Given everything that has been happening in Firehouse 51, it’s validating that someone finally said what we have all been thinking about

Chicago Fire‘s most unstable years. NBC’s Wednesday block has officially returned, with the whole One Chicago franchise coming back

with new episodes. For Firehouse 51, that means addressing a few lingering plot lines from the last TV cycle.

 

 

For context, the Chicago Fire season 13 finale tackled several narratives. That included Stella Kidd and Kelly Severide’s failed attempt at adopting, only for the show to end with the brilliant news that they were expecting their first kid. Secondly, Chief Dom Pascal’s personal crisis about the death of his wife was finally resolved. Elsewhere, Sam Carver and Violet Mikami confessed their feelings for each other.

 

 

While all of those aforementioned plots seemingly ended on a high note, not all of them resulted in a better Chicago Fire season 14. Beyond those retracted good news, Firehouse 51 is plagued by a bigger issue — something that we have all been thinking about in the last couple of years.

 

 

Chicago Fire season 14, episode 1, “Kicking Down Doors” doesn’t waste time introducing its brand new member, Sal Vasquez, who finds himself immediately on-call under Lieutenant Kidd. Technically, he is the replacement for Carver, who still moved forward with his decision to move despite his heart-to-heart with Violet at the end of season 13.

 

 

When the newly-elected Engine leader, Mouch McHolland is asked about his read on Vasquez after his first call. Instead of being the welcoming mentor that he usually is, he brushes it off, and frankly, it’s difficult to argue with his explanation:

When Dick Wolf and NBC launched One Chicago, its biggest difference from the Law & Order franchise was that it was more focused on its characters. The New York-based procedurals’ cases were what drove its stories, albeit with a smattering of personal arcs. In the Windy City, however, the characters are king, with the the weekly calls usually used to drive their narratives.

That being said, it’s difficult to get invested in a character if there’s a risk that they would eventually be gone by the end of the season. Like Mouch, viewers are tired of getting attached to new Firehouse 51 players only for them to be suddenly written out. Beyond that, it’s also difficult to re-establish the cast dynamic if characters regularly come and go. In the end, Chicago Fire is forced to only rely on its older relationships, which isn’t sustainable.