She likes me plenty.” I can’t with this smug SOB.
• …problem is, he’s pretty and knows it.
• “You’re fine, huh? That’s what people who aren’t fine always say.” This man watches a lot of shows with Strong Female Characters™ when he’s not busy running a honey-slash-drug operation, huh.
• “I lost a lot of friends over there. And that’s been really hard to reconcile. Why them and not me? If that makes sense. I try to celebrate em. You know? Throw a couple drinks back on their birthdays. But it’s taken a toll on my sanity — not to mention my liver.” Why them and not me. Sobbing forever.
• And the whole team listening…Vargas being concerned enough to ask if the part about drinking is true…I love them all.
• Bell and Stabler: Best partners? As always, yes. A thousand times yes.
• Rick Gonzalez and Ainsley Seiger are not to be overlooked here. At all. Those shots of Bobby and Jet getting their own rude awakenings while overhearing “Hank’s” story about burying the body behind enemy lines…wow. Just the delivery on “Sam’s dead.” And everything that follows when Bell gets back. Those glances at each other, the heartbreak all over their faces…Again. No words. Sorry to fail so spectacularly at saying how, well, spectacular this cast is. But…wow. Just wow.
• “I know how you’re feeling. I’m feeling it, too.” Same, Sarge. Big same.
• That deep sigh when Bell says she’ll be the one to tell Stacy. Just…I think I’ve used the word a lot already, but: Devastating.
• Not at all lying or exaggerating when I say it’s difficult to even think about the “I’m not leaving you alone either” moment between Jet and Ayanna without tearing up. Some of the best material this show gave us in its third season came as the result of putting the two powerhouses that are Seiger and Truitt at the forefront. So, it’s really no surprise that pairing them up works so well here. Even so…just utterly stunning.
• “This area’s for the honey. And this…is for the money.” This would be funny if I wasn’t too much of an emotional wreck to fully appreciate it. Someone had to have had a fun time writing the line.
• …but these people have way too much fun writing pain and torture for us.
• Never stop, though! Someone get this series renewed already! WTF on the wait.
• Speaking of torturing us and, seriously, maximum devastation: The search party scenes cut against the hospital scene. Dear God.
• Jet is so completely at a loss for what to say or do here, and it shows. Fantastic from Seiger. And Bell sobbing as she holds Stacy…what an utterly crushing, yet phenomenal, scene.
• “My other brother’s a cop. Detective Stabler? Pretty big deal around here.” “Sure he is.” She said, “sorry to this man.” A comedy!
• “Where’s the brotherly love?” “Down in Philly.” DEAD.
• This man will kiss everyone except—.
• T I R E D.
• “Whatnow?”
• “…whenever Stabler’s flagged or gets in trouble.” “That happen a lot?” “You’d be surprised.” “Maybe I wouldn’t.” Buddy comedy! 
• Also: Randall, give us the stories.
• On any other series, that breakdown from Nolan would be the scene. And, don’t get me wrong — it’s powerful. But here…we have an embarrassment of riches.
• “You’re a liar.” “Yes, Ma’am, I am.” Again. Stop flirting with your big, dumb grin.
• Jet the cat lady. Love.
• “If things go sideways…” Don’t they always?
• “Well, I guess cutting ties was a mutual thing.” Ya think?
• “He wants a war, I guess I’ve got one more in me.” Elliot’s face is the definition of “FML” here.
• “You two. Come with me.” Sarge is done.
• Her look when the warehouse is empty is basically, “well F—.”
• “…which we took during the most poorly executed intervention of all time.” Nah. That’d be the “I love you one.” Yours was a close second!
• Ayanna looks ill and 100% knows this is going to screw Elliot up (worse).
• “What does that mean?” Oh, Randall. Nothing good.

Thoughts on Law & Order: Organized Crime 4×10? Leave us a comment!

Law & Order: Organized Crime returns Thursday, May 2, at 10/9c on NBC.