BWAAAHAHAHAHAHAHAA! siggen1... we kind of got it right.
AND with that out of the way, here we go.
Please don't repeat that awful "k-hole" line. It was a bad chunk of dialogue the first time. I mean, Gibson does his best, but.... nobody actually talks like that.
Skateboard boy for the foreshadowing win.
Blurry shot of Gideon in passing for the foreshadowing win.
"Something flowery." He sounds like Rube...
"And you didn't tell me."
Okay, Hotch's delivery on the line "What do you want to say?" just drips innuendo. He's so gloating. Hee.
Gideon is still blowing off things that should worry him.
"So what are they gonna take, the jet?" Well, they might cut you back to one jet, Gideon. Or take away the TARDIS, and then what are you gonna do?
"We both know about Reid's issues." Heh. Do ya now? Good, share a little with the peanut gallery.
"The only file they didn't request was mine." Yes, dear heart, because you are the man they want to screw, and they're looking for a way to get to you.
We all know that the Frank episodes are X-Files homage. Which means that Internal Affairs is gunning for you, man, because that's the way they did it over in the land of Paranoia.
Gideon has not bought flowers in a long time.
Nice random cleavage shot. Oi.
"Impossible." Blurry shot of Jane in passing for the foreshadowing payoff.
Gideon shrugs that off awfully easily. Are we having a lot of flashbulb memories lately, Jason?
"Button mums are something you give your mother." Ehe. Actually, the flowers one gives one's mother look to be the fakest fake-looking hydrangea in fakeland. Unless those are supposed to be lilacs. Are there fake lilacs so fake they look like hydrangea? (No, not the flowers in this scene. The flowers in that OTHER scene. Later on.)
And the birds. And the long shots of Gideon's face and the two wedding rings. Oh Mandy. He just looks gutshot.
Man, Keith Carradine is a joy to listen to. I mean, in a creepy eeeeeeee kind of way. He does the understated delivery so characteristic of the show really beautifully. (I love that the CM directorial ethos is generally bent towards underacting and a more realistic line delivery. Real people, as Robert De Niro once pointed out, don't try to emote. They try to hide their emotions. It does, however, tend to make it stand out hard when somebody who punches their line delivery comes through as a guest star--I think that's part of what made Kate Jackson look so odd in comparison to the regular cast.)
And Gideon begging is awful. He knows it's useless. He has to know she's already dead.
But he can't stop himself.
That was a pretty big detonation of a bouquet of flowers dropped three feet.
It's still winter in BAU-Land, or the pocket dimension in the center of DC in which the Quantico campus apparently resides, in the CM universe.
Aaaand the lingering establishing shot of Madame The Associate Director's office. If that's what she is. Erin Strauss, Ph.D., we will be seeing you again.
Hotch pacing like a tiger in a cage. "And they're right. We do."
Gideon's appartment looks like an extension of his office. Man is a clutter fiend. Tchochkes everywhere.
Trains for the foreshadowing. Yanno, I could have done without the heavyhanded directorial/editorial intercutting in this one (Here, and the predators in the Smithsonian. We get it, we get it. Moving on now.)
Niiiiiiiiice shot of Hotch in the background, JJ and Prentiss in 3/4ths, and Reid's back, Morgan hidden behind the three in the foreground.
"He said he was late for a date."
And Reid, licking his lips and uncomfortable, resorts to the profile in self-defense.
Poor Garcia. Date night ruined.
Oh, a greenscreen. Thank God. I feel loved now. (I have a suspicion we have been lacking greenscreen and Spencer!Cam of late because of a shortage of post-production time, since they wound up doing 24 episodes and a major reshoot this season, instead of a mere 22. But I still miss them and love them and want them back. My show used to be so stylish.)
And THAT is why you check the peephole and put the chain on.
Love, the BAU.
"What is that?" And Garcia for the WIN.
And I think my theory about Hotch's relationship with the rules gest a boost from the way he deals with Gideon-off-the-Reservation. (As does the theory that he sprung Morgan in "Profiler, Profiled.")
And Hotch tries to calm Gideon down and find the good. "He's out of his comfort zone in a big city with Feds who know what he looks like." He reassures by fact and implication. Niiice.
Mandy Patinkin is so. very. good. at his job.
Aaaaand Gideon rallies.
Go Mom! Hotch, I love you.
Frank's clothes. "We're not hiding evidence."
Well, Reid is.... ;-)
"Can I have my ten bucks now...?"
Garcia writing her own obituary is brilliant. And I love her car. You know, she gets told "DRIVE!" a lot....
Reid knows about Gideon's Murder Book. Victims, and survivors.
Spencer Reid Realizes The Awful Troof.
And the flashbulb memories again.
Hey, it's Smithsonian guy!
I already complained about the heavyhanded intercutting. Really, the establishing shots would have done it.
The return of the mockingbirds.
Oh, ye thematic mockingbirds. It's not just Reid; it's the whole team. Tricksters, magicians, liars, poker players, hackers, spin doctors, and social engineers. Those are our boys and girls.
"Is that wise?"
"No. But it is in order."
Oh, Rebecca. Wah.
"Our victims." Frank thinks everybody thinks in terms of possession, because that's how thinks. He's taken on Gideon's character, but he doesn't understand Gideon.
He thinks of Gideon's murder book as if it were a serial killer's collection of trophies. As if Gideon thinks of the people he saves as people he owns, the way Frank owns his victims. And Jane.
And the call comes a moment too late. Reid's expression there is brutal. That was his save: he had a personal relationship with her.
Hotch, don't be shaking particulate matter into the air at the crime scene, man.
Frank is taking away what's important to them. And a little after the viewer makes the connection, Morgan makes it manifest.
And Gideon explaining to Garcia how they are going to catch Frank is love.
"Back off!" Woo. Go, Emily. Ferocious in defense of the helpless.
Amy Madigan is love. Wow, she let them make her look terrible for this show. And she does a brilliant job with this character.
Flashback! Reid wearing Matthew's glasses. Woo! (I love those glasses.)
Also, is the entire Fanning clan composed of freaky child acting genii?
Jane's denial, brutal. "He wouldn't do that." But of course she knows he would. And Frank hates Gideon because Gideon knows Frank, and Frank does not know Gideon.
"Bio. psycho, social." Look, exposition! Nothing is ever simple. "Think of Frank as a living murder weapon."
I gotta wonder about the shoes in Jane's bag.
Oh, the fantasy that Frank constructed of his childhood is kind of heartbreaking. Because you know Jane believes it utterly. And then you see the reaction shots of the team, and you know they know that Frank made it all up to compensate for his squalid reality. Prentiss' lip twitch there kills me. She wants to intervene, but--
"Did he ever hurt anyone else?"
Light a cigarette, change the subject.
"You don't choose who you fall in love with."
...I think I have a new theory about Emily.
Okay, again with the heavyhanded intercuts. Stoppit. More cool fades and stylish scene changes and greenscreens. Fewer crappy film student tensioning techniques. Love, your fans.
"I read about--"
He depersonalizes that, sets it at a remove.
Actually, Frank gave them the key to him in "No Way Out." regarding children. "It does nothing for me."
Although the Hotch-turning-into-Frank as soon as the phone changes hands trick is aweeeesome. Frank has impersonated Gideon, and now he's impersonating Hotch.
Man, we back and forth from Manhattan to DC awful fast.... Frank must have a TARDIS too.
"What are you gonna do?"
...and on any other show, that line would mean that there was a vengeance shooting about to happen, and that the plot would collude to make it justifiable. And Prentiss still hasn't figured out, exactly, that she's not on those other shows.
But we didn't shoot Buford, and we're not gonna shoot Frank.
Frank, so calm, the pathology of his fearlessness. Nicely done.
"We don't split up." Reid, you are NEVER IN CHARGE OF A FIELD OPERATION AGAIN. Love, your team-mates.
And Frank states his intent to suicide.
And Gideon appears as if by magic. (Magic time.)
"A bright, but ultimately strange boy."
You know, I honestly thought Jane was going to push him. As soon as I heard the train whistle.
Man, those are some unhappy commuters.
Hah. And JJ takes the little girl and walks away.
JJ in Kevlar is giving the Hotch/Elle Body Armor Hotness Axis a run for their money.
Impassive. Hands in his pockets. Walks past her, through the doorway, into shadow. To the bier where Frank's mother lies in state, surrounded by flowers.
I wonder if Frank writes his mother every day, too, Spencer.
What do you think, man?
Purple shirt, Hotch.
Hotch, remember when you pissed all over that congresswoman? That might not have been your best choice.
Yeah, he'll take that under advisement.
And Hotch's forty-one second profile of his team. Gorgeous. As is the office game of catch.
And Gideon adding to his murder book. Poor Gideon. Damned indeed.
Does the Criminal Minds production office have some kind of product placement deal with Moleskine?
I scratch your back, Emily. You scratch mine.
And the moment of truth: Do you play the politics you hate so much and keep the job you love, or do you stand up for principle and take your chances?
And Emily... looks up and to the left.
Preparing to lie.
I love this show.
ETA: if you were going to do a teen spin off of this show, you could just title it "Jason Gideon Can't Win" and have done with it....
Thank God that's over for the summer: now I might actually get some work done.