I like Morgan backing up JJ. That's a nice touch.
"I didn't even know Katie smoked."
"Because they don't know who that is. Do they?" Jack knows the system, and a nice undermine, and nice introduction of the "family friend."
And Jack knocks back the pills.
Reid's stylish nitrile gloves are blue this episode. I wonder if it's the character who has the latex allergy, or the actor.
Hotch is looking a little less crisply dressed these days.
And Rossi has already caught on that something is up with Jack.
You know, they do a wonderful job of making Jack charismatic and attractive, strong and likeable, before they deconstruct that.
Garcia as Merlin, indeed.
And interesting--Hotch got the Spencer!Cam effect. I love the way they do the visual representations of character internalizations, and in this case the very stylish segue.
And the classic CM victim-relative reaction scene. I can't think of another show that's this unflinching about the impact of violence on the survivors.
And the CM wardrobe mistress strikes again, as Jack is wearing a white plaid shirt very much like the one Frank stole from Gideon's closet.
(Look, it's those favorite names again, Jack and Katie...)
Reid with the geographic profile. And Hotch is In Charge. Woo! Best. Fibbie. Evar.
I really like the Hotch-Prentiss teamups. From being prickly and at odds, they have become a trusting team. It's almost as if she's stepped into the place Gideon used to hold, as his confidant/e. (Hah, check out the movie titles on the marquee. Oh, dear. Oh, d-d-dear.)
"What do you think they're talking about?"
Heh. Prentiss smoked as a teenager. So not surprised. She's full of secrets.
The victimology scene is love.
Oh Noes! Victim Facebook!
And Reid and Garcia, book geeks, crack the case!
Reid, deadpan, "That sounds familiar." Eidetic Lad, you get mondo points for letting Garcia have her moment of geeksplanation. Social skills! You have some!
Also, Reid reads chick lit? *dies.* Okay, Reid reads everything that wanders past him, including airport brochures, cereal boxes, and government reports on traffic congestion. But it still kills me that he reads chick lit. Or maybe YA. Actually, that sounds like a YA plot.
Reid, you are the worst. liar. evar.
"Hi, Jack. We're on to you. Sort of."
Rossi still does not get the
Nicely choreographed scene. Good job clearing Dave and Morgan's field of fire, Reid. Not such a good job clearing Reid's field of fire, Dave. We do not cross between the FBI agent and the bad guy when somebody just shouted "GUN!"
Okay, he's widening their angle of fire. But still.
Jack looks so bored there in the background with his hands up. I love it.
And Morgan gets it way in advance of everybody else.
"Which is what?"
Lindsey, in the bathroom.
And Rossi, cynical. "Must be real important." I like Rossi when he's cynical and bitter much better than when he has anger management issues.
"Then enlighten me. Or stay out of my way." Oh, Hotch. You are the best Hotch. Ever. You can come kick ass around here any time.
"I swear! I will kill you!" Hello, mallet of foreshadowing.
JJ is sir not appearing in this episode....
The scenes of Katie on Facebook are narratively awesome. Just like the team, we meet her as a mutilated corpse, and then we get to know her as a vivacious, goofy human being, and it hurts. They're what beatriceeagle calls "Salad scenes," after the bit of business very early on in s1 ("Compulsion," IIRC) in which in the midst of chaos, Elle tosses reid a McDonald's salad and he looks at it and says "I don't want this." A cute little big-sister/kid brother moment when they shot it. Now, in the weight of everything that happened to Elle, and everything that Elle did, and likewise Reid, and the betrayal of that uncomplicated friendship... in retrospect, heartbreaking. It's why I love that this show has consequences. Because it changes: you can't step in that river twice.
And Hotch and Garcia go for the red herring.
"They all share one thing in common. It's in their eyes." And what is that thing, Dave?
"Until what they hold most precious is gone. Then they're lost. Just like the rest of us." Oh, Hotch. *pets*
Lindsey does for herself. Even when it hurts. Ow. That was a tooth breaking, wasn't it?
She's one tough broad.
Plot contrivance pills! (If it goes away when you remember to take your meds, it's probably not a character flaw, Hotch.)
"I just went straight to the source."
"Still in the comfort zone," says Reid, confident in his geographic profile.
"They're local." We have abandoned the red herring. The cop is still chasing it, though.
And Jack talks to Hotch as father to father, and Hotch gives one of his tight little nods.
"There's cigarette butts everywhere." Prentiss cracks the case!
"Something forced them to move on."
"Why not go straight to the source?" echo.
"Spread out. Search the grounds and every house."
Prentiss kickin in doors! God, Paget Brewster is the hottest thing on earth.
This sequence rocks. Nice editing and tension. Prentiss into Rossi, Rossi into Morgan, Morgan into Hotch. This is the team, operating as a team. Nice directorial choices. Hotch! Clear that closet, man!
"A teenager did this?"
"This has nothing to do with you."
"This is karma."
And Reid is nowhere to be found in the profiling scene, because he and Garcia are on the scent.
Heh. Is that photo Reid's holding up actually the class photo we see later, which he shouldn't have yet? I know we only see the back, but the light comes through it a little.
"Jinkies!" Garcia, I could not. Love. You more. You are my sunshine.
Reid and Garcia crack the case! (That character dynamic. Two geniuses in their own fields, and their comfortable, affectionate working relationship. It is to love.)
"If only we had a grappling hook!"
Gina Mantegna is a much better actor than the unsubs. 0.0
And another survivor vignette. Ow.
"Sir, he's not going to answer." Hotch, honey? JJ is better at this.
"That's not quite true though, is it?"
"No, it is true. She knows who I am and what I was."
Reid's reaction shot while Rossi is going after Jack Vaughan. The penny is dropping.
The jigsaw puzzle coming together.
"I taught her to stay away from men like me."
And Rossi and the US Marshall make a Gideon-level mistake. Ooops. Come on, guys, you know better than that.
(This scene reminds me of "Profiler, Profiled.")
And Reid sees the abandoned bottle of Narrative Convenience Shorthand Pills and knows it immediately for a statement of intent.
Look! Reid and psych meds! It's an ongoing theme.
"You got two legs. I got one question."
Come on, guys, it's the comfort zone, Figure it out. I did!
"Are you coming?"
"Shut up, ineffectual US Marshall. Genius at work!"
"Reid... be careful."
Back in the field solo, Spencer. Grab your vest.
Reid drives! Chug!
Oh no. It's the mismatched socks. The mismatched socks Bode Ill for Spencer. Orange and green...
On second watch, Reid has no shot.
At. All. Lindsey is, in fact, intentionally fouling his field of fire, and she looks over her shoulder to make sure he's got the right angle.
And he thinks he's got it. And I mean, I thought had it.
Reid wants to save everybody. Reid needs to save everybody, because he couldn't save his mother. He was raised to believe he was special. But he does have a mortal sin; and that sin is that he's human and fallible.
And Reid is, as coffeeem pointed out, trying desperately to use Gideon's tricks. In reality, it's the final betrayal of Spencer Reid by Jason Gideon. Hey kid, what I taught you? Sometimes it doesn't work.
Echoes of "LDSK," "Somebody's Watching," "Derailed," "The Fisher King," "Sex, Birth, Death," and "Revelations."
Universe to Spencer: "Choose who dies."
Spencer to Universe: "Who am I to decide?"
Universe to Spencer: "Honey, you're the man with the gun."
I wonder if he would have taken that shot, if he'd had one. I think maybe he was trying too hard to be Gideon.
"When does it end, Jack?"
Monster destroys monster, and the hero can't save either one of them. And victim becomes monster, and monster becomes victim, and the endless transformation of one thing into another continues.
...God damn. I am continunally impressed by Matthew Gray Gubler's acting. He makes Reid look at if his face is honestly about to slide off his skull.
Oh, and Morgan asks The Question. And Reid does not even try to answer with The Traditional Lie. ("You alright?" "I'm okay.")
No. Honest question, honest answer.
"I tried. I couldn't."
The institutional culture is changing. Damn. And maybe Reid is starting to accept that he's human.
Either that, or if he wasn't drinking before, he will be now. :-P
"What's gonna happen to Jack?"
"Depends. How important a witness he is."
Okay. Rossi? Dave? You just paid for everything I hate about you. You're mine now, with that sentence.
Aww. And Morgan is reassuring, for a change. God, all my babies are growing up and developing social skills.
And Hotch gets that last lingering exhange of glances. And the Shakespeare quote.
...and she changed her name to Katie. Of course.
That's a top five ep for the season. Possibly the best ep of the season so far. It's not quite "Riding the Lightning" or "Sex Birth Death." But yeah.
That's my show.