‘Law & Order: Organized Crime’ 4×13 Review: “Stabler’s Lament”

Law & Order: Organized Crime 4×13 “Stabler’s Lament” is a season finale that hooks you right from the start and never, ever lets go. It truly has everything — from the stunning visuals and emotional voiceover that begin the episode, to the…unfortunate…family situation, and all the action in between. Even one of the main aspects of the hour that we have problems with winds up also being worthy of praise in its own right. Namely, ending a season with one major character in obvious jeopardy and a case far from closed is a dangerous move, considering the way the business is conducted (or not) these days. But it’s also a bold move to do this — to tell the story creatives wish to tell and damn the consequences. 

Had the series not been picked up for a fifth season, we’d probably be more critical of ending things without actually ending them. Luckily, though, we don’t have to worry about that. Instead, we can celebrate going 13 for 13 on excellent episodes…and be very, very impatient for what comes next.

Just what the world needs…

Well, we were worried this would happen, and Law & Order: Organized Crime 4×13 confirmed our suspicions. Eli has taken being “another Elliot Stabler” way, way, way too literally. Forget dropping out of school to take care of his pregnant girlfriend when he’s…whatever age we’ve decided he is now. That’s, somehow, not his most foolish choice. Put another way, it’s not remotely the most Elliot Stabler thing he’s doing here, actually. Nope. So, what’s his dumbest, most illogical, move? Deciding he’s also going to be like Zaddy Daddy by joining the family business. 

This is a kid who, repeatedly, has (understandably) had problems with Elliot Senior’s job. (Emphasis on “Senior.”) But now, his answer to his problems is to…also become a cop? Make it make sense. Which, of course, that’s impossible to do. Because it just doesn’t make sense. Then again, the fact that the decision is completely absurd is…actually what, in the end, makes it make sense. Because it proves Eli is his father’s son, first and foremost. Therefore, if nothing else, he is going to make absolutely nonsensical life decisions. And all anyone telling him “no” is going to do is make him dig his feet in and hear “yes. Absolutely, yes.”

God help us if this kid is Elliot the Third.

Now that that’s out of the way. Let’s talk about how well Eli delivering his big, characteristically Elliot Stabler, news works. In the first place, the rules say any time Ellen Burstyn shows up as Bernie, we’re in for a treat. And Law & Order: Organized Crime 4×13 — unlike the series’ main character — is a rule follower, which means Burstyn has delivered. As always. Everything, from the way Bernie instantly clocks Becky’s pregnancy, to her conspiratorial chat with Elliot about the cheese plate, to her role in trying to diffuse the tense situation between both Elliot Stablers out by the grill, is picture perfect. What Burstyn adds to this series, and what Bernie adds to this family, is absolutely priceless.

Furthermore, the youngest Elliot Stabler pulling an Elliot Stabler also gives both Nicky Torchia and Christopher Meloni a chance to put on a real show. Regardless of standing firm in his (bad) choices and being comfortable with who he is around the rest of the family — once the initial anxiety wears off, at least — this is a kid who has a very real fear of what his father will think of him. The atmosphere in the room, as well as Eli’s…everything, really…completely changes whenever the old man shows up. And for as explosive as their back and forth is out by that grill (again, as Torchia still manages to make the character less mature and smaller in the argument than he otherwise is with the rest of the Stabler family), their quieter moment toward the end of the finale is the real highlight.

Both actors deliver such fantastic performances in that last scene together. And it’s all about what’s left unsaid. All that silent communication, the way Eli looks up when his dad asks him about Becky, then the expression when Elliot continues to push, the tiny grin and raised eyebrow when the Elliot the Elder (emphasis still on Elder) asks why his son told his uncle but “didn’t tell the old man,” the glance toward the tea…is just too good. All of it.

Wildly enough, all jokes and frustrations aside, the kid’s just like his dad here, too. Elliot Stabler, through Meloni’s mastery of his craft, has always been a master at nonverbal communication. In this season finale, Torchia rises to the occasion, turning Eli into his father’s son in that regard, too. And don’t get us started on the shot of Meloni as Elliot watches his son leave and overhears Becky’s worried question about whether or not Eli told his dad. Somehow, though the two Elliots leave things in a much better place, it’s also simply heartbreaking.

It’ll be interesting to see where this goes in the future and how, just like the old man has always had to struggle with Joe’s legacy, Elliot will now have to grapple with whether or not he’s failed his son by having him repeat some of his mistakes. Not to mention, what kind of man is Junior going to turn out to be, and how will he reconcile his own father’s legacy against what he wants for himself? Heavy questions to consider.

And, again: If this baby turns out to be the third Elliot Stabler, God help us all.

The case

Law & Order: Organized Crime 4×13, of course, isn’t only about Detective Stabler dealing with his namesake. There’s also the whole Emery case and his father’s namesake’s role in it. Should we start at the end? Hm, yes. Let’s start at the end. Little Joe Junior, Joey, Joe-Joe had better be ok when we come back next season. Or else.

Ok. Now, let’s get into how well done the build-up to the cliffhanger, and the cliffhanger itself, both are. First up, there’s Emery’s absolutely heinous move with his first round of “insurance,” the shot of a hand near the packet to make us wonder if it would be enough for Joey to relapse, and then — huge sigh of relief — him turning the drugs over to his big brother. (Growth! Even if the struggle is still there, as it should be so early in Joe’s recovery.) As tense as all of that is, it’s nowhere near as stressful as the rest of the episode and everything we learn about Emery’s special product.

So, it’s a very good thing, actually, that we have plenty of opportunities for relief from all the action. There’s Joey’s “dude, check your phone” (a thing this bald b*tch has not been good at for over a decade), Trisha’s crush on Vargas and Jet’s reaction to it, and even Joey’s bonding time with Emery’s son. In fact, giving Joey that relationship with the kid is brilliant. It would be enough to just…show a different side of Joe and have that massive contrast between how Emery treats his kid and how the “help” does. But this series tends to make every single second count on as many levels as possible.

So, being close with the kid comes in handy. When the task force can’t find its inside man, Joe makes the smart decision to use Giles’ game to send that message. Talk about a true Stabler moment, thinking quickly like that. Another Stabler moment: Being in an undercover operation where it’s uncertain whether or not he’s been made, yet definitely seems like his life is not going to last long regardless. There are a number of times in this finale when Michael Trotter does some fantastic work, but his final scene on the plane — and the shot of him looking out that window — is a real stunner. Joe Junior is terrified. And so are we.

Extremely close second for Trotter’s best work: That trademark Stabler nonverbal communication between Elliot (the Old) and Joey, just as the plane’s getting ready to take off. That “conversation,” so to speak, alone could have been an entire episode.

The team

Another excellent, if horribly stressful, part of Law & Order: Organized Crime 4×13: The shootout with Krycek Krychek. How this series always manages to fit in these wildly intense action sequences, even in the middle of all the deep, personal drama and otherwise-massive cases, we’ll never understand. But we’ll always be here for it.

This sequence works particularly well because it’s really all about the trio of Bell, Reyes, and Stabler having each other’s back in a way that, with the slightest mistake, could’ve meant even more tragedy for a team that’s already lost way too much. And it’s painfully easy to see that every single one of them is aware of what’s at stake. Additionally, we just really love getting to see the moments where Sergeant Bell is taking the lead, working her way through that space and constantly on alert. Even though we already lost Sam, and even though Bell was already shot once this season, the scene was so well put together, we were very worried — yet very much writing things like “BOSS. GET HIM” in our notes — there for a bit.

Actually, real talk? Danielle Moné Truitt as the lead in a superhero movie, or some kind of action flick, or something equally BAMF when. And while we’re at it: Although it’s Stabler who, ultimately, manages to back his partner up and protect her from getting shot, the way Bell backs Stabler (and, by extension, Joey) throughout the episode is noteworthy, too. These partners forever. Full stop.

More on Law & Order: Organized Crime 4×13

• There are seriously not enough hours in the day to continue breaking down everything good about this season finale and the season as a whole. Just…keep it up. Please.
• “…the world and everything in it has become…unrecognizable.” He gets me. Hate that.
• Honestly, I was going to put some more snippets of dialogue from the opener that I found particularly beautiful, but I realized that would mean pretty much transcribing the whole thing. Better to just do a rewatch than to read it just…inserted here.
• The flashbacks at the beginning are brutal. And, as good as it is, we didn’t even need the voiceover. Meloni’s presence tells the story extremely well even without it.
• One point of contention: No, grief isn’t linear. But yes, we would also like to have some kind of concept of where the visits to Kathy’s grave line up with…whatever that was on SVU.
• “…a polar bear in a snowstorm.” Ok then. I know better than to mock things people’s grandmothers say. But uh.
• Reyes sitting on that desk is so very me coded.
• “You have powers beyond reason.” “Yes, but I only use them for good, Dear.” Do these powers also include realizing why your son’s wife felt threatened by his partner 100 years ago? (Sources say yes.)
• “Any nuts?” “No. Never.” “Atta girl!” Preach, Bernie.
• “…tell your dad? Not a chance. That’s on you” Dean Norris’ delivery here is simultaneously giving “serious tough love” and “this show is a comedy.” Love it.
• Also: Randall is 100% correct. If Eli wants to make these grownup decisions, he needs to put on his grownup pants and tell his dad.
• Speaking of Randall and comedy: “Maybe not exactly like last time.”
• Tom Payne’s delightful villain grin! Inject it in my veins, actually.
• Also: Payne in the white suit? Yes. Thank you.
• “He’s always had trust issues.” “Do you?” “Of course not. I trust you.” But…does he really?
• “Hey. Stay safe.” Definitely thought, especially with the hug, that this finale was going to be the end of Joey forever.
• Another perfect moment for Bell as Stabler’s partner: Reminding him that Joey “put himself here.”
• “What does that mean?” If this ATF man doesn’t shut up…
• …and you can tell the rest of the task force knows Elliot’s about to blow up on him, too.
• “I was gonna wait til Dad showed up. But…chances are…he won’t show.” Yet, that’s what you want for your kid? That’s who you want to be, despite supposedly hating this part of your dad? Ok then!
• “Who puts jam on a cheese plate?” “Uh..that’s your brother.” I. Love. Them.
• Elliot is so casual, so upbeat, so…thriving surrounded by family. And then. The head tilt on Bernie’s comment about another cop in the family, the way Meloni just tenses every single muscle in that body to the max after Eli delivers the news, the swallow, the “no. I’ll grill.” Phenomenal.
• Meanwhile: “He’s a great kid.” “Who.” “Your son.”
• “I SUPPORT YOUR CHOICES BUT IF I SEE A MISTAKE I GOTTA GIVE VOICE TO THAT!!!!!!!”
• “Don’t transfer your fears onto Eli. It’s not healthy” See, now, this is what healing looks like. Good for Randall.
• “I have no regrets about my life, Mister.” Mama told that boy to sit down, huh?
• And Maureen!!!
• “Yeah. Again. You want to be a cop? This is what it looks like.”
• “Keep your dogs on a leash.” Bell is not playing with this man. And…for once, “this man” actually doesn’t apply to Stabler. Huh. Weird.
• Not Jet saying she and Reyes are “complicated.” Shades of EO, 25 centuries ago.
• Ainsley Seiger kills it on the “wait. You’re talking about Vargas” line. Jet is…not a character that would do it like “you’re talking about Vargas?!!!!!!!!” Even so, Seiger still gets the same effect out of the moment as if Jet really had just totally lost it. So good.
• The way every single one of them reacts to Emery’s video. Incredible.
• And when Payne turns to the camera…wow.
• “Speaking of Stabler. Where is our guy.” 1) F**k this guy. 2) …literally us for 10 years, just about another Stabler and actually warranted.
• “In the meantime, keep an eye on the evil spawn, will you.” Father of the Year, right here.
• “I know what a DM is.” Elliot and Jet are forever a priceless comedic duo. Meloni and Seiger forever.
• Bell’s expression when that plane takes off…
• Reyes when he comes face-to-face with Colin…Bell when she kills the other guy…so much pain for this group.
• “It’s not your fault” and the shoulder squeeze. Relationship development for Stabler and Vargas!
• “Great job, everybody,” and she…does not sound great. At all.
• The little moment for Sam. Pain.
• The whole back-and-forth between Emery and Joey about someone tipping off the Feds…don’t feel great about it. Nope. And neither does Joey.
• “Sometimes, the monsters really are under the bed.”
• I know I said I wanted to keep Evil Tom Payne forever…but maybe not like this?????
• Things start out so bad between the two Elliots, Eli doesn’t even realize his dad is joking about him being up early. Help.
• …Siri, play “Papa Don’t Preach.”
• Ugh. Kathy. (Had to say it.)
• Now, that is how you do a season finale.
• Is it Season 5 yet??????

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See y’all on Peacock for Season 5!