CASTLE ROCK “The Harvest” (S1E5): Best Episode To Date

“Something terrible is going to happen.”

Ruth Deaver (Sissy Spacek) predicts, and if there’s one thing we can ascertain from Castle Rock, this is it. While the how and why isn’t entirely revealed, some of the what gets its due this week. In episode five, Harvest, things keep on rolling, right down a spiral of paranoia, turmoil and fear. This is an especially visceral and riveting episode, marking the half-way point with startling urgency.

In my opinion, this is the best episode so far, with the show managing to build heavily on the plot but also maintain sufficient character development.

The Curious Get More Curious

With the recent events hanging over Shawshank Prison, there’s no other alternative: The Kid (Bill Skarsgård) must be set free. Henry (André Holland), in turn, is entrusted with his well-being for the time, as he can’t recall his history. Sound familiar? Memory loss seems to be persistent here, and with all the trauma this town has faced it is completely reasonable.

At first Molly (Melanie Lynskey) lets him stay at her real estate office. While we, as viewers, recognize that The Kid has some sort of stake in this town and its more nefarious elements, many still see him as a young man who was imprisoned by the warden. Henry and Molly want to help. Henry looks into getting him psychological aid, and they may be able to take him in Juniper Hill (a place frequently referred to in King‘s work) but it won’t be for a few days. Until then, The Kid is free to roam.

When Molly’s co-worker Jackie Torrance (Jane Levy), who has a spare key, comes in early, the two spend some time together. Though their “bonding” consists mostly of Jackie divulging her opinion on the town and her longing for the old days when twisted things happened. Well Jackie, stay tuned.

One fun fact that we finally discover about her familiar name, is that she changed it (to piss off her parents) after her uncle who tried to ax-murder his family. Yes, she is referring to The Shining. I’m not sure that this will have any real weight, but it’s an interesting connection.

Things are intensifying, and everyone is feeling it. Ruth has a moment of real despair, but also we get an intimate scene (and Henry witnesses it as well) between her and former sheriff Alan Pangborn (Scott Glenn) that shows their love for one another. As more history is built, and we get to know these characters better, we learn about their true intentions. Theirs? It’s most definitely love, and that makes things even more devastating as Ruth has a harder time distinguishing reality. They’re naming a bridge after Alan, but the celebration doesn’t go as expected. Also – is that Rory Culkin skulking around?

What’s that about?

Meanwhile, Henry is suffering from high pitched noises in his ears (which he’s dealt with before) and Molly is picking up a lot of overwhelming information from The Kid.  She’s sensing the danger, and it’ll be intriguing to see where that goes. Listen carefully to this part and you’ll hear a quote from Stand by Me “do you want to see a dead body?” Will she be the key to finally understanding what exactly he is? After the Harvest it’s evident that The Kid has an effect on this town. Is it intentional or is he a conduit somehow?

Tensions Are Rising

It seems like his touch can manipulate others to do sinister deeds, but what about his presence? Earlier this season warden Lacy narrated that we can “Never again let him see the light of day.” Well, he’s out and darkness is coming. There’s another Lacy flashback, and for me, keep them coming! Terry O’Quinn is always on the top of his game, and his story is a curious one.

There’s a particularly eerie and well-executed scene when The Kid decides to take a stroll through town unaccompanied, and comes across a family celebrating a child’s birthday. It’s shot in a way that maximizes the creepy factor, allowing us to listen more than see, which makes the transition more terrifying.

Another great sequence is also the final one of Harvest, which features Glenn and The Kid in the woods. It’s discovered that Pangborn saw him in Lacy’s trunk, 27 years ago. A coincidence that it’s 27 years? Maybe it’s just another King reference to make us giggle in excitement, or maybe 27 (just like with Pennywise’s reemergence) is going to mean something. Either way, their discussion is filled with tension, the spilling of a big secret, and a cliffhanger.

As if things couldn’t be worse, there’s also a wildfire engulfing black mountain. The red and orange in the background feeds the already troubling town with an ambiance of impending doom. It’s a very visually impressive episode with director Andrew Bernstein and cinematographers Jeffrey Greeley and Richard Rutkowski doing an excellent job of portraying the horror as the unease grows. Lila Byock writes an episode that simmers with potency, and as the sky seems to be enraged while the fires consume, more inhabitants straddle on madness.

Castle Rock is in the midst of it now.

Conclusion: Harvest

This town is haunted, and there’s a reasonable amount of fantastical threads, but it is grounded with characters impacted by very real circumstances. That pairing makes this show entertaining, but also insightful. Harvest brings us another wonderful week of performances, with Bill Skarsgård having more of an opportunity to stretch his legs and show just how perfect he is for this role.

Things have taken an even darker turn now, and something tells me this is just the tip of an inexplicable and depraved iceberg. I can’t wait to see the revelations that come out in the second half of season one.

What did you think? How did Harvest stack up? Let us know in the comments below!

New episodes of Castle Rock premiere every Wednesday on Hulu.