The Mentalist Red, White and Blue Review


Synopsis

Lisbon (Tunney) and Jane (Baker) are called at a crime scene where the body of a young woman from the army has been found near a military basis. After a brief struggle with the soldiers to determine who will investigate the case, the CBI takes charge and Jane and Lisbon are informed that the victim worked with soldiers with PTSD, such as memory impairment.

Concise Verdict

After the tension filled encounter with Lorelei in last episode, ‘Red, White and Blue’ worked as a much needed stress reliever. There has been some time since we had a themed episode such as this one, centered on the army, and the situation is used to infuse lots of humor into the characters’ investigation. All in all a nice and hopeful little episode.

Detailed AKA Humungous Review (spoilers galore)

VIS#1: Lisbon is singing

Soon after Lisbon and Jane’s arrival, Lieutenant Lewis argues that the case should belong to the army since Lucy Greene was an army medic. The local cop who called the CBI doesn’t seem impressed either by the duo formed the team leader and her consultant, to the extent that Lisbon has to tell him drily that “our staff is on its way” to confirm that they are more than only the two of them… Fortunately (or not), Jane decides to step in and prove that quality is better than quantity in his own peculiar way. To show off his attention to details and his superior detective skills, he asks Lisbon to examine the tattoo around the body’s ankle: “Huh, Lisbon, you used to play clarinet, is that right? Can you read that tune?” Lisbon, dutiful as ever, tells him it’s the song “Kansas City” and, seeing Jane’s lack of recognition helpfully begins humming the melody, then, encouraged by Jane’s glee, she sings the lyrics… and stops abruptly when she notices the incredulous look on the soldier and the cop’s faces. Ouch, talk about credibility… Finally, her facetious consultant effectively manages to convince them that they’re more professional than they look by deducing that the victim was at a bar before being murdered, which ends up winning them the case.

This scene is really funny and Lisbon is particularly cute when she’s lead on by Jane. It’s also quite intriguing that neither actually cared to label Jane to the other men: Lisbon simply introduced him by his name to the cop (without adding “my associate” this time, or even “our consultant” for that matter), while Jane answers Lewis’ inquiry with a very precise “Me? I’m with her”…

The moment has various purposes. First, plot wise, the scene obviously presents the victim and her working environment (the army). The brief struggle between the military authorities and the CBI also aspires to explain why the team is in charge of a case when it normally would belong to the soldiers. A number of viewers would immediately associate NCIS with the violent death of an army medic: that scene at least acknowledges a bit the question, even if the given explanation remains quite unsatisfactory…

Second point, it illustrates Jane’s usual modus operandi in crime solving. First step, to poke at any authority figure at hand who isn’t Lisbon; then, when he has undermined them by ridiculing and/or insulting them, he baffles everybody with his abilities. He likes to play his public. As an example, he did it in ‘Red Gold’ too when he hugged the sheriff out of the blue and admired the landscape enthusiastically before analysing the victim’s car. But here, his mocking of the rules involves Lisbon: he makes her lose credibility, while he stays relatively normal in front of the others. She passes for the oddest while he just shows his mastery both in gently manipulating her and in investigating.
But this also adds some interesting layers of subtext concerning his relation with Lisbon. Indeed, things are almost back to normal: teasing, smiling, joking… The “clarinet” references the episode ‘Rose Colored Glasses’, where Jane asked her to dance at that high school reunion. Back then, he discovered that she used to play an instrument and kept trying to guess which one. He mentioned the clarinet and she denied it: so, either he is teasing her here by talking about an instrument he well knows she didn’t play, or they had a talk offscreen where he realized that she had been lying and that she really used to play it. Either way, this allusion reminds us viewers of a sweet moment in the early times of their partnership and gives some perspective: they share a past. That fact adds a deeper meaning to their complicity during the song and to Jane’s teasing, along with his willingness to keep the case. It hints that things have been mostly mended both professionally and personally since the previous episode. Even Lisbon’s “stop that” afterwards when he begins imitating her by singing gives some measure of normalcy.

Plus, the song itself might be telling: “… Kansas City, Kansas City here I come/ They got a crazy way of loving there/ And I’m gonna get me some…” Really, Lisbon? You’re singing to Jane, your slightly insane consultant, that you’re gonna get some of that “crazy way of loving”? No, they’re totally not teasing the shippers with this one… And if we read the rest of the lyrics, things get really intriguing at the end of the song (which Lisbon doesn’t get to): “Nobody will know where I’ve gone/ Cause if I stay in town/ I know I’m gonna die./ Gotta find a friendly city/ And that’s the reason why/ I’m going to Kansas City/ , Kansas City here I come/ They got a crazy way of loving there/ and I’m gonna get me some.” Basically, two choices are offered to the character in the song: to die if he stays where he is or to leave secretly to a “friendly city” with the hope of love. Those symbolise pretty accurately the choices offered to Jane in ‘There Will Be Blood’: to keep going on his vengeful path towards revenge (which is getting even more dangerous with Lorelei’s death), or to move on and to choose a new life full of redemption and affection (represented by Lisbon). This might be again a discreet hint that Jane is beginning to seriously question his quest, a theme started after him killing Carter and enhanced by his meeting with “Charlotte”. Back ‘The Devil’s Cherry’ he showed only lassitude due to his lack of progress in the RJ case; now he might also feel a renewed sense of danger born from Lorelei’s fate…. The thread is even more pressing.

Last, amusingly, there seem to be two little reminders of the two arcs carrying hope: “Alice in Wonderland” from ‘Devil’s Cherry’ (Lt Lewis/ Lewis Carroll) and “The Wizard of Oz” from S4 ‘Ruby Slippers’ (the song Kansas City/ “You’re not in Kansas anymore, Dorothy” was what Minelli told Jane long ago). Those are very probably only coincidences but the detail is rather entertaining.

VIS#2: Jane and Lisbon at the hospital

Later, both investigate Lucy’s workplace and interrogate the doctor who worked with her. This time, it’s Jane who is put in an uncomfortable situation when he mentions in passing that the doctor recently divorced. The man is surprised and asks how he knows that. Instead of backing her partner up, Lisbon turns to him and acts the same way he did at the crime scene: she only shows incomprehension and it forces Jane to elaborate further, explaining that he uses way too much cologne… Lisbon slightly nods at that. Dr Bowman seems ok with the remark, yet he ironically adds that “it’s been a little over one year and (he’s) doing quite fine actually, thanks for asking”. Since neither asked about how he was doing, they both answer with an uneasy smile and an awkward “great”. They seem quite in sync both in the timing of their line and in the uneasy feeling the situation provoked.

That funny scene (Jane even clears the air with his hand after the smelling doctor has left) shows again their complicity and humor, two aspects lacking in ‘There Will Be Blood’: the air has been cleared between them as well, or so it seems.

VIS#3: Lisbon and Jane interrogate Pete

While at the hospital, they discover that someone witnessed the murder and called the police before abruptly leaving the crime scene. The interrogation reveals that Pete, their only witness, suffers from memory impairment due to his traumatic past as a soldier. All his friends in the army have been killed in an attack and the shock has affected his short term memory… meaning that he doesn’t remember anything from the night of the murder. He even forgot about the crime right when he was talking to the police on the phone that night, which is why he simply walked away in the middle on the conversation. His impairment is further showed by a detail: at some time, someone walked in on the interrogation by mistake and the distraction erased every memory of the talk they were having from Pete’s mind, forcing Lisbon to tell him again that Lucy had been murdered and making him sad and shocked by the news all over. The poor guy just suffers from a never ending memory loss that makes him live over and again every terrible event he may encounter.

This unusual situation gives some background to the character and makes him very pitiful and sympathetic as he’s moved both by the death of his friends and by Lucy’s. It’s pretty poignant and it explains Jane’s empathy and his later bonding with Pete. It may have also helped that Jane himself had his memory damaged in ‘Fugue In Red’ and may then understand how impotent and frustrated with himself Pete must feel.

VIS#4: Jane triggers Pete’s memory

After telling Lisbon that he wants a taco, Jane takes off again to the crime scene. Here, he peacefully enjoys a gardenia’s delicate scent before lounging on a bench for a nap. Such a serene moment, who would have though the man was actively investigating?

Image by Chizurubchibi. Copyright Reviewbrain March, 2013. Not to be used without permission.

Image by Chizurubchibi. Copyright Reviewbrain March, 2013. Not to be used without permission.

Indeed, it appears that he was doing a field reconnaissance for an experiment of his. When Lisbon and Pete later join him, he buys a taco for their witness, makes him smell the gardenia, all the while explaining his plan: he wants to boost his memory by using his senses since the best tools are smell, hearing and taste. He recreates that way with external reminders the exact conditions Pete encountered before walking in the murderer seeing as he was eating a taco then and passing by the flowers. The trick works when the last element, the church bells, is added.

Of course, that clever scheme worked because his memory loss was due to more to traumatism than to a head injury, but what’s interesting here is that Jane took the time to explain what he was doing to Pete. He describes the theory for trigging his memory while he was using it; he didn’t manipulate Pete, he made sure he understood what was about to happen. That way the guy could comprehend and work with him. The moment is comparable to the lecture Jane has given at the university about his memory palace and his mnemotechnic method in ‘Red in Teeth And Claws’, but this time he doesn’t use parlor tricks to impress his public. More, those scenes almost complete each other: he told Dr Hill that “it’s easy to remember when you never forget” and he demonstrated how he could “remember” an extended list with his extraordinary memory; now he works with a young man who could only “forget” and he shows him how not to. Those scenes set Jane as a specialist in memory: he doesn’t just show off his skills, he can theorize about it and use his knowledge to help people, not just as entertainment or for an investigation.

Explaining in detail what he’s doing to Pete also sets the ground for a form of trust between the two men. That part is deepened and twisted later when Jane puts Pete in a slight trance to help him sleep. He has used his skills before to help people in order to gain their trust (like with that dying mafia boss he gave advice to help him sleep in ‘Bloody Valentine’) or out of kindness (those two times he planted a suggestion in people’s mind to make them stop smoking in ‘Blood for Blood’ and in ‘Something Rotten in Redmunds’). But those instances were just fleeting moments: here Jane goes out of his way to help Pete, he seems to care. Even if he uses this to plant a false memory in the notes Pete has been writing to try to remember things, he really tried to create a peculiar kind of trust with the young soldier. In a way, by explaining his method and helping him overcome his problems (memory impairment and insomnia), Jane almost acts as a therapist. Even the detail of Pete lying on a couch while Jane hypnotises him belongs to iconic scenes for psychologists.

VIS#5: Jane apologies to Pete

Jane apologizes (*gasp!*) for using him that way at the end. The scene echoes the other: this time it’s Jane who is napping on his couch and Pete awakes him. The soldier thanks him for finding Lucy’s killer; he understands that Jane only abused his trust for a noble reason and both show respect for the other. This moment between the two men also enhances their similarities: before, during his interrogation, Pete said that he couldn’t sleep and was “angry and sad and no idea why” due to his lack of memories and the loss of his friends while Jane is admittedly an insomniac (napping on his couch during the day), who is also often angry and sad because of grief. And, although he does know why he feels that way, the incertitude in his case lies more on his real motives for going on, as his imaginary daughter pointed out.

Jane then proceeds to help him overcome his memory impairment at least partially. By writing his fake note, he has indeed enlightened the limits of Pete’s usual system of writing down everything he can to supply information in lieu of his lost memories. This routine of relying on notes might also refer to one of Jane’s own habit: his list of possible suspects for RJ. Jane has been racking his brain and writing down their name like Pete was obsessively taking notes about what was happening around him (he did so at the crime scene after Jane’s experiment). For Jane too, his scribbling is the only way left to unearth the truth after he lost the lead provided by Lorelei since Jason is out of reach at the moment.

This scene shows once more Jane as an expert: he teaches the memory palace technique to the younger man to help him fix his memory. Pete chooses his late army friends as his own palace: by associating systematically everyday little things to one of his lost friends, Jane plays again the part of a therapist for Pete since he is helping him overcome his impairment and the traumatic event that caused it. Thus, with Jane’s help, Pete can be able to heal and grieve at the same time, he has been given a tool that can fix progressively his short term memory problem and deal with its root as well in the long term. Given the parallels between them, one can wonder is there is a hope for Jane too to start accepting his traumatic past and to overcome it, to start grieving his family instead of staying fixated on his loss. Lorelei’s demise might have been a catalyst and might have given Jane perspective on the path he can choose and on what he is willing to risk (aka Lisbon, and the question is not anymore just about protecting her either physically or by not telling her the whole truth, but about losing her affection beyond repair).

Also, it may be a bit far stretched but one might wonder if the memory theme that has been developed lately isn’t a circumvallated way to allude to Jane’s greatest memory loss so far: his confession to Lisbon in the heat of the moment before he shot her in last season finale. Since feelings have been addressed this season, first by Lorelei’s comment in ‘The Crimson Ticket’, then recently with Lisbon’s anger and hurt, can viewers start hoping that this odd “memory loss” will be fixed as well?…

Conclusion

In spite of being openly funny and quite heart warming, this episode unobtrusively deals with the aftermath of the dark events of the dramatic ‘There Will Be Blood’. Indeed, various hints have been given all along and it may prove useful to recapitulate them:

1) Rigsby is fine: contrary to Cho’s accident last season, there have been no apparent consequences of his brutal encounter with the fierce former minion. He only seems to have been assigned to desk duty for the most part of the episode, except when they’ve been tricking the murderer. Which may be why Cho was in charge of the sexual harassment aspect of their investigation.

2) Jane and Lisbon seem to be on good terms again but if we squint hard enough, we can see that there are some elements that indicate that things may not be as smooth as they first appear. First, Jane is particularly eager, both in the investigation and in enjoying little things: he’s drinking (tea?) in a paper cup at the hospital; he tells Lisbon he wants a taco, passes the time until the moment he can set his plan in action by lying on a bench and is enthusiastic about that fragrant gardenia. Is he just showing resignation and making the best of it while bidding his time until he manages to make a breakthrough in the RJ case? Or is he relieved to some extend that Lorelei is out of the picture, hence the almost cheerful vibe? Either way, his jovial behavior contrasts with his depressed attitude after he lost tracks on the woman, in ‘Devil’s Cherry’. Of course, his relief may concern Lisbon and the fact that he fixed his relation with her, since he seems to go out of his way to mend things completely… Still, the guy is overdoing it a bit, like when he thanked profusely the therapy group (“thank you. All of you. Very much.”), although the group members keep just staring at him with a blank expression… On the other hand, Lisbon’s attitude is quite contradictory: she goes along with him and takes part in the funniest moments, still her good disposition seems sometimes a little strained. When Jane asks her to follow him at the hospital, she doesn’t move and asks drily “Why? Where?” When she takes his call, she greets him with a rather cold “what is it, Jane?” And she gets impatient when he asks her if she has a padlock and tries to joke about it. She’s just a bit harsher than usual and she accepts less easily that he may not tell her everything. Is that a reaction to his previous statement that he only tells her 30% of what he does?

3) There is a pretty classic transposition of the RJ plot into the current situation. Indeed, many bright red objects in the background allude to him: the fireman truck when Hawkins is accused of harassment, the fire extinguisher Bowman grabs to try and break the padlock, the red car behind Jane at the crime scene, the whole red alert thing… But the characters themselves also offer some intriguing similarities:

– Jane and Pete: the common past, the contrast between the states of their memory… One of them forgets, the other remembers, still both seem to spend their time getting back at the start after every failure: until they met, they seemed condemned to be frozen in time in a never ending quest, starting again at the beginning every time. But the promise of recovery from one of them gives hope for the other. Still, it’s interesting that Pete was the only witness of the murder, just like Jane seems to be the only real threat remaining toward RJ. Which leads us to…

– … Dr Bowman reminds of RJ by some aspects. He’s a cold-blooded murderer who just divorced – like RJ has interrupted his relationship with Lorelei. And Lucy too might be an allusion to the late siren since she was killed with a blade when she was about to threaten her killer: she too was the one who knew too much and she was helping Pete like Lorelei had almost been an ally for Jane. Both women were killed to preserve the lifestyle of their killer.

– Those parallels make one wonder where Lisbon stands in this connection between the episode and the main plot. Is she the one alluded to by the victim instead of Lorelei? They share a taste for music (she sings the song Lucy loved to the point of having its melody tattooed on her body), they are both OCD about the rules (at least that what Jane accuses Lisbon of) and are overall helpful and well intentioned women. Lisbon cares about Jane, Lucy helped Pete. Since Lucy was killed because she was trying to do the right thing, the possibility that Lisbon might be targeted too only adds to the still vague shadow that seems to grow over her.

Best Scenes
The winner: Jane tricking Lisbon into singing in front of soldiers and a cop (and a corpse). So much for professionalism. It was so cute and, at least, Jane managed to make one woman “sing like a bird”…

First Runner Up: Pretty much every interaction between Jane and Pete. The young soldier brought the best out of him.

Second Runner Up: Jane and Lisbon tricking and arresting the murderer. Classic Jane technique for solving a case and funny moment.

Icings on the Cake: Cho saluting after Sgt Hawkins has been arrested. A nice reminder of his military past. Also, Pete was a convincing, pretty moving and likeable character.

Pet Peeves
– The CBI taking charge in an army related case seems a bit odd. See VIS#1 above.

– The army uniform seemed a bit… off. A little too baggy and the soldiers’ general attitude lacked of rigor.

– Is that me, or isn’t it a bit strange that Pete was able to recognize his own voice immediately and without any hesitation? I mean, one doesn’t often actually hear it: for a lot of people, hearing their voice feels a little strange, it doesn’t sound exactly like they think it would be. It might have been more natural if someone else recognized it first or if he showed a little more hesitation. Or I’m just being awfully picky…


72 responses to “The Mentalist Red, White and Blue Review

  • windsparrow

    Great review, violet!

    Just a quick note sbout the lyrics of “Kansas City” – They actually go, “Got some crazy little women there/I’m gonna get me one.” In some verses it’s pretty substituted for crazy. I’m not sure that makes it less silly and/or provocative for Jane to have gotten Lisbon to sing it.

  • Mosquitoinuk

    Thank you very much for your review Violet! Very good, i wouldn’t have been able to do it, I was counting on you to connect the dots with past episodes.
    I felt a bit lost to be quite frank because I was expecting some allusions to the (very) charged events from last week. It was almost “as if” nothing had happened which I find particularly odd. We little Mentalistas love to fill in the blanks and that’s fun but I honestly think that this was a tad too much. I agree with you that we need a bit of a breather every now and then, but still, I found disruptive for continuity reasons that they decided to not mention/link/follow up last week events not even superficially. A bit of continuity wouldn’t go amiss. The lightness of the episode seemed contrived and unnatural to me.
    About your memory palace comment: I love your theory about bringing up Jane’s forgotten ‘I love you’. We certainly haven’t and it seems clear now that neither has he…how can he if he never forgets?
    Anyway, thank you very much for your thoughts and I’m looking forward to reading all the comments!

  • iiifrogs

    Wanted to add to your list of Jane using hypnosis in a helpful way. One of the most tender things I’ve ever seen Patrick Jane do was when he hypnotized Dr. Steiner to ease his passing as he died by choice rather than go down in agony from cancer in The Red Mile. Not just a pretty face, our Mr. Jane. It was in that episode I really got the depth of the character Mr. Heller was giving us.

  • III Frogs

    I also felt that it would have helped a lot to add at least some minimal references to the previous episode or the general status of the search for Red John to give us some continuity. It feels a little like the episode occurs in a vacuum somehow.

  • canddee2012

    Thanks a lot Violet. A great analysis. The only thing I could add is that in the ending scene between Patrick and Pete there was absolutely no silly, only sensitivity. I felt that Simon Baker stepped in there. I have heard him say that he pulls from his own personality. This was pure Baker. I love your explanation of that scene and I think he let himself flow out. What a guy!

  • SimplyN

    I also thought Pete looked alot like Simon Baker when he was that age. The similarity in appearance is striking, to me at least. When PJ says “thanks, thank you very much” he is thanking the soldiers at a deeper level for their service, not just help in the case. I really enjoyed seeing the teamwork between PJ and TL. The episode seemed to put special emphasis on their partnership, to really make an effort to show they are still a close team that work well together. It was nice to see after the tension between them last week.

  • P

    I completely agree as well. The lack of continuity was shocking. Yes, professionals will try to hide their feelings and move on after a confrontation, but in reality you always see a certain tension or formality that doesn’t normally exist. I just can’t believe Lisbon would be singing at his prompting so soon.

    I think whoever wrote this episode had no idea what happened in the prior one. At times this season, I have gotten the impression that all of the episodes for the season were tossed in a hat, and a random episode is pulled out each week to film. I know that is not the case, but it sure seems that way sometimes.

    I miss the continuity of season 3. There were lingering effects to the events of the prior season finality that stretched well into the season. This season they give us dark Jane in one episode followed immediately by sunshine and light, syrupy sweet Jane in the next. I feel individual episodes would have a much greater impact, and show more continuity, if they would mix the two as the did in earlier seasons.

  • P

    On the Kansas City scene…I really did not like it. It seemed to me that the CBI was “competing” with the military guys to “win” the right to investigate the case. I felt it made them look desperate. I don’t know the rules of jurisdiction in such matters, but I am sure there are, in fact, rules. I don’t believe some local police chief gets to pick based on who puts on the best dog and pony show. I feel this need to prove themselves made them look very weak.

  • P

    sorry, meant to write finale, not finality

  • Agnes

    Another great review. Thank you.

    Re Pete recognising his own voice – would perhaps the recording have made him remember the scene and therefore know it was his voice?

    Also was not Cho saluting sergeant Hawkins for arresting the officer who had harrassed Rose? Not Hawkins being arrested.

  • anomalycommenter

    Violet did her magic again! Every time I think that there is nothing to an episode Violet comes with a review and lo and behold we are presented with a handful of intricacies and interesting hidden plot stories. I must admit that many times reading these reviews are more entertaining that watching the corresponding episodes!

    My 30% (Nothing new here):

    Halfway through reading your review when you began comparing Pete with Jane I too was struck by the similarities between Lucy and Lisbon and hoped the similarities end there because of the dreadful possible consequences you mentioned. I mean Pete’s talk about the nature of his uneasy relation with Lucy and his lost hope of an eventual bonding was not much unlike Jane and Lisbon’s relation.

    And no, you’re not picky about the voice. But I feel that others in the group recognized it but didn’t want to be the one to point it out first. Also as ‘Agnes’ said above he might also record that for future reference and be familiar with his recorded voice more than an average person would.

    The other 70% which may render me mad in your minds (I promise not to talk about birds!🙂 ):

    That “thank you” to the group seemed to me to be an excuse to probe them more carefully. Why? I’m not so sure. (There was a man present in the meeting that was also sitting behind Jane when they first interviewed Dr. Bowman. Is he the same person or his twin? Because he had no time to get there before Jane and Lisbon!😉 )

    Is the “Red Alert” thing the third reference to Dean Harken this season? (The other two being Jane’s mentioning of him at the beginning of ‘Black Cherry’ and his name being present in his notebook at the end of the same episode.)

    Now Keys and locks are mentioned too much this season to be just a coincidence (if you’ve read my thoughts about the last episode you know what I mean!)

    P.S. Who can predict what Chibi’s drawing would be about this episode? Lisbon singing, Pete’s memory loss or something else? I must confess that I was not able to predict the last episodes drawings, ‘cause they were too smart for me!

  • All-I-need

    I enjoyed this episode a lot – there was so much symbolism!
    You actually missed one, by the way. Jane said: “Mmmh, Gardenias. My favorite.” So I actually paused the episode and googled Gardenias. Turns out they are a symbol for “secret love”. I won’t even comment on that …

    Jane getting Lisbon to sing at the crime scene was hilarious. I love that she totally fell for him claiming not to know the song. Interesting, how he doesn’t know the song in one moment and in the next is able to sing along…^^

    All of Jane’s scenes with Pete were wonderful. It is so nice to see him being friendly and sensitive and helpful WITHOUT having an alterior motive. In the last scene, he certainly didn’t have one. There was no reason for him to teach Pete about the memory palace except honest compassion. That was sweet enough to help me got over my disappointment that there was no end scene with Jane and Lisbon together, as we usually get. Maybe that’s another hint that things are not as good between them as they would like to pretend or have them be?

    Thanks for this – as always – very detailed review!

  • Auli

    Thanks for the review!

    I really liked the episode, the story was great, Pete was awesome, I loved Lisbon singing, Cho’s salute and Jane and memory palace. I agree with all of you that the episode would have been perfect if there had been some reference to the previous episode. Like just before asking the padlock, Jane could have been asking, “anything new about Lennon”, Lisbon “still working on it” and then the lock. I would have been happy about it.

    “Also, it may be a bit far stretched but one might wonder if the memory theme that has been developed lately isn’t a circumvallated way to allude to Jane’s greatest memory loss so far: his confession to Lisbon in the heat of the moment before he shot her in last season finale. Since feelings have been addressed this season, first by Lorelei’s comment in ‘The Crimson Ticket’, then recently with Lisbon’s anger and hurt, can viewers start hoping that this odd “memory loss” will be fixed as well?…”

    Not just with memory theme but also implying the feelings with flowers. Jane´s favourite flower’s, gardenia, means “secret love”.

  • windsparrow

    “Is the “Red Alert” thing the third reference to Dean Harken this season?”

    The phrase “Code Red” is a common hospital code phrase used to denote fire. Having just looked at Wikipedia’s page on the topic of hospital codes, I did not come up with a different one they could have used to get Rose specifically out of the building as plausibly. Perhaps you can. After all, I haven’t had my first cup of coffee (forgive my non-tea-drinking ways, Jane) yet. Maybe I missed something and there was some other code they could have used.

  • Auli

    I have to disagree with you. I thought that this was part of Lisbon’s character to defend CBI’s position on the case because every time that CBI has been officially called, Lisbon’s pretty much first words to the officials have been that “we take over, you assist”. I just remember only one case where she was assisting at the beginning but it was because they were not officially called and that was in Code Red. As soon as the it turned out to be a homicide, Lisbon took over and started to argue with Harken about the authority (there he is again!).

    I just love how Jane behaves in those cases where Lisbon has to defend her or CBI’s authority with other officials because he starts to do what he does best, which is start to either annoy them by mocking them (in this case mocking the “army of two”) or show how brilliant he (and hence CBI) is.

  • III Frogs

    Enjoyed the gardenias too. Looked them up when the promo photos were first released. Secret love! I was really hoping that Jane would give the one he picked to Lisbon. Why on earth not??

  • estatica

    Thank you violet for another excellent review! Reading you and everyone else’s comments makes me enjoy the show a lot more than if I had just watched it without any more references.

    Having that said, as I watched this episode, even if there is some continuity, as you pointed out so brilliantly, it’s so well hidden that it felt disconnected to me.

    Much as my shipper heart loves watching Lisbon and Jane singing Kansas City (Jane leaning towards Lisbon at the end of the scene and singing “They got some crazy little women there and I’m gonna…” was priceless), I thought the timing was awful. Considering 5×16, Lisbon singing at the beginning of the episode felt out of character. Why did she indulge Jane after he put her through hell last week? I can’t imagine what kind of talk that must have happened off screen to have her “sing like a bird”. I honestly expected her to be a bit tougher, even colder towards him. Instead, she allowed Jane to put her in a situation where she feels embarrassed in front of the other professionals. And Jane, surprisingly, didn’t appear much different towards her than what he usually is. When asked why did he want to go back to the crime scene, he flippantly told her he wanted a taco. He even showed some irritation with the padlock conversation. So yeah, I was expecting to see some developments one way or the other, but those two just seem frozen in time.

    One thing I did like very much about the episode was that we got to see an altruistic Jane that we rarely get to see. Using his skills to help that soldier, spending personal time with him, apologizing for the deceit and doing all this without being pressured into it, without expecting anything in return was absolutely wonderful.

    However, I felt that even this altruistic Jane and the “thank you” he gives the group of soldiers was a bit too sugary for the character at this point in time, considering the last episode. I viewed Jane’s “thank you” as a somewhat forced attempt to redeem Jane from the last episode and a slightly manipulative way to pull the audience’s heartstrings. (Perhaps the fact that I live in Portugal and don’t share the same US patriotism with the rest of the US viewers changed my perception about that scene).

    Having that said, Cho’s part was excellent. His sense of honour, duty and commitment towards the team and his “having your partner’s back” personality is always so genuine and infectious that it wasn’t hard to believe he really influenced the outcome of how the sexual harassment was handled in the end.

    All in all, it was a great standalone episode, full of nice symbolisms (loved the fact that Jane mentioned Lisbon’s instrument was the clarinet and that Jane’s favourite flowers are gardenias, which represent secret love), but the lack of references to 5×16 didn’t allow me to enjoy this episode as I normally would.

  • estatica

    Sorry, forgot to ask this and hope I’m not too pushy. Is it possible to update this page with links to new episodes?

    https://reviewbrain.wordpress.com/mentalist-reviews/

    An an avid reader of your blog, I love to be able to go there and pick any episode I like without having to scroll down the main page. I hope that’s ok and it’s not too much trouble!

  • zee

    Great job Violet & Reviewbrain!🙂 If Chibi takes request, Rigsby’s face when he pulled the fire alarm is amusing!

  • anomalycommenter

    You’re totally right. I don’t think that there is any connection between this episode and Harken, and that it could be an intentional or opportunistic “Red Herring” as Heller sort of promised this season would be full of. Or it might be included to make us think again about the ‘Code Red’ episode, ‘Cause I don’t think that the writers were not aware of the title of that episode or they were not able to alter the script to avoid such a clear reference. (Or maybe I’m wrong.)

  • anomalycommenter

    Oh, that would be awesome!🙂

  • P

    estatica said:

    “I viewed Jane’s “thank you” as a somewhat forced attempt to redeem Jane from the last episode and a slightly manipulative way to pull the audience’s heartstrings.”

    I agree completely with you. In fact, this really bothered me. I absolutely felt they were using the patriotism many feel to manipulate the viewers as well, and I resented it.

  • Rose UK

    Yup, add me to the list of people who didn’t love the “thank you” scene or the singing scene. I was a little cringed out, to be honest.😦 That said, I loved that we finally got an answer to the “what instrument does Lisbon play?” question. It’s made me hopeful that we’ll find out some of the other mysteries now!

    I was disappointed at the apparent discontinuity, too. (Although Violet makes an excellent case for the hidden links!!!) Perhaps we were supposed to take the final scene as a subtle response to Jane’s possible rock bottom last week – maybe it’s a case of “Look, things are changing. Jane is finally starting to do things differently (he said sorry to someone who was to all intents and purposes a mark!); he’s seeing a bit beyond the darkness of his quest (he’s doing something unselfish); there ARE other viable options for him other than a) conman or b) pain in the CBI’s rear.😉

  • Rose UK

    It was nice to see how in sync they were in the first scene with the doctor. Physically, I thought they were practically mirroring one another in how they sat on the chairs, the angle of the head, placement of the arms, etc. (I only saw the scene once, though; perhaps memory fails!)

    Also, I thought Lisbon seemed quite resigned to his tricks rather than irritated. She said – can’t remember what exactly – something like “What now?” or “What’s your idea?” but I didn’t think she sounded peeved; to me it was like she was thinking “I know a trick is inevitable, come on, out with it. It can’t possibly be as bad as the Lorelei debacle, so I’m not even going to pretend to protest.”🙂

  • C Hill

    More quick(?) hitters;

    1) Liked “Kansas City” scene.
    a) Tying it to “NCIS” is a bit of a reach. Not sure how realistic that show is on jurisdiction to begin with. also, there have been times, to aid plot, that locals took lead in NCIS (the humorous Gibbs-enamored sheriff being one). so this isn’t a problem for me
    b) clarinet — Jane is testing his guess and not getting any pushback…
    c) singing? i think we see some tendrils back to Lorelei here — perhaps the “angry little princess” isn’t quite so angry anymore?🙂
    d) lyrics — quite suggestive the ones that aren’t sung. leading us still to a Reichenbach Falls scenario again…anyone?
    e) this song was used in x-files 7×20 — one with doppelgangers for mulder and scully. probably not related but throwing it out there.

    2) caught the “thank you” significance on first few. a nice touch here, i think, and ties nicely into Cho’s role in this epi

    3) the entire memory arc was, i think, clever and well done.

    4) nice find on the “red” items in the episode. i’m slipping — missed that one. not sure if any of it ties back to Harken or not but it’s of interest.

    5) Gardenias. Missed that, too. Dang. Nice work, folks.

    6) I don’t think Jane made Lisbon look bad in this episode as suggested by others.

    More later. It’s late…

  • bloomingviolet2013

    Wow, have you all been busy!😄

    Thanks very much for the lyrics, Windsparrow! “Some crazy little women”, huh? Very amusing… (Too bad he couldn’t throw a pink frilly dress in here for good measure, she would have shown him “crazy” angry all right…)

  • bloomingviolet2013

    I get your point, but frankly I wasn’t really disappointed by the lake of continuity because I simply wasn’t expecting some. I mean, more often than not, we don’t get any mention in the episode right after major events in the show (or at best we get one little indirect allusion in passing). Generally, the continuity is stressed on in the following ones, but it isn’t the first time we got one lighter and almost disconnected episode after a stressful one.

    For instance: in season 1, no allusion after the debacle in Tijuana with Renfew’s murder. Out of the RJ arc, no allusion either after Lisbon’s major breakdown in ‘Red Badge’. Nor after Bosco’s murder (they were at a fundraiser and Jane was putting a diamond tiara on Lisbon’s head). Same with some traumatic events: no mention whatsoever afterwards about Jane’s kidnapping in ‘Ball of Fire’, his memory loss in ‘Fugue in Red’ or Steiner’s death. We had to squint pretty hard to distinguish even a slight allusion to the talk Lisbon and Jane had after he set up that burglary in LaRoche’s house; and we still don’t know whose names Jane revealed to her recently.

    The only times we had continuity right away was in the events after Todd Johnson’s murder and in the Panzer arc and both times it was surely because of time restrictions: they had to devote some time to LaRoche’s investigation and in the other hand, they had to develop Darcy’s character and her suspicions about Jane before planting the idea of him accepting that RJ was reaching out to him. The allusions to Lorelei were almost constant but were still pretty indirect, just like they generally are for RJ himself. Actually, the only times we get to have a consistent continuity is in the first episodes of each seasons, which recapitulate the events in the previous finale, even with just one line.

    In my humble opinion, they try to alternate those important and dramatic episodes with lighter and more amusing ones to bring back some normalcy. It’s a way to get us to understand that there are staying in the almost unmovable status quo no matter what happens.

    (Thanks a lot for your comments, Mosquitoinuk, III Frogs and P!🙂 )

  • bloomingviolet2013

    I admit I kinda agree with P on this one: indeed, even though it was without any doubt in character for Lisbon to defend her case, I was ticked off by the statement that the local cop had to choose between them. If Bertram had stepped in like he did in that case where Jane was taken hostage along with some people (was it in ‘Red Alert’?), I would have found it more believable. I also found it a bit strange that the army accepted a civilian external investigation so easily. In fact, the only reason why I haven’t stressed out this more strongly in the pet peeves was that I don’t know exactly what the rules are in jurisdiction. I preferred to give the benefit of doubt….

    Still, I loved the scene for obvious reasons: Lisbon. Singing.😉

  • windsparrow

    The problem with the pink frilly dress idea is that for some reason I keep picturing Jane wearing it instead of Lisbon. However unlikely it is to happen, the image is highly entertaining.

  • bloomingviolet2013

    Ooops, must have been distracted! I’ll check it out and fix it ASAP! Thanks for pointing that up, Agnes!

  • bloomingviolet2013

    LOL😄

    Not that unlikely: I guess if Jane even tried to convince her to wear another one ever again, our tough little Lisbon would force him to wear it at gunpoint. Then she would probably make him parade in the bullpen, while Jane would keep whining and trying to hypnotise her to let him go…

  • anomalycommenter

    Also pardon me for confusing ‘Red Alert’ for ‘Code Red’. (Interesting that ‘Red Alert’ is sort of a pseudonym for a Homeland threat level!)

  • mosquitoinuk

    Agree entirely. I think the writers tried to present a more sympathetic Jane to us viewers because last week it was a bit heavy.

  • rita

    Great review Violet, and once again you have made me see things that I had missed.

    I enjoyed this one, a nice gentle one after all the tension and angst last time. Though I agree about the lack continuity, it is annoying, but it often happens following a Red John one, so I don;t really look for it any more.

    I enjoyed so many bits of this one, the singing was sweet, and Jane’s intaction with Pete was lovely, one thing he does understand so well is loss…for him family lifestyle, and for Pete, Memory and friends. Jane has such an incredible memory that for him to not have it (As in Fugue in Red) he just isn’t Jane, so it would hit home for him what the poor man was going through. The end with him going through the process of using a memory palace in every day life was lovely, I enjoy it when Jane allows the nice guy some leg room, he is so often an idiot, that it is easy to forget that he can be quite sweet.

    I liked that Cho took it upon himself to stand up for the girl who had been harrassed, and make the officer in charge think a little more.

    For me the ‘Thank you’ was good, it was in keeping with the rest of the episode, bringing the war generated problems to the fore.

    Great stuff and looking forward to the art work

  • bloomingviolet2013

    “Now Keys and locks are mentioned too much this season to be just a coincidence (if you’ve read my thoughts about the last episode you know what I mean!)”

    Indeed, I forgot to watch “There Will Be Blood” again to reply to your comment back then. There was probably a symbolic in that episode as a door was closed along with the Lorelei arc, as well as another one was opened (Jane’s investigations were about to take another turn). I think that’s why there are so many keys and locks this season: we are at a pivotal moment. It’s revealing that Jane keep stealing keys (‘Black Cherry’ and Lisbon’s car keys in ‘Panama Red’) or sneaking them up (like in this episode), when he’s getting closer to the solution of RJ’s mystery…
    By the way, doors have also been quite present since the pilot: the door Jane opened to find his family butchered, echoed in ‘Fugue in Red’ by Paddy telling Lisbon “some doors are better left closed”, right before she decided to bring him back in front of his fateful bedroom door… So, yes, I hadn’t noticed it before, but it’s pretty interesting that Jane “gave” Pete a key: it opened the locker, was the key to the mystery and prefigured later Jane metaphorically giving Pete access to his memory palace.
    Also, the “false key” theme was crucial in ‘Scarlet Ribbons’: Jane gave back Carter’s keys to his wife, including a key that belonged to himself (his gym locker if I recall correctly). That key made the woman restless and made her disclose where their victim was locked up. We have some similar elements in ‘Red, White and Blue’: that’s once again a way to tie this episode up to the RJ arc…

    Thanks a lot for your comment and your very kind words!🙂

  • bloomingviolet2013

    Also, forgot about the correlation between keys/ locks and Lisbon distancing herself from Jane’s quest. When Lorelei was symbolically the key Jane was hoping for to unravel RJ’s identity, Lisbon was reluctant to follow his lead: she asked him about how he was going to enter the real state agency in ‘Black Cherry’ and ridiculed him a bit by finding the unlocked little fence door instead of leaping over. Then, when she was inside, she was muttering in her sleep. In ‘Panama Red’, she refused to play along with him and try to open the puzzle box (with a secret lock) to find her own keys: instead, she smashed it with a hammer (her own way of opening it, without Jane’s clever mind tricks). In a way, that could mean that she’s being less trusting with Jane and the manner he’s thinking is the best to unlock his RJ box. Same in here too: even if she was here to arrest the killer at the end of the false key scheme, she was a bit irritated when Jane asked her if she had a padlock.
    By the way: the padlock he was asking for? It reminded of the one he suddenly put on his attic door since he started his list on possible candidates for RJ. He was also pretty insistent about it and only allowed Lisbon to enter past it when she told him they were partners. The allusion here both tied it up to the general RJ arc, like I said, alluded to the subtle changes in his relationship with Lisbon but also was a discreet reminder that Jane still has a trump card with his list. He’s about to crack the puzzle all right…

  • bloomingviolet2013

    Thanks All-I-Need! I hadn’t though about the gardenias! “Secret love”… pretty amusing! They seem to love to tease the shippers…

    And “secret” indeed: everyone seems to suspect that there is something more to their friendship. Lorelei commenting on it, asking for Lisbon’s head, implicitly revealing that RJ has his eye on Lisbon during her first interrogation –who would have talked so much about her otherwise? Grace smiling when Jane was flirting when riding his bike in ‘The Crimson Hat’… Not to mention all those suspicious men suddenly interested in her: Mancini getting her to accompany him to the highly suspicious poker game, Haffner inviting her for lunch and trying to get her to work for him, Kirkland asking her out for coffee… And now Gale testing the waters…Yes, that’s a totally secret…😉 Which leads me to…

    … @ III Frogs: I think he couldn’t give a gardenia to Lisbon because if there is a “secret love” indeed, then the major secrecy is between Lisbon and Jane. They have never really talked about their feelings: they keep hiding behind excuses (not remembering his confession) and labels (“partners”, both to define their close relationship and Lorelei’s interference with it). It would more an aknowledged love than a really secret one.

  • MikeH

    Love reading these reviews!! It’s always neat to find either new stuff that I hadn’t thought about or things that I did notice and read the same on here. I loved the Kansas City singing scene… it was hilarious and something that The Mentalist show does very well to add humor that is actually funny.

    You stated in your revew that “Is that me, or isn’t it a bit strange that Pete was able to recognize his own voice immediately and without any hesitation? I do agree with this as I never think my voice sounds like me!! Although, what I found even stranger that Pete remembered who Patrick was as well as Patrick’s name when PJ opened the door and came into the room where Pete was sitting. Pete hadn’t been around Patrick for a long time before this scene so I would have assumed that Pete would not have remembered who Patrick was.

    One other thing, I thought the Kansas City song might be yet another recent reference to The Beatles as they had performed that song on the old show Shindig. But I also liked what your review pointed out about the lyrics that weren’t sung.

    Keep comin’ with these great reviews and insight.

  • zee

    Keys and Locks symbolism in this show intrigues me! If it was *really* meant as allusions, Mr Heller’s works, fellas, are now bordering on an art form.

  • mosquitoinuk

    What a wonderful drawing Chibi! for all the shippers there… 🙂

  • III Frogs

    Awwwwwww. What a sweet drawing, Chibi! I’m floating in the scent of gardenias now. Thank you!

  • anomalycommenter

    Thank you! It must take a lot of time and effort writing these reviews and responding to us commenters. That’s much appreciated.

    Well I skimmed episodes of season 1 and it seems that we have no deficiency of key’s, locks, and doors here, so I enlisted some of them (I don’t claim any significance associated with them, just laying out some facts.):

    ‘Pilot’: Patrick picking the access card for the medical facility from Dr. Wagner’s pocket.

    ‘Red Tide’: Patrick found the hidden van keys which were behind a flower pot.

    ‘Ladies in Red’: Victim was inside a room behind a hidden door with a rhythmic pass code.

    ‘Red Brick and Ivy’: We find that Patrick was being kept in a locked room in a mental facility during his breakdown! Password protected doors inside the university. Animals locked inside cages. Chained door of the animal activist’s warehouse…

    ‘Redwood’: Victim’s friend trapped in a cabin with a locked door. Patrick talked to her as if he was telling from similar personal experience.

    ‘Red John’s Friends’: Locked doors behind which two crimes happened, one in the beginning and one at the end of the episode. The main case was solved by Patrick figuring out how the first door was locked with the key being inside…

    ‘Scarlett Fever’: Victim’s key chain and specifically the key to her safe were crucial to solving the case.

    ‘Bloodshot’: Victim was chained inside a van with locked doors along with a bomb.

    ‘Miss Red’: Victim was killed to obtain a key to a locker inside a train station.

    ‘Red John’s Footsteps’: Suffice it to say that Red John (or Roy) was inside a locked room!

    And from season 2:

    ‘Code Red’: Malfunctioning access system.

    ’Blood Money’: Jane and Lisbon were trapped inside a container. Lisbon was supposedly revealing some important information when a local boy comes to their rescue and what she was saying remains unfinished.

  • estatica

    Just spotted something amusing while watching 4×19. Jane’s last exchange with his old friend magician Jack. He’s explaining why Jack owes him 50 bucks: “You were opening for me in Kansas City. I think it was 93. There was this girl…” !😀

    Couldn’t find an English version of the clip, but here it is anyway, so it’s easier to see the moment I’m talking about:

  • III Frogs

    Great tie in! So, a woman in Kansas City has come up before–ho ho! Really adds a little to something I don’t think has been mentioned about Jane and Lisbon singing Kansas City in RW&B. While the actual lyric is “They got some crazy little women (plural) there …,” what I hear is that Lisbon actually sings “They got some crazy little woman (singular) there …” Jane is following her along and sings the lyric she’s singing. Very interesting. Certainly fun. Does it mean anything? Little shippers like me would love to think so. We’ll probably never know.

  • anomalycommenter

    Great observation! Considering that both episodes share a common writer (Eoghan Mahony), it is quite possible that this info would be of importance. And another thing present in that clip is Patrick joking about Jack’s undermined memory palace. Well, it’s the main theme of this episode! Yet I don’t think that it ends there, it should not count as a SPOILER (please stop reading if you don’t want any form of spoilers!), but don’t you think that this theme is somehow connected to the most important part of the next episode (which we are all dying to comment about)?

  • estatica

    wait, wait! I might have induced you into thinking he was referring to a woman he was involved with. If you see the scene in English, he is saying: “there was a girl…” and is interrupted at the same time as he is pointing at Jack’s girl and adding “not as…” but Jack takes over the dialogue. He was definitely referring to some other girl Jack was seeing at the time, not him.

  • III Frogs

    Okay, well don’t understand what I guess is German, so I missed that dialogue, thanks for the correction. But it did remind me that Lisbon changed the words of the song a bit.

  • III Frogs

    but no, I wasn’t thinking anything specific like Jane was referring to a woman in Kansas City that he had been with himself, just that women in KC had been mentioned twice now

  • III Frogs

    I’m trying to think of a way to comment without talking about the next episode, so I’ll wait until you can flesh out your idea then.🙂

  • estatica

    Waiting for new reviews kills me almost as much as waiting for the actual episodes. Violet and Reviewbrain, and everyone’s insights on the show have spoiled me and now I’m doomed. I can’t wait to read your thoughts on the new episode.

  • Lou Ann

    And whenever J and L encounter a locked door, what is each’s method of entry? L breaks it down; J picks the lock. Force vs stealth. I wonder if this will be carried out in the final resolution.

  • Lou Ann

    Jane and Lisbon: Army of Two.

  • C Hill

    we’ll see. i think it’s likely not a coincidence. if Jane is gone again for some reason (Reichenbach Falls, cough) I could imagine leaving Lisbon with a hidden clue as to his location, triggered by something like the song Kansas City or some other shared bit of information. Eh, we’ll see. But Season 6 is on the way …woo!

  • estatica

    ok, probably not sure if I should drop a comment here or not, but I think you’d all like to know (if you haven’t already), that The Mentalist has been officially renewed for another season.😀

  • Rose UK

    Woop woop!

  • III Frogs

    What a mercy! They didn’t make us wait until May 15 to hear. This is the best news. Thank you for posting it!

  • C Hill

    hey i posted about season 6 first!🙂

  • anomalycommenter

    Great news! Thank you C Hill & estatica! (That tvbythenumbers site was getting on my nerves for quite some time!) Good bye Red John. Hello the fake one (or not?)🙂

  • C Hill

    heck i just piggybacked off of the good folks like brainyreview on twitter:) tvbythenumbers? good news never sells!

  • mosquitoinuk

    This is great news! thank you! woop woop!

  • estatica

    Hey, you did! I must have been posting by the time you hit your reply, so I didn’t spot it. Doh!

    This is a bit embarrassing to say, since it’s only a TV show, but I felt relief reading about the renewal. I didn’t know I was holding my breath until it happened.

  • Lou Ann

    Happy to have the show, but just as much the great reviews and lively discussions.

  • bloomingviolet2013

    Thanks, Anomaly!🙂 Your kind words are much appreciated as well!

    If I had to comment on the occurrences you mentioned, I’d say they fit in different categories.

    Some of those look like daily occurrences that should probably not be read too much into. After all, keys, locks and such are part of every day life. I’ll place in that category the locked room in the mental facility in ‘Red Brick and Ivy’ as well as the other scientific uses of locks in that episode, since those are normal and expected in the context. Same with many instance related to police work: it’s rather usual that victims are locked by that their killer in order to keep them prisoner (‘Bloodshot’) or that keys motivate crimes when they open the door to a safe or to a specific locker containing money (‘Miss Red’).

    Still, at least one example refers to the locked room, a classical theme in murder mysteries: in ‘Red John’s Friends’ Jane shows how to lock a room with the key inside; that’s exactly how it is described in detective novels. Indeed, Jane is introduced since the very beginning as a master at “unlocking” mysteries, which explains how often he’s opening doors after picking keys or access cards (in the pilot), or by finding the pass code (‘Ladies in Red’), by discovering that the access system isn’t working (‘Code Red’), or simply finding keys (Red Tide’).

    And, at the center of Jane’s world is the biggest mystery: Red John, who, since Jane is the opener of doors, is behind a locked one in ‘Red John’s Footsteps’’… Which also explains why the metaphor is used in exceptional moments: in ‘Blood Money’ when Lisbon and Jane are trapped in that container, Lisbon was about to reveal “some important information” related to their work relationship, meaning the way she sees their collaboration and behind that the way she sees his quest and how it would affect her career. Same with ‘Strawberry and Cream’: mystery solver Jane is asked by Lisbon not to pick the lock on the bomb she’s strapped to, while he ends up effectively picking the lock on the door to Gupta’s hideout (and Jane interrupts himself when he is about to say something important too). That may symbolize:

    1) Lisbon’s difficulties to open up to him (behind interrupted in ‘Blood Money’), since she didn’t trust him at the time and she was a bit wary of his methods

    2) the necessity for Jane to gain her trust by not rushing things with her (=not picking the lock, and interrupting his almost confession while lock picking when she isn’t ready to hear it). He has learnt since then that she may be an ally he can trust instead of a mean to an end.

    3) It connects both of them once more with the big closed door that is Red John’s mystery: the main theme between them at the time was how Jane’s obsession may affect their relationship.

    4) RJ is inaccessible: he’s either behind a locked door himself or the minion they gained access to was a dead end. And that ties up to the false key Jane used to prove that Carter/”RJ” was a criminal: it helped him to get out of jail and symbolized a shift in Jane’s attitude toward his nemesis during season 4.

    @ Lou Ann: indeed, Lisbon used force while Jane is sneakier. That difference in opening/ unlocking things represents the contrast in their personality (she’s straightforward, he’s a liar and a manipulator) as well as in their career path (she’s a cop who burst into crime scenes, he’s a conman who steals keys and pick locks).

    (Err… I hope that makes some sense, I’m pretty tired…😉 )

  • bloomingviolet2013

    Although it didn’t feel it that way at the time (or at least that strongly), I think that you guys are right about the writers trying to redeem Jane…and his relationship with Lisbon, killing two birds with a stone.
    Actually, they’re always trying to manipulate us one way or another, either by preparing us for one of Jane’s darkest moments (Steiner’s suicide announcing Panzer’s death), or trying to redeem him afterwards with a sweeter aspect, such as Jane’s flirting and eagerness towards Lisbon in ‘The Crimson Hat’ after the fake breakdown and his one night stand with Lorelei. They are trying again to balance our frame of mind.

  • bloomingviolet2013

    Thank you C Hill and Estatica! Great news indeed!😀

  • bloomingviolet2013

    That’s very sweet!😀

  • anomalycommenter

    Great analysis! Thanks! But please let me be of a different opinion in just one case and that is ‘Red Brick and Ivy’:

    That episode, IMHO, contains a whole bunch of suspect incidents and quotes. Apart from the very queer presence of Ron in the neuroscience symposium, and his apparent complete lack of involvement in the case (he is at least a witness to the crime), as if he wants to hide that he was present there, we have:

    Patrick confessing to Lisbon: “It was a locked room. Yeah, I went through a rough patch.” Now what kinds of patients are kept in locked rooms? Obviously the violent ones! So what kind of violent behavior had Patrick shown after the incident? Was it violence against himself or others?

    Rigsby’s discussion with Van Pelt about the state of mind of the animal rights’ activist: “Yeah, crazy don’t make him innocent. Crazy’s what makes people kill other people.”

    When Susie, the ape that Dr. Stutzer’s theories were being tested on arrived, she was quite violent especially over food, she was greedy, as Patrick was before the incident in another sense. And Susie never did get gentle, so Sophie Miller switched her with another ape, Rosie.

    Dr. Stutzer says that animal rights activists don’t understand that they are trying to eradicate violence and create a world of peace were everyone is safe and Jane humorously explains:”From monkey attacks.” Clearly we have a parallel between humans and the apes [ab]used in research drawn here!

    Patrick’s overconfidence in Sophie Miller, and she being among the few people who can commit the ultimate sin of fooling Jane! (Jane and Lisbon’s discussions about Sophie throughout the episode were extremely interesting!)

    And there is another thing about that episode, and part of the next episode, ‘Behind the Red Curtain’, but let’s reserve it for the next episodes comments!😉

    Hope you had a good sleep last night and sorry about my tiresome comments!🙂

  • anomalycommenter

    Sorry, I was mistaken! Eoghan Mahony is a co-writer of the next episode. Yet the rest of what was said could still be true.

  • suzjazz

    Too dangerous, in his mind. Even though RJ almost certainly has guessed that Jane has feelings for Lisbon, Jane is still trying to hide them. RJ has spies and maybe even cameras everywhere. This is the only explanation that I can come up with for J’s guarded behavior with L.

    An aside: He is trying not only to protect her from RJ but also to give her deniability under questioning, which is why he only tells her 30% of what he does (as he says)

  • suzjazz

    I think we all know that it wasn’t memory loss when Jane told Lisbon he didn’t remember. It was a transparent lie. Jane is secretly terrified that RJ will try to kill Lisbon, since he knows that J has feelings for L. In a sense his cooler behavior to Lisbon from that episode on is a form of damage control: he is hoping that RJ will think that his affections were transferred to Lorelei, and maybe RJ was fooled because Lorelei ended up dead.

  • suzjazz

    Although most of Jane’s behavior is selfish, he has been known to do some very good deeds for no other reason than the goodness of his heart. The episode in which he gives his poker winnings to the young woman whose mother needs a transplant, for example. So it isn’t out of character for him to be kind to the young soldier. (Also, in another episode he compassionately helps the terminally ill doctor commit suicide by hypnotizing him.) The one person he isn’t often kind to is Lisbon, but even with her, he attempts to hypnotize her so that she will remember what happened the night she supposedly shot the child molester, and when it doesn’t work he wants to try again, but she won’t let him, saying, “Isn’t there someplace you need to be?” Whenever he tries to be nice to her, she thwarts him.

  • III Frogs

    I had never considered the deniability aspect. Makes sense. Thanks!

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