"A Fisher King wound cannot be healed by somebody else. It's not a wound to the body. it's a wound to the memory. A wound to the mind, it's... a wound that only you can find, and a wound that only you can heal.
"There's only one question that matters. There's only one really important question: can you forgive yourself?"
Somebody needs to listen to himself.
And remember to tell his team about the BOMB. Before Morgan has to put his ass out again.
Actually, in terms of The Meta, I'm really interested right now in how what's going on with Gideon is going to pan out. I think they're setting up something big here, and it looks like (per the Futon Critic) that we get 24 eps this season (so I guess El Presidente pre-empting the show worked out in the fans' favor, anyway.)
I don't think they can stretch the Reid breakdown plotline over seven more episodes. So I suspect that they are giving us that as a red herring to keep us distracted while they go after something else with one of the other characters. Much as they distracted us with Hotch's marriage while setting up Elle's breakdown.
I'm really interested with how time passes in this show. It passes faster than in the real world--that much is plain. (Jack Hotchner is older than a year, I'm pretty sure) and like so many things, they don't bother to explain it. So you can assume, and go with the surface narrative... or you can pick up on the fact that there are weeks and months of these people's lives we just don't see.
Right, I was on Gideon. I'm interested by the way that they layered the discussion of PTSD in 2x17. Specifically, the people who are explaining PTSD to others are Reid, Gideon, and Prentiss.
And like Reid, above, it's my speculation that they are all talking about themselves. Reid is obvious: his wounds are fresh. Gideon's are older. They date from before the beginning, although they do get reinforced now and again. (as in this episode.) And I think we're being nudges in the direction of understanding that something terrible happened to Prentiss: something at least as terrible as the weights any of the rest of them are carrying.
(I want Garcia backstory. She is A Woman Of Mystery.)
I was very pleased that this week's coda was Hotch going to deal with Gideon, and was not Mom And Dad Talking About What We're Going To Do About Reid. The fandom gets very fixated on Reid, especially since he's oh poor puppy right now, but Gideon's in trouble too. He's making mistakes, and he is not good at making mistakes. I think we've got a magic trick going on here, where we're all watching Reid, and while I don't doubt he'll be provoked to crisis, it's going to be Gideon who gets himself into some real trouble.
And I mean, everybody is taking damage, and the narrative is showing us the damage. Hotch and Gideon have been questioning the job since 2x4 (Psychodrama) and we got it again last night; Garcia feels that she's betrayed Morgan, and Morgan has been intermittently prickly with her--and Morgan is humping his own damage right now, because all of his scabs got pulled. And Hotch...
Hotch is questioning everything. He can't even manage to work up a convincing lie for Gideon anymore. The job is a stress on his ethics, his marriage, and he's become a lousy father and he knows it. He blames himself about Elle, and he thinks he may have created a culture that is destroying his team.
So I dunno, maybe I'm wrong about Gideon (wrong is what I do best) and it's Hotch who is going over the barrel. But something about the narrative emphasis on Gideon with regard to the PTSD and the way it echoes the narrative insistence regarding Reid makes me think that that's the parallel that's going to turn around and bite us. Especially since we keep seeing these people with really profound post traumatic stress who have cracked in really ugly and pathetic ways.
And then there's the thing Frank said to Gideon, about being a hunter. And the thing Charles said to Tobias, about having to be right with yourself when you kill.
And the way Gideon says, "a child." when he's identifying what caused this past week's killer/victim to snap.
And all the talk about disassociation. And Prentiss. Who disassociates like breathing.
And there's the way they handle that narrative thread--the killers are the victims are the defenders are the man on the street trying to get through his day.
Not by turns.
All at once.
There's a narrative wave cresting there. And I think it's piling up behind Gideon.
Of course, I could be wrong. *g*
we all had our ski masks.
and sawed off shot guns.
but how do you plan for a bank full of nuns?