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The Mentalist Review: It's About Time

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Lisbon was leaving Austin in a week and the only one who didn't know about it was Patrick Jane on The Mentalist Season 6 Episode 22.

Packing to Go
Lisbon must be packing to move to Washington D.C. with Marcus Pike. Is she really happy about making the move?

As a matter of fact, not only hadn't Lisbon told him, Jane was in complete denial, as evidenced by this The Mentalist quote

Oh LIsbon's not leaving. She likes to talk like she might but I don't think she's going anywhere.


He had convinced himself that she wouldn't go, which is probably why he put so little effort into stopping her. At least the realization that he was about to lose her prompted the quickest case closure in history. 

The moment the letter showed up, I wondered if it was all a ploy from Jane, yet I couldn't be certain. But I knew it was the right combination of smart, sneaky and convoluted that it could be a plan of Patrick Jane's. 

Jane appeared completely delighted by both their walk on the beach and Teresa's joy at cracking the code. His code. He'd obviously put a lot of thought into this plan, right down to wardrobe, as he'd picked three different dresses for Teresa to choose from for dinner.

It might be our last case together so how can anything be too nice.


All of that happiness and anticipation came crashing down when Lisbon found out that Jane had booked their suite days prior to the arrival of that letter.

She felt used and heartbroken and I couldn't blame her when she railed against Jane's lies and manipulations.

You don't give a damn about what I want or need. I am just a convenience for you. You use me. It's all about you.


Because that's always been her fear, that Jane doesn't care about her as much as she cares about him. When they were chasing Red John, she suspected she was simply a means to an end.

Now, Jane hides his feelings so well that she's convinced herself that her presence makes his life easier, more comfortable and that's why he doesn't want her to leave. 

When Jane finally left her door, it looked as though he was rushing in to his room not to have a breakdown in the hallway. 

As Lisbon got into the taxi, she called Pike to accept his proposal of marriage. I thought it was apt. He gave her one of the least romantic proposals possible when he said "What the hell. Will you marry me?" at the office. Answering him over the phone seemed equally unsentimental.

Despite an agreement to get married, I don't believe we've heard either one of them mention the word love.

In the middle of all of this. my love for Agent Abbott continued to grow. First, he approached Jane back in Austin.

You're acting cool about stuff I know you can't be cool with.


Then, there was his sympathetic look when Lisbon threw the drink in Jane's face. He's Jane's boss. Jane lied to him and cost the agency money in a bogus investigation but Abbott simply looked somewhere between amused and sorry for Jane. Anger didn't play into it at all, and that was before an actual killer was arrested. 

Even better was when he realized that Cho had no idea why Lisbon got so angry. It was as though Abbott couldn't imagine how such a smart investigator could be so blind to what was right in front of him. 

I also found it amusing when Cho said that Jane and Lisbon were like brother and sister. I'll admit that that is how I felt the first couple of seasons, but by The Mentalist season 4, I could see their potential as a couple and it's only grown from there.

Some will say that Jane's frantic run to the airport and jump over the fence was out of character - but don't we all act in ways we normally wouldn't when we are desperate and in love? Patrick knew that this was his very last chance to say what he felt and he'd finally found the courage to do it. 

The idea of letting anyone close to me is terrifying for obvious reasons but the truth Teresa is that I can't imagine waking up knowing that I won't see you. The truth is I love you.


Even if he lost her to Pike, at least he knew he'd gotten the words out, and that was something. 

When the sun came up the next morning, Patrick was still being held by the TSA but little did he know how much brighter his day was about to become. He almost couldn't believe it when Teresa walked in and wanted to confirm that he'd meant what he said because she felt the same way. She loved him too. 

As Jane leaned over the table to kiss her, the TSA agent yelled, "Quit that!" and I thought, not a chance. These two are just getting started. The Mentalist Season 7 can't get  here fast enough. 

Your turn, TV Fanatics. What did you think of The Mentalist season finale?



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OK I mean Roadrunner. Sorry.


Well, Roadmaster, the DVD S6 extras are just the review of what happened plus some unaired scenes, which I haven't looked at yet. The clearest thing I got from it was that we will not hear of Red John again and Lisbon will be key to Jane's full return to whatever is normal for him. That would be simply without the angst because he always was basically a con artist, only now a happy and reasonably ethical crime-fighting one. However, I keep wondering why TM was so eager to get another season - and just half of one at that. I suspect they want to do something they're not telling us about. There is no real need for S7. Loose threads to tie up? Ha! TM is so full of loose threads the writers set up to fit whoever Red John might be that it would take a couple of seasons to deal with them. They left the RJ full-tapestry setup hanging and frayed so why worry about tying up the remnants of the Jane-Abbott lists or Jane's indentured servitude? I'm wondering if S7 is planned as a kind of pilot for a new TM series, possibly based on the partnership exploits of Jane and Lisbon as a crime fighting couple, mostly funny I would think. Maybe on the order of the short-lived "The Good Guys" that featured two cops, one totally off the rails and the other trying to follow the rules. Only ran one season at most but I loved it. It starred Colin Hanks (son of Tom Hanks) and Bradley Whitford (T.Carter of TM). Whitford was the good-old-boy-Texan clown of the pair. Hilarious! Never saw a law enforcement rule he could respect, but always got the bad guy. Somehow.


That special sounds interesting - I'll have to wait about some two more weeks until I can get the Series 6 DVD set... *sniff* Are there more features on it? (I keep hoping for more outtakes, but small chance...) The Carter-Finale screamed "pinch" or "midpoint climax" so loudly I realized then the series was written aimed to have an ending - and that's what got me really excited. Endings have become so rare, and all this never-ending meaningless stuff is so frustrating. At the end of five it became clear they were closing in on the end. I then thought they'd be finished by the end of six and got totally hyped up, chuckling at the idea of someone having done a very classic four-act-structure monomyth based story and selling it to a network under the premise of a serial. I said if they'd get season 7 it'd be a party season and Szentgyorgyi could be showrunner -doh. :P Only thing I'm no longer so sure about is they're all done. I think there's quite a bunch of those leitmotifs that aren't quiet finished. I'm currently tracking those to see if I can come up with something that makes sense before January. Once you see what the series finales really do - causing PJ to change, put on another layer and adapt, two things became clear: a) RJ is really only a catalyst opposing every thing else that's good and about healing and rebuilding your life after a tragedy - starting with a small spark ("Fight or die") and b) RJ's arc has to be closed at some point, in some manner, before they can finish the series. It can't be the finale, as there's so much more. And the last question turned out to be the Revenger's Tragedy dilemma - in a revenge plot, after having paid the price and gotten his objective, what are the consequences for the revenger - to kill a monster you have to become a monster, and will you be able to undo this or will you have dug your grave as well, because changing back has become impossible? RJ's face never mattered as much as his actions and influence. The question of how to deal with all the guilt and the other question, from Lisbon's smaller character plot, can shattered basic trust be restored, haven't still really been answered. The finale works as a makeshift solution, if worst had come to worse it would have had to suffice, but my guess is they'll deal with those questions as a backbone for what probably won't turn out to be as much "party" as I thought before. ;) And my hunch is that in putting together the leitmotif bits I can make an educated guess what is bound to happen - at least metaphorically... those writers have always been good at putting what I thought would happen onto another plane. Oh, and as an afterthought - I have to correct one thing I said about the four archetypes coming back - The scientist is Silver Wings, not Black Hearts. Makes much more sense this way.


Oh, my avatar came back! I might as well post something hoping that will help it stay there. What amazes me is how all through the series we thought we were getting clues to the ID of Red John, playing "Where's Waldo" with the shifting array of suspects, and assuming the writers had a real character in mind. Now we know they didn't. They even had to use Simon's voice for RJ because they didn't know who RJ would be. Then they got the cancellation jitters at the end of S5 plus signs that the fans were fed up with RJ and starting to bolt the show. So they quickly came up with a list of seven, picking McCallister out of the plot leavings from S1 as someone they could call RJ and be done with it quickly to allow for aftermath stories beginning half way through S6. What is really amazing is how, despite this sausage-making style of story telling, they produced a show that really does hang together, with a meaningful depth to it. I'm inclined to give much of the credit to Simon Baker for creating a character that could bring out all that coherency and depth when none seemed to be intended. I think Simon intended it and that's why it happened.


OK, where did my avatar go??!!


Roadrunner, I think what is going on with the writers is that they are steeped in literature of every genre and all the mythology that thousands of years of creative writing have produced. It shows in how they plot their stories, as you point out so well. Much of it may be subconscious, but it is effective in developing a sense of "meaning"in a network series that is lacking in most others. That said, I turn now to the S6 DVDs, which just arrived, and the Special Feature, "Patrick Jane: REDeemed, recoveRED, restoRED." This is where Bruno Heller, Simon Baker, Robin Tunney, Chris Long and others explain themselves as sparsely as possible. What they make clear is that Red John will never be mentioned again. They talk about deciding that the viewers had had enough of RJ and so they wound up that phase as quickly as possible with little concern for details and moved on to creating a new Jane - smart, clever, charming, and without the angst. All the RJ "clues" meant nothing; it was just the writers building in things about RJ to make the story of the week interesting. (That they did add up to an excellent profile seems to have been accidental. Even that "He is ma--" clue was thrown in when the writers were thinking of possibly making RJ many persons.) The story is now all about how Jane settles into a new life, how he and Lisbon could never be open about their feelings as long as the RJ barrier was there, and how the show came to realize the two had to get together simply because it had to happen and that Lisbon is the key to Jane getting on with his life. Where that leaves those of us who are unhappy about McC being hopelessly unsuitable as Red John is that we are free to fill in the "truth" about RJ with our imaginations and nothing about S7 is going to interfere with our preferred plot. So I will know in my rational it-has-to-make-sense heart that RJ is still out there but no longer interested in playing games, leaving Jane free to believe he killed the real RJ this time. Case closed. I can just enjoy Jane's new exploits. I'm sure the writers will continue to borrow from the treasure trove of the literary past to build meanings into the stories that give them the creative quality so unique to TM. One thing I am hoping for but probably won't see is an ending where Jane and Lisbon have a wedding that is totally off the wall, with fireworks, a marching band, and all of Jane's carnival friends there to make it festive. And everyone shows up, including CBI Ron, Jim the CBI parking lot attendant, et al. And they get married by one of the judges Jane infuriated regularly, who asks Lisbon is she's sure she knows what she's getting into tying the knot with a wackjob like Jane. It would be such fun to watch.


Not replying to myself but posting above my original post so I can get something in before you read it ;) - I have to apologize about what I said about Kirkland - I was wrong there, and you were on the right track.
I rewatched 2.20 (or at least the larger part) last night before going to sleep, and I think I need to formulate a new hypothesis. There's a whole bunch of what in music you'd call "Leitmotifs" in the series - or what a weaver would call "Threads" - For instance, follow the car-crash motif over all the episodes - there's a whole new piece of the story.
Another one of those Leitmotifs is what I thought would start only much, much later - there's a lot of "Alice in Wonderland" allusions weaven into the series, and later, especially with the Madness season (4), the mad hatter seems to be everywhere. Including Timotheus Carter with his orange-red coloured hair (Theophilus Carter, a real person and real mad hatter was the foundation for The Mad Hatter character - orange hair being one of the symptoms of Mercury poisoning)
And it's there in 2.20 as well, too. "The Secret Tea Party", Ashley with her pink plastic cup, and the bomb (Another leitmotif - intertwining with the car crash one in 1.17 Carnelian, Inc. - follow that one and there's a progression from riddling over the ratking's demise via the 2.20 bomb and a girl hiding under the sofa, the Gupta-bomb with a girdle and a wedding-dress where once there was a pony... and so on, up to the bomb padded to hurt only what it should kill in Silver Wings of Time - doh.) - Anyhow, the catch with the tea party? "Switch places." ;-)
I have to do some more thinking on it, but as a provisional theory, let me call it this: What if there are FOUR aspects to Red John - heck, they even mirror Jane's four comic characters (that's literature for you ;))
The Cowboy/Lone Gunman - The Sheriff. McAllister. [Befriending Sheriff Hardy, controlling - caging Maya]
The Wizard/Conman - Timothy Carter, so intricately setting up a trap and with the mad hatter bit I'd say Mercury, and before the Roman god Mercury the Greeks had Hermes. - And the Egyptians had Thoth - but I digress. [traps and teacups]
The Lover/Nurturer - Haffner, considering his jealousy? Painting stuff red versus surveillance. [night vision camera, charming blind woman]
The Investigator (Scientist, Bloodhound) - Kirkland, bloodhound and madman in his own right. [scaring away the twin's lover who owned a gun with a pighead] Now, that would make a good explanation for why it was so hard to catch Red John - everytime you'd profile him and chase one of his aspects, another one cuts in ("Switch places") and eludes you, or puts up intricate traps. Like, chasing Haffner (who may have been the one to kill Bosco's team, sending a message of jealousy - Yellow Rose; and has this surveillance thing going on) - and suddenly there's Stiles, switch places - and from lover-RJ with Frye in tow there rises beast-RJ with the cryptic, twin-style "Tyger, Tyger" ruse - get stronger, get blinded by blood and revenge, overlook the most basic flaw in the hotel-room-number set-up (what if RJ has *two* or more spies on that list, that's a basic consideration anyone with at least a little healthy paranoia should consider, even if time was running out) - and get tricked into disaster by Mercury-RJ.... and so on. You'd probably have one to control them, to bind them all... The One Ring. ;) Stiles. (If Malcolm MacDowell hasn't got a previous background as a supervillain then I don't know ;-)) Have to leave to get some day-job done, but there's my newest line of thought. "Organic growth" - yer, my a-- growth with a *very* strong building plan of DNA.


Red John - yes, a difficult topic. :-)
One thing I don't doubt is that McAllister was the one who killed Jane's wife and child. Hardy was shot in an act of protection, Carter the decoy was a well-set trap, but McAllister, especially with those two questions - he was the one.
The more I look into the series in detail, the more faint trails I see leading back to him - or, to put it differently, there's stuff that makes sense in hindsight if they had McA picked for RJ from the start. I theorized that maybe for technical reasons (getting the actor back when you needed him) they might have set-up several characters to have a pool they could choose from. However, there's not much of an alternative that makes sense. From the final list of suspects the only other one that I thought plausible was Hafner - in my crackpot theory he and Stiles are still around.
Everyone else was a red herring. When my friend and I were watching the first season 6 episodes, of course we were taking guesses. The moment he said: "Everyone but McAllister is still in the race, he's just too small a character and from too long a time ago" I called the shot on McA. He was the one trying to compete with Jane, not for jealousy like Haffner, but just for fun. He was good at keeping under the radar, projected the image of a trust-worthy, somewhat country-boy but a lot less slow-witted than he let on officer of the law. He had a good mask and nevertheless all the qualities. I couldn't see him apt with a computer, I still can't see him zombifying Frye or doing whatever it was they did to mercury-poisoned Carter (maybe mini-earplug, we've seen that done a couple times, and Carter does pause a little before answering, though through what brain-washing trick he could be persuaded to take part in that charade - well, I'm coming up op season 3, maybe I'll get it this time) - but maybe too much of the glory is attributed to Red John.
I have a certain crackpot-theory. Not much evidence to go by, yet, mostly gut-instinct and a vivid fantasy. The core of which I'm quite sure makes sense, the edges give in to very weird stuff my brain produces from time to time. But that's the kind of stuff I'd just throw in to have a good laugh when right. Like - what if Jane isn't really Jane, but - no, not Hermes, although that'd be fun too - say, Sean Barlow's son. Who'd made a deal with Stiles, on the quest to immortality, interested in psychics and a family with the gift - that devilish sort of "give me your firstborn, or else!" - and Barlow hid his firstborn with his (then) good friend Alex Jane.... you get the point. Total brainstorming nonsense, but fun.
Then there's the core, which might hold some water: We know some 25 years ago Stiles was experimenting with those farms - probably not for self-sustainability, but maybe exactly for what happened: putting people (possible candidates for the creation of an "heir" - the only way to become spiritually immortal) under stress, hard labour, and drugs. This combination produces the weirdest effects in people, mostly of the disorder-branch. I remember reading once somewhere it's not unusual for serial killers to start slaughtering and mutilating animals in larger numbers first, like pigs or dogs on a farm. On Elliston (sp?) farm, this life-style produced Red John - a bit of an accident, but a useful tool, if you've got the powers to manipulate and control him. Which I reckon Stiles does have. Maybe he wasn't the only one. Which could indeed point to the - little bit of a hoax-like - message "He is mar/n--" Probably McAllister was the only one to actually call himself RJ and paint the smiley - for reasons of vanity - but even that I'd keep open to debate. I can't shake the feeling that if RJ was Stiles's red right hand, Hafner is his red left foot. And Carter maybe, just maybe, his red mad-hatter. Stiles is either the best red herring I've ever seen or the master manipulator behind the RJ-story. Which would account for some of the weirder stuff RJ seems suddenly able to do. Which would account for a lot.
If you do this sort of "satanic rituals" experiment on humans, there's bound to be failures. Most of them you might be able to spot and dispose of. Maybe one got away, maybe one was thought to be useful at first, but later turned out to be too mad to be of more use than anything - which brings me to Kirkland.
Kirkland, judging from his behaviour and quirks, 99% sure suffers from some kind of dissociative personality disorder - I'll keep an eye open and see if I can fit the DSM-criteria for schizophrenia or DID the next time I'll rewatch, but he's as Secret Window as they come. He's the kind of type who walks in and you wish to say "Please get out of my A&E and report to the nearest mental institution. Do not stop. Do not look back. Do not turn left. Start walking, now."
Featuring a character like that makes sense - we've seen all sorts of mental conditions by now, plus, he's a very good contrast to Jane - from his morals I'd call him "The Dark Jane". Speaking of whom, if your lead actor, who's already pulling off 4 characters with a good and an evil voice each on top of a very convincing performance of a greek trickster god starts fantasizing about him also taking the role of Thanatos - call the nearest therapist of your trust or get a fix on a character who's really schizophrenic. Jane isn't, although sometimes it must be pretty loud on his shoulders with 8 voices arguing - most of us just carry one angel and one devil. ;)
So, Kirkland, Dissociative Personality Disorder, split identity. He fits the profile. I think what might have happened: the (weaker) Michael, with all the abuse background, indeed met someone who befriended him. It might have been McA, or any other Visualize member - the story Kirkland tells of what happened to Michael matches pretty well what we learned about Visualize tactics of recruitment in the Red Barn. I have no idea how he jumps to the conclusion it must have been Red John - if it had been, he'd not have called himself that, he'd have given a real name or a fake name. There's never been a body found of Michael, so he doesn't even know he's been killed, much less how, even much less by whom. He's piggy-backing on Jane to search for people with a connection to Red John, but instead of asking Lennon anything about Red John, he asks "Have you seen me before" and on negation kills Lennon. Red John would remember Lennon, he wouldn't have to ask questions if he wanted to wipe his tracks. Maybe the only Kirkland left alive is Michael, having been cracked by the experiment Stiles did on him, maybe he killed Bob himself at one point and has now adapted Bob's identity looking for himself who killed himself, maybe believing it was him who became RJ and trying to avenge his own death - Mad Hatter. Twins in one body. Something like that. Anyway, he's genuinely mad - out of control, not like RJ, who's all about control.
As for Stiles... Stiles was pretty pleased with how Jane was coming along the further Jane (like Hamlet) _seemed_ to degrade into rage, violence, madness and isolation. It's interesting how in Red Moon Jane pronounces his one and only desire to be revenge, and then actually gets to shoot what he's made to believe is Red John. Someone's made an effort to fulfill his dreams - and it reeks of Stiles more than of RJ, although I couldn't really decide. Stiles helping Jane to get Lorelei to get to the real RJ - just the next step. It gets a little blurry after that, but in the end, it's Hafner who proclaims there's a come-uppance headed Jane's way - and Jane gets the information on the three-dot tattoo.
Still crack-potting here - my provisorial theory is Stiles and Hafner set the whole thing up, first creating a convenient way for them to vanish. Hafner could've killed the girl, making his prophecy on the come-uppance come true. We've seen tattoos can be painted on (Wiley's in Black Hearts), and we see Jane pointing a shotgun at three people standing *in front of him* in the Malibu house. Not even Jane is as unproficient with a gun and has that bad reflexes as to not pull the trigger would one of them reach into a pocket for a bleeding flash-bang! However, sitting *behind* him on the couch are two more characters - I say it was Hafner who flashed the bang. Banged the flash? ;) And then the three of them - if you can fake one DNA-set, you can fake many - rode off into the night. Stiles and his red left foot for good, while RJ finally did get caught and killed. Running away from that scene was the best thing Jane ever did - if he had been caught and arrested (by Abbott - this is where my deep underlying suspicion against Abbott stems from. I like him, I really do - but I wouldn't trust him as far as I can throw Manhattan, leg or no leg!), in *that* state of mind. Not good. Just not good on so many levels.
It's a crackpot, I admit. The best thing about it is, you don't have to play it out to the end. You don't have to let Stiles return - he'll still have had a fitting ending. It's a brilliant, flexible set-up - if you don't deliver for whatever reasons it just didn't happen that way.
All in all, I'm happy with McAllister - at first I was a little disappointed, I admit, but the deflating ending of his reign of terror and the BA somehow has grown on me. It doesn't always have to be about car chases, and explosions, and maniacs, and melodrama. The important thing has always been what happens to Jane, and the people around him. And on that premise, they did fulfill with grace and brilliance and style. If it turns out to be there's been more to RJ than just RJ, there's been a supervillain master-manipulator in the shadows - all the better. But it doesn't have to be. Even without it, there's still enough stuff to resolve.

@ 7Roadrunner7

A propos manipulation - as an afterthought:
I was thinking about that fateful talkshow so many in-series-years ago. Is is a coincidence or does that talk-show-host (who has a small reprise/return in series 5 as lottery-show-presenter, definitely having moved down) really manipulate Jane into calling out a challenge to Red John?
And another afterthought: about a show, which features concepts like "Actions are stronger than words" and "Show don't tell" and generally breaks a lance for observation and free thought - I would tend to take anything that is *said* about with one of those new-age-saltstone-thingees at my side. No accusation intended, but the day I read in an interview with Szentgyorgyi "Jane doesn't make mistakes" - I broke into hearty laughter. He doesn't make many, but there there, if you look. That may not have been the only instance, just saying. I love those guys, all of them, but I'm reading the interviews more as an invitation to look if what they say is true or not. ;-) Think. Speculate. Be creative. Be wrong. But just don't take all on face-value. :P


Roadrunner, you are so right on a lot of things, especially about the development of Jane's character. That is of course the main point of the series and the overall plot plays to it. However, beyond that there is the development of the Red John character, which seems to have been an afterthought of no importance. Was the whale not important to Ahab? I don't understand why TM failed to deal with this in any meaningful way. According to interviews they had no idea who RJ would be until near the end, probably S6 because in S5 they were still floundering around with teasers. Here's what we got about RJ: Heller said he would represent the death that haunts all our lives, but he would also be a person because the viewers "want to see the harpoons go in." They toyed with using a Moby Dick or a Jekyl-Hyde framework. They had Simon do the "odd voice" of RJ, leading to a popular speculation that Jane was RJ. They showed RJ as a serial killer, charismatic, philosophical, convinced that what he did was for the greater good, enamored of some "big picture" ideology, highly intelligent and cunning, having minions throughout law enforcement and in hight positions, free to move about at any time, access to money, able to give followers anything they wanted (job, money, position, love, new identities, etc.) to maintain their willingness to kill and die for him, and always one step ahead of Jane. Now who among all the characters we saw matched that profile? None. We need someone with a background that produces serial killers, such as a severely abused childhood. Stiles had the power, money and influence but he was into building his religious empire, a business, not serial killing. He had some kind of relationship with RJ but did not know who he was. Where did that come from? We learned that Stiles got his start 25 years ago, same time as RJ, and apparently murdered a man so he could take over Visualize but no evidence was ever found to convict him. So we can credibly surmise that RJ had that evidence and used it to gain access to the money and influence and protection from discovery he needed via Stiles, and also a lot of gullible Visualize people RJ could recruit as minions. If you want a Bride of Frankenstein, we were given Kristina Frye, an amoral manipulative charlatan, last seen having been cozy with RJ but left in a highly suspicious catatonic state. So why did TM serve up that ridiculous McCallister as RJ? Did they not look at their own story? They had even given us a twin brother of Bob Kirkland, severely abused as a child, able to masquerade as Bob to gain access to the resources of Homeland Security. They showed him killing Lennon for fear that he might have been recognized and to keep Lennon from leading anyone to RJ, and plaintively hoping that when his time came someone would give him a merciful death. He knew he was a monster. He was RJ. He was clearly the only one who could fit the RJ profile, yet he was ignored by the TM writers. How nice it would be if TM could use S7 to show that all those clues and phobias in S6 were set up by RJ to once again and finally fool Jane into killing just another sacrificial surrogate. Heller said Jane's arrogance would be his undoing. He should realize in S7 that evil is a part of existence just as good is and he can't eradicate it, only find a way to come to terms with it. You can't get revenge on Death. Predator vs prey is the nature of existence. Life eats life so life can go on. S7 should bring the Tyger Tyger theme full circle in some way, with a happy ending that like everything in life is great but always provisional. "Red John" will always be out there somewhere. As for that list. No one has a list, not Jane, not the FBI. There was no solid evidence to convict Jane of killing McCalister. Too many guns with too many prints on them to know who shot who and whether any one was or was not killed in self defense. Nothing was known about McCallister. No one knew he was RJ and only Jane thought so because McC said he was, just as Timothy Carter said he was. No one knew who RJ was and only very small groups (most likely only one group) of bad cops knew anyone beyond their own little group. The BA was McCallister's payoff for being a loyal-to-the-death minion. He was just a small time sheriff yearning to be important and RJ set him up with his little BA. The FBI knew they still had to find RJ so they plotted to get Jane back from the island to serve as bait, but RJ has had enough of playing games and is long gone. The FBI's list is fake to make it look like they really caught some RJ minions and they know Jane's list is also fake, but no one cares. RJ has not surfaced and Jane closes cases, so at the end of Jane's servitude they tell him that and he can leave if he wants to. So THAT is a logical story that would support the highly creative, brilliant character development Simon has done. Such artistry deserves a story line that enhances it, not degrade it.


Roadrunner, what do you think of a key element in the series that was never resolved - the Tyger Tyger poems and the whole William Blake thing generally? This seemed quite clearly to highlight a theme of good vs evil, dark vs light, and even right vs.wrong. We saw that Jane watched PBS nature shows about predator and prey. Yet nothing really came of this. Bringing in a Blake Ass'n at the end was so contrived and truly awful. To relate it to the Blake poems - even the thematic Tyger Tyger - was inexplicable, made no sense at all. They seemed to want to just rush the Red John phase to closure in the quickest way possible with no consideration for how the RJ character had been built up. And it was so unnecessary.

@ rationalgal2

Interesting question. I'll try a take on it, although I haven't taken that much time to really think on it yet - currently working my way up to series 2 finale, so that issue is bound to come up anyway. ;-) Just see it as sort of a work in progress...
The basic RJ-plot is about the basic themes hunter/hunted and revenge. The revenge part plays out in the development of Jane's character, with the central question being how the "Revenger's Tragedy" can be resolved - you know the saying "He who is looking for revenge best dig two graves", stating that nothing good comes from revenge and usually, in fulfilling that desire, the revenger dies (mentally or physically) as well. You could go on from that into a fantastic moral debate on the value of forgiveness as a virtue and if there aren't exceptions and stuff... it ties in to the moral dilemma and "Trolley problem" stuff they do in Red Brick and Ivy. Someone in the creative pond has spend a lot of thought on philosophy and ethics. ;-)
Season 1 presents a twist that's often done in stories when dealing with hunter/hunted - the hunter becoming the game, and vice versa. It's no longer PJ hunting RJ for revenge, it's RJ - who must have noticed at one point that PJ has joined the flock of people hunting him and PJ becomes special to him, giving his hunter's a personal face. Everyone else he's killed, there's been only "The Police" as reaction-force. Which is, seen from his point, probably pretty boring. He's out for a thrill, and he's found it in killing. (that's the basic premise of a serial killer) Jane however, has set something in motion - he's always been driven to do good, but he hasn't found a way to do it. He's taken on the conman-identity under pressure from his father, but he resents it at the same time. So he does something "psychics" do - using his skills to help the police, help justice being done. He's a bit naive, blind to the fact that evil is a proactive force as well, and if he acts, there may be a reaction targeting him - or rather, he overlooks the fact that true evil will target him by targeting the ones he loves, letting him stay alive to suffer. Whether he made an effort to watching that suffering, established some sort of surveillance on PJ, or if it was enough for him to know he had caused grief, difficult to say. I would assume he'd draw some satisfactory pleasure from it, so he'd follow it by some means and proxies. I wouldn't dare to venture a guess on whether this was taken into account when creating the story or not. My instincts tell me, probably yes, the creators have thought through a lot of stuff in amazing detail, so they'd probably have given that some thought, too. At this point, I can't prove they've shown us, but I keep a very open mind and eye on that matter. PJ joining the CBI to hunt him must have been a good, thrilling challenge to RJ, sparking a reaction from him, which is to turn the tables and hunt his hunter. It's a form of balance (also a theme being threaded strongly into season one, more loosely into the following seasons - balance between good and evil, and the interchangeability of hunter and hunted. It depends on whose eyes you look through.)
Now PJ's got the CBI to support him - the balance of power is disturbed. It's no good if the opposition is weaker than the protagonist, in any story. How to do that? The solution sort of presents itself: many serial killers are said to have a charismatic quality about them. One of Jane's assets is his charisma. In a pairing of opponents like that it's always good if you don't just use contrasts, but parallels as well. It adds some depth to the writing, not just black and white. So RJ gets charisma - and what does he do with it? Charming people. Rebecca is just the tip of the iceberg. In a way, you could see her as RJ's VanPelt - doing research and surveillance for him. Intriguing thought.
The tiger motif is woven into the whole of season 2 (and, incidentally, you find tigers and cats in season 1 as well, just not as many) - what I could imagine is that while playing around with the thought of good vs evil, Blake's poem came up. It may not be as well-known as Shakespeare, but trust a group of writers to have a deep literature foundation to draw from. If I had to point a finger I'd tend to point it in Heller's general direction, but that's guess-work. ;-)
Thinking about it, a lot of the poem is woven into the story. Balance between good and evil, forging a body from its parts (which goes for the whole CBI-team as well as for "Humpty-Dumpty-Lisbon" - the latter being at the center of my current studies ;)) - just *how* that poem fell into RJ's mouth I have no good explanation. It merges the "Meta-knowledge" of the creators with "character-knowledge" of RJ. Maybe they just wanted it to be spelled out, and it adds an intriguing mystery to RJ's character. It shows he's not just any madman, with charisma and people skills. He is also intelligent and well read and has a philosophical streak to him. What troubles me about it is the implication RJ would see himself as a Tiger in the sense of Tiger-lamb, evil-good. But maybe he isn't as intelligent as he thinks - maybe he's got it wrong and thinks primarily about strong and weak. Or maybe that's the philosophical bit, there's no good and evil, just weak and strong. Maybe that's the message to Jane: while Jane thinks about the world in sort-of-naive, magic pictures like Dragons and Fairies, RJ is a tough realist, not a dreamer. There's a similar scene in one of the *blushes-I've-watched-them* Jack-Ryan-movies, The Cartel I think it is - which below the stupid-action-layer deals, or tries to deal, with the same theme - they're just not as skilled. In one scene, there's a conversation between another character and Ryan. Ritter: "You're such a boy scout, you see the world in black and white" - Ryan "Not black and white, right and wrong". Later they continue, Ritter has gotten one over Ryan and calls after him "The world is gray, Ryan, gray!" It's a world in which the strong rule and the weak perish.
That's my on-the-fly-interpretation...
I think that's what I can come up with at the moment, what do you think?

@ 7Roadrunner7

Replying to myself as an after-thought. ;)
The next part would be to look at the further development of the BA and it's (final?) demise - which at first seems a little disappointing for a conclusion. There's a lot of seasons 3-5 ground to cover, and, after previous attempts when I rushed it and ended up with a rewatch no smarter than I was before, this time I'm taking it slow and actually getting somewhere - I *so* wish I had been with the series from the start, not just catching up ;) However, I'll try to venture a step into the general direction, a very blurred picture. In the end, the Blake Association seems to sort of cave in on itself, crumble and vanish like smoke - with the exception of a crypted list (that may not even be BA names - it has never been decrypted, so how would they know it contains names? My guess is, Jane probably uses the list he has without knowing what's on it to be able to work from a solid foundation - he can tell true he has found that list, and just lie about its content, that's his MO - or we'd have to consider the idea he's cracked it, whatever it may contain, but I'd say that's less likely).
"The big red dragon" ends up being as unimpressive as the man McAllister. Just a bunch of cops who've strayed and were blackmailable, drawn to a false sense of power, manipulated by RJ. RJ was the head, holding them together like puppets on a string, but they weren't as strong as they seemed. There was no glue binding them, no loyalty, no "one for all, all for one mentality" as you see going on in the CBI-team. Each one of them was kept in the dark, there's no one to fill the power vacuum RJ has left - and anyway, no one knows everyone else, everyone just knows few other members - not enough to keep the show running. (Unless RJ would have had an equally scheming, evil, manipulative Frankenstein's Bride - but they'd probably have gone at each other's throats with only one able to survive, both of them fighting over control issues. Do we see such a character somewhere? Lorelei it isn't, I think, Harper it isn't, I think... anyhow, back on topic.)
The BA worked for a time, but in the end it wasn't strong enough to stand the test. It's another image that's blown up larger-than-life. It's not just Jane and his monster-shield-archetypes. It's RJ as well, who turns out to be so ordinary it's a big disappointment, it's the BA that folds in like a balloon of hot air when the air escapes. There's a pattern. I'm thinking a bit of Lord of the Flies - the scene when I think Simon it was travels up the mountain where the kids thought there was this big bad beast - and discovers the beast to be nothing but a dead airborne soldier, long gone and rotten.
The difference being, Simon has no shield and gets killed upon his return, before he can tell the others about the truth he's found. Intriguing thought - I can't give up the thought of a Stiles-return, I don't know why, I'm so hoping on it - but that would make the image complete (maybe that's why I'm so hooked on it - my mind has drawn the parallel long before I could, and is telling me to look out for Jack, the Lord of the Flies, the true evil ;) Doh. I love our "conversations"! ;))
And, of course, it's not just the same story re-told. If Golding had put half of the themes and allegories that are in the Mentalist into his book, it would crash most book-shelves. :P Blurred image, like I said, more like a working-theory. I'll see if I can get it to hold water and back it up with concrete scenes from the screen, but so far that's my best approach. What do you think?

The Mentalist Season 6 Episode 22 Quotes

You're acting cool about stuff I know you can't be cool with.


Oh LIsbon's not leaving. She likes to talk like she might but I don't think she's going anywhere.

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