If there's one thing Station 19 does well, it's bringing people together for intense and emotional moments, regardless of scale. In “Give It All,” director David Greenspan and writers Heidi-Marie Ferren and Leah Gonzalez do just that.. While the episode focuses primarily on Maya and Carina, Ferren and Gonzalez do well to balance the two of them with the others. From navigating tense family reunions and legal mediations to protecting sacred prayer ceremonies and handling unexpected detours, we see our characters in positions that challenge their perspectives while addressing often-ignored subjects on network TV. The team faces their situations head-on and leans into letting go, showing emotional growth fit for an imminent series end. They all have new realities coming their way, and some potential conclusions for our favorite firefighters are starting to take shape as we head into the final few episodes of the season.
Games of Winners and Losers…
In the first few moments of "Give It All," we're right at home with Maya "Queen of the Clipboard” Bishop as she helps Carina prepare to get that game face ready to clear her name at the arbitration for her malpractice lawsuit.
The DeLuca-Bishops are eager to put this whole situation behind them and focus on more important things. They have an egg retrieval procedure coming up, which will bring them one step closer to expanding their family. It’s clear they both have busy days ahead as they bustle around each other to get out the door, but managing their everyday realities while juggling the IVF process is a welcomed overwhelm that they almost delight in. Today’s baby making will hardly be romantic, but they find sweetness in their own way. A few gentle reminders from each other to not forget their trigger shots and hormone patches is practically a love letter at this point for them. And people say romance is dead.
As Maya heads to the station, Carina heads to the Seattle Arbitration Association, where she faces Wendy Wilson and the case brought against her for supposed negligence in delivery and diagnosis. In "True Colors," we learned, as Bailey and Carina dug into the case, that Carina did everything right by the mother. She was proactive, effective, and attentive at each step. But, as Bailey pointed out after they poured over the case together, sometimes litigation isn't about who is at fault. Sometimes, it's the only option caregivers feel they have to recoup from the financial and emotional burden of caring for a disabled loved one.
While “Give It All” shows some testimonies, we appreciate that it doesn't rehash what viewers already know and gets to the root of the problem. During a break in the mediation, the struggling mother attempts to guilt Carina by saying, "I just hope you know that if you win today, my daughter loses again." It's not a fair statement, but we understand what she's trying to say. Everyday life isn't built for Wendy's reality - or her child’s.
And look, Carina is one of the most empathetic characters in this series, and that doesn't change even when her professionalism is under attack. She often takes on other people's pain and suffering, trying to solve it at the cost of her own well-being. However, in this instance Carina protects herself and avoids shouldering a burden that's not hers to bear. That doesn't mean she doesn't care, though. While she might not be responsible for the lack of accessibility and resources available to Wendy, she can still help the mother find support without compromising her own integrity. Carina knows that regardless of any "winning or losing" outcome that this suit might bring, what truly matters is getting Wendy the right resources. So, as she boldly moves to leave the mediation early, she makes sure to give Wendy her contact info. Hopefully, she'll reach out, and Carina can help her make a much more tangible difference in her overall welfare.
Oh, Baby, We’ve Got a Misunderstanding….
As Carina tackles her malpractice suit, the firefighters prepare for their upcoming shift with breakfast and jokes while Andy continues to pour over the station's budget. This budget crisis feels like a never-ending issue, despite the station being down two firefighters and having switched to the crappy two-ply toilet paper. All sacrifices that can be made are being made.
With unanswered questions about Crisis One, Vic is eager to know what budget cuts are still needed. But before she can continue her questioning, the team is called to a public park where they're confronted with what would seem like a straightforward call. There’s a fire in the woods. They see smoke and they act fast.
However, in this case, it’s not as straightforward. They hardly make it into the woods before members from the federally-recognized Indigenous Tulalip tribe stop them, urgently trying to help Andy understand that they're allowed to be there and have a permit for their private prayer ceremony. At first, tensions flare. Andy won't let anyone stand in 19's way to extinguish an active fire. But the team and viewers are soon in for a lesson as they meet Elliott Henderson (Gregory Cruz), a captain from a fire station on the Tulalip reservation.
As noted in a recent Shondaland interview with the writers of this episode, fire is life–not necessarily something to be managed and extinguished. This is especially true within Indigenous cultures, where tribes have used fire for various reasons for centuries, including sacred ceremonies.
Elliott explains to Andy that the tribe has a valid permit to be on the land. Also, he was the one to call them here, not because of the Tulalip’s fire but because of the ill-thought-out gender reveal party happening nearby. As he mentions concerns about the smoke bombs and fireworks, the inevitable happens: the sparks from the gender reveal candles catch fire, and 19 must move to put it out as quickly as possible. Soon, the party's supplies ignite and explode, instantly making a bad situation exponentially worse. However, with the help of Elliott's wildland training, the team quickly secures the area and properly puts out any remaining fires in the woods. Crisis averted.
As the team wraps up, many of them are impressed with the skills Elliott showcased. Andy laments that it'd be nice if they had similar training but that budget restrictions prevent that dream. However, Elliott invites 19 to join them next time on his department’s dime, as it benefits both teams to have extra knowledge and support within the community. The Tulalip tribe’s generosity continues when they invite Andy to join their prayer ceremony by observing from afar. The invitation is truly an honor, and we’re glad that the significance didn’t pass Andy by. Station 19 intentionally didn't show the ceremony out of respect for the tribe, but seeing Andy observe it is still just as powerful. It leaves her with a new perspective on the importance of reaching out to her community when she needs help–including her own team.
Hit the Nail on the Head…
As some of the team head off to the park fire, those who remain at the station put their skills to the test by running drills. It's a bit of fun as they race through the station to bring some dummies to safety in the barn. But before the skills tests can continue - and Travis can call for a redo due to Ben's "chemically enhanced" advantage of testosterone, the station is visited by their former team member Theo and his fellow EMT Dominic (Johnny Sibilly).
They show up at 19 with Paula Kelly (stand-up comedian Cameron Esposito), a construction worker who refuses to go to the hospital, fearing retaliation from her job for yet another workers' comp claim. But it's not just a small cut they're addressing - it's a literal nail through her arm, so Ben immediately takes care of her in the barn. Despite her not liking "when men do things for her," exceptions can be made, and now seems like an excellent time to start. Bringing a patient to 19 is nowhere close to following protocol, but when has Theo (or anyone at the station) followed protocol when it applied to him?
Overall, this case is pretty contained, though it's fun to see the show take advantage of Esposito by giving Paula some lines like, "This is better than cable," when Ben pulls out the nail from her arm. The comic relief is great, but Paulaseems more like a way to explain why Theo ended up at 19 and why he misses it: the ease of being around a team that he can fully trust and, oh, yeah, one Vic Hughes. Even Dominic calls him out on it.
Speaking of Dominic, this impromptu visit also introduces him to Travis. Theo can barely contain his excitement as the two get to know each other, finding reasons to delay leaving the station so that the two can talk. Dominic’s cute, but let us make it very clear that we don't believe Travis needs yet another love interest this season. He's just come off a breakup with Eli after cheating on him with his ex-boyfriend, Emmett, so adding yet another guy into the mix feels a bit odd, especially this close to the series ending. Even if the chemistry is there. We love Travis and we hope he gets a satisfying ending that has him shedding the shame he carried with him for years after "True Colors," but we hope Dominic becomes a solid friend for him instead of a fast-tracked relationship.
Eventually, the rest of the 19 arrive back at the station following the park fire, and Beckett invites Theo and Dominic to join them at Joe's the next day to celebrate a job well done.
But before that can happen, Andy calls for the team to gather in the beanery. She finally opens up about the budget crisis they’re facing. She wants to be a captain who can ask for help and not keep all the problems to herself. After going through the audit analysis, dealing with two unexpected exits from Theo and Jack, and making any necessary additional cuts no matter how small, she still feels stuck. She objects to anyone considering early retirement and is determined to keep 19 intact. So, when Vic proposes cutting Crisis One, there's an outcry of "no's." However, perhaps inspired by the Tulalip's fire department, where Elliot mentioned they receive grants for their training and departments from various sources, there's something to be said about getting creative with how 19’s programs are funded. Can they cut Crisis One from their budget without cutting Crisis One? It seems so! This keeps the program together and opens up a potential arc for Vic to make Crisis One national, just as Dean intended. Now just how fast can they get their funding?
You’re Harassing Me and My Community…
While the team tackles their calls, Maya and Cutler take on rudimentary inspections in the neighborhood. And while earlier that morning Maya had assured Carina that she’s “just on inspections” and will be “fine,” we know Station 19 and Maya better than that. Sure enough, it’s not long before Maya, while out, stops by Mason's place. She found his address through a Seattle Fire Department Incident Report on the protester she helped save during Pride. She asks him for 10 minutes, but the conversation lasts much longer and differs from how she thought it would go. Not all family reunions are welcomed with open arms.
Maya's spent years looking for her brother. This was evident early in Season 1, and now, with a flashback in last week's episode “With So Little to Be Sure Of,” we saw that he was still on her mind midway through Season 5. In a conversation with Carina, Maya expressed her feelings of responsibility for “letting” him stay on the streets. Over the years, we've learned that when they were growing up, their father often ignored Mason and anything he desired to pursue in favor of Maya's Olympic training. She feels like it was her fault. It feels like she's imagined countless scenarios of how they would be reunited, how she could make up for it and save him.
This was certainly not one she imagined.
Despite knowing that Mason is living in what she refers to as a “boys’ home for deplorables,” with the same group involved in the protests at Pride, Maya tries to see the good in him. He's been brainwashed and fed rhetoric from these hateful groups over time, but it’s not him. She knows him. She grew up with him. All of this—the hate, the “us vs. them” messaging, the bigotry, the militant misogynistic language that she sees all around the apartment—is just a case of him falling in with the wrong crowd. She can save him. But as she tries to understand why and how Mason ended up here, we, as viewers, realize that his rhetoric goes beyond mere talking points; it's what he truly believes now. He believes that the country's “traditions” are falling and that he and his “brothers” can fix it. He also believes that men have been victimized by woke agendas, that jobs are being lost due to identity politics, and that men like him are despised these days.
Maya wants to help him. She needs to help him. This isn't the Mason she knows. He’s her little brother, the kid who made up stories with her, the kid who was full of kindness and who had undeniable artistic talent. But it’s all too little too late for Mason. He tells her, with anger and betrayal, that he never mattered to anyone until his brothers found him and helped him get clean. They lifted him up and welcomed him in; “They hung my art on the walls.” Maya tells him that he matters to her. But that's how these groups get people. They prey on the vulnerable. They make them feel like they belong somewhere.
Maya’s sure he just needs love and family, which she tries to provide him. She offers Mason the chance to move in with her. She wants to show him there's another way to live. After all, love has healed her in a thousand ways; Carina's and Liam's love has changed her. In her mind, if Mason could experience it himself, he'd see reason.
She continues to question Mason and his choice of friends, pointing out that his “family” harassed innocent people at Pride. Frustrated, Mason asks why the "stupid Pride parade" is important to her. So Maya tells him, “You're harassing me and my community” - his act of protest opposes her very existence. And in an instant, everything changes.
This is only the second time that Maya has really “come out” to anyone. Sure, she lived her life before Carina fairly carefree when it came to her sexuality, but it wasn't until hours before she got married that she came out to her own father. And we all know how that turned out. So, for this moment, it's another milestone for her, but it's a bitter pill to swallow because we know that like the first time, this won't be well-received either.
The next scene begins with Mason standing up from behind the couch as if to put as much distance between them as possible. He struggles to get out the word “gay” and reserves his most hateful ones for a moment when he knows he could inflict more pain. When she corrects him to say that she's bisexual, he laughs and responds with the age-old joke of, “Oh, so you're confused,” followed by a dig at her daddy issues. (Side Note: hearing Maya Bishop proudly state she's bisexual is not a small thing, and it means so much to see on TV).
But when he learns that she has a wife and son, he launches his most vicious attack. He aims for her son first, stating that the “little weirdo” would need a male figure as he grows up. He attacks her marriage and family, saying that they're “poisoning this country.” And that's what draws Maya out of her attempts to reconcile with him. She won't let anyone, not even her flesh and blood, attack the beautiful life that she's built. The family that she wants more than anything. The love that heals her time and time again.
She went into Mason’s house wanting him to be a part of her life and get to know Carina and Liam, but that immediately stops when she realizes he would ruin them. He doesn't deserve to know them. As Maya listens to his hateful words, she realizes that her worst fears can't compare to the reality of who he has become. This man, who once was her kind, kid brother, is now the epitome of everything she’s fought for years to heal from. She utters likely one of the most painful realizations in her life, "You're Dad […] No, actually, you're not him. You're worse."
We know how the enormous impact her father’s influence has had on her life. She's destroyed it while holding on to her father and her ideals of him. But she's finally left that behind. She's healed. And she can't let anything remotely similar come close to her family or the life she's building. So she has to let go of the dreams of reconciliation, of the little brother who no longer exists, of saving someone who doesn't want to be saved. As her HCG shot alarm rings out, her time with Mason has ended. She struggles for a moment to say goodbye. It's likely the last time she'll ever see him, and despite the devastating realizations she's come to, it's still not easy in its finality.
At the station, Maya is in a state of distress, attempting to administer her delayed HCG shot. She's in tears, isolated, and deeply worried about missing her window. Beckett enters the room and informs her of the team meeting that Andy has called. As he prepares to leave, he catches her berating herself as she struggles with the shot. He could have walked away, leaving her to her thoughts, but he chooses to stay as she opens up. He decides to be there for her, providing a listening ear for her venting.
This scene works for us because Beckett explicitly asks for Maya's permission to help–if he can stay with her in this vulnerable moment. And to us, it doesn't feel inexplicable. He's been through IVF with his ex-wife, so he knows the process and he can help. It's a logistical choice. However, Beckett's offer goes beyond just physically assisting Maya with the shot. It extends to him showing kindness to her, a moment of brotherhood for a teammate he can see struggling with something deeply personal. It's something neither of them afforded each other over the last two seasons.
We've been critical of Beckett's redemption arc earlier this season. It should've included a direct apology to Maya. He was horrible to her last season and contributed to her spiral. However, at this moment, as he offers to help, it feels like it's his way of truly showing up for her. It's confirmation for both of them that they can trust each other despite their terrible history. They'll never be best friends, but they are teammates. Sometimes, just standing by each other, in the good and bad times, is enough.
A Sigh of Relief…
After their shift, the team disperses, and Ben and Maya head to their respective homes. Ben finally tells Miranda about his testosterone use, to which she admits she's always known and was waiting for him to feel ready to tell her. Meanwhile, Carina greets Maya with "Dolci per la tua dolcezza." However, Maya points out that the donuts weirdly resemble exploding nipples. So, we all celebrate in our own unique ways.
For the rest of the firefighters who aren’t returning home right away, a trip to Joe’s is in order. The team gathers, mocktails in hand, a nice way to support Beckett's newly sober status. Several small moments occur in this scene: Travis and Dominic bond over darts and ex-husbands. Vic and Theo rehash their recent breakup. Ross randomly appears and compliments Andy's approach to leadership. And the whole team gathers for a fun dance.
All this unfolds, transitioning into a "fun" montage of the couples hooking up, consequences be damned. Ross pushes Sullivan onto the bed, moving to a testosterone-fueled Ben as he reaches up to grab at Bailey, which then pivots to Carina teasing a blindfolded Maya with a swipe of sugar from her donuts. Maya, who's had enough teasing, pushes Carina into the open fridge, and as a bedroom door closes, we move into the more shocking hookup between Vic and Theo. We didn't think their talk was enough to warrant that kind of rekindling, but we're sure the hookup is bound to have some consequences.
And a sigh of relief... Maybe? The hookups were fun, but they also posed a question: Was it right for the episode? As far as tone goes, in Greenspan’s own words, the operative word for the montage is "fun." That intention certainly shows editing-wise with how each couple leads into one another and moves the montage along.
Is it odd to see Sullivan and Ross hooking up after less than a couple of minutes of screen time for this episode? Yes. Did we think Theo and Vic made a mistake jumping into bed together without a proper talk? Of course. Were Ben's grabby hands at Bailey weirdly off-putting because it gives off 19-year-old schoolboy vibes? Sure. But was Maya and Carina's playful nature out of character? For us, it isn't. And all of these are “fun,” even if not entirely to our taste.
We respect that everyone will have different opinions, and there's no right or wrong way to feel about it. We would've loved it if the writers had portrayed a softer side of Maya and Carina in this episode. The rest of the couples were truly just there to hook up and had no real immediate emotional weight to the scene beyond “fun.” But for Maya and Carina, this offers a chance to reconnect after an emotionally exhausting day. It doesn't help that this season has sidestepped or glossed over many of their moments in quick montages. Of course, we know this might be the case simply due to the shortened season, but with only a few episodes left of the show, we get why people wanted more. We wanted more, too. Nonetheless, we still enjoy this scene for what it is.
By this point, Carina already knows that Maya found Mason and that the confrontation didn't go well. Do we wish we had seen a scene where Maya and Carina had talked about what Maya had experienced? Absolutely! But we know that Maya sometimes needs time to process things, and the absence of a scene with that conversation shows growth. Carina doesn’t ask her to talk about it at length to the point where Maya has to walk away or ice her out to process her feelings. Some form of that may come later, but in this case, they both need physical closeness with a bit of reprieve from the nightmare scenarios they found themselves in earlier.
One of the last times viewers saw them together like this was the shower scene in "What Are You Willing to Lose." That moment felt like they were truly coming home to each other after so much time away. It reaffirmed their devotion to each other - a tenderness reserved for just them. It was healing the wounds they bore throughout all of Season 6. That's why, in Season 7, it feels good to see them having a playful moment together. It’s because they finally can. Even after having hard days, they still find moments where they can be happy, light, and lovely with each other. And it's healing for them. It’s something they lost in Season 6. It’s what Maya wanted to work to rebuild. And we’re seeing the results of that in this sequence.
They're each other's sanctuary and home that only they get to return to every day, on good and bad days. So when Carina offers her protection from the outside world by providing a space to process and physical love, and Maya accepts her love as protection, we think that's pretty damn intimate. The world outside themselves is scary: Maya has a new reality in which her brother doesn't accept her humanity or that of her family, Carina’s still awaiting the final results of her mediation, and their IVF process isn't a sure thing. But despite all that, they have each other, and they can get lost in each other, blindfolds included.
----------
Season 7, Episode 7 "Give It All"
Director: David Greenspan
Writer: Heidi-Marie Ferren, Leah Gonzalez
Original Airdate: May 9, 2024
Words: Mariana Weber (she/her)
Watch Season 7 of Station 19 on Thursdays at 10/9 central and the next day on Hulu or the ABC App.
----------
Read The Room is a volunteer-run magazine! Enjoyed reading our articles and content? Please consider supporting us on ko-fi to help us cover the cost of running the website!
----------