Mentalist Nothing But Blue Skies Review

Synopsis

Two weeks after confessing their love, Lisbon and Jane decide to hide their liaison from their coworkers. When they’re called for a new case, they have to deal with the new pace in their partnership, a young agent added to their team and a surprise visit from Lisbon’s former fiancé.

Concise Verdict

This episode is pretty enjoyable because, even though the case itself is not as stimulating as it could have been, the focus is on Jane and Lisbon trying to develop their new found relationship while at the same time trying to keep it under wraps, with more or less success… The lightness brought by this new angle in Jane’s life is a nice change from the angst and drama that plagued many moments in his past. All in all, writer Tom Szentgyorgyi probably gave us what constitutes a fitting opening for the more light-hearted new season (8/10)

Detailed AKA Humungous Review (Spoilers galore)

1: Lovebirds chirping on the porch

The episode starts with Jane arriving at Lisbon’s doorstep with fresh coffee (and presumably tea for him). Since the day is beautiful, they decide to drink it on the porch. Many boxes in the back suggest that she’s moving back in her house after cancelling her departure to D.C. Indeed, the title hints that this episode bears the lovely consequences of the finale, as both “Blue Bird” and “Nothing But Blue Skies” are taken from the lyrics of Ella Fitzgerald’s ‘Blue Skies’

(“Blue skies/ Smiling at me/ Nothing but blue skies/ Do I see/ Bluebirds/ Singing a song/ Nothing but bluebirds/ All day long/ Never saw the sun shining so bright/ Never saw things going so right/ Noticing the days hurrying by/ When you’re in love, my how they fly”). They’re very much in love and everything is bright and shiny in that new light.

Yet, the way the scene is played seems to indicate that each of them is still a little bit cautious around the other: when Lisbon offers to get him a key, he hesitates slightly before admitting that “it will make things easier”. It has her making a face for a brief moment. Obviously, even though they’ve taken the step of physical intimacy, she’s afraid of being too pushy and scaring him off.

Reviewbrain: It’s interesting that you say that, Violet as I had an opposite reaction. Lisbon’s tone when she offered Jane a key felt a tad too nonchalant; almost feigned. And Jane’s acceptance of her suggestion, coupled with the low tone *he* uses when he emphasis that it would make things easier, made me read the scene as *him* not wanting to scare *her* away as opposed to the other way around. We know Lisbon is fiercely private and protective of her personal space and I think he was gently acknowledging her desire to share that space with him, in a way that wouldn’t discomfit her; hence her subsequent happy, yet slightly embarrassed smile.

Violet: Their happiness is visible in her giddiness and the low tone he uses to brush off her thanks with a husky “it’s my pleasure” with regards to helping her unpack her things. The bright smiles too leave no doubt about how well they get along and Lisbon sharing memories about her youth and opening up about a model car her grandfather gave her for her graduation shows that they’re eager to be more familiar on an emotional level too. The wavering between that new found trust and the lingering doubts about going too fast and about the other’s thoughts on the matter is hinted at by the setting: the porch was the location of one of their failed attempts at communication during her association with Pike. In ‘Il Tavolo Bianco’, Jane brought her cannoli to create an opportunity to talk to her, but his plans were thwarted by Pike’s presence in Lisbon’s home. He ended up staying on the porch and telling a teary-eyed Teresa that she should do whatever made her happy… Now, they’re trying to overcome that lack of transparency, but it needs work.

The main point of this discussion appears when Abbott –Jane’s personal matchmaker in the previous finale- calls Teresa to a crime scene. When the man asks if she knows where her new lover is, she answers “no idea where he is”. Jane is surprised and assumes she’s “embarrassed”. Even as she denies it, he tries to reassure her by telling her that “it’s okay”. Problem is: what should she be embarrassed about, from his point of view? About sharing intimate details on her workplace (something she had no qualms to do when Pike used to join her in the office)? Or to be with an uncontrollable man with a criminal past and who used to be her subordinate? Lisbon tries to explain that she wants to stay a little while more in their secret bubble: after the debacle with Marcus that everyone was privy to, thanks to her failed transfer, she just wants to keep her private life private, “just for the moment”. Jane’s reaction to her uncertain “is that okay?” is one of reassurance: “yes, sure”, “I understand”. He wants to keep her happy, albeit he might not be very satisfied with keeping the lie in front of his coworkers.

RB: Very true. Jane wouldn’t need to keep the relationship a secret, especially from Abbott. And he might be wary of Lisbon’s wish to do so, for all the possible reason’s you pointed out. I do hope that he understands what I personally feel are her actual reasons: like she said she’s a private person, always has been. And yes, it’s normal to be embarrassed, not from Jane, but of what people will think since she had been planning to move to a different state with Pike (a huge step) but two weeks later she’s in a relationship with her longtime consultant Jane.

Violet: Another aspect that has without any doubt caught many viewers’ attention is the lack of touching, hugging or kissing. Their intimacy is implicit as it is only expressed by meaningful glances and beaming faces. As usual, a great part of their bond stays off screen. This time, it may be because the characters are rather private people who would not want to get all lovey dovey outside of the house. Or more simply, it could be explained by the actors’ friendship and their admitted lack of comfort with love scenes… One way or another, the scenes featuring the couple focus more on the progress they made (and have yet to make) and on the tenderness they feel towards the other than on a newly explored physicality.

RB: This was a very clever move on part of the show, I think. Last season’s ending was perfect enough that you wouldn’t want to ruin the relationship, or what the fans’ expectations are of it, by having it shoved in their faces. It’s not like when Rigsby and Grace were on the show and they served as the canon hot couple (to be fair they ended up being so much more thanks to the clever writing and great acting). But the physical aspect was never what Jane and Lisbon are about. Yes they are both incredibly attractive (ahem *hot*) people. But that’s not *the only*) reason viewers like them. Their relationship is infinitely more profound and captivating; their intimacy goes beyond the physical and I love how the show kept that.

Violet: Anyway, that cloudless happiness doesn’t mask the fragility of the situation: those two are still quite unsure about the other’s commitment as they’re about to get back “in the real world”. They need to talk because that honeymoon stage they’re still on won’t last and they have to decide at some point what path they’ll be waking on together from now on.

RB: You can especially see Jane’s reluctance to get back to the real world. He readily agrees to “talk” but you get the feeling he’s going along with whatever Lisbon wants. It’s touching and somehow heartbreaking as well to see him fearful that this, to borrow Violet’s word, bubble will burst. It’s like he’s in awe of how happy he is.

2: At the crime scene

When they get to the crime scene, separately, Jane gently mocks Lisbon’s request for secrecy by being rather cold to her, in contrast to the exuberant affection he demonstrates towards Cho. The impassive agent –or is it actor Tim Kang?- has trouble hiding a smile when Jane hugs him cheerfully, adding “Hey Cho! Give me some sugar baby! There we are… You’re looking good!” His calm and flat voice when telling “Hey Lisbon” and “you look good too” is in direct opposition to that outburst. It gets even funnier when he almost tries to hand feed Cho some pecan nuts he’s munching on, before turning to his partner with a subdued voice and concluding “Ok, more for me!” when she declines. He’s so outrageously imitating some false indifference that Lisbon is amused. She knows he’s once again teasing her by making fun of her instructions: he’s a professional liar, yet he’s trying to make Cho realize that something is not natural in his attitude towards Lisbon. He keeps his game on when Abbott arrives, bouncing towards his boss and offering him food too. Obviously, Jane is happy and doesn’t want to hide it, even though he knows Teresa doesn’t want the others to guess the reason for his great mood.

RB: This was an incredibly sweet scene. Along with the teasing, I thought it was also Jane being unable to contain his happiness and wanting the others to be happy for him, even if it was subconsciously done. Cho’s smile, I thought, was a recognition of a change in Jane’s status quo. Despite being in denial of the couple in last season’s finale, he knew Jane would be most affected by Lisbon leaving, hence waning Jane that it was going to happen. Whether he knows that they’re a couple now after Abbott clued him in (most likely) or he thinks Jane’s happiness is just a result if Lisbon staying isn’t crystal clear. But the smile shows he’s happy Jane is happy.  I think he even hugged him back (or was it a just a pat on the back?) Cho’s probably happy also glad that Lisbon is staying. We know he likes her.

Violet: If Jane was teasing, however, it is not mean-spirited: when the two male agents leave them alone, the consultant gets closer to her, supposedly to examine the body. He then leaves while asking her what’s in her pocket. She finds out that he’s put an origami swan in it. His thoughtfulness and light joking make her beam at him. The paper animal is a secret love message between them, as well as it obviously reminds of the origami jumping frog he gave her at the end of the pilot as an apology for basically lying to everybody.

RB: It was an ode to a fantastic moment that probably set the stage for the entire relationship. I always felt the way Baker played that pilot scene was quite telling: looking back at Lisbon without her knowledge, smiling at her surprised gasp, then getting serious all of a sudden and leaving, showed that the consultant was developing feelings for her, perhaps despite himself. And for six seasons the writers had such a great time making us guess what exactly those feelings were. So it was nice to see them play back to that moment.

Violet: This swan doesn’t leap at her like the frog did: it swims smoothly and therefore hints at a new beginning, expressed once again by a bird –this time white and not blue. And while in the pilot they didn’t share a glance, now he’s waiting for her to look at him, showing how they’ve come to an understanding.

All in all, this scene let viewers know that Jane is still the unruly consultant, but he’s gotten some peace. He’s happy, eager to let the world know, but respects Lisbon’s wishes enough not to go too far. His way of playing with the rules is now less a disregard for authority than an affectionate inside joke with the woman in his life.

RB: Jane continues to grow as a person. I always said his showman personality stemmed at least partly from his closeted insecurity and need for recognition. Now that he has Lisbon’s full attention I think her reciprocated love for him will reign him in somewhat. The more confidence he has in the relationship the less he’ll need to show off for her. Don’t think it will ever truly disappear, though or he wouldn’t be Jane 🙂 But, like Violet said, his respect and love for Lisbon seems to have tempered his ego somewhat. At least for now. It might end up being the opposite: his growing confidence in the relationship might have him start taking her for granted. We’ll have to wait and see.

Violet: Later, when they get back at the office, Lisbon is again confronted with how thinly-veiled their lie may look when Wylie cheerfully welcomes her back after those few days she took and probably spent with her lover. Indeed, the youthful agent gives her a letter left by Kim Fischer before she transferred to Seattle to get closer to her mother who just had a stroke. The woman was grateful for Lisbon’s friendship and she wrote “Lisbon, you’re the best! Thank you for everything. Good luck with Jane! Kim”. Lisbon comments “oh, that’s sweet”. Is ittoo far stretched to guess that Kim knew what the couple has been up to and that it might be why she didn’t say goodbye in person or by phone, for fear of disturbing with bad news a coming together that she’s suspected from the start?

RB: I love this. I wish that is the case. In fact I wish we saw Jane make such a deduction on screen to explain to Lisbon why Fischer left without saying goodbye in person or even via phone. The explanation for the move, while convincing, felt too short for a character that spent a good deal of time with these two and who the audience had gotten to know. I’m not sure why Emily Swallow is no longer on the show but I resent having to get used to a new character when there is just half a season left on the show. Any time left should not be wasted trying to get us to care about a new character.

Violet: Later we find out the victim’s secret identity: Geist was a FBI agent working undercover. As such, he carries on with the notion of false appearances expressed in the previous season by the string of undercover jobs scattered through the last episodes. Again, is that a hint that Jane and Lisbon are still struggling with truth and lies by trying to keep a low profile?

One way or another, from here the investigation at the bowling alley the victim was infiltrated in goes pretty much as usual. Lisbon is amused by Jane’s antics – asking for advice on the game instead of about anything related to the investigation- and Cho is still impassive, answering “great” to a long speech from a witness about not recognizing the authority of the FBI but accepting to answer to his questions voluntarily… Still, the entertaining atmosphere doesn’t please Ken Spackman, the supervising agent who worked with Geist. Soon, he tells them off, stating “I thought you guys were some innovative team that was capable of thinking outside the box, so what is it with the whining?” Jane’s “ire” gets up, as he explains later to Abbott and he gets pretty protective of Lisbon; he stresses out: “Don’t talk to her like that”. The discussion threatens to turn into a full-blown argument when Kenneth growls “hey, back off”, but Jane replies with much calm “I will back off but you don’t need to talk to her like that”… After years of bullying and tricking his way through antagonistic coworkers and witnesses, Jane now chooses to make his point in a straightforward way. He asks for respect by showing the same attitude. That’s a pretty interesting change in his way of interacting with opponents as for once he shows no resentment or cruelty. He’s angry, but he doesn’t act up on this anger. It’s only afterwards that he goes with acting childish, mocking Kenneth by mimicking his moves and he finally brushes him off to get everyone’s attention and makes a speech about micro-expressions that has their main suspect blowing her cover… before she starts running away.

RB: I think Jane’s straightforward manner here comes from his new relationship with Lisbon. Before when he would “protect” her it was many times without her knowledge (like when he talked to her new boss Hightower). I think it’s because: a) independent Lisbon could never stand him protecting her, and b) he had no justification for doing so. Even his excuse to Hightower “we work together, when she’s unhappy, I’m less happy” (episode Blood money) was quite flimsy. Madeleine at the time saw right through him even when he added “It’s human nature”. But now that he and Lisbon are a couple, he doesn’t have to hide his protectiveness, not from her nor anyone else.

3: In Abbot’s office

Violet: Jane’s blunder causes an emergency meeting at headquarters. Abbot is not very pleased and Kenneth rants about losing the woman, while having still no proof and no means to get her to talk even if they find her. Jane attempts to play the situation down but Kenneth counterattacks by stating: “no, it’s not okay, this is a disaster”. Coincidentally, things being “okay” or not were the words he and Lisbon used to test the waters when talking about the exchange of keys and then about keeping their relationship a secret…

Jane then launches at the opportunity to shift the attention from himself when a young woman comes in and introduces herself to Abbott as the new agent in the team. Michelle Vega (Josie Loren)has already caught Wylie’s interest when she arrived and Jane quickly let her guess that she’s not getting in a completely ordinary team when he casually tells her “oh, you don’t have to call me sir. In fact, don’t call me sir. Save it for him” while pointing in a rather unceremonious way at their common boss – who’s currently on the verge of berating him obviously …

RB: I loved this moment as Abbott’s reaction was very amusing.

Violet: That respite was enough to get the resourceful consultant at the top of his game again. He tells Kenneth “I’m going to make it up to you. When this is over, it’s gonna be your birthday”, adding in an alliterative cheerful tone “candles on the cake and all, Ken”. Admitting that he’s done wrong and willing to make up for it… is it me or is there a drastic change in his attitude? It looks like he has nothing to prove anymore, he’s not being a smart ass, but instead he seems emotionally fulfilled, which in turn leaves him felling less insecure towards others and more willing to be honest.

RB: Exactly, and when he later falls back on his old habits, he is quickly reminded that he had no reason not to be honest with Lisbon. But more on that later…

Violet: In the meantime, there’s no doubt Jane’s very personal approach on hierarchy unsettled the newbie. When she’s introduced to the rest of the team, she starts asking about him: “the guy in Abbot’s office with the… shirt. Is he an agent?” Like her lover did in front of Ken, Lisbon takes his defense almost automatically: “no, but he’s part of the team” Vega persists, asking “he’s err, different. Anything I should know about him?” to which Wylie timidly answers “there are probably a few things…”

RB: Props to Vega for not google-ing Jane’s name or she’d probably find out more than she wanted to know.

Violet: As the subject of their interest starts investigating new leads, he visits Jeremy’s rented room. Near the door, a copy of Van Gogh’s ‘Irises’ can be seen, similar to the one behind Lorelei when she met up with him in ‘There Will Be Blood’. He sits on the mattress lying directly on the floor where Jeremy used to sleep, which reminds painfully of his own mattress under a smiley made of blood in the pilot… This probably makes him understand that there was a terrible and shocking event in the victim’s past that he couldn’t overcome, some secret laced with fear and a bit of guilt he was still punishing himself for. Yet, Jane’s reflex here is not to identify with the guy in a spontaneous attempt at self-pity: instead, he reaches out to someone else whose suffering he could sense.

He calls Vega to get her insight about how to get more information about Jeremy and at the same time interrogates her about her past: unraveling the half-truths she’s spinning to protect herself, he gets to the core of her problem. Vega claimed to have no military past although her father was military, but she actually went at West Point but did not graduate, because her father hat cancer. Like Lisbon, Vega has thus lost her father and because of it had to leave behind part of her life and projects. Plus, while Fisher was wary of Jane’s attempts to pry into her life, Vega is probably in search of a reassuring fatherly figure, hence her confidences to him when he clearly wants to help. Furthermore, her military experience explains why she’s hierarchy oriented (obstinately calling Jane “sir” or “agent”); she maybe also be ashamed of her failure (hence the denial) and ambitious.

RB: Violet, I applaud the depth you have given to analyzing this character. While Vega is nowhere near as annoying as she could have been, I had no interest what so ever in her back story. The upside I see is that they quickly got it out of the way so that we can now hopefully focus on the older characters we already have a vested interest in. But I have to give credit where it is due, Josie Loren does well with her character so I’ll (try) to keep an open mind and ignore the fact that she was probably brought on just to appeal to younger audiences. She seems likable enough and is very cute.

 

Image by @chizuruchibi. Copyright Reviewbrain December, 2014. Not to be used without permission.

Violet: The new character then proceeds to ask about him to Cho while they’re trying to catch their escapee suspect. When she asks is he’s a psychic, the older agent answers like a well-oiled machine the line Jane used to feed them: “there is no such thing”. He explains that Jane’s “as good as he can be” at reading people among other things and how he came to work for law enforcement is “a long story”… This talk reminds of Van Pelt’s first case with the CBI: back then, the redhead rookie couldn’t hide her curiosity either and Jane had no difficulties at reading her like an open book, albeit in a more aggressive manner. Once again, this season premiere feels like a new beginning, filled with allusion to the pilot. There is also little doubt so far that Vega is eager to fit in. After arresting the fugitive, she apologizes to Cho about disobeying his orders. Cho only answers “nice job”.

RB: It was, even if the scene was identical to the one in which Lindsay aka Montana was introduced in in CSI: NY. But I digress. Here, the scene shows that while Vega is eager to follow the rules, she has the ability to make split second decisions. Good for her.

4: Lisbon sneaks out to find Jane

Violet: Armed with a file on the victim that Vega provided for him, Jane takes a break and goes out to sit on a bench and study Jeremy’s psychological profile, which informs him that the man had been witness to a kidnapping that ended in murder when he was a teen. Still, there might be another reason for him to leave the office.

Indeed, some time before, after their little meeting with “Ken” in Abbott’s office, the boss had a little talk with the unruly consultant in front of the elevator. He started by saying “Look, I don’t know what’s going on between you and Lisbon but…” Jane opted then for a particularly ineffective avoidance tactic, obeying again more or less Lisbon’s wish for secrecy: “nothing’s going on.”

-Really, Jane? After the guy gave you his car keys to chase after her, you feed him the most unconvincing lie ever?-

As expected, Abbott is not fooled and comments that Jane is just uttering the “party line”, indicating even more clearly that he’s convinced that they’re an item and that they just agreed on what to tell others. He then warns him that Marcus Pike is in the building. Instead of telling Lisbon on the spot, Jane shares with her a clandestine glance with the doors of the elevator close. In hindsight, this moment of tacit intimacy contrasts with every other elevator scene when he’s been leaving after arguing with her (in ‘Red Rover, Red Rover’ for instance); yet, as willing to communicate with her as he is, he still kept silent about her ex, a sure sign that he’s not as certain as he would like to admit about her reaction when facing the other man. By leaving the office allegedly to study his file in peace, Jane might want to avoid his rival. Obviously, after stealing Lisbon from him, an encounter with the dumped ex-fiancé would be very uncomfortable, even more since Jane admitted he thought the other was a good man… But isn’t he avoiding Lisbon too? He clearly didn’t tell her that he was leaving.

Abbott understands that she sneaked out to look for him after she told the others that she was “going for a walk” (which is a terrible excuse if she’s really trying not to make everyone suspicious,… wouldn’t it have been far less odd for her to just tell them she was going to find Jane before he wreak havoc, as she’s been doing for years?) His stance towards the lovers is therefore amused but quite protective too. He’s keeping the same approach about this particular inter-office romance that he had in S6: obviously, he wants them to stay together, may it be because he’s a romantic at heart, because he likes them, or just because he’s aware that Jane might get even more out of control without Lisbon’s calming influence… He’s still in dire contrast with Cho.

RB: While Abbott seems to fully support the relationship we get a hint that he might be wary of it as well. He’s less than thrilled that Jane is not in the office the same time Lisbon has gone for a walk. Don’t think he had fun imagining what they were up to. His worries should be put to rest though as Lisbon comes back with information she got from her meeting with Jane. Speaking of the meeting…

Violet: When Lisbon finds her lover, she admits that she’s been looking all over for him, while he pretexts that he just needed some fresh air… In other words, it means that, even though he had been spending until then the first working day of their clandestine romance teasing her, as soon as he heard from Pike, he’s spend as much time as he could outside, either investigating Geist’s apartment or sitting on a bench. It might have been a coincidence if he had used this rare opportunity to talk to her privately and tell her about her ex…

RB: I like that possibility.

Violet: …but Jane sticks to the case and resorts to his old habits of withholding information.

RB: Maybe he got cold feet. I found Jane not telling Lisbon here about Pike to be interesting. Perhaps Lisbon not wanting their relationship out in the open affected him more than he is letting on. He’s not secure enough to let her know the man is around.

Violet: Lisbon picks up on it, even if she doesn’t realize that not opening up about the case may only be the emerging part of the iceberg. She tells him “Jane, you don’t need to wait until I need to know to tell me things, ok? Not anymore”. His lack of transparency over work had always been a sore point for her and Jane understands that and insists on apologizing. He’s willing to make an effort to stay on her good side, underlining again that he’s playing this new tune humming between them by ear.

Another detail might hint that Jane realized that he did make a mistake in the past by assuming that Lisbon would stay by his side no matter what. He brings a hammer in order to “nail” their suspect of selling illegal weapons (the case Geist had been investigating) as well as the actual killer. This tool will be used in setting a fake hiding place for Tish’s guns but it also reminds of two times when Teresa surprised Patrick: in S5 ‘Panama Red’ she smashed to pieces a box Jane playfully hid her keys in and S6 ‘The Golden Hammer’….

RB: Yes! And when he incredulously commented “You keep a hammer in your desk?!” she blithely told him that he only “thinks” he knows everything about her, but he doesn’t.

Violet: She also shook him by telling him that she had a date with Osvaldo…

RB: And he was visibly affected, enough that she quickly reassured him that Ardiles asked to talk, not really a date.

Violet: Later, when they crack the case open by tricking the murderer into revealing himself, a nice shot of Jane’s head further emphasizes that he’s moved on, since he’s shown behind a door when he’s stepping in from the other side. He’s pushed the metaphorical door of his past open and that he’s resolute to make amends. Indeed, he’s made huge progress from the pilot, where he also pretended to focus on other suspects to get Dr Wagner to lower his guard. Here, the team work together, he’s let them in the plan. He’s trying to make it up to them for a mistake he’s acknowledged. And albeit he refused to apologize to the men he got arrested under a false pretext in the pilot, here he even apologized to Tish for using her… before getting her to confess of course, by ironically playing a variation of the same trick he faked in the bar when he set her up. And this time, he doesn’t bring donuts as a back-handed apology to his team like he did in S1, but yells good-naturally to Ken “it’s your birthday!” All in all, angst has been replaced by more sincere smiles and a more relaxed stance.

5: Pike’s question

Once the case is wrapped up, Jane goes back at the office to find an unpleasant surprise as Pike is leaving a note on Lisbon’s desk… The meeting is awkward, to say the least. Jane tries to convey how sorry he is for the guy who’s basically in the situation he was two weeks before after learning that Teresa was planning to leave. The balance between the two men is inversed: Pike is now bearded, he’s doing undercover jobs, just like Jane used to. He’s moody and upset, because Jane was the other man in his romance with the petite agent, whereas now, Jane is the one who’s in a legitimate albeit secretive relationship with her.

RB: And Jane is completely honest with Pike about what’s going on. He feels appropriately bad.

Violet: Marcus’ resentment is thus directed not at Lisbon, since he’s aware that she didn’t mean to hurt him, but at Jane as he asks him directly “so you have a plan?” When Jane is taken aback and says that he doesn’t understand, he explains that he had offered her “a life, a home, a family” and “a future” and asks what the consultant is offering her, “I mean, other than Patrick Jane?”

RB: Ouch.

Violet: It’s a low blow that leaves Jane stunned, because he knows about Jane’s past and can guess that he’s still struggling with his hesitations about moving on. It’s also the truth and the biggest advantage Pike had over his rival in Lisbon’s eyes before she chose Jane over him.

RB: Not only that but it also dredges up all of Jane’s insecurities and further highlights how his flamboyant confidence was all just an act. Patrick Jane, the man who *always* has a plan, at least when it comes to cases has no idea what to do when it comes to his relationship with Lisbon.

Violet: Lisbon comes unknowingly to his rescue by barging in the office. Jane’s evasiveness to Pike about her being “around here someplace” hints that he still hasn’t told her, and further proof is in how she’s quite shocked to see him near her new lover. She asks him: “what are you doing here?”
In the background viewers can recognize the US flag and the FBI motto “Fidelity, Bravery, Integrity” that was shown in a previous scene in the entrance of the office. More accurately, the red stripes of the flag and the word “Fidelity” can be seen behind her as she appears. Is it a coincidence that what’s keeping Jane from promising her a future too is a red-tinted past and his fidelity to his family’s memory? He brushes against her shoulder to show her that he’s supportive as he walks out and for a brief moment, they’re symbolically facing different directions… But then, he waits for her until she finishes with Marcus, just as the shot expends to a fuller view of the flag including the hopeful blue that characterizes their budding love story. We can also read the beginning of the word “bravery”. It pretty much hints that he’s in the right direction.

Jane doesn’t wait to prove her his goodwill: as soon as she leaves Pike, while she’s still processing how weird it was, he blurts out Pike’s question.

RB: It’s a very touching moment. Simon Baker here unleashed all of Jane’s vulnerability when he answered Lisbon honestly on what they talked about. Perhaps for the first time in their relationship, he is actively and overtly seeking her reassurance.

Violet: Stammering a little, Jane tries to explain “I think I know, that we know what feels right and that that should be our guide”.

RB: Lisbon is visibly touched at his honesty, and to his relief agrees.

Violet: He then lifts up the mood by showing her the surprise he’s been preparing for her: a vintage 1930 Cadillac, the real car instead of the model she got from her grandfather. Instead of thinking of the future like Pike had been doing while pushing Lisbon to accept to fit in his expectations for his life, Jane is still trying to make peace with the past in order to learn how to move forward step by step. In that perspective, the car holds a similar meaning than the toys from their childhood he’s given his team members in the previous season, or than the birthday pony he gotten Lisbon in the early episodes: he’s trying to bring back memories by lacing them with present joy, because he wants to express that he cares. And that old classy car reminds of many others, like the more recent vintage Cadillac he rented to entice her with in ‘Blue Bird’, his old trusty Citroen, the flashy luxury car he borrowed from Mashburn to take her to dinner or like even Ellery Queen’s distinctive Duesenberg from the same era…

RB: And once again, this car, too, is rented. Unlike the couch Jane bought for Lisbon without her approval. It hints that he might include Lisbon on future choices that he makes.

Violet: Pike’s question can also have a more ambiguous meaning instead of only involving Jane’s plans for the future. Jane’s quest for RJ has established that he has no qualms about using his talent for intricate planning in more personal matters. As it is, we can’t know for sure if Pike is aware of the extent of Jane’s planning when he tried to trick Lisbon into staying without revealing his feelings…

RB: although I don’t think Lisbon would have included Jane’s gross manipulation in her attempt to explain to Pike why she’d rather be with him XD

Violet: He’s been scheming and deceiving her for years. And Marcus is right: he actually tried to convince her to stay by playing on his charming and entertaining persona and letting her see how fun working with him was: he’d basically tried to get her a first row seat in the performance the great “Patrick Jane” was always giving. Pike’s slight gibe at his vanity is spot on: as Reviewbrain pointed out Jane is pretty insecure and his tendency to hide behind the mask of the showman is a way to cover up how much he fears he’s lacking in others aspects…

RB: But the fact is Marcus doesn’t know that. He might think he’s hit Jane where it hurts, which is true in a way but…

Violet: …the fact that Jane’s so unsettled by Marcus’s question indicates that he’s sincere.

RB: It’s actually the best proof. Lisbon knows that which is why she was so touched. Unlike Marcus, she knows Jane. And she’s had so much of Jane’s plan’s that this is probably a refreshing change for her.

Violet: He’s really helpless because he doesn’t know what is the best thing to do anymore, which is probably why he was afraid to let Lisbon talk to her ex-fiancé alone. Pike’s spiteful little barb throws him back to the beginning of the episode and to Lisbon wanting to take the next step into a serious relationship. The faint uncertainty brought by the two questions –about the key and about his plans- might be an allusion to the song used for the title:

“Skies were gray but they’re not gray anymore”,

the difference being that in the song the clouds were left behind… in the budding romance, whereas the storm ended, getting out of the honeymoon phase might bring on some grey areas they’ve yet to define… some maybe in next episode ‘The Greybar Hotel’?

Conclusion

Violet: As a conclusion, I’d say that even though their relation has evolved since the beginning of the show, its romantic aspect is still a work in progress, because for each of them learning to live with to someone who is as secretive as them and with a troubled past too is bound to cause some adjusting. In that perspective, the reference made to Jane Austen in a recent interview (thanks Rose for the information! 😉 ), as well as in ‘Days of Wine and Rose,’ is very interesting. The situation between them has been slowly progressing for years from distrust to indulgence, from manipulating to caring. Like many Austenian characters, step by step, they’ve been overcoming trust issues (born from Jane’s lies) and differences (the opposite morals of a by-the-book cop and a conman) to get to the similarities that lay deep within their hearts. But unlike Miss Austen’s protagonists, they can’t distract themselves anymore with false appearances as they did for a decade: sweet, reasonable if a bit prejudiced Lisbon has chosen at the last moment her edgy Jane over a more eligible gentleman, who had the merit of being better-matched both in his outlook on life and character but who couldn’t win her whole affections… Even if they’ve achieved forgiveness and are reaching respect and understanding, neither is foolish enough to take what they have for granted. They’re careful that the real world and its demands don’t shatter their blue-tinted loving bubble.

RB: That’s beautiful Violet. One last point I have is the fact that Jane is still wearing his wedding ring. Sunny_Girl (@_D_o_r_y_a_n_n) asked why that might be on twitter and I saved my reply for here: Jane is a creature of habit and as much of a romantic as I am I somehow don’t think it is strange. I always thought the ring was symbolic for Jane to represent that he is taken. First, it was by his wife then by his quest for Red John, and now by Lisbon. I wouldn’t be surprised if he remains wearing it for the rest of his life and somehow find it fitting. Nor do I think Lisbon would make that much of a deal over it, rather it seems to be something she gets. And if the two end up getting married he’ll need a ring anyway so why waste one he already has? It might seem a weird point of view to some but that’s just how I see it. It’s part of Jane, like Lisbon’s cross, and I think she understands that.

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Mentalist Themes in Season 6

This is dedicated to the commenters neither Reviewbrain nor I have been able to reply to in the course of the last few months (sorry guys, this summer has been hell!): Lou Ann, Tringo, Rose, Windsparrow, KM, Mosquitoinuk, Phoenixx, Mentalista, OrangeChill, Carla Oliveira, Jean-Noël, Valentine0214, Moliere, Agnes, Little Үүрцайх, Patricia Korth, Kilgore Trout, Sara C, Ezza Belle, Chokulit and Eff in To! A belated but warm welcome to the blog to the newcomers! (I hope I haven’t forgotten anyone!)
(As S7 is aired earlier than expected, I had to wrote this post in a rush, sorry for the mistakes and horrible grammar! ;P)

 

1) FLOWERS

The flowers aren’t overflowing this season, but there are still some intriguing occurrences. The season opened with ‘The Desert Rose’ and the flowers growing among the victim’s bones painted a “kinda beautiful and weird” picture, to quote the goulish Brett Partridge. Interestingly, those creepy flowers were one of the major clues Jane bases his investigation on, plus they were associated with the desert, a location closely related to the Lorelei arc where flowers made their major appearance, as the desert was the setting for the ‘Crimson Hat’. In hindsight, those might have somewhat hinted both at the end of Jane’s crusade against RJ (given how close he came to him when he met his girl) and at getting closer emotionally to Lisbon (they were holding hands in the desert after he’s been rescued from Lorelei). Plus, in the same episode, among other red object in the background, red flowers could be seen behind a window during the second case they’re investigating, suggesting danger. And commenter Taissa remarked that there were a lot of references to gardening too (“the victim’s last name and the flowers, one of the suspect’s last name was Green, the bartender wore a green tank top, the widow’s home had a lot of green decor”), a notion also developed after RJ got his comeuppance.
In ‘Black-Winged Red-Bird’ and in ‘Red Listed’, flowers served not really as a symbol, but rather as prop: as Reviewbrain pointed out in the review for the former , the flower on the bedside table in Lisbon’s hospital room suggested that the team has been visiting her while she had been unconscious, whereas the white and purple bouquet of lilies and hydrangeas that Jane brings to Hightower’s aunt Ruby hinted subtly that he might have been more than a simple coworker to Madeleine, possibly even a lover, which would help him win the lady’s goodwill…Later, in ‘Fire and Brimstone’, Stiles hided in a truck in the middle of some white orchids and red roses, a mortuary reminder of past seasons before the most stimulating and ambiguous of the remaining suspects met his end… And maybe also a hint that Jane is at a crossroad in this episode: either he ends up alive and successful in his quest (the orchids, which were a symbol of hope) or he’s about to be overwhelmed by the red color (the roses). In the second part of the season, in ‘My Blue Heaven’, Reviewbrain also remarked that Lisbon was gazing pensively at a bouquet of white flowers in the corner of her office. Whether or not they were sent by Jane (who admitted seconds before that he would miss her in a flashback from his last phone talk with her after he killed McAllister), that moment obviously hinted at her quiet dissatisfaction with her new life. Later, flowers are again used to draw attention to a situation: in ‘White Lines’, Jane was trying to emphasize his supposed interest in dating Krystal by buying her flowers whose colors happened to match the titles of the previous episodes (red, blue, a green-themed one and white), at the moment when she was shooting someone. And, later again, Kim brought flowers to Grace and Wayne at the hospital in ‘White As The Driven Snow’, a nice way to bit them goodbye from the show… All these cases don’t focus on the flowers themselves, yet they give a clue about a character’s state of mind or their circumstances.
But, while these occurrences are rather anecdotic, flowers make another more instructive appearance in the turning point of Jane’s new FBI career. In ‘Violets’, they represent modesty and faithfulness (a perfect description of Teresa) and tender love from someone who dare not confess (which is what Jane is feeling towards her). Plus, as a painting, those Violets find an echo in another portrait: as Jane hands back the painting the victim made to his widow, he makes peace with his past with Angela, since both loving marriages ended in a violent death. In contrast, the Violets hint at Jane’s feelings for Lisbon and the fact that he’s in danger to lose her to another man, like Monet lost his model… From that perspective, violets are coming close to one possible meaning for the orchids from the Lorelei arc: the underlying hope for being set free from his self-imposed limitations while still feeling unable to leave them behind. Even more since orchids sometimes mean “new beginnings” in the language of flowers.

 

2) TWINS :

Another long running, albeit more recent theme involves twins as a new aspect of duality. It starts a bit oddly in the first case of the premiere since the murdering widower’s portrait is placed just behind Jane and looks like him. It’s underlined when Jane remarks bluntly to the tech looking at him that he doesn’t have “two heads”… Like the widower from the case, he is a prideful man, whose thirst for fame caused his wife’s death… and it’s the same arrogance and recklessness that will drive him to argue later with Lisbon, resulting in RJ getting his clutches on her. Not to mention that the two faces aspect reminds of two interesting parallel pointed out respectively by commenters Rose UK and Alutran. On one hand, they might refer to the two sides of the same coin, an allusion to Jane and RJ being quite alike. On the other, the Roman god Janus, whose name sounds similar to the consultant, has two faces on his head, one looking forward, the other behind, since he’s the god of opening and closure, of thresholds and doors –some major points of Jane’s story.

The whole twin theme has been brought in the previous season by the reference to ‘A Tale Of Two Cities’ by Dickens, that Jane and Cho had been reading. It culminates in ‘Red Listed’ as it’s revealed that Kirkland, a suspect in Jane’s list of possible candidates for RJ, is also in a revenge rampage set off by the murder of his twin brother by the serial killer. This time, Jane and Bob are also entwined in their common quest: “only one will get his revenge” as the agent tells him. As he does with RJ, Jane represents the light, while Bob is his cruelest sadistic darker counterpart.

This continued and nuanced duality forebodes the trick the serial killer uses in ‘Red John’ by making Bertram pose as the villain. It is hinted at by Bertram using the name of ‘Thomas’ as a fake identify in ‘The Red Dragon’, since Thomas The Apostle is called “Didymus”, meaning “twin” (thanks to Shady007 for the reference). This name also happens to be McAllister’s first name –indeed, Bertram is actually posing as a smoke screen for him- and coincidentally, two “Tommy” had managed to get under Lisbon’s skin at some point (her little brother and her own nemesis Volker).

Last, not least, Jane, as an agent of justice fighting the evil “Tyger”, is called a “lamb” by Hightower’s aunt. In Blake’s poetry, this animal is the counterpart of the tiger, as well as in the Bible, it’s an image of the Savior, who will cause the Beast’s demise.

 

3) HUNTING

Tiger and beast also fit in another theme as these animals are predators, just like RJ is. Both he and Jane are chasing each other and in this season it became even more apparent that each planned to kill. Hence the hunting metaphor: both Jane and Red John are simultaneously the other’s hunter and prey, with the latter targeting Lisbon while goading Jane into trying to “catch” him first.

This tension is swimming right under the surface in the talk that Jane has with McAllister, who at this point is only a suspect among others, about hunting in ‘Wedding in Red’. The friendly sheriff asks him if he’s taken hunting as a hobby, like him, and Jane answer that he doesn’t like “the skinning and gutting”, which could be seen as a description of RJ’s gruesome murders. McAllister good-naturally answers that it “takes a certain stomach for that”, accentuating that he doesn’t mind getting his hands bloodied. Same thing happens in ‘Fire and Brimstone’: an innocent deer is targeted by Sheriff McAllister’s shotgun while he’s sitting in his patrol car just like the episode ‘Red Moon’ back in season 3started with a deer standing in the wildlife as Jane and Lisbon were passing by. The detail enlightens McAllister’s creepiness, his lack of scruples both in using his work to practice a pastime of his and in exploiting the unfair advantage being hidden in a car gives him over the defenseless animal…

Meanwhile, Jane is exploiting his knowledge about a potential phobia from the serial killer. He’s following his tracks and it ends with him hounding his running prey in the cemetery where he managed to corner him. And while the squeamishness he admitted about “gutting” seemed in opposition with the talk he had with Lisbon in Season 1 ‘Red Flame’ (“I’m gonna cut him open and watch him die slowly like he did with my wife and child”), it finds an echo in the way he finally killed McAllister. After shooting him, he strangled him to death, while the other had been running away with bloodied hands that frightened bystanders… It alludes to the handshake mentioned by Lorelei (and to McAllister hauling him up from the roof he was falling from in ‘Wedding in Red’), plus this detail is once again reminiscent of Shakespeare’s Lady Macbeth and her fixation with the incriminating blood on her hands, in the exact moment Jane’s Hamlet-like quest for revenge comes to an end. Yet, even after things have settled down and Jane started working with the FBI, the guilt hinted at by this reference has not completely disappeared which is why the Bard is again quoted in ‘Silver Wings of Time’ (“the lady doth protest too much” from ‘Hamlet’).

 

4) THE GAME

The hunting theme is closely related to the various games alluded to in the course of the series. Indeed, that’s how RJ sees his relation with Jane, whose brilliant mind poses him as a worthy adversary: “Red John’s Rules” has made it clear and the premiere follows in this direction. He’s playing a deadly game with Jane, baiting him with Lisbon’s phone after he’s attacked her, leaving him a macabre post-it in a horrible mini-treasure hunt to find Sophie Miller’s butchered head in her oven… Even the “tyger tyger” password has a childish play vibe to it.
When the consultant gets closer to the truth, RJ uses a daring bluff by faking his own death and using Bertram (a poker player) to cover his tracks. And, whereas the sheriff stated that “game’s game, right” while talking about hunting in ‘Wedding in Red’, it takes Jane’s willpower in ‘Red John’ to tell the other man that “it’s not a game” when they finally meet face to face without any mask in between.

Yet, the game is still on after Jane’s made his grand escape. The stakes are different, he’s trying to win back a real fulfilling life from the clutches of the dead man who has taken his past, but he’s still playing, in many senses than one: he’s trying to cheat in a game against despair, starring in the ever-present part of the charming unruly consultant, or maybe just tricking his new playmates when he showers them with childish toys.

The impression is subtly deepened by some killers who lost to Jane’s winning hand: in ‘The Golden Hammer’, the murderer stated that it was a game, just like Haibach pretended that there was “no game” on his part, while he was enjoying playing them as fools in ‘White as the Driven Snow’. This may have ended in the season finale when Jane invented a last treasure hunt to convince Lisbon to stay by his side and he was forced to reveal the truth. Is there any use now for the grand game of lies between them?

 

5) BIRDS

This one theme has taken a very particular meaning since the previous season. Indeed, after Lorelei had sung like a bird both for Jane (giving him an hint which started his list of suspects) and for RJ who used her to make his threatening video, references to winged animals have been spiraling from different ideas. First, those allude to hunting, mixing preys and more aggressive ones. There are the pigeons and ducks that the characters feed (Lisbon’s childhood memory is feeding pigeons with her mother as she told in the S5 finale; Jane feeds ducks then pigeons later), plus the partridge and the drone in ‘Black-Winged Redbird’. Then, as the pace picks up and Jane comes to know some of RJ’s particularities, like whistling like a bird, the animals tend to hint at the phobia RJ suffers of. Coincidentally, doves are a symbol of innocence and they’re messengers from God in the Bible, just like angels are… Jane comments in ‘Wedding in Red’ that he has no wings, comparing himself to an angel precisely, not to mention that there’s one on the stained-glass window inside the church. In a biblical perspective, pigeons are thus in direct opposition with the winged ‘Great Red Dragon’ (painted by Blake and briefly alluded to by the Chinese dragon seen in the restaurant where Jane meets Hightower in ‘Red Listed’)

Birds appear again in ‘Silver Wings of Time’ and in ‘Blue Bird’, hinting at Jane’s desire for freedom and living again. In that aspect, this theme slowly takes a similar meaning than the butterfly one, which indicated his hope for putting his past at peace, for metamorphosing his dark thoughts into a sparkling lightness. No wonder then if many serious talks between him and Lisbon take place in flying planes or involve helicopters, like the dressing down in ‘Green Thumb’; Lisbon uncharacteristically refusing to go on a road trip with him in ‘Black Helicopters’; his fake enthusiastic proposition of getting to the crime scene by helicopter to help Lisbon go to her date with Pike in ‘Forest Green’; finally his confession about loving her in ‘Blue Bird’… They are symptoms of his passivity until he decides to take action.

 

6) RELIGION

While religion and faith were hinted at in the previous seasons (“Saint Teresa” and her cross necklace; the medallion given to Jane in S3; the meeting in a church in ‘The Crimson Hat’; RJ’s minions’ faith in him and his tastes in religion-oriented art, like Blake’s poetry and Bach’s music; the talks about good and evil and about afterlife and so on) it has always been quite a background theme compared to others, mostly underlining the cult-like influence of the serial killer and Jane’s craving for redemption. Those two opposite drives went repeatedly through Jane’s psyche, making him go all the way from violence, revenge, wanting to be at the center of the world’s attention, like his nemesis, to a pull towards salvation and wanting to believe that beyond the grave his family may have forgiven him and may wish for him to move on. Nevertheless, this theme is strikingly deepened in season 6, making it one of the most visible features of the final battle between the two enemies.

Indeed, the deadly encounter between the light of Jane’s justice and the darkness provided by RJ is the main event of the first half of the season. Thus, it’s logical that many things foreshadow it to that one way of another. For instance, Bob Kirkland’s twin brother was called Michael and therefore shared his name with God’s Archangel who fought the demon during the Apocalypse. Both Michael and Bob prefigure Jane’s actions then.

Moreover, as commenter Anomaly very accurately and comprehensively noticed, flowers found a parallel in trees: the “woods” were mentioned in various occasions in relation with Jane’s suspects for RJ (McAllister refers to his “neck in the woods” in ‘Black-Winged Redbird’ and in ‘Red Listed’, the investigation concludes that Benjamin Marx, kidnapped by Kirkland, was kept “in the woods”). Three kinds of trees were more precisely referred to: pine (Rosalind described RJ as smelling of “pine and nails and earth”; pine sap and pine needle found in Marx’ body led to Kirkland’s location), oak (in ‘The Red Tattoo’, Kira Tinsley is located at “1065 Oak Terrace” and later a sign reads “Napa Valley Sheriff Blue Oak Substation” on a building McAllister exits from in ‘Fire and Brimstone”) and cedar: Jane has a propriety in 1309 Cedar Street, Malibu. Those trees have probably been chosen carefully, as they are all biblical trees (for instance pines are mentioned in Nehemiah 8:15 ; Isaiah 60:13 and in 41:19 in association with the cedar ; oaks in Genesis 35:4 and 35:8 ; Isaiah 2:13 and 44:14 in association with cedars again, among many other occurrences…) Cedar is rot-proof and as thus the temple of Jerusalem was built using it (2 Samuel 7:1-16;1 Kings 6). The fact that the guest house depending from his Malibu home is located in Cedar Street therefore hints that’s the place where his family was sacrificed in the name of pride is sacred for him, like it shows that he’s standing on the side of divine justice. Moreover, this address where Jane sets his trap echoes 1309 Orchid Lane in ‘There Will Be Blood’. The parallel is intriguing because Jane’s decisive step towards identifying RJ was taken because of Lorelei in that arc. Lastly, Haibach brings down the last consequences of Jane’s ruthless and obsessive investigation on the old team by taking Grace to the woods too (‘White as the Driven Snow”). It becomes therefore obvious that he’s reaching out to the conclusion of his quest, which started years before with that fateful TV show –where coincidentally in a deleted scene he mentioned a citrus tree too in the lawn of the sad little man’s house, opening up a citrus theme that had been running for many seasons.

The allusions to the Bible culminate in the three episodes ending the RJ storyline: « Fire and Brimstone” and “The Great Red Dragon” are direct references to the Book of Revelation, respectively to the wrath of God/the villains’ punishment and to the personification of Evil itself. It’s been building up for the start of the season, with McAllister saving Jane in a church, with the hints at angels and pigeons, with the lambs (Jane and Bertram’s accomplice “Cordero”), the religious/satanistic ceremony at Visualize, the red tattoos appearing as an interpretation of the “mark of the beast”-the “666” in the abandoned house where RJ attacks Partridge and Lisbon in the premiere…

These hints lead viewers to understand that beneath Jane’s quest for revenge, the age old epic battle between Good and Evil is once again in play, tying up both the RJ arc (the Book of Revelation is supposedly written by John, which may or not be an allusion to RJ pulling the strings in the shadows for what he had planned to be his grand escape) and the long standing reference to Blake, whose illustrations for this part of the Bible are very famous. Hence Jane, the improbable angel who defeated the beast, ended up in a “Heaven” afterwards: he avenged his family, gotten some peace of mind, and got rid of the evil… Last, not least, ‘Silver Wings of Time’ later serves as a illustration of Jane’s dilemma in relation to his feelings towards Lisbon and his late wife, because the widower cheated on his spouse and was indirectly responsible for her death: coincidently, in this episode, Jane brought the real murderer to justice and thus saved an innocent named “Cruz” (“cross” in Spanish).

 

7) THE OCEAN

“My Blue Heaven” is precisely linked to another long standing theme: Jane’s pull towards everything ocean-related. Him preparing his goodbye to Lisbon on a cliff facing a sunset in ‘Fire and Brimstone’ -as an echo to his escapade with Lorelei in ‘Red Sails in the Sunset’- ; him sending her seashells and letters about dolphins from his island; the walk on a beach leading to his failed plan to get her to dump Pike in Islamorada and the ‘Conch Republic” airport: all those steps show that he’s been reaching out for her. Indeed, his stay in the island represented his isolation from his everyday world and how he was stuck in neutral, but his attempts at sending her sea-themed signals also echo the first hope he glimpsed in ‘Blood and Sand’.

His hesitation between two impulses is hinted at in the FBI: he’s jumping in the water from Krystal’s yacht while waiting for Lisbon to rescue him and the killer in ‘The Golden Hammer’ ends up trying to escape too by running through a fountain… All in all, as Rose UK pointed out, this travels through the world -and through the contradictory desires of his souls- mimic somehow Odysseus’ s journey on contrary waves, as it’s indirectly hinted at by the mosaic featuring the Medusa in the finale, another mythological character… He’s been waiting and longing on the beaches of the mysterious island owned by Calypso, rescued by his own Nausicaa, the aptly named Fischer, and led to Abbott/Alcinous, king of the Phaeacians-like FBI, who helped him come home. Unsurprisingly, Lisbon has been waiting for him as a very reluctant and grumpy new Penelope, in anticipation of her Odysseus finding a sneaky way to try and get rid of the pushy suitor (coincidentally named “Pike”) who tries to convince her to get into a rushed marriage… The notion of travelling and walking forward on a path is further emphasized by Jane’s shoes –which he only takes off at the very end, when he decided to take action and stop procrastinating- and by the socks she’s given him as a welcome back gift.

 

8) OPENING DOORS

As new possibilities present themselves to Jane, more and more doors are slowly opened. In ‘The Desert Rose’, great emphasis is put on Lisbon opening the door which hided a mortally wounded Partridge and the suddenly opened door at her back distracted her enough for the killer to attack. Later, in ‘The Red Tattoo’, RJ’s fatal mistake was to assault Kira Tinsley in her home: we could see her opening her door to let him enter, before he killed her. ‘Fire and Brimstone’ then begins with Jane making preparations for ambushing his remaining suspects in his property in Malibu and things come full circle as he watches the shadow of a man (presumably RJ or one of the suspects) behind the glass of the door of his guest house; he’s waiting for him, having set things up to get his enemy a nasty surprise, just like RJ did in the pilot by hiding the corpses of his wife and daughter behind a closed bedroom door.

Yet, even after he got rid of the monster, Jane couldn’t really bring himself to trust life enough to open doors and step into new potential fulfilling situations again. He’s just trying to recreate his CBI cocoon in another place, because he cannot manage to open himself to dangerous new promises… Hence him talking to Lisbon through the door of her room at the ‘Blue Bird Inn’, underlining his incapacity to fully open up and tell her the truth at the critical moment when he realized how badly he messed things up. Fortunately, he manages to take the step and runs to the plane she is leaving in, banging on the ultimate door –with a red circular security sign painted on, like a smiley face- and finally opening it: he opens the lid he put on his feels in front of Lisbon, telling her the truth of his heart and accepting to have a new life with her that he wasn’t sure that he deserved so far.
It therefore concludes one of the major aspects of the freedom notion Jane has been struggling with from the start, hinted at with those closed doors, safes, locks and keys, cages, bounds, lifts which doors, as Rose pointed out, often were shown closing on him as he stepped in.

9) PATTERNS reflecting Jane’s state of mind: obsession, painful grieving/punishment, worry and thirst for affection

– LISTS

Lists and notebooks have been scattered through the seasons to show Jane’s obsession with investigating the serial killer and season 6 is no exception: there is the list of suspects he finished in the season 5 finale which plays a major role in unmasking RJ and which is used by Kirkland too. After he gets to kill his nemesis, lists keep appearing, showing the influence his past still has on him: the demands he writes on a napkin –which mean he’s coming back to the more familiar grounds of investigation-, then the fake list of Blake association members he threatens Abbott with…

It’s also interesting that those lists are basically Jane still processing obsessively the dreadful letter RJ had left for him on that fateful bedroom door: hence the many writing made on the show, especially on walls (“666” in the premiere). Here, Jane writes letters to Lisbon after leaving her then tries to get her to stay with a fake letter supposed to have been sent by a serial killer in the making. Again, it looks like that things are coming full circle.

– CUTTING FINGERS OFF

But obsession with his past isn’t the only thing threatening Jane’s calm: severed body parts were already present in the previous season (in ‘Red Handed’ and in the case of LaRoche and the tongue) and here RJ decapitated Sophie Miller, but there’s a curious insistence on trying to cut fingers off. Back in the Lorelei arc, that act showed a level of cold-blooded violence that aimed to punish Jane for misbehaving by refusing RJ’s friendship. Here, it seems to snowball from another of Jane’s grand plans: Kirkland tortures the other suspects on Jane’s list by cutting their thumbs off to get them to reveal who is RJ before killing them. Later, Haibach got his revenge for his lost finger by trying to do the same to Jane again… Violence breeds violence and hurt people tend to act out by hurting others they deem responsible for their suffering, like Jane has been doing for years.

The same kind of brutality pops up in the middle of his more peaceful FBI life, with the victim’s body parts found in ‘Green Thumb’, hinting that Jane’s still under the repercussion of his previous choices and feels helpless to regain a fulfilling life. Like those thumb-less men, he’s also incapacitated to some extent.

– PHONE CALLS (at critical moments)

Another intriguing pattern is the number of phone calls between Jane and Lisbon at meaningful moments. Not that they say anything particularly long or enlightening, actually: it’s mostly the silences and unacknowledged truths between them that make sense.

In the previous seasons, it happened many times, when Lisbon was in danger and calling Jane for help or to reassure him (‘Redwood’, ‘Red All Over’, ‘Strawberry and Cream’ I and II). Here, their miscommunication issues start in the premiere: after arguing with Jane about his controlling ways, Lisbon falls in the trap set by RJ, leading Jane to desperately try to call her, only to hear finally the serial killer answer her phone telling him ironically that she couldn’t answer right now but he could always take a message…

Later, after he left her stranded on the road to set his own trap, Jane says his farewell to her in a rather cold voice… Which contrasts with his breathless, emotional voice telling her in a low tone “I’ll miss you” after killing his nemesis, when he called her to tell her he made it and was safe.

These instances showed his worry for her and how much he cared, yet they don’t stop after his successful return. In ‘White Lines’, he pretended to hang up on Lisbon while on his date with Krystal, while he actually was actually letting her hear what was going on in order for her to send him some help. Cho commented on his poor communications skills then, which didn’t stop the consultant from trying to call her after she left in a fit of rage in ‘Blue Bird’, only to go to voicemail… But more on this later.

– FOOD AND AFFECTION
Like it did in season 2, food seems to have taken a discreet added meaning. The first half of season 6 involves a number of occurrences in which food is left half-eaten: Lisbon leaves her muffin untouched in ‘The Desert Rose’, while Jane feeds his to the ducks in ‘Wedding in Red’ and PI Kira Tinsley can’t eat hers in ‘The Red Tattoo’. Plus the uncharacteristic act of Jane biting into an apple and sending it crashing into a wall might remind viewers of the biblical fruit of knowledge, since he’s about to learn RJ’s secret identity… which might or not have been a reply of the “original sin” he committed by badmouthing RJ years before (and mentioning a tree bearing another kind of fruit in the aforementioned deleted scene from the pilot).

But once the RJ case is closed, food is eaten onscreen when affection is most needed: Jane fights loneliness in his sea-side haven by having dinner with a stranger, while Lisbon denies her regrets in front of her dinner guests Grace and Wayne. Both end the evening drinking, making even more transparent their sadness at being separated. When Pikes makes his grand entrance, he starts his seduction by flirting over the phone, offering her the comfort of “pancakes”, when she’s been left “hungry” by a sleeping Jane in an empty house –a symbol of her relation with the man: she’s yearning for more, but he doesn’t give her what she’s craving. Yet her later dates with the dark-haired agent are nice but hardly emotionally fulfilling obviously, since she cannot get over Jane, just like the food Pikes offers her: popcorn, a granola bar… Same thing when Jane slowly starts his seductive counter-attack: he has dinner with her at ‘Il Tavolo Bianco’ on Abbott’s insistence and he brings her cannoli before getting cold feet… And his last devious scheme involved a meal in a romantic restaurant he never got to share with her.

In season 2, those allusions hinted at (a lack of) communication; here, those are answers to new expectations: Jane wants to fit in with his new team and brings Cho and Kim lunch in ‘Black Helicopters’, whereas Lisbon feels a deep new need for affection she’s decided to fill. Pike is hell bent in taking care of it, thus the idea of him offering her food, and Jane fails to do it twice, before realizing that what she really wants is not the same fake appearances and lies he’s been feeding her so far but only truth and love.

– THE DATING GAME

But those struggles don’t stop the characters from playing a game of manipulations, half-lies and prodding by dating other people: ever since Abbott started referring to Jane and Lisbon as “boyfriend” and “girlfriend”, both have been seeking attention by flooding their conquests. In the island, Jane chooses Kim as a closest substitute for Teresa: he obviously isn’t eager to let Lisbon know about this detail, but he’s willing to rub his date with the gorgeous Krystal to her face… Lisbon does the same by mentioning her ill-fated dinner with Osvaldo to him, then by trying to goad him into reacting to her relationship with Pike… A relationship that doesn’t deter her from accepting two work-related yet date-like outings with her consultant in ‘Il Tavolo Bianco’ and in Islamorada (“it’s a date”).

Of course, what makes this little game deeper is the underlying idea that both want to move on and recreate a home, but they’re unsure of the other’s wishes… Hence the notion of guilt brought by spouses who acted badly towards their companion–particularly in ‘Silver Wings of Time’, but also in ‘Green Thumb’ and in ‘Blue Bird’ for instance. It resumes a long-standing pattern developed in season 1, but here, it focuses more on new possibilities. In retrospect, guilt becomes a normal step of moving on, a step Jane manages to take to move forward. It gets obvious in the decisive ‘White as The Driven Snow’: fighting the ghastly worry of not being able to protect his family guilt (something Haibach’s sister had been blaming herself for, leading her to land him an hand in his criminal career), Rigsby managed out of pure will-power to save his baby and wife. This feat undoubtedly led Jane to come to terms with his own failure as he helped the man in trying to find the lost member of his makeshift family.

 

10) TRUST , PARTNERSHIP AND TRUTH
As Reviewbrain pointed out very early on, there always has been a tension between Jane and Lisbon regarding trust and their tendency to want control over the other. The shadow over their growing affecting has been declined in many shades like Jane telling the truth or lying; their status as coworkers varying from being boss/subaltern to getting to rely on the other as a partner… More often than not, the quarrel is centered on Jane not letting Lisbon in on when he’s setting his most daring schemes…

It comes as pretty harsh in the season premiere: she’s rebelling against Jane giving her orders and acting as her boss and a two years absence hasn’t quelled that fear since she’s still telling him off for it in the plane in ‘Green Thumb’ and alluding to this penchant of his in the fish bowl scene at the beginning of ‘The Golden Hammer’. Jane’s clumsy communication skills regarding everything Lisbon keeps him from reassuring her, since his attempts at getting her to see him as her partner often end up in her playing the magician’s assistant (‘Forrest Green’), or the mad surgeon’s nurse (‘Black Heart’), ultimately forcing Lisbon to lie for him in front of Abbott… Even their usual bantering at the end of ‘White as the Driven Snow’ (which returns after Jane somehow redeems himself by rescuing their old team) involves her pretending to sulk about his lack of transparency during the ordeal.

In addition to the failed phone calls, the miscommunication hits a dead end when Jane tells her to be happy and she doesn’t tell him that she’s leaving. An interesting detail places communication at the heart of the matter: she’s started really flirting with Marcus on the phone and it’s over a phone talk too that she accepts his proposal on a whim. Indeed, while Lisbon and Jane refuse to tell the whole truth, Pike is rather fine with only hinting at the threat that is Jane in his love life; this is probably why he shows Casablanca to his unsure girlfriend, particularly his final scene with the female lead choosing her stable husband over her adventurous lover and telling him goodbye before taking off on a plane… which ironically foreshadows Jane running off after her plane a few episodes later.

Truth is “The Daughter of Time” –title of the murder mystery Fischer was reading when she met Jane- and it is really at the heart of this new chapter of his life. The continuous undercover jobs the new team is taking suggest his reluctance to yield to Lisbon’s yearning for honesty: Kim playing a tourist in ‘My Blue Heaven’; Jane and his fake dates in ‘White Lines’ or being asked to play a psychic in ‘Green Thumb’; Lisbon disguising as a cliché spy in ‘The Golden Hammer’; Jane going to the citizen farm in ‘Black Helicopter’ along with the disguised victim and the murderer hiding under a false name, or him again sporting a chauffeur hat in ‘White as the Driven Snow’ ; the whole team setting a undercover sting in ‘Violets’… Every episode shows how creative Jane is to cover up his feelings. The interest in lawyers has probably a similar meaning (‘Silver Wings of Time’, the Haibach arc): Jane is trying to defend his con, he’s stuck in his make-believe comforting world of a consultant and desperately tries to get Lisbon to accept it as true. Objectively, it’s the main difference between Pike and him: viewers are told repeatedly that Marcus is honest, which means that Lisbon can put her trust in him, the same trust that Jane has trampled time and over. It’s Abbott, who comments to Fischer how this job makes people start losing trust in ‘Green Thumb’, who places Jane in front of his failure: he’s started to believe his own con and it’s only by freeing himself from this façade (of an half-life, of only being friends with Lisbon because he’s too afraid to claim more from her) and by finally telling her the truth that he can achieve that loving one hundred percent trust from her that he’s been aiming for over the seasons.

 

11) COLORS
Colors are not really a theme, but the drastic dropping of everything red in the titles is still worth dwelling on for a bit, as commenter Ioana remarked, if only to raise a few questions.

Firstly, there are relatively few colors after the end of the all-red era. No bright colors (like orange or yellow) nor many nuances, just plain simple colors mostly: black, blue, white, but no turquoise or beige… even the “Forest Green” is more used as a word play here than a really different shade. Yet, some patterns are slightly discernible such as blond women replacing the trademark redheads as murderers, victims or witnesses.

Given the rather limited choice of colors used, some are repeated, which might help draw some parallels. The most obvious relates to the ‘Blue’ episodes –namely ‘My Blue Heaven’ and ‘Blue Bird’, involving Jane getting a new start and opening up. It’s taken as a calm and marine-oriented opposite to the burning red and shows Jane’s hope for freedom, peace and happiness.

Green is also used twice: in ‘Green Thumb’ and ‘Forrest Green’, Jane’s inability to convey what he feels to Lisbon involve him giving her some space that she clearly doesn’t want (after the plane talk, then when he asks in a falsely cheerful tone for an helicopter to get her in time to her date with another man).

Three occurrences so far for the color ‘White’: ‘White Lines’, ‘White as the Driven Snow’ and a variation in Italian with ‘Il Tavolo Bianco’ and three episodes when Jane tries to get closer by using dates, either by taunting her with him dating Krystal or by having dinner with Teresa on Abbott’s demand… Still, he only succeeds to really get on her good side and to win back some of their old banter after saving the team in the third occurrence. Those are somewhat in opposition with ‘Black Helicopter’ and ‘Black Hearts’ where she distances herself physically from him, by refusing to get on a road trip with him in the Silver Bucket and by accepting Marcus’s offer to move with him to D.C.

Among the one-episode-only colors, ‘Violets’ (a shade that is basically made by mixing blue and red) is a pivotal episode, rushing Jane’s progresses by introducing a rival to his love interest. ‘The Golden Hammer’ and ‘Silver Wings of Time’ force him to consider that he’s getting serious competition for winning Teresa’s favors: the former shakes him with the unexpected revelation that Lisbon can start dating, the second makes Pike’s threat more dangerous for his own relation with the petite agent. And it’s amusing that the “Silver Bucket” makes its appearance just after the ‘Golden’ episode too. Everything that shines might distract Lisbon enough to make her drift apart…

Of course, given how few episodes there have been since RJ’s demise, those are very probably only coincidences, but it gives something more to look forward in the new season! 🙂

You can still vote for TM and his amazing actors and make them win the People Choice’s Awards on CBS! Here’s the link:

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Mentalist Black Hearts Review

Synopsis

After Cho (Kang) and Abbott (Rockmond Dunbar) find the corpses of three victims whose organs have been harvested, during their investigation on a human traffic ring, Jane (Baker) and Fischer (Emily Swallow) are called to the disturbing crime scene. Meanwhile, Lisbon (Tunney) is still struggling to make a decision concerning following her boyfriend to DC.

Concise Verdict

With ‘Black Hearts’, star writers Ken Woodruff and David Applebaum close the case of missing girls started in ‘Brown-Eyed Girls’, the second arc in TM 2.0 after the case involving Haibach’s revenge on former CBI members. And, like then, Jane also reaches a new -and this time depressing- stage in his murky emotional situation. Indeed, while the maddening man still couldn’t bring himself to actually do something regarding Lisbon’s possible departure, both she and her boyfriend take the initiative of making decisions. Jane keeps being passive regarding Lisbon, whereas Pike comes across as more straightforward than ever and tries again to rush his relationship in the most frustrating way. On the other hand, the case is pretty predicable, but rather carefully crafted and made deeper by a rather intriguing symbolism and some obvious efforts to give their villain more substance. The pleasure of the two leading characters pulling an amusing con together and the team members getting to fill smoothly their designated roles (boss, supportive coworkers and eager rookie) come together to make this episode, which could have been the last one before the ultimate conclusion of Jane’s story, a rather coherent yet odd combo.

Detailed AKA Humungous Review (spoilers galore)

VIS #1: the opening scene

Right away, the title ‘Back Hearts’ is explained both by the harvested organs of the poor girls and the cruelty of what’s been done to them –both points being emphasised by the black little heart drawn on Daniela’s hand, which served to mark her as a unwilling donor too…

Jane’s attitude is respectful and affected by that turn of events. He even mentions a “cup of tea” in passing, which reveals that he needs comforting in front of the horrifying sight. Plus, the bodies were actually discovered at the end of ‘Il Tavolo Bianco’, meaning that the episode starts during the same night. In other words, Jane is still under the defeated influence of his failed attempt at talking to Lisbon while eating cannoli together. Indeed, Lisbon is not here, just like she was late at the crime scene when she started dating Marcus: it again hints at the growing importance of her personal life. Plus, he’s showing vulnerability while glancing at the young woman’s face, like he did when he witnessed the other one dying in ‘Brown-Eyed Girls’: like then, his deep empathy also reflects his powerlessness and his feeling of abandonment in front of Lisbon’s new life (she had accused him of interrupting her date back then).

Either because Abbott remarked Jane’s subdued behaviour and worries about it or because he thought Jane might have a hunch, he starts asking the consultant about the case. Jane gloomily answers that he thinks there are many more dead girls. It’s interesting that, true to his name, Abbott is once again willing to play the part of Jane’s confessor. He tries to get Jane to talk about the case, just like he approached him about Lisbon’s decision to leave Austin –telling him then that conmen’s downfall often involved them starting to believe their own cons- and about the date-like dinner he set up in the previous episode. May it be about Lisbon or about the gruesome case, he’s the one who helps Jane into shedding a bit more light on his feelings to viewers…

VIS #2: Lisbon on a job interview

Back in the office, Lisbon is brought to attend to a webcam job interview with a potential new boss in DC. Abbott is present as her current leader and Pike is here too. Marcus is actually the contact who hunted the job for her, yet his presence in Abbott’s office makes him look omnipresent in her life. She spends her time off with him, he’s taking her to lunch or to late take-out dinner while she works and now he finds a way to get into her job itself too, even when he’s not directly needed on a case…

Moreover, his proposition seems even more pressing since the silver-winged flying time is again alluded to by the hourglass on Abbott’s desk (filmed under different angles during the whole interview)… Lisbon’s answer to the enthusiastic job offer echoes that notion: “that sounds great. I just need some time to think about it”.

Abbott gives her his professional opinion when the meeting has ended: he remarks that it’s a great deal, but obviously he’s far from happy to have one of his agents leave the team –the dark look he discreetly sends to Marcus during the interview is pretty eloquent. In the most recent episodes, he tried to confront both her and Jane about the situation they’re getting themselves in: he asked her if Jane knew that she might leave when she informed him of her possible departure and he kept pushing Jane to get her to stay. Dennis seems to like Jane as a person, given how well they get along in their many undercover gigs, but he’s also probably fully aware that Jane’s efficiency in the field might suffer from her absence. Jane is an investment of sorts: he too made a great deal with the FBI. Abbott, the man who coldly and calmly closed down the CBI before hunting Jane through South America, might want to keep his “golden boy” as happy and useful as possible. Eons ago Jane remarked to Hightower who had the same kind of logic, that if Lisbon was unhappy, he was less happy: the same goes here, because if his moral compass/anchor fails him, he may very well let his life go downhill. After all, when she wasn’t here to tell him to shred off his homeless vibe, he ended up basically a beach bum…

Unfortunately but as expected, Pike is not as understanding. He bluntly tells her « I’ve been patient » as soon as they exited the office. There’s obviously a shifting in his behavior, since until now he’s been putting off the appearance of the supportive boyfriend who would wait for her to decide whether or not she wanted to follow him, all the while attempting to subtly influence her. Now, he’s trying to pressure her more openly, even though he still wants to make himself look good: as always, only his qualities are brought on, may them be his honestly and inability to lie, his willingness to be here for her, or now his supposed patience. He plays on every aspect of her life: he’s half-forced her to perceive their fresh relationship as something serious, before making her watch movies involving love triangles. On the professional aspect, he’s been finding her a job. He’s methodically trying to eliminate every counter-argument she might have against moving to DC with him. Implicitly, he’s controlling her, telling her “it’s a great decision, but it’s a decision you need to make”, a phrasing that hints that he’s already chosen for her, she only needs to say the words.

That’s the moment Jane chooses to intrude on them and the shifting is also perceptible on his part: while he seemed half-apologetic before when he interrupted them (going even as far as asking her to text “Jane says hi” to the other man), he now curtly announces his presence with a rather cold greeting « Hello Lisbon. Pike». The awkward moment sums up the situation perfectly: a hesitant Lisbon is caught up between her pushy boyfriend and Jane who’s always lurking in the background of their relationship. Is this coldness an indication that Jane has decided to take matters into his own hands after his failed attempt at bringing her dessert late at night? Anyway, every member of their little tangled trio is now openly aware of the antagonism between the two males, as Jane has showed his hand by coming to her house –even if he ended up telling her that he wanted her to be happy.

Afterwards, while Lisbon and Jane investigate their prime suspect Ridley –whom viewers already know to be the ringleader since the end of ‘Brown-Eyed Girls’- Jane’s inner tension is still palpable. He keeps poking the suspect, remarking on the soberness of his office and wondering about every answer the other man gives them “What’s so boring about details,” indeed?

VIS #3: Lisbon asks Cho for advice

Confronted to such a lack of answers from her pushy lover and her slippery friend, Lisbon turns to the most immutable person in her life, her blunt former second-in-command Cho. The stoic agent recalls how he almost quitted in the first day in her team… because of Rigsby. But then he saw the way she worked and that convinced him to stay. While the memories are obviously fond ones –made even funnier since Wayne actually become his inseparable buddy- the fact remains that he stayed for her. Just like Jane, actually, who came back for her and, before, who tried to make it up to her after wanting to quit when Bosco took over the case in S2. It shows the influence she had on the people around her, both as a team leader and as a person. Plus, the allusion to Rigsby hints that she should not make an hasty decision either: it reminds the viewer that Cho’s already lost a close friend to work with and therefore would be pretty unwilling to let her go too, even if he points out that it’s a great job offer. Plus, it implicitly indicates that she’s leaving because of Jane –like Cho almost did because of Wayne-, or rather his inability to make a move, while he should be her reason to stay –since Cho’s partnership with the taller agent actually became one of the highlights of working for the CBI. On the other hand, Cho’s respect also reminds viewers that Lisbon used to be his boss: Jane’s revenge cost her a most promising career. Even now that she’s working for the FBI, she’s only a subordinate. Marcus is offering an opportunity to remedy to that loss.

Talking about Wayne, it’s interesting that Lisbon asks advice from Cho, since Rigsby was eager to give advice to Jane about getting together with Lisbon… As he did at the bar in ‘White As The Driven Snow’, Cho is more reserved. He obviously takes sides with Lisbon as the whole team used to do in the most recent years. He concludes: “whatever decision you make, it’s been an honor” before hugging her. While Lisbon is happy that he holds her in such high regard, she obviously never realized the impact she had on her team members… like she probably doesn’t know how deep Jane’s affection for her runs.

Later, it’s Kim’s turn to chime in. She simply asks where Jane is to Lisbon, adding that they always work together. Lisbon’s reply is a dry “not always”. Like when Abbott tried to poke into her complicated relation with the blond consultant, she closes off… Obviously, this choice of topic is painful for her.

VIS #4: Jane and the ringleader

Interestingly, most of Jane’s investigation quickly revolves around Ridley. He tries to create with the man a friendlier bond. That starts by meeting him again in his house. There’s a startling contrast between the very functional office and the carefully decorated luxury house, which already hints that the man has a double life.

Soon, the team locates a witness: the foul Dr Lark, whom they suspect actually killed the girls and removed their organs. After Cho and Kim saved him from the bomb Ridley ordered his henchman Tremmel to put on his car, he starts singing like the bird he’s named after… He admits to killing the women painlessly because he needed the money and Ridley paid well. When asked about the moral aspect of his actions, he just says that it bothered him to kill, but after a while stopped thinking about it. Still, this amorality is somewhat compensated by the fact that he commits suicide in his cell once Tremmel threatened his daughter.

Indeed, Lark was not strong enough to fight the evil association he was working for. Many details subtly fleshed up its threatening presence through the episode: the words “hunter of the rocky seashore” and “predatory” visible in the background when Cho and Kim went interrogating a suspect at a museum; the reference to Caesar brought in by Tremmel’s tattoo (the famous “veni, vidi, vici”, “I came, I saw, I conquered” that the imperator used to describe one of his military victory. The very brief line puts emphasis on the rapidity of the action, which might be a way to hint again at the flying time theme). This reference to the Roman general is further enlightened by the horses used in decoration, both in Ridley’s house (on a lamp visible when he’s talking on the phone with Tremmel) and on ambassador Moreno’s desk when Cho interrogates him over the phone too (a book end shaped like a horse head). Along with the panther sculpture visible in the same scene, those details reinforce the idea that this new association is very well organized, powerful and predatory. They’re a force to be reckoned with and Lark as a inoffensive bird was bound to die by getting close to them: they only preyed on his weaknesses.

When Jane corners Ridley alone in a parking lot, both men have a very intriguing talk. Ridley remarks that “it’s just business”, adding coldly “personally, I didn’t kill anyone”. He goes as far as explaining to Jane -whom he seems to consider as a kindred spirit- that his traffic serves to “save important leaders”. Jane grudgingly admits “I understand your perspective, very well”. Ridley replies: “come on, it’s just us. If anyone could understand our perspective, it’s you.” Without the shadow of a doubt, the shady businessman is alluding to Jane’s past: he’s aware of Jane’s ambiguity, his determination to achieve his goal no matter what the cost or how many people get hurt or killed in the process… Plus, his assessment sadly echoes Jane’s less than glorious moments, for instance his dismissing of Haibach when Kirkland kidnapped and tortured him because he thought the man’s life wasn’t precious enough. Lisbon disagreed then because she’s a better person than he is: quite disturbingly, Ridley is applying the same careless logic to his criminal activities than Jane has been to his quest for justice and revenge… Still, that was before Jane came to a more peaceful state of mind, because his sympathy in this case lies with the victims; he’s not as cold as he was back then.

Therefore, the whole talk has shades of RJ’s attempts to gain Jane’s attention and friendship: indeed both the serial killer and Ridley are cold-blooded criminals who think they’re superior and that they have the right to choose who is worth living. They’ve been targeting harmless women and Ridley, like McAllister, has been threatening a daughter for her father’s faults. Even the marks they put on their respective victims are quite similar in their innocuous appearance: a smiley face, made gruesome by the fact that it was drawn in blood vs. a little heart-shaped drawing with a horrid meaning… But Jane is no longer like them: he admitted to RJ that he’s “nobody”. He’s gained a humility that the two others lack. That doesn’t stop Jane from replying courteously to Ridley’s wish for him to have a lovely afternoon with a rather pensive “sure, you too”.

Jane and Lisbon (don’t) talk it out

Meanwhile, Jane finds another kind of opponent when the investigation provides Lisbon with a new opportunity to try to clear things out between them, but to not avail. Actually, there are three decisive moments in this silent gentle battle of wills he’s having with his beloved partners.

1) Firstly, when Jane is back in the office, it’s her turn to corner him. She enters the bullpen with a mug of coffee and a cup of tea –Jane is usually the one to bring her her favourite beverage- and her resolve wavers when she realizes that he’s seemingly asleep on the couch. But she calls for him and sits with him. She tries to put him at ease by telling “I always liked this couch”: that brings a touch of familiarity in her action. Also, it might be a coincidence, but that was pretty much what Jane said when he came to the CBI bullpen with his bimbo to bid them goodbye in ‘Fugue in Red’ (something along the lines of “I always wanted a couch like that”). Both times, that old couch has been the symbol of the work they’ve been doing together and the comfort he took in it and both times, reminding of them through it was a way to prepare themselves to depart. But for now, the line only makes Jane smiles, which Lisbon takes as her cue to start interrogating him. He begins hesitantly “Jane… Jane…” when her phone rings. The announcement that Lark committed suicide interrupts their talk.

Obviously, still, Lisbon’s attempt is her answer to Jane’s recent visit at her doorstep. As he couldn’t bring himself to open up to his real feelings, which made her cry, she’s taking upon herself to unlock that dreaded door he wasn’t able to open.

2) The second, more dramatic moment between them happens while the kidnapped girls, along with Daniela’s sister, are shipped to Columbia. That further stresses how time is the issue.

Jane comes up with a plan and tells Lisbon about it over the phone. His description is less than thrilling as it involves breaking “a few laws”… Lisbon is wary and when he presses her, she hopelessly answers “I’m thinking, Jane”. Seriously, what’s with the men in Lisbon’s life asking her to make huge decisions in a snap of a finger?

Of course, Jane plans to use the “understanding” he set up with Ridley. As he fakes a friendly visit in his house, he drugs the other man’s glass and takes him in a dark and worrying secluded place, probably the same Lark used to work on the poor girls’ bodies. While Ridley is still groggy, Jane feeds him a chilling little speech, explaining that so far the man has “been a step ahead” of him -Riddley managed to warn his Nigerian client to fly away before the cops could catch him- but that he finally got him now. Again, the “one step ahead” notion is linked with RJ’s little mind games with Jane, a detail meaning to accredit the thesis of Jane going once more all vigilante on the leader of a criminal organization.

Ridley tries again to justify his choices by the same reasoning: “some lives are more valuable than others” but, whereas Jane “couldn’t agree more”, it becomes obvious that it’s Riddley’s life and his accomplice’s that he finds unworthy. Indeed, he and Lisbon as wearing scrubs as if they were about to perform surgery. The woman protests that she’s not convinced that Jane’s doing the right thing, but she nonetheless goes along with his actions. Again, she’s playing the assistant to Jane’s magic show: they turn their back to Riddley and start presumably removing Tremmel’s organs while he’s still alive and kicking –and the tattoo on his arm makes Riddley sure that it’s his henchman lying there. Yet their concentrated albeit grimacing faces contrast funnily with the dramatics they’re pulling off for Riddley’s benefit. Lisbon reluctantly following Jane’s silent request to splatter more of that fake blood she’s so obviously disgusted with on his scrubs makes it all the more amusing. Riddley is not aware that he’s played and he starts panicking once he realized that he’s the next target… even more since he’s just witnessed them murdering someone… His only hope is Lisbon’s scruples: “you’re a cop. You cannot do that. This is wrong.” But her answer is even more distressing than Jane’s ‘crazy scientist’ act: “not after what you’ve done. This is poetic justice”. Again, the “justice” killing is a reminder of RJ’s fate, which makes the whole ordeal even more convincing to Riddley. The only difference is that Lisbon is supposed to be Jane’s willing and active accomplice this time…

3) That fact isn’t without consequences. After a terrified Riddley gives them all the information they want, they bring him back to more lawful grounds. When he’s in the bullpen, he starts accusing Jane and Lisbon of murder and they defend themselves by showing that Tremmel is actually in a cell. He wasn’t killed (it was Wiley playing his part with a fake tattoo on his arm. The undercover job of the week…).

Still, even though Riddley has been neatly trapped, his accusations don’t settle well with Abbott. Even more since Jane’s reply to Riddley’s lawyer that he’s been using psychological torture on him is “your client is a monster”. He’s not pleased either that Lisbon takes Jane’s side, just like she did in front of the jury when she pleaded the fifth to protect him… Abbott convokes them in his office and scolds them, adding that those are serious claims against them both. They keep denying that they did anything Riddley affirms they did to him. After dismissing Jane, Abbott focuses on Lisbon: “Jane is a liar… but you’re an honest, good person with a long career ahead of you”. The moment eerily reminds of his assumption when they met at the CBI: back then, he told her that she had been a good cop… before getting under Jane’s spell.

That doesn’t deter Lisbon who keeps standing for her partner: she lies through her teeth to her boss, stating firmly that “everything Jane said was true”. If it does come to it, between a career opportunity and her loyalty to Jane, she’s made a choice. On a professional level, she thus knows where she stands and her determination to have Jane’s back contrasts with her overall recent wavering… Too bad that doesn’t help with the personal problem at hand, right?

VIS #5: Pike’s proposal

Paralleling the touching reunion between Daniela and her sister saved in extremis from her captors, Lisbon meets with much relief her ever-present boyfriend. She’s happy and relieved to see him as the day as been emotionally draining, between the revolting case, Jane’s dreadful plan and Abbott’s threats. Yet, Pike uses her vulnerability to once again pressure her into making a decision, arguing as the devoted boyfriend he pretends to be that “it’s your life and like to be part of it”. Still, the care he displays tips the balance on his side: he’s here for her and he values her. With Jane, she’s come to the realisation that, in spite of their shared affection and connivance, he ought to always demand that she always protect him. He’ll always decide to take justice into his own hands when the law won’t reach the monsters they’re chasing. Her career will always take a backseat to their partnership, whereas he’s still unable to take a step in her direction on a personal level. Hence the decision she suddenly makes: she accepts Pike’s offer.

Unfortunately, Marcus considers this as an opening to push his luck further. He knows that it’s not “romantic, but the hell with that”: he asks out of the blue “will you marry me” to a flabbergasted Lisbon. Poor Lisbon who’s already made a huge effort to fight her doubts sees her commitment issues rattled again. Distraught, she only manages to answer “it’s a big decision. It’s huge”… Pushy Marcus generously gives her a “no pressure”, even though he cannot be unaware that he’s kept pressuring her. He’s been pushing her along with every decision he makes for them, starting by labelling their liaison as serious, to finding her a new job, until that overkill proposal. Just like she accused Jane of, Pike is making decisions for her and he subtly blames her when she’s unsure of them by making her feel guilty when compared with his qualities as the self-proclaimed man of her dreams. That’s how he went from a heartfelt « I’ll be here » to an edgy« I’ve been patient » in a matter of hours, after all…

His admitted lack of romantic skills is also pretty telling. Since he started dating Teresa, he’s shown a rather unsettling interest in labels more than in the essence of things between Lisbon and him: that what the granola bar “breakfast” hinted at. All the while, he’s been imposing his tastes and decisions, choosing movies with a hidden meaning, planning life decisions way ahead of her. It’s becoming more and more visible that there’s a discreetly controlling and manipulative streak in his apparently harmless and open personality. Why would he have asked her to marry him when she was showing vulnerability, otherwise? A marriage would bind her to him more effectively… In a sense, he’s looking forward to make Lisbon a trophy wife of sorts, gently controlling her life in a rather perverse fashion…

Pike gives her the coup de grâce by asking her “have you told Jane?”, adding “he’ll understand…” The man wants to push his advantage to the bitter end.

Lisbon obediently goes to meet Jane in the bullpen, only a few steps from where Pike’s unromantic romancing took place. Here, the lack of communication culminates in a painful moment as Jane seems peacefully engrossed in a book, sitting alone on his couch in a deserted bullpen, just like he was at the end of ‘Violets’ after Pike took Lisbon on their first date and afterwards in ‘Silver Wings of Time’… Plus it echoes Lisbon’s tentative talk earlier. Before Lisbon could explain the new situation to him, he interjects “we make a good team sometimes”. It’s an affectionate and wilful thing to say, yet ironically it’s exactly this conception of their partnership that pushed her into Marcus’ waiting arms. Lisbon cannot bring herself to tell him what she planned to. She simply says “I’ll see you tomorrow” –a loaded sentence, since she plans on leaving soon… He replies calmly “I’ll be here. Goodnight.”

Has Jane heard what they were saying? Did he avoid the painful talk just like he feigned ignorance when she first came to talk to him? Is he blissfully unaware of what happened or is he protecting himself by evading the truth? Or is he keeping things close to his vest because he’s looking for a way to finally fight for his happiness? So many questions, so little time left…

This review was written in a hurry, so feel free to comment on any pet peeves you may have on the episode. Also could someone make out the title of the white book Jane’s reading in the finale scene? I’ve been asked about it but I couldn’t see it clearly… And, of course, thanks for reading! 🙂

Mentalist Il Tavolo Bianco Ramblings

Note: Not a traditional review so there are spoilers for the episode everywhere. Unfortunately, unedited. Read at your own risk!

Unorganized thoughts start here….

This was the best episode of the season. I can’t remember the last episode I saw that had so many quotable lines.  If I could’ve have written the review I wanted it would have contained the longest “Best lines” section ever.

A good deal of those lines were part of some of the most meaningful conversations we’ve been privileged to see, ever between Lisbon and Jane.

And what made those scenes so intense, besides the fantastic writing was the acting. Baker and Tunney were fantastic. From his “What did I do” to Tunney’s understated yet scathing “Yes Jane has all our sympathies”, everything out of their mouths was perfectly delivered.

But best of all was the honesty in those lines. Jane flat out tells Lisbon “I love that you’re predictable.”

Of course he does. To control freak Jane, predictable means safe. but the two years they spent apart, and Marcus Pike,  has him feeling like a fish out of the water. He isn’t sure where he stands with Lisbon anymore.

Hence his bringing her coffee at beginning o the episode.  It’s such a classic (i.e. early season) Jane thing to do. He’s like a partner trying to rekindle the flame after a its gone out of a marriage. Or a guy trying to endear himself after a lover’s quarrel.

Ironically Jane’s love of control should make it easier for him to understand how Lisbon, a control freak herself feels insecure about their relationship due to his unpredictability.Alas, show off Jane can’t help but try to surprise (i.e. impress) people. Especially those he cares about. The showman in him is such a deeply ingrained facet of his character I doubt it will ever go away completely.

But is that the only reason he didn’t let Lisbon in on the fake grand jury? Jane’s insistence that the plan was a “sting” and not a con implies he’s trying to change into a more serious law abiding person. As does his stating he was following Abbot’s order not to tell Lisbon about the plan. It’s continuity to his conversation with Cho earlier in the season when the latter seemed surprised at his more mellow personality.

The honesty theme comes again with Lisbon and Marcus. He knows Jane is what is taking up Lisbon’s thoughts and holding up her decision to move with him to DC. It was implied when he states that she doesn’t need to go into her history with him if she doesn’t want to, and it is strongly alluded to when, after he explains the story of a film they were going to watch,  Casablanca to her (a woman choosing between two men) he quickly adds that there is also a baseball game on and on her request switches to that channel.

But the final bit of honesty was Jane coming to see Lisbon in her home. At the beginning of the episode he had seriously told her that he wants her to stay, then undermined that honesty by saying his reason was that DC is boring. But he more than makes up for it at the end of the episode.

Jane shows up at Lisbon’s doorstep with Italian food a grin on his face which disappears when Marcus Pike opens the door. When Lisbon appears he hands her the bag of take out and makes to leave. But she calls him back, saying he had another reason for coming. Jane then tells her that he was thinking about her leaving but that he wants her to be happy. That that’s the most important thing. What’s heartbreaking about this speech is that Jane is being completely honest. He obviously wants Lisbon to stay with him. But more importantly he wants her to be happy. For a somewhat selfish man like Jane, its the ultimate sacrifice.

Thankfully, Lisbon has learned enough from Jane to realize all this. Hence her brushing back tears after he leaves.

Ill bet most viewers brushed theirs back as well.

What I especially liked was the role reversal. Jane is practically wearing his heart on his sleeve while Lisbon is being as reserved as she ever was. From the very beginning when Jane asks her if she decided, she asks, “decided what?” pretending she doesn’t know what he is talking about. Then when Jane flat out asks her “what does a girl want to hear?” obviously referring to her, she replies “I have no idea”.

Perhaps it’s unfair to attribute that particular answer as her being dishonest. Lisbon genuinely seems at a loss on which man to pick. The dependable safe bet who seems to worship the ground she walks on (who wouldn’t?). Or the consultant with a mountain of baggage who enjoys driving her up the wall?

But I think Jane’s expression at the end of the episode will make the choice easier for her. Even modest Lisbon can’t deny the love in his eyes then. If the difficulty in the decision was that she wasn’t aware of the extent of Jane’s affection, then that is definitely no longer an issue. He can say he wants her to be happy, and mean it, even if it means being with Marcus, away from him. But like she told Abbott, she spent enough time with Jane to learn from him. She can read clearly that he wants her to be happy in Texas.

The only question is can she be?

I’ll be honest. There were times this season when I wondered if it wouldn’t be better for the show to get axed. I loved the reboot (new actors/characters are wonderful). But some of the cases were getting stale and it hadn’t felt like the show I fell in love with in a while; their was just something lacking, sorry to be blunt, in the writing. Then this episode happened and changed all of that. I had to watch the opening scene twice to read who wrote it: it felt like one of the best Heller scripted episodes ever. If the writers are going to churn out episodes like these then I’m going to enjoy season seven immensely. And I’m not just talking about the J/L angst. The fake grand jury was cool. The fact that the sex trafficking ring turned out to be a cover for live organ donors was also a nice surprise. In fact, the only thing I disliked about the episode was the character Daniella, and I think that’s mostly because I didn’t enjoy the actress who played her: she came off more bratty than sympathetic, unfortunately.

Finally, I apologize for the tardiness of the review. It almost didn’t get written since the new episode had already aired before I got a chance to even start. But then I remembered fans outside of the US still haven’t seen it (and they make up a good number of my readers) so here it is for better or worse for whoever is interested.

Also, I loved this episode too much to not dedicate even a meager review for it. Writing, acting, music (the end ;_;) , direction, editing (court scene, especially)- everything was absolutely perfect. Here’s to more episodes like this.

Image by Chizuruchibi. Copyright Reviewbrain May, 2014. Not to be used without permission.

 

CONGRATULATIONS EVERYONE ON THE SHOW GETTING RENEWED!!!!!!!

Extras:

1- If this episode had a theme song it would be Passenger’s “Let her Go”:

2- My roller coaster week led me to the following articles which I thought I’d share for humanity’s sake.

3- Anyone know if the title of the episode has significance besides the name of the restaurant and perhaps the table Jane and Lisbon sat at and reconciled their differences?

That’s it for now. I’m off to watch the new episode now. See you in the next review!

*All material posted in this blog is the intellectual property of reviewbrain (unless otherwise stated). Readers are free to make use of the information provided they cite the source (this blog) either by name (reviewbrain’s blog) or by linking to it. Please extend the same courtesy to the authors of the comments as well (by mentioning their names) to ensure that credit is given where credit is due.

 

Mentalist Brown Eyed Girls Mini-Review

Greetings fellow fans. I was supposed to write the review this week but due to uncontrollable circumstances (i.e. 3 1/2 screaming kids) I was unable to make it as detailed as I wanted. Instead I’m going to post a few main topics for discussion. With all the fantastic commenters here I’m sure we can start a great discussion and I can’t wait to read all your opinions.

Case of the Week

Human trafficking is a plot that has been used in every crime show I’ve ever seen in my entire life. It’s so old that unless it’s handled in a very fresh way it’s doomed to be boring. Now the introduction was interesting enough but the rest…let’s just say I groaned out loud when Daniela said that “Jesse” told her and her sister that she would be a model in “Europe” without even telling her where. I mean, sorry I’m sure there are girls that naive but in this day and age with the help of computers and internet who would willingly travel with a complete stranger without knowing their last name and where they were going? I mean, did Daniela not see the film Taken? And if so, then she is not a Liam Neeson fan and therefore deserves whatever happens to her.

*Note: This a joke. I apologize if it was inappropriate. It’s been a tough week.

Anyway, my skepticism was such that I couldn’t remain interested in the rest of episode; besides watching out for the J/L side plot. Unfortunately, the rest only got worst. The whole scene with the Kasimi brothers telling the FBI that they were “amateurs” and talking about their big bad boss was just…it’s been done. So many times before. Not even the fact that it turns out that the great Titus Welliver (whom The Good Wife fans know as Glenn Childs) is playing the boss saved that scene. But it might save future episodes as he hasn’t been caught yet. He’s a fantastic actor and I’m interested to see the material he’ll be given to work with on this show.

Lisbon and Pike

I refuse to believe that Lisbon is seeing Pike simply to make Jane jealous. It’s not like her to play around with people’s feelings. Also, she seems genuinely interested in him. When Lisbon first started seeing Pike I thought that maybe she finally saw a shrink (or took the advice of someone who cared about her) and decided to live her life without worrying about how Jane feels (or doesn’t) about her.  That said, she does seem quite interested in knowing what he thinks of her new relationship- and assumes he wants to sabotage it: an unfair accusation. Jane is trying so hard not to interfere with her life he even seems surprised when she tells him she was on a date (beginning of the episode).

Even more surprising is the fact that Jane doesn’t know about Pike’s offer to Lisbon: that she move with him to Washington D.C. At first, I (like Lisbon) was skeptical when Abbott told her that Jane didn’t know (especially since Abbott knows). But I think this shows just how estranged the two have become since Pike came into the picture. Or, how much room Jane is giving her to live her life. Or, it might be that Jane isn’t able to read Lisbon as well as he used to; his emotions might be in the way.

When she tells Jane at the end of the episode,  he is obviously gutted at the news. But he doesn’t make a big deal about it and tells Lisbon he’s happy for her if she is happy. He is trying to be supportive, but like Violet previously said, by not telling Lisbon how he feels about her he is still being manipulative and controlling; albeit unselfishly so. So many times before I’ve ached to have Jane not be pushy towards Lisbon, but this is certainly not one of those times. It seems like Lisbon might feel the same way too, at least that is what I understood from her wistful look at the end.

Jane thinks he is being unselfish and wants Lisbon to make her own decision. But it has to be an informed decision and how can she do that if she isn’t aware of his feelings? They might be obvious to us viewers but I think Jane forgets how little Lisbon thinks of herself: she’s always been unaware of her affect on others. She might see his lack of reaction here as him not caring about her romantically. Now that she finally seems to be aware of her own emotions towards him, it’s frustrating that she can’t identify his towards her (which I’m definite have existed far longer than hers have)

Now, I must say I’m extremely annoyed at this plot “twist”. For several reasons. Obviously, Lisbon isn’t going to D.C. There’s not even the semblance of anticipation where that’s concerned. It would have been much more interesting and messy (not to mention realistic) without Pike’s promotion to push things along. Secondly, while Lisbon was quick to reassure Jane that Ardiles isn’t interested in her romantically; (like a girlfriend would a jealous boyfriend) she is now dating with no consideration of Jane’s feelings (like an ex-girlfriend would). I don’t get it. It’s not like she’s being intentionally cruel but I don’t get the sudden personality change. It would have made much more sense if that happened the previous season after the whole Lorelie debacle. Or even this season when Jane first came back to the US. But now? What was the trigger?

The only reason I can come up with is that the season (and possibly the show) is almost over and the writers wanted an impetus to finally address the Jane/Lisbon issue.

Yes, I’m extremely annoyed. Someone please point out something that missed/forgot so I can go back to loving the writers unconditionally.

Best Lines

“Sorry, scanning long-range frequencies is like…..I don’t have a metaphor, it’s hard” -Wily, to Jane.

“That was incredible” -Jane, to Cho on his voice acting.

Best Scene

I think everyone would agree it was the ending. Baker and Tunney’s expressions spoke the angst their respective characters were going through so clearly it’s almost impossible to believe said characters are clueless about how they feel about each other. Another reason for my annoyance. Get it together, would ya!

Image by Chizuruchibi. Copyright Reviewbrain, 2014. Not to be used without permission.

 

*All material posted in this blog is the intellectual property of reviewbrain (unless otherwise stated). Readers are free to make use of the information provided they cite the source (this blog) either by name (reviewbrain’s blog) or by linking to it. Please extend the same courtesy to the authors of the comments as well (by mentioning their names) to ensure that credit is given where credit is due.

 

Mentalist Forest Green Review

N.B.: Reviewbrain and I have been on a tight schedule this week, so we’re presenting you with another unedited review. Sorry for the inconvenience. I also wanted to sincerely apologize for not replying to the comments recently: what little free time and attention that work and struggling with huge computer issues leave me is mostly used for writing the next review… Rest assured that I read every comment, am deeply thankful for them and even want to comment back on many, many points… Unfortunately time is the issue here! 😉

Synopsis

After Teresa Lisbon (Tunney) spent the night with her shinning new boyfriend Marcus Pike (Pedro Pascal), she’s sent in Sam Houston National Forrest to investigate a murder with no other than her consultant Patrick Jane (Baker). Before the mood gets awkward, they’re led to force their way into a nearby and very private men-only club.

Concise Verdict
For his first time writing for TM, Jeffrey Hatcher did a great job of rendering the usual mixing of light humor and subtle subtext which characterizes the show. Plus, there are a lot of information packed in very short scenes: it mistakenly conveys the impression that ‘Forest Green’ is a rather classic episode, while in fact it progressives steadily toward a surprise ending. All in all, Mr Hatcher proves to be a great addition to the writing team and makes Jane and Lisbon take a decisive step further in the emotional maze they’ve entered since Pike’s arrival.

Detailed AKA Humungous Analysis (spoilers galore)

VIS #1: Lisbon and Pike, the morning after

The episode starts with a pretty domestic moment between Lisbon and her new boyfriend: he’s sitting on his living room while she finishes showering. When she joins him, he hands her a coffee-filled mug and a granola bar. They’re at ease and when he apologizes for making a fuss, Lisbon says tenderly “I like the fuss you make”. Indeed, Marcus seems very eager to please her: he’s waiting for her on her couch, wants to feed her and asks her out on another date, before wondering if she wouldn’t find freak out at having two date nights in a row… Implicitly, it means two things: Pike is not sure of Lisbon’s feelings and her moving in is not on the table yet. Their relationship is still fresh, even thought it contrasts with her dismissal of Mashburn after their night together years ago: like she did in Washington, she’s been trying to create a comfortable nest for herself and Marcus’s humor and caring attitude definitely fit in.

Yet, the impression that their romance is still squishing new is deepened by the fact that Pike on the sofa reminds of Jane at the ending of the previous episode: he was lying on his couch while Lisbon was leaving for her date. Time seems to fly and each date gives the appearance of following directly the other, a feeling further stressed by Lisbon’s never-ending stream of white blouses. In spite of them being different and even though there’s probably a time gap between episodes, it’s like she’s always wearing the same clothes than she did the evening before…

VIS #2: Jane plays fairy godmother to get Lisbon to her date in time

Speaking of Jane, one might think he may be hovering over her since he’s the first person he meets when getting off the elevator at work. He’s again holding (on) his comforting cup of tea and his greetings is far more relaxed than in ‘Silver Wings of Time’. He too is eager to make her happy: when she makes a face because Fischer is sending them out of town to solve a murder, he steps in, claims that she’s worried she won’t make it to her date and suggests they take one of the FBI helicopters. He’s reading her and, again, making decisions for her. Still, this well-intentioned meddling after his concealed anger in the previous episode hints that he’s trying too hard to be supportive: he’s not completely sincere… And his ability to read her implies how much of a nightmare Lisbon’s affair must be for her observant friend. He can guess everything without even meaning to pry… Plus, it’s interesting that he tells her that Pike owns him a favor, not Lisbon herself: Jane tacitly acknowledges that he’s doing Pike a favor by allowing him to spend time with Lisbon, not the other way around. She’s the valued part of the equation in his mind.

Lisbon is very moderately happy with this invasion of her privacy: she can’t get a word in during the whole exchange and her expression when he leaves shows irritation, uneasiness and maybe, just maybe a hint of regret. Is she aware that he’s putting up a front by making this unwanted grand gesture in front of Kim? Either way, Fischer, who’s already shown curiosity by interrogating Cho about them, is once again attributed the role of audience to their unfolding drama.

The dynamic duo investigates

One may wonder if that request for an helicopter is a mere coincidence or if it has a deeper meaning: indeed, in ‘Black Helicopters’, Jane asked one from Lisbon when he shared his plan with her openly for the first time in ages. One of those also came to rescue him and the Rigsbys after the debacle with Haibach… Is that a way to subtly imply that he’s still trying to reach for her, but by catering to what he thinks are her desires this time, instead of asking her to adapt to his needs?

Anyway, the crime scene is full of half-hearted winks: Jane deduces that the victim wasn’t hiking nor that she fell off the cliff to her death, because she has no socks and no blisters. Coincidentally or not, socks were the make-up gift Lisbon used to welcome him back into her life… Plus, he smells the victim’s expensive “ginger and citrus” shampoo: citrus was used as a symbol for RJ’s interferences with his life for a long time. He deduces that the victim wanted to look good for someone and spent the night with them… again, an allusion to Lisbon, who was all dolled up for her date last time.

There’s a shifting in Jane’s attitude: he’s trying very hard to hide his real feelings. First he insists they fly to the crime scene, then he’s full of (fake) cheerfulness, saluting the pilot when leaving, complimenting officer Green (whose name is a nice touch) on her hunch… Everything contrasts with his grumpiness during the last case. It’s almost as if he realized he was lucky to get to in the field with Lisbon again and he didn’t want to waste it…
Yet, when they decide to further investigate the girl’s whereabouts by entering the very exclusive men-only Foragers’ Club, Jane’s exuberance starts rearing his embarrassing head again as he introduces them with a smile and “one of your members murdered somebody: we’d like to talk about that”… We can guess he finds the snotty old-fashioned secluded gentlemen club pretty amusing, just like the place obviously grates on Lisbon’s nerves. Firstly, neither of them puts on the “Guest” tag director Russell has handled them –after the man greets “Mister Jane” before the lady and agent in charge, that is… Then, when he explains to them that it’s a brotherhood whose goal it to help rich gentlemen relax with no internet, no phones, no “distractions”, she perks up: “women are distractions?” The poor man back-pedals fast “no, of course not”, sensing the growing menace emanating from the petite agent. Jane is nonchalantly standing behind her and is enjoying himself: “I can’t promise you that she won’t hurt anyone. I’m trying to restrain her, but I cannot promise.”

Take charge Lisbon is back and Russell’s advice is this time directed to her and her authoritative ways: “exercise discretion, for your own sake. Our members are powerful people”. Her stance as the agent leading the investigation echoes her former position at the CBI, when Jane used to introduce her as the agent in charge, while he played the amusing “insulting/consulting” clown she had to “restrain” too… Plus, Lisbon being nearly the only woman in the club pretty much sums up her current life between Jane and Pike. This is emphasized when her beauty grabs the attention of one of the newer members, Marvin Griska, who was scowled because he used a cell  phone in complete contradiction with the club rules… Jane then leave her to take a walk to do “men stuff”. Good to see the teasing back after the awkwardness of ‘Silver Wings of Time’…

Of course, the grinning consultant rushes to Griska… who is again using his phone to call his lawyer. Clearly, he’s a rule-breaker too who isn’t afraid of being “spanked” by the authority figure… The cause of his frenzy is that the FBI are threatening him with a handful of fraud charges: hence the grudge he’s holding against those badge-wielding “vultures”. Fortunately, Jane sees that as a chance to pass for a kindred spirit: after all, he’s “with the FBI, not of” them. And the FBI had him too, but he beat them… which catches Griska’s interest: “which charges?” Jane wields his most winning smile to answer “murder” but he refuses to explain how he did that. Again, there’s a visible insistence of his criminal past, just like there was in the previous episode with the implicit comparison with the man in death row.

VIS #3: Jane and Lisbon have lunch at the club

Later, as both partners are having lunch together in the dinning room, Jane is again hell bent on making her relax with him. It’s a rare enough occurrence that he may want to enjoy it fully, after all. He asks a passing waitress “could you pour my friend some coffee please?” Apparently, the men in her life know that the way of her heart is through coffee… This caring friend front echoes the doting boyfriend in Pike and it contrasts hugely with his previous annoyance with her love life: he goes as far as asking her to tell Pike he says hi. When Lisbon asks how he knows it’s Pike, he only elaborates that the dark-haired agent seems like a good person and that she deserves to be with a good man…

Obviously, Jane wants Lisbon to be happy and while he’s been passively supportive but hurt since she started dating Marcus, he has now decided to up his game and take a more active part in her life again. He’s trying very hard to be a good friend to her again, to gain back her trust in him. Has he been slowly easing himself into accepting that she’s been snatched away? Or more probably did he understand that she was expecting mockery when he told her she was beautiful in the bullpen at the end of ‘Silver Wings of Time’ and decided to show her he’s still by her side? Either way, he’s openly supporting her happiness: not Pike personally mind you just her, because she the one deserving of a rewarding love life and Marcus is only lucky to be the one who provides it. He tries his best to look joyful around her. He’s been trying to get closer physically too: while he couldn’t bring himself to stay with her on the couch while interrogating a suspect in the previous episode, he’s now leaning in when he talks to her, in the bullpen or when he’s teasing her about “men stuff”… He’s trying to react in a mature way and be a good person too.

Yet, Lisbon’s reaction is not exactly the one expected for a woman fawning over her new boyfriend: her replies to Jane’s nice lines are rather curt. She only says pointedly “Jane says hi” while texting to Marcus, then a short and slightly annoyed “thanks” while looking away to his compliment about her deserved happiness. It’s in contrast with her surprise at noticing that Jane is constantly finding pretexts to get the waitresses to come close and leaning in them… She asks “okay, what’s going on?” and Jane very openly explains that he’s smelling their hair in order to single out Madison’s mistress who used the same shampoo. The man definitely understands that the safer way to make Lisbon comfortable is to keep working on the case while poking on her private life… Plus, it’s amusing that the smell of shampoo had also been the first clue to tip him about Wayne and Grace sleeping together… which might also remind viewers how he understood immediately what was going on when Lisbon came late to the crime scene recently. The heartbroken waitress soon explains that Madison was an escort and “didn’t take men too seriously”. They weren’t a couple: their relationship wasn’t serious, they « just liked each other ». And Madison was receiving her clients in the fishing camp… a detail that may or not be meant to echo Pike’s name or the symbolism around Jane’s past quest to catch RJ.

VIS #4: the magic show and its outcome

Once again, it’s visible that for his coworkers Jane is the reference in people knowledge: even Cho gets surprised when he discovers that the club director has been lying to him about knowing the victim. He comments that he must be a very good liar, because not many people can pass a lie like that past Jane. This confidence in his skills may explain how willing they are to enter in his schemes without questioning them. After Abbott is approached by Griska who’s every eager to cut a deal with the agent like he presumes that Jane did -another allusion to his dark past- the agent refuses a bribe for unfreezing Griska’s assets. But later, Abbott and Lisbon find the body of one of their suspects (seriously, why even Kilgalen had to ditch his vest? and before dying, really?). The team seems then very eager to follow Jane’s instructions: Cho asks Wylie to help in a DNS hijack “for Jane” and the younger agent accepts cheerfully; back at the fishing camp Abbott uses it to make Griska believe he’s helped with his frozen assets in exchange of 30%… Teamwork is as smooth as in ‘Violets’ and the now expected undercover job is again pulled off by Abbott, who each time seems to love impersonating people. Going back and forth between the bullpen and the club also puts emphasis on the contrast between the cold colors in the FBi building and the deceptively warm tones of the cabins…

When the foundation of his trap is thus set, Jane does his part by convincing Russell to let him set up a magic show. He calls Lisbon, meets her and Abbott -again at the fishing camp- and tells them how he plans to trick the murderer by using Madison’s broken cellphone as a bait during the magic show. Indeed, Jane uses his showman skills to impress the audience, with the help of his trusted assistant, the “irreplaceable special agent Teresa Lisbon”, who joins him while smiling among catcalls… She blindfolds him and helps him stumble his way to his chair, while he mutters encouragements (“you’re doing great, just stay calm, let your beauty show”), which is a far more flattering way of giving her confidence than the teasing acting tips during the art robbery stunt. He is then able to guess various objects a grinning Lisbon is holding. Obviously, this updated Boy Wonder act is based on the nuances Lisbon uses to utter each time the line “what am I holding in my hand?” but the show wouldn’t work so well if they hadn’t been so in synch for years. Also, it’s very probably only a coincidence, but it’s pretty funny that Jane guessed three objects summing up his issues with Lisbon: a watch (time is tickling), a pen (the letters he wrote to her to express how much he missed her when he left) and a broken phone (failed communication now).

Still, the whole magic show, entertaining as it was, was just a double bluff: it’s again Abbott’s turn to shine. he blackmail the killer into turning him in. The man knew not to take the gun in the abandoned box because he had a camera hidden in a clock (again the time theme) in the cabin where they’d been talking. And it’s a rather intriguing detail that the murderer ended up being the attorney of one of Madison’s client: it’s the third time that a lawyer is worthy of attention. First, it was Haibach’s vindicative lawyer, then the cutting attorney in ‘Silver Wings of Time’ and now Dyer.

VIS #5: Pike’s offer

When Lisbon and Pike are finally getting their date, the atmosphere is very relaxed: Pike jokes about having taken another woman to dinner since she couldn’t make it night before and Lisbon retorts pleasantly
“you’re trying to make me jealous?” and that he’s a terrible liar, adding “I like that in a man”. Obviously, both the “jealous” part and the ‘I-like-guys-who-don’t-lie” allusion are more or less direct references to Jane. in fact, the mention of Marcus’s honesty is the second of the sort and is in contrast with the “very good liar” of a suspect the team got their hands on this time… Jane’s constant lies must have gotten to Lisbon but one would say that the agent “doth protest too much”, to quote the widower in the previous episode. Pike chooses this romantic and light-hearted atmosphere to drop the bomb: he’s been offered a new position as the head of a new taskforce based in D.C. and when Lisbon comments seriously “it’s a great job, you can’t turn it down”, he launches into a proposition she hadn’t expected. He’s been married and divorced and he can feel that what they have is real and has the potential to get serious… “I feel that way about us. Do you feel that way?” There’s a beat as Lisbon hesitates and looks on the left (which according to commenter KM means she’s recalling memories). The music reminds of a pulse, dramatizing the moment. At long least she answers “yes”. She elaborates that she really doesn’t want him to leave, but it’s “not ok to turn it down”. Unfortunately, Marcus has another alternative in mind: he wants the job and the girl, so he asks her to come with him. Lisbon’s answer ends the episode on a note of incertitude: “what?” The poor woman is forcefully pushed out of her honeymoon period which explains the time theme : she and Jane have unknowingly been running out of time regarding their unresolved personal issues…
Plus Lisbon’s probably avoided long-term affairs for years after she broke up with her ex-fiancé Gregg: she may not be ready to jump into “serious” just after an handful of dates. she reminds a bit of the victim of the case -minus the escort thing: she’s content to spend time with someone just because they like each other, without considering herself in a couple. Pike is visibly ahead of her and pushing her on his path… Plus, of course, her hesitation and reluctance when interacting with Jane also indicate that she’s not completely renounced to him yet.

Basically, Lisbon is faced by the same type of man now than she was with Jane when he came back from South America: they’re going away and they need her to come with them because they know she cares. But the situation is slightly different now: Jane used a professional pretext (a new job) to keep her close because she was the reason of his return (he missed her even more after meeting Kim). Meanwhile, Pike is using a personal reason (they’re getting serious) to convince her to follow him because he got a new job. It’s a little selfish: even if she resented Jane’s methods, Lisbon gained something in joining him, while now she’d have to adapt to Pike’s careers plans. Plus, Pike is very straightforward: he asked her directly, while Jane only assumed she was willing, yet, quite ironically, Marcus is the one who’s really pushy. He went straight from asking her if having two dates in a row is weird to affirming they’re on the verge of a ” serious” relationship, whereas Lisbon is still on the phase where she’s trying to impress him, as shown by the fact that she’s once again dressed up. Like when he asked her out, Marcus is cornering her during a post-case meal, when she’s relieved and eager to have fun. He’s obviously good for her, but he seems more atuned to his own desires. On the contrary, Jane made it up to her (getting her a job), he listened to her wishes (backed away after the plane and now with Pike)… Plus, Jane acknowledges her feelings for Pike, while the latter doesn’t mention those for Jane, even though he’s asked Wylie about them. Lisbon is therefore at a crossroad : what she reproached to Jane is happening right now under a more romantic appearance: someone else is making decisions for her, but this time he’s easing her into them by being subtly bossy… Maybe the men in her life aren’t that different after all, as hinted by the similar settings involving them: Pike is on the couch when she showers/ Jane too when she left for her date; she was calling “Patrick” while taking up the stairs in ‘Violets’ when she was posing as a couple with Jane/ her first onscreen interaction in the flesh with her boyfriend involves her coming down the stairs too…

Yet, Jane’s best qualities as a partner shone during the case: he was childish but with a goal. He was resorting to teamwork instead of manipulation and selfishness. He was thus funny and dedicated on the case and on a personal level he made an effort to be a teasing and devoted friend… And last, but not least, their complicity as the dynamic duo made working with him very enjoyable… Implicitly, following Marcus would mean losing such moments painted in the brightest colors. It’s not just the possibility of something more intimate with her dear friend that she’d be mourning, but also the simple and meaningful things that have been already existing between them for years. Those are certainly what both missed most when they were apart. Lisbon is asked to choose between two options: a brand new « serious » love story and a years-long understanding with relatively unacknowledged undertones. One of the two men is ready to let her go for her sake, the other wants her to go with him. Jane is no longer the unavailable closed-off vengeful widower; it’s now Lisbon who’s focused on someone else. Will she leave him metaphorically stranded alone on the roadside too?

On the other hand, it’s quite surprising that Marcus never mentioned feelings, only that they had something real and possibly serious. The man seems more set on relationship status (“married/”divorced”) than in true love. His words remind a bit of the breakfast he offered her: only a granola bar and coffee; then too, the label on the jar seemed more important than the actual content. It looks like he’s offering a dependable, but not life-altering love, yet he’s pushy enough to want to alter her life for it anyway. Marcus should pay more attention and realize that his rival is at the back of her mind even while she’s complimenting him by contrast (“liar”): Jane is still the reference she uses to gauge men and the fact that she “like[s]” Pike’s honesty and the “fuss” he makes instead of ‘loving’ him can’t be a very good sign for planning a future together in the long term…

Image by Chiziruchibi. Copyright Reviewbrain April, 2014. Not to be used without permission.

Mentalist Silver Wings of Time Review

N.B.: Silver-winged time has been flying for us too, as this review was written in a hurry and is therefore dreadfully unedited. Thank you for you comprehension and sorry for any mistake, inaccuracy or inconsistency. 🙂

Synopsis

When a bomb explodes and kills a man, the team is called in to investigate. Jane (Baker) is more worried by another issue, though: his partner Lisbon (Tunney) is late at the crime scene. Soon, his attention focuses again on the crime and he works to save a man about to be executed for a crime he claims he didn’t commit.

Concise Verdict

Tom Szentgyorgyi and Rebecca Cutter have created an intriguing little number with ‘Silver Wings of Time’. Within their combined talented hands, the show has kept to his traditional procedural format while spicing things up with a good serving of personal (non-)communication between the two leading characters. Side by side thus lay an interesting case and a deep and unresolved questioning of Jane’s jealousy towards Lisbon’s new relationship. That’s undoubtedly enough to give viewers a lot of food for thoughts on how the series will be progressing regarding Lisbon’s love life. After taking her for granted in a ‘Golden’ episode, is Jane going to let her fly from his nest after a ‘Silver’ one?

Detailed AKA Humongous Review (spoilers galore)

VIS #1: Lisbon is late at the crime scene

The very first shot of the episode features in a close succession a wristwatch, the words “countdown to Cruz execution” and a man getting disguised and setting a bomb up. After a couple more of shots of countdowns, he lets the bomb at a bus stop where it kills a man. In a few seconds, we therefore get the main theme of the episode: time. But it’s not any type of time: the one that flies before a disaster, a life-threatening experience.

This puts emphasis on another aspect of time: lateness and especially Lisbon’s lateness at the crime scene. The moment is further dramatized by the absence of sound except for the music when the team is first seen after the cops were called. Abbott and Fischer are busy interrogating and talking on the phone, but Jane is obviously not interested by the victim or the witnesses: he’s standing alone and looking for Lisbon. When she’s coming into view, his eyes focus on her and his first words are “late to a crime scene?” It’s an oddity, obviously, since for years Jane had been late and she’s been the one commenting on it, like after he set Culpepper to break into LaRoche’s house: at the time, he used to concentrate on his personal vendetta, now it enlightens that Lisbon’s attention has also shifted. The woman is no longer married to her job, she’s been wanting a personal life and getting it… Plus, the disguise used by the murderer et the very beginning reminds indirectly of the undercover stunt they pulled in ‘Violets’: even though Lisbon is not wearing the same clothes, her outfit, black pantsuit and white blouse, is quite similar to the one she was wearing when she left with Marcus. It’s implicit she’s been spending the night with him and she left only when she got called to the crime scene, pretty much as she did with Mashburn… Only Jane’s veiled jealousy and questioning hint that things are far more serious with the agent than they had been with the billionaire. He asks her directly how her date with Pike was and she breezily answers it “was ok”, which sets his suspicions flaring: “hum, just ok?” Given Lisbon’s evasiveness, he just mutters “that’s great”… Just like he wished her a fun night when he left with the other man, Jane decides to drop the subject and let his real thoughts stay unsaid. But, whereas before he was only sitting on his couch, lonely and hurt, on a deserted bullpen, it now looks that he’s slowly turning to concealed anger… The rather curt tone he uses to tell that the bombing was no terrorist attack, because “someone just wanted the dead guy dead”, then his explanation when Fischer asks him how would he know that – a brief “because hes’ dead”- hint that he wants things to be over as fast as possible, without mindgame or elaborate reasoning to impress his new team. Even his triumph when he’s proven right on the “dead guy” is cut short when he simply half-smiles and turns to leave: unlike with the stolen art case, he’s not willing to have fun and show off right now.

Time is again alluded to later: Kim is startled when Wylie’s new computer program chirps loudly “it’s nine o’clock”. It’s designed to make him more efficient but it adds a sense of urgency, like an echo to Jane’s situation regarding Lisbon, who is slipping away fast. Like the testing of the fire alarm system that sets off immediately after, her happy date with the dark-haired agent is the signal that Jane might be on the verge of losing her…
But time running out is also related to the case as the motive for the killing appears to be murderer Cruz’ programmed execution: the bomb victim knew him and was determined to prove his innocence. As Cruz himself states to Abbott that he’s been framed, the agent replies “I appreciate your time” but he seems positively impressed by the man’s explanations. Meanwhile, among others time-related lines (“twenty seconds later”), the rest of the team comes to the conclusion that the killer had an accomplice in a young mother who distracted the victim: in fact, the baby was a “cute” doll, as Lisbon put it, furthering once more the undercover vibe of the episode. After bad-ass Little Miss Fierce apprehended her with the help of Kim and Cho, the woman admitted that she helped him in his private investigator job: “I distract the mark, he makes the grab” (basically being the magician’s assistant, a role offered to Lisbon for years in Jane’s schemes)… But they meet a dead end when Kim is told the man was shot to the head…

Abbott then decides to ask a perpetually teacup-holding Jane more directly for his help to save Cruz: he went through the transcript of the man’s trial for murder and he’s convinced he was framed. He was a drug-addict without an alibi, plus, as Jane remarks, the only evidence found against him was easy to plant… Abbott admits that he has “a feeling he can’t shake” that he’s innocent and Jane tends to agree with him. Abbot asks him what they’re gonna do about this and Jane replies with a smile “Oh, I think I can come up with something”… It’s pretty interesting how relatively close and understanding they have become: they’re part of the same team now and it’s obvious they respect the other’s abilities. Jane values Abbott’s opinion and his boss is aware that the consultant is truly an asset. But this is also a feel-good case: by helping a innocent accused of murder, Jane is also somehow redeeming himself of his own crime of killing RJ. Indeed, Sarah Feinberg, Cruz’s supposed victim, was killed by an intruder fourteen years ago, more or less at the time of Angela Jane’s murder, and her body was found by her husband too: “he found his wife’s body when he arrived at home later that night” (just like Jane in the pilot flashback). Cruz was suspected because he had an argument with him, again just like Jane had angered RJ on TV… The mention of drugs was a plot-device often used in the past to refer indirectly to Jane’s addiction/obsession. And his remark to Kim that “a lack of trial helps” hints that there are parallel with his own case: a trial of murder and eventually death row are also the threats hanging over his head and he’s only protected by the deal he made with Abbott… Plus time flies: Wylie’s computer reminds them that “it’s 10 o’clock” – even though one whole day has passed, the last time it was heard, it was only 9 o’clock…

VIS #2: Jane and Lisbon at the remarried widower’s house

As a result, Jane and Lisbon go investigate deeper into the Feinberg murder. It’s been a long time since the both of them were paired on a case –the undercover operation was an exception. But their partnership is marred by a phone call from Lisbon’s brand new boyfriend. As she mutters on the phone “I can’t do anything tonight. This case’s gonna take hours”, Jane silently walks by her, eavesdropping on her plans. His wordless irritation is almost palpable: he straightens his posture, his eyes wander to the side and he very lightly scowls. Lisbon glances at him after ending the call and seeing him sigh, she asks “what?” She’s defensive: she’s giving off mixed signals, suspended somewhere between feeling embarrassed and maybe a touch guilty and watching his reaction. It’s almost as she was trying to get his attention by talking to Pike right in front of him, like she did when she mentioned her “date” with Osvado. Still, the man refuses to take the bait and they both stiffly enter the house.

Of course, the meeting with the widower and his second wife doesn’t go well. Jane looks uncomfortable sitting with Lisbon on the couch and brusquely gets up and wanders in the room. His entire demeanor is rather clipped and his questions very tactless, to the point that Feinberg remarks that « you like to provoke now, don’t you?”, adding that’s a “possible defence mechanism”… With a forced smile, the widower starts recounting how after “a period of deep grieving”, he pulled himself out of it and met his second wife, who happened to be one of his students: “we were fortunate enough to find each other”. Jane curtly replies that “so it was fate, huh? Wonderful »… He asks a couple more of questions to divert their attention then ask if he could use their bathroom. That’s his usual method to get an opportunity to wander off in the house and search for clues: here is no exception, as he sneaks in the office. He’s in a troublemaking mood: he stops to steal some grape on his way. Meanwhile, Lisbon only looks embarrassed by his behavior.

When he returns, he accuses the man of having an affair with his student when his wife was still alive: “you were so careful to mention your long deep grieving period”. He also points out that it’s not really the house of someone who grieved the loss of a loved one: the grand luxury house certainly contrasts with Jane’s lack of self-indulgence in his man-caves (bulking up on the bullpen couch or on the mattress on the floor of the bedroom where his family had died; then progressing to the attic, a non-descript motel room and now the Airstream)… Contrary to Feinberg, he’s obviously lost his home and cannot settle down again. Therefore, it emphasises the difference between thi man who was very eager to move on and Jane, who’s been stuck in the past for a long time, still wears his wedding ring… and is aware he’s about to lose a woman he deeply cares about because he couldn’t set up his mind soon enough. The parallel is further deepened when Edward Feinberg admits that Jane is very observant and that he does “protest too” much: that’s a probably a veiled allusion to one of Jane’s beloved Shakespeare’s plays. Indeed, in ‘Hamlet’, the prince makes his cheating and criminal mother watch a play in which a widow solemnly vows never to remarry in order to confront her. The queen’s reaction is that “the lady doth protest too much”: in spite of her words, she’s about to marry again, exactly like she did herself after killing her husband. This obviously indicates Jane’s thoughts about Feinberg –that he too killed his wife to marry his younger lover- but it also enlightens Jane’s own situation: he’s so stiff and borderline judgemental regarding the other widower’s status that it reveals his regrets and anger about Lisbon. Like Queen Gertrude, he’s watching a play unfold in front of him, presenting him what could have been had he not been that hell-bent on making revenge his priority: he could have started a new life along the way, presumably even with Lisbon (given that the second Mrs Feinberg married her lover eleven years ago, a little less than he’s known his former CBI boss now). Like the other man, Jane is very defensive and his apparent indifference regarding Lisbon’s new situation only reveals further his real feelings on the matter: he insists that he does understand, adding that he understand that Feinberg killed his wife and he’s going to prove it.

The intricacy of the circumstances involving Jane and Lisbon has been noticed by their coworkers: as Kim and Cho discover some clues, Kim asks Kimball if Lisbon dated on the work at CBI. He tells that he doesn’t know, he didn’t ask. She insist that it’s weird to see her dating Pike and tests the waters by asking if he happens to know what Jane thinks about it: Cho’s funny answer is that he doesn’t know, otherwise his brain would explode. It enlightens how ambiguous things are from on outsider’s point of view: everyone commented now on how they thought there were some romantic issues between Jane and Lisbon and they’re thus sensing the tension they’re both giving off. Before, it emanated mostly from Lisbon whose trust issues had been reawakened, but now they’re clearly expecting Jane’s jealousy. Even guarded Cho with his apparent lack of curiosity implicitly commented on it: he doesn’t really understand the older man’s complicated and layered (lack of) actions here…

VIS #3: the trick with the timer

Image by Chiziruchibi. Copyright Reviewbrain April, 2014. Not to be used without permission.

The Feinberg are finally convoked at the FBI headquarters for further interrogation on bogus drugs charges. The countdown for the execution keeps stressing things out along with the sudden outburst of the fire alarm testing. In this oppressing atmosphere, the spouses are separated and Mae Feinberg in brought into a waiting room: it’s indeed a matter of waiting until either time runs out or her husband gives in to pressure. He’s interrogated by Jane and fights back as much as he can by telling the consultant that it must be very difficult for the people around him since he’ll never admit to be wrong.

It gets even clearer that the former widower and Jane have been in the same situation, but with a very different reaction: when the interrogation starts, the posture of each of them mimics the other’s over the table, like a reflection in a mirror. The man seems deceptively calm, stating that he knows Jane thinks he’s doing the right thing, because “it’s always the husband, right? But in this case, it’s not.” Jane explains how things must have gone, how he killed his wife, then how he paid the private detective to watch the only man who believed Cruz was innocent and kill him because he was taking diving lessons to retrieve the gun in a lake. Finally, he killed the detective. Feinberg is nervous but composed until his lawyer arrives and states that his client won’t talk to Jane. As the consultant is evinced, Cho takes his place: Kim, Lisbon then Abbott are ready to go too as the night progresses. The timer on the screen monitoring the interrogation continues the time theme. When it’s up to Abbott, Kim brings him a pillow and a blanket, telling him “Dennis, you need to rest” in front of their suspect. They’re obviously playing on suggestion here, like in the undercover operation: their teamwork is making Feinberg feel even more tired and disoriented. Jane does the same for Mae Feinberg, which hints that his suspicions lay on this side: the night-long interrogation is only a distraction. It’s pretty interesting too that blond women seem to have replaced redheads in the storyline: Mae is blond, just like Krystal, the killer in the spy episode and the widow in ‘Violets’…

Still, the plan works: interrupting his sleep with fire alarms and interrogation sessions makes Feinberg lose control. When they tell him time has run out to save Cruz, he pours his heart: he’s thought he’d feel relieved, but he’s only sad. His death doesn’t bring his wife back. His reaction echoes a long-running theme in TM: the consequences of revenge… Jane knows now what it feels like to see the murderer of a loved one die. This hardly relieved sadness indeed must match his thoughts since he doesn’t want to talk about RJ anymore. He wants to focus on his life instead. Still, he’s running out of time on that aspect too, because Lisbon is slowly slipping away… And then, Jane goes for the kill: he reveals to his fellow widower that he knows he’s not having the reaction of a guilty man. The real killer is his second wife, “your student, your lover”; she idealized him, was obsessed with him: “you enjoyed the devotion, it fed your ego, so you didn’t allow yourself to look too closely”. Of course the timer had been several hours fast all along and they can arrest Mae after she confesses to her horrified husband.

Once again, the situation is reversed with Jane: he’s been grieving for years, feeling guilty because he angered RJ, whereas Feinberg was unfaithful. Feinberg moved on and forgave himself by marrying his lover, while Jane is still unable to move on fully. Jane is also ready to let Lisbon go to make her happy, contrary to Mae who killed to get Edward: she’s insane, obsessed and selfish… Symbolically, Jane therefore is going through a shorter version of his grieving process: in the previous episode, he faced loss through the widow whose husband just died to save a reminder of their love. Now, with another widower, he’s confronted to the aftermath of revenge and the possibility of moving on. Indirectly, he may be working on taking the next step on the path to a new life… But that revenge thing also reminds closely of RJ: being in death row is the threat still hanging over Jane’s head. Plus there are many details reminding of the scene of his own crime: a gun and a pond, Cruz meaning “cross”, like the ones in a church: every of those things were present when he cornered McAllister…

VIS #4: Lisbon goes to her date with Marcus

After Abbott tells Cruz about how they found the gun, he comes to see Jane. The innocent man has taken the news with gravity, probably affected about the price he had to pay and what he had to lose to get free again and like him Jane seems strangely subdued. No case closed pizza this time: Jane is in the deserted bullpen, lying down on his couch and reading. He’s rather glad about Cruz, but gets annoyed when Abbott tells him that the bomb victim had the idea to look into a pond because psychic told him the gun was close to a piece of water. He blurts his old motto: “there are not such things as psychics”. It’s again a reminder of his past.

When he’s alone, Jane drops the book on his chest and closes his eyes. That’s the moment Lisbon chooses to dash to her desk to retrieve something before her date. She’s all dressed up in a fitting black dress and he tells her she looks beautiful. She’s a little embarrassed and distant: she tells him “don’t start” and comments that Pike is taking her somewhere nice with “cloth napkins and everything”. When he wishes her a great time, she only pushes her chin up and answers “good night Jane” in a mixing of defensiveness, challenge and disappointment. As she leaves, both seem closed up in their own form of loneliness: she half-turns her head when walking away, while he tells “night, Teresa” and stays on his couch.

They’re coming full circle, both regarding the start of the episode, when she’d obviously just left Marcus’ arms, and regarding the end of ‘Violets’: then too, she was leaving for a date and Jane was alone on his couch at the end of a case. Both times, he wished her well and she told him goodbye in a particular voice (low in ‘Violets’, more layered now). But it also brings to the viewers’ attention a detail: why would Lisbon need to pass by Jane every time? It was realistic that she had to get her things when Pike unexpectedly asked her out, but here she was ready to go, she only had a small thing to take on her desk (keys or her FBI pass or whatever). Couldn’t she get this before if she wanted to be discreet and avoid the ever-observant Jane? The thing is Lisbon is awfully obvious about her relationship with Pike, particularly for someone who used to value her privacy so much: not only did he take off openly for a date twice, right in front of her nosy consultant, but she also managed to tip him off on her night with her new lover and to answer a private phone call right beside him. It’s like she’s trying to get his attention… And is that’s the case, can’t the man take a hint, seriously? Twice in a row, she stopped by him before going on a date and both times, the best he could do was wish her fun? What will she need to do next time, drop by the Airstream to ask for some spare change for popcorn before going to the movies with her boyfriend?

Anyway, Lisbon’s ambivalence is visible: she definitively likes Pike and enjoys spending time with him, but she’s also watching closely how Jane is going to react. She’s trying so hard that one may think she’s basically asking her former best friend to stop her from moving on from him… On the other hand, Jane may have many reasons to hide his real thoughts on the matter: one possibility is that he believes the affair with Marcus is harmless and he’s letting her have a bit of empty glamor like she had with Mashburn… so he sucks it up like a good friend. Or he may be really obtuse when it comes to his/her emotions… Or more probably, he’s really convinced that Marcus is better for her. This fits with Reviewbrain’s theory in the comments for the previous review: Jane is maybe a very shy and insecure person deep down and he’s not sure of how he should proceed to take the first step with her, nor if it would be welcome. This explanation would certainly resonate with the self-esteem issues that have been brought up on Jane’s part through the course of the show.

That doesn’t make him any less secretive and controlling, in an unselfish way this time: by hiding his hurt feelings and jealousy, he’s still making decisions for her. He’s chosen to keep his mouth shut and let her go. For now at least…

Mentalist Violets Review

N.B.: Unedited stuff! Procede with caution! 🙂

Synopsis

After an art gallery owner is shot by thieves, Jane (Baker) is intrigued by one of his paintings brought to the FBI building. His willingness to take over the case leads him to meet Agent Marcus Pike (Pedro Pascal), who quickly becomes smitten with Lisbon (Tunney)…

Concise Verdict

At long last Lisbon gets a serious admirer! At long last viewers get an emotional reaction out of Jane regarding his partner’s love life! And, cherry on top, the episode features an undercover operation full of funny moments, eye-catching clothes and harmonious teamwork! Great job, mister Jordan Harper!

Detailed AKA Humongous Review (spoilers galore)

VIS#1: Jane wants the case

Jane’s interest is picked when he sees a painting being brought into the FBI building to another team, so he finds a way to sneak his way into the investigation… mainly by barging in the interrogation room and addressing the widow…

From his first appearance, it’s perceptible that Jane is feeling good. His eagerness to take over the case in front of Abbott even though it doesn’t belong to his team contrasts with his resigned comment that there’s “no rest for the wicked” in ‘Grey Water”… Viewers can infer that he’s come to a form of reconciliation towards his past through the events of ‘White as The Driven Snow’. He’s feeling more confident in relation to the new team (planning an undercover job later) and overall he’s more joyful… Plus, another aspect of Jane’s inner peace concerns grief: it seems that giving an hand to his friends and Rigsby’s successful attempt at saving his wife might have helped to alleviate Jane’s pain regarding his past. He points out to the victim’s widow that her husband is not gone: “he’s alive as long as you remember him”. It’s probably the first time Jane is able to stay positive regarding afterlife, even in this rationalized form… and a rather intriguing detail is that it’s not the widow, AKA the distressed woman who catch Jane’s eye, like in ‘At First Blush’, but only the painting. It means that this progress doesn’t stem from the confrontation with someone whom he finds touching, but from a personal evolution which has freed him. He obviously started to achieve a form of closure: it has given him the capacity to find comforting words.

There are similarities between the case and Jane’s situation: like Angela, John Hennigan died because of his loved one, even if it’s obviously not Sylvia’s fault. Her image only attracted the killer’s attention, just like Jane’s show attracted RJ’s ire. Only the situation is reversed: the wife survived, the husband was killed here… And there’s no guilt involved, only a love memory and regrets. Plus, it may seem farfetched, but “John Hennigan” might indirectly refer both to Red John and to agent Hannigan from ‘Red Dawn’. It enlightens that it’s a new beginning, since Hennigan –and later Lisbon- had given him advice about moving on with his life: “you wanna find the son of a bitch and kill him, right? Yeah, well, what happens, it’ll drive you crazy. My advice you move away, far away, far away somewhere. Forget it, start another family. I know that’s tough, but it’s the best way”.

The interrogation also introduces the character of Marcus Pike, the long awaited potential love interest destined to shake Lisbon’s world. Pike is the peak in the ever growing list of Lisbon’s admirers. His first contact is through Jane, still: he knows Jane’s reputation and rather admires the talented consultant. Jane is very well known in his new workplace and Pike is not territorial with his cases: he tells the widow that “this guy is really good”. He’s open and secure while Jane feels obligated to reassure the woman: “I hate to seem immodest but I rarely fail”… When a zest of Lisbon is added to the mix, insecurity starts to surface, only it’s on Jane’s part. Indeed, when Lisbon and Marcus start to interact, it gets obvious they get along very well and Jane tries to interfere. Firstly, when Pike is briefing the other agents, Jane begins to tell he has a plan (« you can lead a man anywhere as long as he thinks he’s driving »); but when those two are alone and interacting nicely over the stolen paintings Pike is showing them, he interrupts them rather brusquely with “impressive, gorgeous, I love you agent Pike”. He’s acting like a child, wanting to have all of Lisbon’s attention focused on him: when he notices Lisbon is interested by Pike’s briefing, he kept the spotlight on him by mentioning a plan, then he refocuses her on it when she’s straying with the charming agent. It’s almost as if he wanted to prove he’s smarter than the other man (telling “yes, that’s the plan” when Pike remarks that high standard art thieves would know the paintings Jane has chosen had been stolen). By showing off his skills, Jane is betraying his insecurities toward the interest he’s detected in Lisbon, while Marcus who is more able to share, seems more quietly assured by comparison.

VIS#2: Wylie tells the others about Jane’s plans AKA teamwork in action

Again, the contrast between Jane and Pike is blatant when the consultant puts his plan into motion: he urges his team members to attend his briefing, just like the other man did at the beginning of the case. But Jane’s not here: instead he sends Wylie with a bunch of notes handwritten on yellow paper… Where Marcus showed professionalism and straightforwardness, leaving the jokes and charming manners to more private occurrences, Jane is devious, secretive and controlling since he didn’t even tell the whole plan to Wylie: the younger’s man explanation for the detail of the scheme is « and the fun really starts. That’s a direct quote”. Plus, sending the youngest and newest team member to give instructions to their superiors illustrates his irreverence toward Abbott’s and Kim’s authority; Wylie’s schoolboy attitude contrasts with Jan’s showman words… He wants to have fun with his new team and at their expense… and he implicitly may want to impress them too. And as much as he obviously enjoyed Marcus’ respect for his abilities, he took care not to invite him to the meeting…

On the other hand, in spite of his secrets, Jane has never been so open with his new team before. Among the many undercover jobs he took in the reboot, this is the most open he’s been with his coworkers. He wants to have fun and he probably wants the others to enjoy it too. He has Wylie hand Abbott some clothes and give him an assignment based on his knowledge of boxing –which an amused Abbott points out he never told him about. Cho unenthusiastically accepts his role. Wylie then comes to Lisbon, who’ll be playing “the inside man… err woman with Jane”, adding “he wants you to wear this”. Cue to Lisbon to look warily at a sexy short white dress. Kim makes fun of her but she gets a worse leopard-skin dress: she’s “the face” in Jane’s plan, the one who will lead their mark in the bedroom… It’s interesting that Jane probably handpicked those dresses and as sexy as they are, they might reflect something for him: Kim is the temptation who will lure their man to take the bait, just like she had been for him on the island. Giving her a dress which contrast with her usual style is a way to gently mock her… But it’s also somewhat intriguing that he chose such a dress for Lisbon too, as she doesn’t necessarily have to be so sexy to back up his cover… It’s a deliberate choice from Jane, who knows she’d be very uncomfortable, and it shows a mixing of seduction and innocence (the color white): it’s the same combo Krystal used to try to seduce him with her damsel in distress persona. Given that he’s showed that he finds Lisbon attractive, there’s no doubt there was an ulterior and more selfish motive for choosing this short and low-cut dress…

Still, the team follows Jane’s instructions to the letter. Wylie and Pike observe from behind the scenes as the plan unfolds. Jane’s influence is perceptible as Wylie explains to Pike that he tells that “if you wants someone to trust you, you don’t give them something, you get them to give you something”. The young man also decrypts body language based on his mentor’s tips. The plan goes seamlessly and Abbott and Cho show the same acting skills they displayed in ‘Grey Water’ and ‘Ring around the Rosie’: “the mark has been roped”…

VIS#3: the party

Abbott leads Pulaski to “his boss’ ” house. Jane has probably taken a lot of fun in subverting their usual roles: Abbott had to punched his subaltern Cho and is supposed to work for him (“Dennis, you old rascal!”); the composed Cho is the one who initiated a bar brawl; and modest Lisbon is displaying a lot of cleavage and a rather promiscuous attitude –which has her making a face and muttering when she’s alone… Plus, she’s playing his girlfriend and their complicity reluctantly shows when he gives her –again- some acting tips. The whole situation reminds of the past –forcing her in a dress by convincing Grace to choose her as her bridesmaid; putting her gleefully in an uncomfortable situation; bantering and teasing her acting skills… Yet, at the same time, it takes it a step further: they’re playing a couple and it’s so convincing to Pike that he feels like asking Wylie about them: “are they in a relationship? A couple?” Wylie answers: “no. I used to think so, but no. I don’t think…” The fact that Wylie wondered (and still does) suggests that, just like Jane’s abilities have apparently been discussed among the bureau, his relationship with his former boss is also observed by their new colleagues… Obviously, it’s a major question in the reboot: Abbott used to think they were together, Kim too. Grace, Cho and Rigsby know better but think they should give it a try… Everybody noticed that there was more than meet the eye between them. Plus, the detail that Pike asked just after Jane reacted to her fake interest to another man (“down girl”) hints that they’re heading to a love triangle. Pike is aware he has a rival in Jane, like Jane felt threatened enough to interfere with the man’s alone time with her. Only Lisbon seems rather in denial, but her behavior is still pretty ambiguous. But more on this later.

Such as it is, there are many hints that Jane and Lisbon are at a crossroad. It looks like Jane is not wearing his ring –it’s the first time in front of Lisbon- and she calls him “Patrick”. Plus, Jane remarks “that’s my bed” when Kim and Pulaski are about to kiss in the master bedroom –the same bed Lisbon will sleep on later- and, when they find Pulaski’s boss McKaye looking at the stolen painting, he adds “I keep finding strangers in my bedroom”… is that a way to foreshadow that a third party is about to barge in his ambivalent relationship with his partner? Anyway, possessiveness in again alluded to when McKaye tells Jane that he doesn’t want “competition” on his “territory”. Jane mocks him “are you telling me that town is not big enough for both of us?” The western reference echoes Kim calling Pulaski “cowboy”: like the boxing on TV when Abbott baited him, there’s the implicit idea of a fight between two men running through the episode: Jane is the one who has shown tendencies to be territorial with Lisbon and both he and Pike might end up fighting over her one way or another. Moreover, the same metaphor was used with Bertram in ‘Red John’: there was a western playing when he called Jane in order to meet up: back then too, the confrontation was the last step to a new stage of his life…

Indeed, Jane introduced himself to Pulaski by asking him if he’s “Pisces” (the other answers (“no Sagittarius”), which echoes the coincidence that a “pike” is also a fish. It’s probably only pure chance, but it’s amusing that the same symbolism used with Lorelei: now that there’s a new quest for Jane, to build a new life for himself, and Pike may pose a threat to this new goal… still, just like murderous brunette was the key to finding RJ, Pike’s interference might provoke them to clear the air. Same with the line “never take your work home with you. It’s the key to an happy life”: given what happened to his family when he took his “work home”, one can only infer from this casual remark once again that Jane’s taken a new step in the grieving process… Between the lines, he may have started to contemplate leading a happy life.

VIS#4: Lisbon’s night… busy or not enough?

When they’re alone in the house, supposedly late at night, Lisbon is going down to the living area, clad only in a rather short satin red nightie… only to find Jane sound asleep on the couch. Her outfit is oddly intimate to visit a coworker and we can also deduce that Jane may have handpicked her bedclothes too (it’s short like the jerseys in ‘Red Badge’ and in ‘Red Moon’, both seen by him). On the contrary, Jane is completely dressed, scarf included. Lisbon tenderly looks at him and lays a cover over his body.
When she’s back in bed, she calls Pike. She’s completely surrounded by the color red: her nightie, the linens, the painting over her head… which might or not mean that the moment is a threat to Jane. Either way, she starts flirting with Marcus under the pretence of talking about the case and they play with the idea of a date to eat pancakes, since she’s hungry. There’s an implicit comparison with Jane here: firstly, she called him because Jane was asleep when she went to him; symbolically, he takes his place. Plus, he tells her McKaye’s men are close, but adds: “you’re safe. I wouldn’t lie to you.” She answers “that’s a nice change of pace. It’s like everything I’ve done today is a lie”. That’s a very loaded thing to say: obviously, Jane’s lies to her are still a sore point. It goes further yet when she explains that she’s starving and there’s nothing to eat in the house: she’s been playing pretend with Jane, posing as his girlfriend but it left her emotionally empty and “starving”. Since the beginning of the reboot, Lisbon’s intentions to cater to her love life have been more pronounced: she was getting a drink at a bar alone when she met Kim in ‘White Lines’; she checked with Ardiles if their date was personal… Her previous attempts at getting Jane’s attention (mentioning the “date” with Osvaldo) failed: she’s feeling lonely deep down and Pike is offering to feed her feelings and acknowledgement.

Still, a very intriguing point is in which order the two moments are shown: she went to Jane, then called Pike. But what if it was the other way around? Writer Jordan Harper has hinted on Twitter that the order was changed… whatever the reason, Lisbon’s intentions regarding Jane could be easier to read then, if she was aware that there were no “prying eyes” –as Marcus put it- to witness her encounter with Jane. Being alone with him and half-naked suggest seduction plans… The final version plays more on ambiguity and wistfulness.

On the other hand, on Jane’s part, while he’s not been actively making a move on her, he’s come closer to it than ever… He doesn’t seem to wear his ring, he chose a couple of revealing dresses for her, he’s playing house with her, posing as her boyfriend and having her call him by his first name –something he deeply wants as it has been indicated in ‘Devil’s Cherry’… This investigation is the more elaborate undercover job he ever set and it revolves around his partner and him pretending to be lovers/accomplices. And as far away of Pike as he could get them.

Plus, later, when they talk with McKaye about stealing Manet’s Violets (the painting ‘Bouquet of violets’), Jane comments that it’s the symbol of a forbidden love: Manet painted it in reference to another painting representing his brother’s wife, ‘Berthe Morisot with a bouquet of violets’. He adds he expressed his feelings “in a different way, by painting”… Somehow, it’s what Jane has been doing with Lisbon: he’s expressed his attachment for her through his job, by getting her hired and doing his own art of solving crimes. In ‘The Golden Hammer’, he admitted that he used to be cheerful when they were together at a stake-out because he enjoyed spending time with her… in that episode, he acted and opened up because Lisbon had dangled the threat of a date with another man over his head.Still, it’s not strictly a “forbidden love”: he’s the main obstacle to his moving on, he’s the one who can’t allow himself to start again. In ‘Violets’, he started accepting the loss of his family, but the actual work of reconstruction is yet to come. At the same time, unbeknown to him, Lisbon is contemplating the possibility of dating Pike: Jane’s interest may thus be truly shunned away and he’ll only care for her from afar then. The whole subtext is deeply related to the undercover theme running through the last episodes: a thin layer of apparent normalcy hides latent tensions between the characters. Also, interesting choice of theme and flower here regarding Jane’s situation: violets are the flowers of modesty and faithfulness, but also of the symbol for tender love from someone too shy to confess.

Plus, it’s not the first time that paintings have been used in the show to convey Jane’s state of mind –the Rubens in ‘Bloodstream’, the symbolic marines and painted flowers in season 5… Here, the Violets and the victim’s red portrait of his wife form a curious diptych: the latter, which Jane takes special care to give back to the widow, represents a love interrupted by a violent death, like the one Jane shared with Angela. The Violets, with their different color, involve Lisbon, who’s at the center of the episode: she’s Jane meaningful relationship now, and the alluded secrecy reflects the lack of acknowledgement between them.

But Jane is slowly opening up, like he opens the safe in the bedroom, a past symbol of his obsession. As everybody around him has been commenting, his feelings are more visible: even McKaye remarks that he has a soft spot for his partner by the way he looks at her… And his mocking “au revoir” to the killer when he revealed everything was a trap, even the marching band playing ‘The Yellow Rose of Texas’, took a particular meaning when he mentioned he had “someplace fabulous to go”. It was the word Lisbon used in front of Pulaski, which implies Jane plans to find her and spend some time with her after giving back the portrait. But, as Jane’s teasing McKaye about losing the game because he lost control, the situation Jane insisted he had a firm grip on is about to get out of control for him too…

VIS#5 closed case pizza

It’s official: the new team has definitely taken the place of the SCU, its spirit and its traditions. After working all together seamlessly as the combined elements of the bigger undercover picture, they celebrate together. The limbo Jane has been in with his new friends has come to an end and so has Lisbon when Pike make his move.
Indeed, the agent tells her he likes her and that he’d like to know her better. He invites her to pancakes, just as they talked of over the phone. He seems the perfect match for her: he’s a team leader (or at least an agent in charge of important investigations), just like she used to be. He’s seems honest and secure. He’s a coffee drinker. He’s seductive: his “dinner is the best time for breakfast” might discreetly imply that spending the night between those two meals together may come somewhere along the way. He’s offering a straightforward relationship, while Jane looks unsure of what he wants, is manipulative and wrap everything in lies: things with him are complicated.

Image by Chiziruchibi. Copyright Reviewbrain April, 2014. Not to be used without permission.

Pike’s offer is tempting and Lisbon leaves with him… but stops at her desk to get her things just in time to meet Jane. He doesn’t immediately understand the situation and asks cheerfully “where are we going?”, then he immediately understands his mistake and backpedals, telling them “kids” to have fun. When he’s alone, he sits on his couch, his confident posture deflates and he drops both the act and his scarf while the music gets sadder. It’s a heartbreaking moment because such a depressing episode endings were usually related to his family, for instance at the birth of Ben Rigsby. Now, his sadness and loneliness are caused by Lisbon leaving him and he brought this on himself, he introduced Pike in her life. He screwed up big time. No doubt she’s aware of it given her timid voice when she told him goodbye…

Mentalist White as the Driven Snow Review

This review was supposed to be co-written, but Violet wrote the bulk of it and was quite comprehensive. All I had left to do was sprinkle my two cents in where ever I could. Everything was written by her, unless otherwise denoted by an “RB” to stand from my thoughts. Love you, Vi!- RB.

Synopsis
The FBI is rushing against time trying to find Grace Van Pelt (Amanda Righetti) after she has been kidnapped by Richard Haibach. Wayne Rigsby (Owain Yeoman) confronts Patrick Jane begging him to do whatever it takes to get his wife safely back.

Concise Verdict
With all the action that was part of this episode I thought it must have been written by Tom S. Or Daniel Cerone. I mean that as a compliment to Eoghan Mahoney, who gave both Righetti and Yeoman fantastic material to work and enough suspense (and character moments!) to keep viewers attention riveted. For the most part. 9/10.

VIS #1: the guys are at the bar
Picking up right where the previous episode left off, Rigsby’s enters the bar where he is having drinks with Cho and Jane after getting off the phone. The guys comment on how great his wife is. The happily married Rigsby agrees to which Jane tells him “A Price Above Rubies”.

RB: One of the reasons I loved how this scene was just chock full of allusions to previous episodes. One was the quoted phrase, a favourite episode of mine where we got to see the entire CBI team in black tie. Tunney fans will remember the black dress.

Violet: The phrase also underlines that the past is still weighting Jane down, since that episode took place just after Bosco’s death: it reminds how someone close to them was killed because of Jane’s actions (which will happen again here with Grace). Back then, Lisbon feigned being fine, just like she’s been doing with Jane since his return. Also interesting detail: back then the title may have referred both to the victim’s wife and to Lisbon as Jane put a tiara on her head… so even if she’s absent, she’s at the center of the scene.

RB: I agree. The men may be talking about Grace here and what she means to Wayne, but the allusion to that past episode makes and the fact that Jane is one who made the comment makes it easy to infer who he feels is priceless.

Violet: Rigsby then tries to play matchmaker by telling Jane that Grace and him “always” thought that Jane and Lisbon would end up together.

RB: I shouted at the television: FINALLY!! Ahem. I mean, after all these years it’s about time a character brought up the subject. And I don’t think it was a coincidence that another episode alluded to in this scene was Red Handed, the only other time we’ve seen Jane and the men at a bar. That scene four years ago was another time Rigsby might have ventured to ask Jane about his relationship with Lisbon, especially considering how hard Jane had tried to get Lisbon to keep an emerald necklace/earring suite he bought her at the time….but I digress…

Violet: It’s a very heartwarming touch to watch how the man who has been clueless about how to seduce Van Pelt for years is willing to help two friends find happiness. One may wonder if he doesn’t do it for Lisbon mostly, as much as he likes Jane.

RB: I like to think so. Rigsbon is a pairing I’ve always loved. In a strict older sister/younger brother chemistry which was shown on the show on several occasions

Violet: After all, he’s kept in touch with his former boss and listened to her when she claimed she had no regrets anymore about the past before running to Jane once again when the chance arose… Plus, that’s actually the first time someone of the team made a direct reference to the special bond between Jane and Lisbon. It was nice seeing that Wayne and Grace had been shippers all along, not to mention rather funny: the all time “official” couple of the show seems to have passed on the baton to the partners who are starting to send stronger romantic vibes.

RB: It is rather ironic, isn’t it?

Violet: While Jane chuckles to hide his surprise and embarrassment, Cho agrees with his friend.

RB: I also thought he seemed bashful, but in a pleased sort of way…

Violet: After a rather ironic “right”, he mentions the pony, a meaningful special gift he had given her….

RB: This just in case viewers didn’t automatically remember it after the last episode 

Violet: …after Jane showered his new team minus Lisbon with childhood reminders. The pony had been given at the beginning of the show, which put emphasis on the “always” in Wayne’s statement: the team watched many interactions between the two leads (“you’re blushing, boss” in S1; Jane touching her face when he was blinded in ‘Bloodshot’;

RB: Note, both incidences Wane was the sole witness. Methinks he was an early shipper…

Violet: Cho telling “Jane, right”, when Lisbon ditched their investigation to help Jane after Darcy stranded him; Jane’s remark about Lisbon being meaner to him at the end of ‘Something’s Rotten in Redmund’… Unlike with Bosco’s feelings for Teresa, they never really commented on it

RB: Probably because no one knew about them. If memory serves me right, even Jane was surprised when he found out about it, whereas Jane’s affections were more obvious to the team.

Violet: They observed and drew their own conclusion… It enlightens again how people tended to consider them as a possible couple, just like Abbott and Kim did at first.
Jane deflects the allusion to the past by wondering aloud where the pony may be now: things are not right between Lisbon and him and he’s way to secretive to pour his heart to the guys, obviously. That’s probably why he gratefully uses the pretext offered by the barmaid to leave them.

RB: Actually, I found it telling that he didn’t leave right away and instead told the barmaid that he was busy with his friends. I remember wondering if, in fact, Jane, given the opportunity, actually wanted to discuss his relationship with Lisbon with the two guys. I find the idea fascinating.

Violet: The friendly atmosphere at the bar compensates the mild coldness of ‘Grey Water’.

RB: Alternatively, Jane’s warmth towards Rigsby in this episode just makes the aloofness of his greeting to him in the previous one more bizarre.

Violet: Again, the encounter is also placed under the shadow of a darker past as alluded to subtly by the name of the hotel where Grace and Wayne are staying and where she’s taken from. As a threatening counterpoint of the bar ‘El Lazo’ –which the double meaning pointed out by Reviewbrain in the previous review-, the hotel is called ‘Rose Mountain Inn’, a color frequently used in title as a reference to RJ. Still, viewers are reminded that many things have changed. When Cho drives Wayne back to the inn, he tells him the FBI is offering both him and Grace a job. The other man is hesitant, because he and Grace have now kids. Their priority has shifted from being in the team (the reason for their break up) to protecting their family life.

RB: I like the reference here to how much their characters have grown up. The reminder is timely…

VIS #2: Jane confronts creepy Haibach

The parallels with the past events and particularly with RJ are even more visible when Jane and Lisbon start interrogating their main suspect, Haibach, who was unwittingly involved in Jane’s quest to get the serial killer. Firstly, the glimpses we got of Grace in a cellar, just like the one Hardy used to keep a young girl prisoner in the S1 finale and the one where RJ’s presumably first victims’ skeletons were found in ‘The Red Barn’; still, it may be also interesting to compare the choice of this place with Jane’s own kidnapping in ‘Ball of Fire’: that episode had the team worried for his life, as they are now for Grace, and its resolution ultimately led to an increased closeness with Lisbon…

Speaking about her, Haibach is pretty resentful towards the former CBI team leader and snarls “oh, you apologized. But that didn’t stop your planning, did it?” It draws an implicit comparison with her own attitude towards Jane: he apologized for his actions -in his last letter from the island, he mentioned being sorry for leaving her on the roadside- and he tried to make it up to her by getting her a new job, but she doesn’t seem to be able to completely trust his intentions anymore.
Plus, even though Haibach claims there is “no game” on his part –another allusion to RJ-, he obviously enjoy mocking them: when Jane asks if he knows where Van Pelt is, he replies “no, I don’t, how could I?” in a sing song voice… just before he “guesses” exactly her situation. Later, when an angry Rigsby launches at him, yelling that he’s an animal, the man yells back “you people are the animals”, because back then he did nothing and was still targeted because of them…
He’s right. Jane dismissed his kidnapping when Kirkland tortured him and Lisbon even chided her consultant for his indifference. But Haibach easily forgets his own crimes: he’s a paedophile and this was hinted at by the secret child bedroom he created in his house. He planned to kidnap a little girl when Kirkland targeted him, which foreshadowed Grace’s situation. He shows therefore the same logic as RJ, who took revenge on Jane’s family because the fake psychic had “slandered” him in the medias…

Haibach’s plan progressively takes form: he enjoys himself by playing his two enemies face to face -Jane ,who deliberately put his name on his fake list, and Lisbon, who came after him repeatedly- while revealing the vengeful motive behind his acts when stressed out. His meticulous planning is showed later when Abbott and Kim interrogate him as he’s able to provide a suspiciously detailed alibi (a video of him on the bus/his bus ticket/several witnesses): he’s obviously mocking them. Playing cat and mouse with his victim and hiding in plain sight were two of RJ’s favorite mind games too.

On the other hand, as a counterpoint to those allusions to the serial killer, there are several parallels with Jane’s situation regarding him. He understands what Wayne is going through as a father, and he tries to comfort and calm him by telling “you have children you need to see grow up”. Indeed, even through the younger man is in danger of losing his wife, he’s graced with the chance of knowing his kids are safe. Jane wasn’t as lucky and his imagining an adolescent Charlotte in ‘Devil’s Cherry’ showed how much he regretted it. Later, as Rigsby talks to his son Ben, the kid asks where Grace is… In addition of enlightening that the Rigsby’s form a harmonious family, since she’s only his stepmother, but obviously a loving one.

Rigsby goes and finds the clever consultant, begging for his help, “whatever it takes”. As a consequence, Jane barges in the interrogation room and threatens Haibach. He yells “you know me” and promises to track him down, alluding to his past quest to avenge his family and to the fact that he killed three men in the process. He shows again his uncaring and obsessive side: “I have nothing to lose. I have played with the house money for years. If I go to prison for what I’ll do to you, I don’t care”…

While it looks like he’s stuck in the same position than with RJ, it’s still interesting that he’s painted the almost exact image his co-workers must have had of him for years: a vengeful obsessed man with no string attached and willing to use them for all what they were worth… But this “been there, done that” vibe doesn’t really match the reality anymore : his “I have nothing to lose” contrasts with his loneliness and his letters to Lisbon, when he was writing that her absence was what made his situation awkward. Same with his willingness to recreate his nest at the CBI: that speaks of his fondness for his friends and the memories he shared with them. Therefore, this coldness hides a fiery defence of people he cares about. And he explains to a bewildered Abbot that he’s trying to work Haibach out of his comfort zone: again, he’s using the same strategy than with RJ. He’s trying to get the other to make mistakes, without caring for the consequences of his own actions. This dangerous game Jane is playing contrasts with Kim’s tentative approach to get Haibach’s lawyer to step back and help them: the insensitive woman accuses her of feeding her a « sob story » in an « unprofessional, disrespectful » manner. Like her client, she enjoys the power she has over the agents (telling them “ok kids, time’s up. Put your pens down” when she barges into Abbott’s office). This indicates that the legit route would take them nowhere to save Van Pelt.

VIS #3: Grace proves that she’s resourceful

Meanwhile, the redhead is making the best of the situation and manages to escape the cellar she’s locked in: she’s smart and determined. Soon, she’s alone in the wild and her isolation is further emphasized by the snow. Her dangerous situation reminds of her predicament in ‘My Bloody Valentine’. When a car stops by her, viewers may get a hint that the danger is getting closer: the driver, an inoffensive-looking woman, is listening to rather loud music, echoing ‘Redwood’ (the playlist the victims were listening to when a cruel killer attacked them) and ‘Red Gold’ (the killer changed the radio station in his victim’s car).

Van Pelt’s suspicions flare when she enters the woman’s cabin: she understands that there’s no electricity because there’s a fireplace, thus the woman was lying when she told there was a phone. Her observation skills hint at Jane’s influence, just like her resourcefulness… She also uses his technique to get the other to let her guard down: she tries to make friends by telling her to call her Grace; when it fails, she still manages to make her talk in order to buy time to try to escape. Her efforts are in vain, but it shows that she learned many things with the master of lies.

Image by Chiziruchibi. Copyright Reviewbrain April, 2014. Not to be used without permission.

 

Jane’s shadow can also be detected in the woman’s character: she’s Haibach’s sister and she feels anger and guilt because she couldn’t protect him… She’s seeking to rectify a past error to the extent of not caring if she hurts or kills people in the process.

VIS #4: Rigsby and Jane kidnap Haibach AKA saving Grace

Jane and Rigsby decide to take action and kidnap Haibach: while he’s leaving the FBI headquarters in a car with his lawyer. While Haibach is ranting to her bout making Patrick Jane suffer, Jane has disguised himself as their driver stops the car to let Rigsby get in. Jane’s grin and adorable driver hat is thus the sixth time in as almost as many episodes that an undercover job is featured –Kim playing a part in the island; Abbott asking Jane to pose as a psychic in ‘Green Thumb’; the dates with Krystal in ‘White Lines’; Lisbon wearing another black hat in spy fashion in ‘The Golden Hammer’; Jane sleeping in the community in ‘Black Helicopters’. One could even argue that, given his impassioned reaction to Grace’s kidnapping, his mildly indifferent greeting in the previous episode plays with false appearances as well.

Abbott realizes what the two men have been up to and wants to get some information out of Lisbon and Cho. Lisbon knows nothing (Jane’s good old “deniability”) and Cho adds “we have nothing to do with it, but we’d do it if they’d asked”. Again, it echoes their confrontation with Abbott in ‘Red John’, when Cho led the way to confront the man into letting Jane go. Their boss remembers: he is aware that they find Wayne and Jane “brave”, but that doesn’t stop him from threatening their jobs… That’s a curious reversal for Dennis: before, he was the one threatening the CBI, now it’s Haibach’s lawyer supported by an unfair law that protects a kidnapper who poses a threat for his new team.

Jane playfully leaves the lawyer stranded on the roadside, after exchanging his driver uniform with her phone and teasingly putting his hat on her head. It comes full circle with him leaving Lisbon without phone on that cliff, which was alluded to when he left Kim and drove away his Airstream at the market. This time, instead of being a hurtful gesture which probably caused her present mistrust, it proves that he cares: he won’t stop at anything to save Grace.

And the role reversal is even more obvious as Rigsby acts crazy and Jane is the one trying to calm him down (“talk to me, I have a plan, there’s another way”)… The usually untameable consultant seems very reasonable for once: he’s assuming Lisbon’s role when Wayne is channelling his inner Jane…his brutal streak.

Plus there’s a multiplication of references to RJ: Rigsby tries to set Haibach on fire (like Todd Johnson and echo to the bombing in ‘Fire and Brimstone’: fire is a recurrent image of RJ’s power); after the man took Wayne’s discarded gun and made them drive to the abandoned cabin, then to his sister’s house, he discovers that the guys used a trick on him: all along the gun had no ammunition and he’s the mercy of an armed Rigsby (it reminds of Jane’s trick with the pigeon, Lisbon’s gun and the other gun hidden in the church); Haibach threatening them from the back of the car, then being threatened by Rigsby ridding shotgun is a wink to the limo scene in ‘The Crimson Hat’ (RJ was talking from the back of the car using a phone attached to Luther, Jane was sitting shotgun and it was the first time Jane had been able to talk to him directly). In a way, this moment in the car with Haibach almost sums up Jane’s history with the serial killer because while it looked like RJ was more powerful, Jane overpowered him too with a clever trick… But Haibach and his sister get the upper hand again and are about to take revenge for his missing thumb by shooting Rigsby and deciding to chop Jane’s fingers too, in a double allusion to Lorelei who was ordered to cut off Jane’s fingers in the limo. The RJ vibe is even furthered by Haibach giddily telling that he wants to “play a little game” (again) with a terrified Jane. Fortunately, Rigsby proved more resistant and determined than the killers took him for: even gravely injured, he walks outside the house to shoot them. He was able to protect his wife and saved the day, what Jane always regretted not doing for his family… The implied glimpse into the past is closed when Jane lying in the snow sees the black helicopter sent to rescue them. It was what he asked to Lisbon over the phone in ‘Black Helicopters’: symbolically the nightmarish window on the past is closed and they’re back to the present situation. Wayne can start to recover physically, just like Jane may start to heal mentally from the loss of his family that he couldn’t yet overcome, since he still can’t allow himself to take his ring off for good.

VIS #5: at the hospital

When Wayne is resting on his hospital bed with his beloved Grace the atmosphere is much more cheerful: Lisbon hugs Grace while telling her how worried she was, then Jane hugs her too. The both of them are making a beeline for the door together –at long last!- when they’re interrupted by Abbott and Kim. Abbott compliments Rigsby (“you impressed all of us”), but both husband and his wife refuse heartily the job they are offered. Kim hands some flowers to the redhead and, last but not least, Cho, Wayne’s dear friend, pats Grace’s leg before leaving them alone too.

For the first time in what feels like forever, Jane and Lisbon are shown leaving the hospital while bickering. Lisbon reproaches that it was a “stupid idea”, Jane protests that it was “not stupid, simple but not stupid…” When she admits that she’s still angry for not telling her and she was really scared, he tells “I’m sorry.” She replies “no, you’re not. I can tell when you’re no being sincere », which refers both to their old friendship and to her past assumption that she could tell when he was lying in ‘Red Sky in The Morning’: both times, like in many others, the two partners are seen walking away bickering as the episode ends. It hints that at least part of their friendship is back: while those are pretty much the same things Lisbon reproached to Jane recently –taking decisions on his own, scaring her by running away and dismissing her as if she was his inferior- it’s very apparent that the intention behind her words is different. Jane has proven his affection for them taking huge risks for his friends: like before, even if his methods are questionable, he’s mostly trustworthy at heart.

That’s the most heartwarming aspect of the episode: Jane has paid his debt to the team for standing for him. Like in ‘Red Alert’, which featured Lisbon’s silent grief over Bosco’s death, and in ‘My Bloody Valentine’, when Grace refused to acknowledge the loss of her love, the conclusion of Haibach’s wrongdoings ended being a life-affirming experience. Jane’s decisions here showed that he cares about them: he hadn’t just using them for his quest. He made it up to them for his actions, which is probably why Haibach’s character was chosen to be the culprit: he had happened to be a casualty in Jane’s quest, just like the team and Lisbon had become at the end, as they had to deal with the consequences… Hence the catharsis: Jane considers them as his friends and he wants to protect them. In spite of not being truthful with his words or his motives, he was sincere in his affection for them. Sacrificing their careers at the CBI for him had been worth it.

Honorable Mentions

Writer Eoghan Mahony provided a touching homage to two great characters (Grace’s cleverness and Rigsby’s impressive determination were a last hint at character development since it enlightens how efficient they have become) At the same time, he masterfully used this goodbye to set things right in the new setting: Jane and Lisbon acting like friends again; Wiley takes a more prominent part in the investigation; Abbott is a by the book boss but he admits he’s impressed by Wayne. He doesn’t play a double game like Bertram, nor is emotional like Luther; he isn’t as unfair with Lisbon as Hightower used to be at first… If he keeps being this measured, he might even compare one day with Minelli… Same with Kim: like in the market when she interrogated the “peanut butter people” some time ago, she’s still pretty awkward in her role as a boss, but that doesn’t undermines her friendliness (talking to the lawyer, bringing flowers). And the old team is reunited no more as colleagues but as a family: it’s the first time they’re all together at the hospital at the same time… They weren’t together at Jane’s bedside (when he was in a fugue state/ drugged/ blinded by a bomb), neither at Lisbon’s (when she was shot by Craig/attacked by RJ even if there were flowers), neither at Grace’s (when she was shot in the earlier seasons) nor when Rigsby’s father was dying. But now, they are, because their closeness is caused by affection and devotion. It’s a rather beautiful conclusion to their story and a solid beginning for the new Mentalist.

rb: Owain Yeoman and Amanda Righetti were fantastic in the episode as well. I loved how physical their roles were, especially Wayne’s. considering his build it would have been a crime to have him leave the show without making use of his physical prowess (which, is rarely brought up : Russett Potatoes, Like a Red-Headed Stepchild). I can see both Righetti and Yeoman moving on to action films now.

Icings on the Cake

The beautiful, beautiful snow white setting of the episode denoting perhaps that the show was starting a new clean slate.

Pet Peeves

Violet: When Jane, Haibach and Rigsby get off the car to enter the cabin, there’s snow, but they don’t seem to mind the cold, even though they’re wearing light clothes and there’s no steam coming from their mouths. I may be overly picky, but this destroyed the illusion a bit for me…

RB: For me, the first was Grace getting duped by Hazel. After showing how awesome Grace is at managing to escape we’re supposed to believe that she’s careless enough to flag down the first approaching car without thinking that it might be the perp looking for her? Grr.

Then there is Hazel. I don’t know if it was the writing or the acting, but she felt like such a flat two dimensional character. Whether it was her telling Grace that she’ll tell on her to her brother (about how she tried to escape) or boasting how she knew Grace escaped, most of her scenes made me cringe.

Conclusion

RB: After being so happy that the RJ plot is finally over, I can’t stop thinking about the left over lackeys in the encrypted file. I still don’t get why no one (either in the original CBI team or in the FBI) thought an RJ fan might have been after the wire taps. Now they proved to have nothing to do with Grace’s kidnapping, I’m probably just being obsessive. But I will say this: while Haibach might have been the perp in this episode, there is still no proof that he is the one who put a trace on Ardiles and the CBI members. Haibach’s revenge might be red herring to deflect from the fact that (possibly vengeful) Blake association members still exist.

Finally, I am ecstatic at the surprise ending of this episode. I honestly thought Rigsby had been killed for a while and did not look forward to the result. I would have hated to see Jane set off on another guilty streak, this time for having his actions inadvertently cause the death of Wayne and Grace. I also loved how Rigsby was the ultimate hero, in every sense of the word. In this episode, he saved more than just his and Grace’s life. He saved Jane’s newly peaceful existence from shattering again. A worthy ending to a worthy character. Righetti, Yeoman, you will be missed.

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Mentalist Grey Water Review

Synopsis

Lisbon gets the case of J.J. LaRoche’s murder transferred from SF PD to the FBI, only to discover that the culprit is now targeting ex-CBI Agents Wayne and Grace Rigsby. The two join Lisbon, Cho and Jane in Austin, Texas as consultants and run down a list of possible suspects. Meanwhile Agent Kim Fischer investigates a murder of an anti-fracker in which the prime suspect is an anti-corporate group.

Concise Verdict

This episode was a bit of a roller coaster. It started off as a thriller and ended as one as well but was a bit slow in between.  There were plenty of nice moments, a couple of not so good ones, and a major peeves too.

Detailed Review

I’m slowly easing myself into writing again and took a more straightforward approach to this review. It consists of three main parts.

1- The Good (AKA what really worked in the episode)

I like the role-reversal at the beginning shoot out scene, having Wayne hide with the baby and Grace come in with the gun saving the day.

I enjoyed seeing the team work together again, narrowing down their list of suspects as suggested by Jane.

While I was never convinced that John Hutten was a realistic suspect I nonetheless enjoyed his storyline and scenes. Paul Schulze was quite engaging and having him escape from the feds to carry on an affair was a

Another thing I enjoyed was having the team back together again. Commenter Laura commented in the previous review that she missed the old bromance between Cho and Rigsby, rightly so as it has always been a great asset to the show. It was nice to see them working together again. There were a couple of nice moments whether it was Cho giving Rigsby a man hug or teasing him that he can’t drive while they run down suspects together.

I never realized how much I missed Wayne the investigator till I saw him in action. And it looks like he misses it too as he tell in seamlessly back into the role with Cho.

The burning water (due to the methane content) scene was a neat attention grabber.

Lisbon apologizing to Richard Haibach.

Grace and Wiley bonding over hacking software.

Image by Chiziruchibi. Copyright Reviewbrain April, 2014. Not to be used without permission.

There were also some nice character insights: how trusting Wiley is (he just took Jane at his word that he had a court order), Abbott’s participation in catching the killer (the man can certainly act in a ruse), Wayne being more confident and self-assured than we’ve ever known him to be.

Speaking of Abbott, I like seeing how he had Lisbon’s back trusting her instincts on Haibach, despite his telling the man’s attorney that the investigation was closed, and having her make the aforementioned apology.

Guys’ night out. What I would give to be a fly on the wall wherever they were.

The end with the dark figure hovering above Grace was all sorts of spooky. Blake Neely might want to look into scoring a horror flick; tune at the end was really scary.

2- The Bad (AKA what didn’t work)

Somehow I just wasn’t really interested in the “cooperative” hacking group; don’t know why.

Acting of guy who played the victim was a bit over the top, as was the scuffle scene that resulted in his death.

After reuniting with his former colleagues after two years, all Jane can manage by way of greeting is a “good to see you, guys”? Really? Even Robo-cop Cho and formerly detached boss Lisbon managed to give both Wayne and Grace a hug when they arrived, but touchy feely Jane couldn’t? I mean, yes, he was drinking his tea at the time but that really is no excuse.

3- And the Ugly (AKA what sucked)

*I would’ve liked to see a reaction from Jane or Lisbon regarding LaRoche’s death. We know the man liked them both and it felt really wrong not to have them acknowledge his passing in a meaningful way. It’s a huge waste considering how fantastically developed the character was and how he and Jane had bonded. Couldn’t we at least have known whatever happened to his dog?

*When Lisbon updates Rigsby on the case, at the very beginning of the episode, she tells him that SF PD agrees whoever murdered Ardiles, LaRoche, and bugged the CBI team’s phones is someone that was once arrested by CBI and/or is holding a grudge.

Now Lisbon and the ex-CBI team know there is a number of RJ allies/lackey’s (members of the Blake association) still at large. And Jane knows this. Heck, one woman had tried to kill Jane during his face off with McCallister.  Now I could be wrong but wouldn’t THEY have a grudge on CBI and company? The fact that this didn’t occur to anyone, Jane especially, really bugs me. The team should be looking for their suspects in the encrypted list of Blake members.

One could argue that Ardiles had no connection to the RJ case. I’d counter-argue that the perp might blame him for RJ’s death. How so? Well, Ardiles was the one who prosecuted Jane’s case when he was charged with Timothy Carter’s murder. If Ardiles had won the case, Jane would be in prison and wouldn’t have been able to catch/kill RJ. It’s a bit of a stretch but INMO not as big as having to believe that NOT A SINGLE AGENT likes a Blake member (or even the entire association) for wire-tapping the CBI and targeting its past members.

Best Quotes

“In my day, if you had a problem with someone, you would just tell them. None of this computer hacking nonsense.” –Samuel. Cool line. Also reflects the teams’ current predicament with their unknown perp.

“Take a break. Get something to eat.” Aww! Grace knows how to make Wayne feel better.

Conclusion

I don’t speak Spanish, but couldn’t help notice the name of the bar Rigsby and the guys were meeting at: El Lazo. An online search tells me it means either link (as in bond) or lasso. I find both definitions interesting: while Rigsby and company are bonding at the bar, Grace is being lassoed in her motel room. Wonder if this irony was the intent behind the choice of the bar name. I like to think it was as that would be really cool.

Finally, GRACE BETTER NOT DIE!

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