Season 10
20th Century Fox
By season 10, the end is nigh for “Bones,” and a flurry of odd creative decisions combined with a lack of original material leave the ailing series struggling to keep its head above water. Right off the bat, viewers are shocked by the death of Dr. Lance Sweets (John Francis Daley, who departs to write and direct films like 2015’s “Vacation” and 2018’s “Game Night”) — a surprising, emotional gut blow the season never fully utilizes. “The 200th in the 10th” reimagines our heroes in a 1950s Hollywood setting, paying homage to Hitchcock along the way, while a few strong story beats — Booth’s gambling relapse, for example — add much-needed wrinkles to the formula.
Alas, the season is weighed down by a bizarre and unsatisfying conspiracy plot that resolves far too quickly, leaving behind filler episodes with no overarching narrative. Smaller arcs — Camille Saroyan (Tamara Taylor) and Arastoo Vaziri’s (Pej Vahdat) deepening relationship, Angela Montenegro (Michaela Conlin) and Jack Hodgins’ (T.J. Thyne) near-move to Paris, and Brennan’s pregnancy reveal — provide some character development, but they’re not enough to offset the sluggish momentum.
The conspiracy subplot could breathe new life into the series, pushing it beyond its well-worn formula into uncharted territory that forces our heroes to deal with a whole new assortment of problems. Imagine “Bones” mixed with “The X-Files.” Who wouldn’t love that? Too bad the writers squandered the idea and retreated to safer terrain, leaving season 10 treading water.
Season 8
20th Century Fox
At a certain point, every TV show loses its appeal. For “Bones,” the gradual decline from an engaging, must-watch crime thriller to a stale shadow of its former self begins with season 8. By this point, it’s clear the writers are coasting on the goodwill established in the first batch of seasons, desperately searching for something, anything, to latch onto. Rather than take the series in a new direction, we get more of hacker villain Christopher Pelant’s (Andrew Leeds) increasingly ridiculous shenanigans.
He’s a decent enough baddie in a limited role (as seen in season 7), but his schemes and objectives are far too redundant and unrealistic for a main antagonist. He’s essentially the Riddler, vying to prove himself smarter than the Jeffersonian team by staging a series of elaborate traps that grow more and more outlandish as the season wears on.
On the plus side, season 8 gives us our first full look at Booth and Brennan as parents, and it goes about as well as one could expect — he’s overprotective and she’s awkward. We also get “The Patriot in Purgatory,” an episode in which the “Squinterns” must identify the remains of a man who died during the 9/11 attacks — a powerful, heartfelt hour that briefly recaptures the magic of the early seasons. Unfortunately, the case-of-the-week formula no longer feels fresh, leaving viewers with a severe case of fatigue.
Season 12
20th Century Fox
Declining viewership ratings force “Bones” off the air, leaving a truncated 12-episode final season that rushes to tie up loose ends with middling results. Season 12 isn’t terrible. In fact, it serves as a rather poignant last hurrah for characters who have arguably overstayed their welcome by a few years.
With little time to establish new ideas, the writers lean on storylines from past seasons. Zack Addy (Eric Millegan) returns after years in hiatus, only to see his controversial plot line from season 3 wrapped up in a couple of episodes; the Jeffersonian is bombed without lasting consequence; and the “final boss,” Mark Kovac (Gerardo Celasco), son of a war criminal Booth executes years before, is merely another in a long line of generic revenge villains. What should be an emotionally resonant conclusion to over a decade of storytelling instead feels restrained. Even the fan-service moments come across as gentle nudges rather than powerful final resolutions.
Again, it’s not bad, per se, just underwhelming. Really, though, how does a show like “Bones” conclude? In hindsight, having Booth and Brennan relaxing on a bench outside the Jeffersonian, ready to embrace a new chapter of their lives as parents, is probably the smoothest way the series could end. We want and probably deserve more, but this lighthearted farewell has to suffice until the inevitable revival.
Just steer clear of that awful “Bones: Skeleton Crew” spinoff.
Season 9
20th Century Fox
Following the ho-hum season 8, “season 9 steadies the ship and manages to hit a few high points on its way to another humdrum finale. For starters, the fourth episode, “The Sense in the Sacrifice,” marks the end (finally!) of Christopher Pelant, whose death opens the door to a new villain: the “Ghost Killer.” Eh.
Meanwhile, a subplot revolving around Wendell Bray’s (Michael Grant Terry) cancer diagnosis provides compelling human drama, as does the evolution of Cam and Arastoo’s relationship and Hodgins’ discovery that he has a brother. Good stuff. Still, the crème de la crème of the season is Booth and Brennan’s wedding. The milestone event takes place in episode 6 (“The Woman in White”) and unfolds exactly as one would anticipate: a mix of heartfelt character beats and chaotic Jeffersonian fun. Naturally, a dead body is discovered, and the Squinterns do everything in their power to keep it hidden from Brennan on her big day. Then, in true “Bones” fashion, the original church venue burns down, forcing Angela to arrange a new ceremony in the rose garden at the Jeffersonian. Fitting.
The ceremony itself carries considerable emotional weight, especially when Booth and Brennan recite their vows, reflecting on their long history together. It’s incredibly poignant and, in hindsight, probably should have served as the series’ capper.
Season 7
20th Century Fox
Season 7 offers a nice change of pace for a show that has spent far too long in the dark. A very pregnant Brennan and Booth navigate impending parenthood, which allows for more domestic comedy and relationship drama — for better or worse.
Don’t worry, murder still abounds — a toy company executive is found shrink-wrapped with dolls, a shipping store employee is discovered dismembered inside mailing boxes, and so on — but most of the cases are standalone and fairly low-stakes until the introduction of Christopher Pelant in the final episode.
Oh yeah, the season is reduced to 13 episodes to accommodate Emily Deschanel’s real-life pregnancy, leaving little room for deeper character development or an engrossing narrative. Instead, bite-sized character beats shape the season: Booth contends with the death of his father, Brennan and Booth settle into domestic life, Finn Abernathy (Luke Kleintank) makes his debut, and baby Christine is born in an episode filled with the usual “Bones” blend of absurdity and heart.
Still, while shorter and swifter in execution, season 7 feels like a reprieve from the heavy-handed drama of earlier years. It may lack ambition, but its lighter tone, familial disputes, and Christine’s arrival make it a welcome detour before the show plunges back into heavier terrain.
Season 11
20th Century Fox
We know what you’re thinking: how can season 11 possibly rank this high after we just finished explaining that season 8 begins the show’s slow march to mediocrity? Well, color us shocked too, because season 11 — while still far from the best — repositions the series nicely after the bumpy 8–10 stretch, gifting fans several compelling story arcs, creepy and memorable cases, and some strong character drama. No single episode tops the wedding in season 9, but as a whole, this run feels more like classic “Bones” than any of the other later seasons.
First, the positives: the opening arc kicks off with Booth’s disappearance and presumed murder, a suspenseful and personal storyline with genuine stakes — you know, the kind missing from the past few years. James Aubrey (John Boyd), Booth’s young and energetic partner, gets more to do; Hodgins suffers a tragic spinal injury; and the back half of the season focuses on the chilling “Puppeteer” storyline, in which a serial killer poses victims like marionettes. Creepy.
On the negative end, season 11 still features its share of filler, and some arcs — including Booth’s disappearance — resolve a little too quickly. No matter. By this point, we’ll gladly take whatever positives we can get, and season 11 delivers more than enough to feel like a genuine late-series rebound.
Season 6
20th Century Fox
Now we’re reaching the juicier stuff. From here on out, the remaining “Bones” seasons range from good to great — including season 6. Granted, by this point, fans are more than ready for Booth and Brennan to hook up, only for their relationship to hit a snag thanks to Hannah (Katheryn Winnick).
At the tail end of season 5, Brennan heads to the Maluku Islands for an anthropological dig, while Booth ships off to Afghanistan to train soldiers and presumably bury his feelings for Brennan. There, he meets war correspondent Hannah Burley, who returns with him to D.C.
Hannah is essentially the Karen Filippelli of the season, the “other woman” who delays the inevitable hookup of our two leads in predictable fashion. She’s not a bad character, but her purpose is clear from the start, and you spend most of the season waiting for the writers (and Booth) to toss her aside. Sure enough, about 13 episodes in, Booth proposes, Hannah declines, and she vanishes completely, never to be spoken of again.
Otherwise, the season swings wildly in tone, from incredibly dark storylines — season villain Jacob Broadsky (Arnold Vosloo), Brennan’s breakdown, Vincent Nigel-Murray’s (Ryan Cartwright) shocking death — to goofy one-offs, including the “Jersey Shore” parody episode and another where human remains turn up inside a giant chocolate bar. Somehow, it all works, and builds to a huge reveal: Brennan is pregnant. And yes, Booth is the father.
Season 5
20th Century Fox
Booth questions his feelings for Brennan following his surgery, Angela and Hodgins rekindle their love, and Heather Taffet (Deirdre Lovejoy), aka the Gravedigger, finally goes on trial, and that’s just scratching the surface of season 5, a sharp, nicely paced season chock full of engaging cases; the Santa bomber and the Roswell alien, for example.
Still, the meat of the season arrives in the 100th episode when Booth confesses his love for Brennan. Leave it to our pragmatic scientist to kill the moment. She’s not ready to take the emotional leap, nor does she believe she’s capable of the kind of love and commitment he deserves. And just as well.
From its inception, “Bones” thrives on the will-they-won’t-they dynamic between its leads. Like any great series, the fun is in the journey, and perhaps that’s why season 5 feels like the last truly great “Bones” season. Once Booth and Brennan eventually get together in the later years, the show struggles to give them much to do and loses the playful sexual tension that accompanies their courtship. Season 5 wisely keeps them apart, allowing their storyline to sizzle a little longer.
Moreover, this season offers “The Proof in the Pudding,” a crackling one-off with plenty of fodder for JFK conspiracy theorists, a guest appearance from Emily’s sister, Zooey Deschanel, and a solid season finale that sees the Jeffersonian crew break up and go their separate ways. Season 5 truly marks the end of the Golden Era.
Season 1
20th Century Fox
Designed around a simple but engaging premise, season 1 is a solid, though sometimes shaky, introduction to Brennan, Booth, and the Jeffersonian crew, blending dark humor, solid mystery, and likable characters.
“The Pilot” lays the groundwork with an engaging hour centered on the Jeffersonian team’s attempts to identify the body of a woman discovered at the bottom of a pond in Washington, D.C. We’re introduced to Brennan’s sharp forensic anthropology skills, along with her logical, blunt, and socially awkward demeanor, which clash with Booth, a far more intuitive, people-oriented FBI agent. Eventually, the pair realizes their contrasting styles are a perfect match to solve crime, forging a partnership that spans nearly 12 years.
We also meet Angela, Zack, and Hodgins, and it’s strange to go back and see them as fresh-faced newbies still finding their rhythm. From there, the season delivers a batch of memorable episodes that feel far more grounded and high-stakes than those in later seasons. “The Boy in a Tree” deals with international politics, “The Man in the Fallout Shelter” reveals everyone’s backstory, and the season finale, “The Woman in Limbo,” delivers an emotional gut punch that ensures viewers tune in for another season.
Clunky in execution at times, but undeniably compelling, season 1 casts a spell that instantly pulls you in while laying the foundation for even greater things to come.
Season 3
20th Century Fox
It doesn’t take “Bones” long to hit its stride. And really, the only reason season 3 doesn’t rank higher is because of its truncated schedule — the result of a writers’ strike. Also, a certain twist involving fan favorite Zack, while shocking, feels more gimmicky than necessary.
Otherwise, season 3 gifts audiences the famed Gormogon arc, in which our heroes track a cannibalistic serial killer with a knack for ritualistic murders. It’s one of the show’s darkest, most unsettling storylines, packed with grisly imagery and a few surprising turns, no matter what Boreanaz says.
Oh, and the season introduces Sweets, whose presence adds a youthful energy and fresh perspective to the team.
While the main storyline revels in pitch-black horror, the writers make sure to balance it with lighter moments. In “The Baby in the Bough,” Brennan and Booth care for an infant, foreshadowing their eventual roles as parents, while “The Santa in the Slush” delivers a fun bit of fan service when Brennan kisses Booth under a mistletoe. We also meet Brennan’s criminal father, Max (Ryan O’Neal), whose trial in “The Verdict in the Story” gives Brennan a chance to show her deep devotion to the people she cares about.
Overall, there’s little to criticize; season 3 strikes a near-perfect balance of darkness, humor, and character drama, pushing “Bones” beyond its procedural, er, bones.
Season 2
20th Century Fox
If season 1 introduces audiences to the Jeffersonian crew, then season 2 solidifies their place in the pop culture zeitgeist. Thanks to a bevy of classic episodes, namely “Aliens in a Spaceship” (one of the series’ best episodes), “The Man in the Cell,” “Judas on a Pole,” and “The Glowing Bones in the Old Stone House,” the sophomore outing proves sharper, edgier, and more refined than the debut season. Brennan and Booth’s chemistry feels more natural and electric, and the will-they-won’t-they tension gradually builds in a way that feels more organic than obligatory.
Supporting characters also enjoy stronger emphasis. Hodgins comes into his own in the aforementioned “Aliens in a Spaceship,” penning a letter to Angela in a moment of peril that remains one of the most poignant beats in the entire series. Zack officially joins the team after earning his doctorate, Angela’s romance with Hodgins blossoms, providing the show with some much-needed warmth, and Booth’s messy personal life comes to the forefront. Season 2 also closes the book on serial killer Howard Epps (Heath Freeman) in “The Man in the Cell,” giving Booth and Brennan one of their most dangerous and personal showdowns yet.
Ultimately, this is where “Bones” evolves from a murder-of-the-week procedural into an absorbing story about characters navigating an increasingly treacherous world. It’s not always perfect, and occasionally melodramatic, but season 2″ never ceases to entertain.
Season 4
20th Century Fox
Finally, season 4 finds Bones in peak form. Every element of the show comes together, resulting in entertaining television with an abundance of thrills and heart. Brennan and Booth’s chemistry is at its most playful and emotionally charged as their feelings for one another continue to grow; the cases are unique, even bizarre, ranging from hilarious (“The Man in the Outhouse”) to heartbreaking (“Mayhem on a Cross”), and the ever-revolving door of interns introduces a batch of memorable new characters.
Season 4 also continues the Gravedigger arc with “The Hero in the Hold,” where Booth is kidnapped, buried alive on a ship, and forced to confront his own fears and personal demons while finding a way to escape. The harrowing moment leaves scars and cements the Gravedigger as one of the show’s most terrifying villains.
Meanwhile, Sweets becomes more firmly woven into the ensemble, while Cam, who occasionally feels out of place in earlier seasons, gets some of her best material, including the standout “The Doctor in the Den.” All in all, it’s the best season of the series, effortlessly delivering audience-pleasing thrills — the UFO-themed “The X in the Files” is weird as hell — and a whopping 26 episodes of binge-worthy entertainment.
