What made “Halloween II” work so well, perhaps even finer than last year’s already strong predecessor, is how on point each of the supporting characters were in making the whole ruse work. It would be hard to argue that any from the cast are the second main character on the show (with Peralta being the protagonist) because each one is essential. Each gets good material to work with, and even if their character is not the focus of the episode, they contribute to support their comrades in their adventures.
Boyle is a bit of standout in this episode, though, especially with the main plot. While a reliable suck-up and eternal optimist, he actually manages to hide how he was working against Jake this week. Plus, one should admire how quickly Brooklyn Nine-Nine is deterring from the sloppy and unconvincing relationship between him and Gina. As soon as he enters the precinct room wearing a selection of boastful costumes during the cold open, Lo Truglio became this episode’s secret comedy weapon. The actor has been a delight from the show’s first episode – even with last season’s tone-deaf subplot regarding his romantic obsession with Rosa, which bordered on sexual harassment – and Lo Truglio uses his upbeat sensibility and lack of chagrin as an endearing way to hinder some his more clueless nature. What may have been a character to laugh at is someone all of the officers know they can have a laugh with. (Speaking of dim characters being the butt of jokes, Hitchcock and Scully were fine this week, too, despite my complaints about their lack of depth in earlier reviews)
If “Halloween II” can be faulted for anything – and this is not as much a criticism as a suggestion – it is that the writers placed Floorgasm, the ambiguous dance troupe Gina is a part of, as part of a secondary plot. One can enjoy the direction that story goes into, showing how Gina’s complacency not only cost her a position with the dance group but is due to her overriding focus on going back to college. However, that should be a bigger moment that deserves an A-plot and the support of more team members, rather than just Terry. The subplot is fine, and Chelsea Peretti is on point with her comedic analogies (“I can’t help it if my life is literally a Step Up movie”) and her reveal to Terry showed a spiky vulnerability that works well with the character. However, this reviewer wishes Brooklyn Nine-Nine had saved this plot for an episode that could have given it more time to breathe.
Still, that is a minor comment that should not disparage one of Brooklyn Nine-Nine’s all-time great episodes. Written by Prentice Penny, who also penned the excellent “The Ebony Falcon” from season one, this was a masterful feat of sharp plotting, elaborate comedic set-ups and worthwhile character development. With “Halloween II,” this is the rare occurrence where a sequel outdoes its original.
