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September 2014

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Nice to know that CM has the same rosy view of publishing that all Hollywood seems to. ;-)

Also, I usually really like Virgil Williams' work, but I am dissapoint that, in what seems to me a very un-Criminal-Minds-ish element, the prostitutes in "The Apprentice" were treated as disposable, while the nice girl with a job in a pet store got rescued. And none of the women demonstrated the kind of agency I'm used to seeing in the show.

This season is not standing out for me, so far. The gore level seems to be higher, and the humaneness/agency seems to be lacking.

Alas.

Comments

I'm still trying to figure out why they bothered to add Jeanne Tripplehorn's character (that description says something in itself -- I can't even remember the character's name). She seems to be nothing more than an older, quieter Spencer without the backstory, and he's much more interesting.

Prentice was interesting from the getgo. This lady sure isn't.
I disagree categorically.

I love Alex.

She's mature, has her own life and interests, knows who she is and what she wants and isn't afraid to use her power--I am really digging seeing a mature competent woman on a TV show.

Much as I miss Prentiss, Blake is my favorite thing about the new season so far.
She also gets less smart as the season goes on... She goes from being someone who occasionally jumps ahead of Spenser to yet another person boggled by his brilliance very quickly.
This. The victims were all just objects that were moved around while we got the (predictable) Rossi story. :(
I liked the Rossi episode better. At least the victims had agency personalities and fought back.
OWAIT! You are right. I've been awake for so long, the episodes were mixed together. My complaint with that episode was Not Enough Reid, but there is never enough.
I was all like, "Yay! Rossi episode!" And it was so much less irritating than the one before.

My attitude on Rossi has definitely shifted.
I'm having your reaction to this season. I have them recorded and I'm still 2 shows behind and not as eager to get caught up. The gore level does seem to be higher and the stories feel flat with the emphasis on the 'weird pycho killer du semaine.'

Oz
Yeah, I'm missing the element of "These are all human beings." It was especially evident in the episode where the victims were prostitutes. I kept comparing it to how the sex workers were treated in "Sex Birth Death" and "Legacy," and it came up very short.
We were talking about the season overall the other day. I am very annoyed with the new formula that has Penelope IDing the unsub and his location, the team suiting up, and then breaking in to rescue the last victim every time. They used to lose them. We used to have a sense of real amazement and joy when a victim was saved.

This season, it's all superman.

Edited at 2012-11-18 02:45 pm (UTC)
Yeah. It happened, but we didn't lose the last victim all that often--but what's different is that we're led to care less about the victims we DO lose.
I've been having a similar reaction this season. There have been some good moments and some good storylines, but I just don't care as much as I did in earlier seasons.
Alas.

The baseball thing was so... not CM. So very bog standard Hollywood.
Yes. I remember watching that part and thinking, "Really? That's really where you're going?" Especially the happy Hollywood ending. CM is better than that.
To me, the happy baseball ending montage was actually super creepy thanks to the repeat visit from the new team stalker. We already know that Reid has terrible hand-eye coordination when he's thinking about what he's doing (like shooting a gun), so while it was a bit Hollywood-cheesy that he saved the day with a homerun, at least it had some backstory.
I accept your fannon. ;-)
<3
could not agree more. Jeanne is great, and I love her as an actress, but the surrounding story is missing CM magic. This makes me sad.
:-(
I found The Apprentice disappointing not just because of the prostitutes' treatment by the writers, but by the fact that Toby dying in a previous season would have felt like a really awful loss, would have been -delivered- as a really awful loss - but in this episode, it just sort of happened? And his mentor/killer felt like a non-entity character-wise, where I would have loved to see some exploration of the emotion and connection there. I mean, if you're going to beat us over the head with a frankly tinny Morgan/Reid parallel, at least give us some meat to dig into on the dark side of the mirror.
Yes.

I kept wanting it to be "Sex Birth Death." And it wasn't.
I actually have had to give it up- I still love the characters but the gore level and lack of agency finally went over my limit. :/
Alas.

I still get the sense that somebody at the network can't figure out why *this show* did well with women when other procedurals don't, and keeps trying to push it over to the male market they are comfortable with... and they may be succeeding.
Sadly, yes.
And OH MY BOB "Wheels on the Bus" is **not** a CM episode. Not.

Plus the 'Garcia hands you the unsubs, and then hands you the crime scene' thing is happening WAY too often. Even on top of the show glamourizing the HECK out of the unsubs and providing not really any logical psychological scenario involved other than someone in the writer's room hypothetically saying, "Hey, it'd be cool if we ...."
It's like they sort of wanted it to be related to Legacy, but just... dove off the deep end. This was a perfect storm of CM's recurring and still surprising technophobia, the formerly occasional victims-without-sympathy-or-agency, and the season's penchant for fantasyland unsubs who apparently need NEW and MORE HORRIFYING flair rather than pathos and differentials that have a passing acquaintanceship with reality.

This is hurting in the same way Season Six hurt, in that it's episode after episode of writing that seems to miss this point of CM entirely.
It's Saw by way of MMORPG paranoia. And they consistently cut character beats (and psychological setup that, like, could MOTIVATE the crime) to spend more time lovingly lingering on the violent parts.