hey rationalgal. long time.i think it would have been interesting if lisbon had put her cards on the table early on. before pike. any smart person would have. the old lisbon would have. something like "i want you to know that i'm interested in you as a man. i don't know if you're ready for that, but when and if you find you are, seek me out. and while i'm available, i will continue to remind you of my interest." that would have been a powerful move.
i agree with just about everything you say in every post. i will watch tm until the bitter end but i think they have dismantled patrick. sad.
as soon as i read the phrase, "dose of his own medicine," i know it is describing infantile impulses. lisbon behaved badly. she really crashed in my estimation.
yes. he's awful. he's got to be somebody's cousin at cbs. charm-free and a total cliche. gets more airtime than jane.
leverage, exactly. the series has lost its identity. the core of tm was red john. they should have spent this year resolving red john in the right way rather than in the slapdash fashion they did and then ended season six with his death. then they could ride off into the sunset with their heads held high instead of having been cowed by the fans and the networks into gutting the show.
sigh. another clunky episode in a dwindling number of opportunities. huge plot holes not masked with entertainment. endless time spent on everyone but jane. i didn't care about rigsby when he was a regular and sort of comic relief. now he's a bland gallant young two time breeder and i'm supposed to want to watch him because of his accomplishments in that area. and the video of his son was so coarsely manipulative. why didn't they give the kid a cane and call him tiny tim? the crime was dumb. tm has never been known for interesting crimes of the week but this was lame. why hailbach? because like la roche and ardiles, he was an actor who had been in the show who was available for shooting. the big cbi killer arc consists of the fbi generating a list and the culprit being one of them? no twist, no surprise? grace cayoodling "anyone there?" jane making that lame threat to hailbach, abbott being told that jane's doing it to be manipulative; to solve the crime. then, this changes nothing about abbott's behavior? the characters learn nothing about each other. same thing with lisbon asking kim about having a woman to woman talk with the lawyer. kim tells her nothing about the talk she's just had. at this point, we know nothing about two people, kim and abbott, who take up a good deal of screen time. then the convo in the bar about jane and lisbon getting together. the dialog is as heavy-handed and artistry-free as possible. what could have been a nice moment laid there like a lox. just mentioning the thought of them being together is not scriptwriting. it's amateur hour. throughout the script the writer made it seem like there was a checklist of things that had to be done. jane has to smile, jane has to speak his passion for his co-workers, a possible jane/lisbon merger has to be alluded to, jane and lisbon have to banter at the end. where was the great eoghan mahoney and what have they done with him? also, at the horrible moment when patrick is about to lose a finger, the writer gives him nothing to say? simon should have yelled "LINE?" this is my favorite show ever and i now brace myself for embarrassment when it comes on. very sad. i have hopes for next week. in the promo, jane asks lisbon to be less joan crawford and more barbara stanwyck. let's hope the writer can pull that off. stanwyck always had the wittiest lines. don't see anybody currently penning tm being able to pull that off. except maybe bruno and he doesn't care anymore.
christine, i can't imagine you're pleased about this episode. they give us jane with no raison d'être (no red john, no lisbon) tracking frackers - cut cut off from the cbi murderer (btw, will the killer just wind up being the angriest guy from the list? that's lame), wearing a suit and shirt that make him look like an actor out to dinner who strolled onto the set. rigsby in danger, van pelt in danger, all are done with amateur hour staging and scripting. this is what passes for professional tv writing on tm? vp and rigs, the two of them, formerly comic relief, get to play the dramatic leads because the dramatic leads (lisbon and jane) are off having no real dramatic interaction with anyone. are they trying to make this as bad as possible so we won't miss it when it's gone? has bruno checked out early? terrible what's become of one of the best shows ever. all because of fan focus groups and network creative meetings. when vox populi is heard, hamlet lives at the end of the play.
the mentalist is my favorite show ever. but since the slapdash resolution of one of the greatest villain stories on tv, this episode was a new low. after a nine week hiatus, here's what they did. they attempted to endear jane to fischer and abbott in a cynical hallmark card way. why didn't the lazy writers just have him give everyone a kitty? i hate the idea of jane being so needy, he has to get a valentine for everyone in the office. then in case you didn't get the point, they had fischer and abbott have a flatfooted conversation about "how far shall we let this man lead us astray?" answer, he shall give us cute toys and find a home deep within our hearts. they established a new and zany vehicle far removed from the sophisticated collector's item he used to drive. they showed jane in wardrobe that took him even further from his original magician/school boy/gentleman outfit and made him look like an over the hill actor out for dinner in denver. they saddled poor lisbon with all the exposition lines that the writer was too lazy to hide in the story (which should be tv writing 101). they had her pursue the ardiles case by sighing at file boxes. they killed jj in hopes it would be dramatic when it just left you wondering who was left that they could kill next. ron? marie, the bear claw lady? in this new mystery, just when you most expect it, the killer strikes. poor jj. an ignominious end to a great character. and his dialogue was infantile. now we're left betting on who they kill or kidnap next, rigsby or van pelt? without a tragic quest, jane is at loose ends. he was hamlet, now he's the wizard of oz.what has the show come to when we're voting about whether jane had the smarts to pick just the right toadying gifts for abbott and fischer?
i enjoyed the episode. BUT, in days gone by, whenever this enchanting impossible character made me smile, behind the smile was a destroyed, driven man on a suicide mission. i miss the emotional traction red john provided. it made patrick's surface sunniness so poignant and brave. now, it's hamlet avenged his father and goes on the clean up the mean streets of denmark. who cares about a crime-free denmark? now that jane, over the course of two episodes, has intrigued his way out of the new life or death situation, life in prison or life in the FBI, he's free as a bird holding Abbot by the short and curlies. i'll never not watch the mentalist. i love patrick too much but i feel that they've tugged on the piece of yarn that unravels the sweater. they should have done a better job with red john and kept him going till the bitter end. but since i know i've been outvoted, that they have to serve the public who wanted to move on, i hope they'll come up with something new to give patrick the pathos that made him patrick.
counting jews is a practice most people are uncomfortable with at this stage of human development. one might equally say that they come up with as gentile-sounding names as possible.
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