it's a great life, if you don't weaken (matociquala) wrote,
it's a great life, if you don't weaken
matociquala

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"This is not a memory you want."

I am very, very happy with that ep. Spoilers behind cut, as you probably guessed by now.



Dreamcatcher in the establishing shot.
Morgan! Backwards baseball cap!
Mom: "Morgan! Don't do it!" You notice how much of his life Hotch devotes to trying to keep Morgan and/or Reid from getting themselves killed? It's a dirty, dirty job.
Okay, he tackled a building. That beats a van. Also, that looked like a painful landing.
Having done a tiny little bit of rock climbing now, by the way, I can tell you that what Brian UNSUB Matloff is trying to do there--mantle on the edge of the building--would come out, yes, just about that well in real life.

Nice classic CM fade from the fall to the waterfall. Drink!
Balloons are never a good sign on this show.

Shemar Moore can act. Heaving chest, facial expression, the whole nine yards. Silent complexity of emotion, and very well handled. You tried, man. You tried.
We're only human.

Hah! Prentiss is my age.
And of course she was a Goth. Well, proto-Goth, back then. That's too perfect for words.
"The Eighties left a lot of people confused." *garcialoff*
...And of course it's thematic to the entire episode. "Perhaps your lack of recognition stems from a dissociative fugue suffered in adolescence. Perhaps at a... Siouxsie and the Banshees concert?"
Are we the people we used to be? Is there even a chain of connection?
I bet her mother *loved* that makeup.
"It's weird. Like some other life."

And Hotch arrives to break up the party. "He just woke up." Nice delivery on that line, man. Understated and full of implications.

Again with an aggressive DA. Two for two! She's happy to see Hotch.
"The indictment may be intact but the case might not be."
Hotch, former prosecutor.

CM lap cam!
"We must die to one life before we can enter another."

Rossi steps up. Go, Dave.
And Hotch is about the victims.
Spiffy fade

2004, and Hotch is still introducing Reid as the Littlest Agent? Either it's to buy him a little breathing room, or they've realized that Reid packed a lot into his short life, and retconned him to a new agent at 23. Or we forgot how old he is and when he joined the bureau. ;-)

"...so when it comes to being affected by crime scenes and othe graphic visual input, we are all really the same age." The return of the uncomfortable Rein Monotone Lecture! Man, I like the New Improved Spencer Reid, but I have to admit, I sometimes sort of miss Unsocialized Boy. (I am very glad they have let the character develop, though.)

And Morgan in a soot. With hair! Morgan, in a suit, is a thing of hotness. He still has his collar unbuttoned, though.... the look he's giving Reid is pricess.

And heh. Awkard baby Spencer Reid is still the guy who rushes in where angels fear to tread. That's nice, and the look Hotch gives him is even nicer. He's reassessing. That bit reminds me of the very early spark of The Unbreakable Spencer Reid we got in The Fox, where he plays possum until the suspect commits to a line of attack, and then turns around and eviscerates him.

"This isn't a memory that you want." Thematic statement. Oh, the irony in that line.

Trophies!
Oh, look, a competency hearing!

"I wanna do it."
...Reid suddenly believes in the amnesia.
We're getting the Angelic Reid lighting. Always a bad sign when they break out the Perceval imagery.

And Reid doing his best law enforcement be-reassuring-without-giving-too-much-away routine.
"You look different. Hair."
"It's been four years."
The way this plays off the ongoing Reid/eidetic memory plotline is really nice.

"I know." Reid's tiny unhappy voice. The "She's a patient there" voice. Poor unhappy Reid.

"We split up."
It happens.
Man, Reid's face looks like it might crack and fall off. What a wonderfully stiff and awful conversation.

Dad bonded with Reid in crisis. Reid is an authority figure for him. (Weird, isn't it, Spencer?) And Reid can't help him. That's awful.


Hotch: "No, I don't."
Echoes of the interview in Damaged, huh? Hotch has no doubts. Except when he does.
Also, Thomas Gibson is gonna be a hatchet-faced wonderful old man


Dave's being a dick again. But that's his defense mechanism. "What he remembers doesn't matter."
Spencer Reid in defense of the mentally ill. Drink!
And Emily backs him up. The nerds are not convinced by black and white answers, even if Morgan and Rossi are.
This argument is really nice, and shows a lot about the characters and how they intersect and vector. Dan & Jay FTW. Good work, guys.
And Reid, the guy with the eidetic memory, is fascinated by causal dependence. And shrugs off Rossi when Rossi interrupts him and keeps right on with what he was saying. So much for that case of hero worship.
Reid and Prentiss talking with their hands.
Emily and Reid are about protecting society, and Morgan is about punitive measures. That's nice. "Somebody pays."
Emily, with the eyeroll, for the win.
"71 in all. No takers." Oy, Jaje, that's why we haven't seen you two all damned episode.


"Anybody who would visit a coma patient"
"--a triple murderer coma patient--"
<3<3<3<3<3
My show. I loves it.

"Truth could be she's just a fan. Every serial killer's got 'em." Dave wins. Dave also has a kind of snappy shirt, gray with lavender stripe. (I notice Reid was in one of his blue and white microprints earlier in the ep.)

UNSUB Shot! Drink! Flashbulb memories! Drink! This ep is stylish enough to make up for some of the less flashy ones lately.

I like this female corrections officer.
"Do I like popcorn?"
Honey? Everybody likes popcorn.

Emily and JJ, doing the footwork.
"The pseudo-science called profiling." Heh. And here is the scene where we mock Malcolm Gladwell. Which, really, entertains the hell out of me. I bet Jim Clemente had something to do with the writing of this scene.

They're almost succeeding in making MGG's hair look shorter than it is. The spray on Shemar's skull is kind of obvious, though.
Flashbacks have washed-out contrast! It's true everywhere in TV land!
Hotch, Morgan, and Reid crack the case!

"Gomez, I think." Reid is not an auditory eidetic. You know, every time they get that right, it makes me happy.
And the theme of identity comes back again.
Garcia. I love you. And she's just about to turn around and bite his head off... and hello. Hawt. Maybe I won't.

Garcia cracks the case!
"Of course it went well. I taught him everything he knows about giving testimony." Oh, Dave. Oh. You know, I would start looking for the bucket, but that was such a pathetic bout of ego-propping--to REID, no less--I have to laugh at you instead.

I love Emily's new hair. *Is fandom minority* it makes her eyes look giant.

She'd read to him.
Probably not Chaucer. Or Proust.
Oh, Spencer. :-(

Yeah, the parent-child dynamic this season is a very cool and many-splendored thing.

Emily and JJ crack the case! "One nurse thought Hispanic...."
And Dave cracks the case!

"I know what a closed adoption means. Do you know what a court order means?"
JJ and Garcia, BFF. *g*
"Check you out, no tan lines."

"You couldn't tell me what color socks I wear with any more accuracy than a carnival psychic."
"Charcoal grey."
Reid's grin is a thing of beauty.
Hotchalanche! And the judge is made of tired and cynical love.

Reid's silver shirt is really awfully nice. He must have gotten a pay grade bump.
"I'm not worried. I have a better understanding."
"I should have saved her. Somehow. I dunno."
No, you don't. But Reid does.
Surrendering control. Step 1. *g* "We admit we are powerless over our addiction—that our lives had become unmanageable."
"I think that's wise."
And Reid gets it.

Revolver, always a bad sign on this show.

JJ and Rossi teamup!
It's all about the victim. <3
The actress sounds like Hopi women I have known.
"You rejected him."
"It's my fault."

"She's just lucky." Oh, Jaje. You did NOT just say that.

Trophies!

Greenscreen zombies!
Popcorn!

"It won't help."
"If she knew what you were about to do (and, depending on your belief system, maybe she does) do you think she would want this?"
I love Spencer Reid because he will do anything, inclusing risking his own life, to protect people, because he believes in second chances, and because he talks in semicolons and parentheticals.

"If you're so good at predicting things, why couldn't you stop him before he took my Darcy?"
Mr. Corbett, because I'm human. Because there are things in this world that I can't control, either. Like whether or not a fragmented personality is going to murder somebody in front of me while I am helpless to stop him. ("And if he kills somebody?" "You catch him.")
You do what you can, man. You do what you can.

Reaction shots in the scene where Nina makes her confession are so lovely. "A person can't live two lives."
And everybody is crying.

And Hotch spots the legal pad.
With the dreamcatcher doodle.

"Are you okay?"
"Lot on my mind."

"Don't you think you'd have to choose?" (Choose who dies.)

"Don't you want to know who you are putting away?"

"He has my gun." Cop's worst nightmare.
Don't tell her she got lucky. Man.
She didn't reject him, and she lived.

"It all depends on who he is."

Reid intercedes for Hotch. Again. The dorky kid is a peer now, a fellow professional, and a team-mate who can put a hand on the boss and stop him when he's on a tear.
Also, Spencer needs more corduroy/velvet jackets. Because EVERYBODY needs more velvet jackets.

Prentiss in red!
"He'll either run or go on a spree."

"Did we do this?"
"This guy is who he is, and it's got nothing to do with us."

Thematic argument for the season. Prentiss assumes responsibility, Rossi abrogates it. Look, consistency of characterization! It's almost like this isn't TV.

Nitrile gloves, drink!
Reid tossing the cell with efficiency and smarts. And Reid, speed-reading. Psycholinguist to the rescue!

Nice intercut with the flashback and the present-day jogger.
Reid donning his symbolic FBI vest as he charges to the scene. Putting the armor on.
"He's looking for something."
"What?"
"Himself."
Hotch is back.

"I don't want to be the only gun in there if he does."
Hee. Oh, another scene echo. Reid, Morgan, and now Hotch--all playing the same scene, all in a row, all playing it differently. I love my show.

"Who is she?"

"You remember."
"It's still not real. It's like the memories belong to someone else."

"The court may show you mercy, but you have to earn it. If you believe you're a different person, then prove it."
Second chances. Always.
Susan is so trying to pick up Hotch. *g* And Hotch is so not buying what she's selling.
And Reid with the eyebrows.

Reid tells Hotch about the gun, and then does a little thematic riff on the way Criminal Minds underlines the Hollywood myth of the epiphantic healing. "People's emotional lives aren't, aren't linear like that."
Reid is talking about Reid, and Hotch, and they both know it.

"You didn't have to come here."
Yes I did. And Hotch drove, because he knows I had to come.
of course Reid noticed the inscription. He probably can't look at a bottle of shampoo without memorizing it. Maybe that's why he's stopped washing his hair. (Okay, actually, it was under control this episode. He apparently still owns a brush, and will use it for court dates.)

...Poetry from a parent or grandparent. Another parallel.
That's all he's got. Corbett, and Reid.
And Reid totally was familiar with that poem. Liar, liar. Pants on fire.

I love that the episode that resolves Reid's struggle for closure on his trauma is all about how there is no closure on trauma. God, I love my show. We are powerless against the universe. It's not about being weak. It's about being human.
And how that's not a sin.





[22:41] beatriceeagle: Sometimes -- I'm looking at you, Mr. Corbit -- it's a sin to try to take the power back.
[22:41] matociquala: Yeah
[22:41] beatriceeagle: Because you're not God.
[22:42] matociquala: Nor are you an angel.
[22:42] beatriceeagle: No matter how the universe lights you.
[22:42] beatriceeagle: *g*
[22:42] matociquala: Being human is not only not a sin.
[22:42] matociquala: It's the goal.
[22:42] beatriceeagle: It's, you know. What you're supposed to be.
[22:43] matociquala: Because the alternative is Raphael.
[22:43] matociquala: Yeah
[22:43] matociquala: Yeah
[22:43] beatriceeagle: He really has changed.
[22:44] matociquala: The world doesn't demand you to be perfect.
[22:44] beatriceeagle: Which is, of course, the episode's point.
[22:44] matociquala: Yes
[22:44] beatriceeagle: The world expects you to be imperfect.
[22:44] matociquala: It just demands that youlook.
[22:44] beatriceeagle: And he does.
[22:44] matociquala: Yeah. That.
[22:44] beatriceeagle: Actually, he does more than look.
[22:45] beatriceeagle: He acts. He doesn't know how not to.
[22:45] matociquala: Yes
[22:45] matociquala: But that's it.
[22:45] matociquala: You can't save anyone.
[22:45] matociquala: Sometimes, you can't even save yourself.
[22:45] matociquala: Sometimes the victim was killed four years ago.
[22:46] matociquala: But that does not absolve you from trying.
[22:46] matociquala: And from bearing witness if you fail.
[22:46] beatriceeagle: Maybe you can save the survivor.
[22:46] matociquala: You are powerless in the face of so many things.
[22:46] matociquala: You do what you can.
[22:47] beatriceeagle: (Ha! I just got why Em's goth picture was there.)
[22:47] matociquala: oh?
[22:47] beatriceeagle: People change.
[22:47] beatriceeagle: *g*
[22:47] matociquala: hee
[22:47] matociquala: She's still a goth princess at heart. *g*
[22:47] matociquala: nerd
[22:48] beatriceeagle: Emily the strange and great.
[22:48] matociquala: Amen
[22:49] beatriceeagle: But...that was the idea, anyway. People change; are they still the same person?
[22:49] matociquala: Yes
[22:49] matociquala: Thus the past and present
[22:49] matociquala: team then and team now
[22:49] beatriceeagle: Trust our show to make flashbacks thematic.
[22:49] matociquala: Because they have changed so much
[22:49] beatriceeagle: God, yes.
[22:50] beatriceeagle: They're the same people. And they're not.
[22:50] matociquala: And you have to face the consequences of what you did when you were someone else
[22:50] beatriceeagle: You can't burn the yearbook photos.
[22:51] matociquala: No.
[22:51] beatriceeagle: Someone'll track them down on the Internet. *g*
[22:51] matociquala: You can't not have been raised by a madwoman who gave you nothing to grow on except poetry.
[22:51] matociquala: You can't take back the murder.
[22:51] beatriceeagle: You can't not have been abused.
[22:52] matociquala: You can't not have been abandoned.
[22:52] beatriceeagle: Personality is cumulative.
[22:52] matociquala: You have to live with what you are.
[22:52] matociquala: And what you have done.
[22:52] beatriceeagle: Because my show believes in accountablity, dammit.
[22:52] matociquala: Your mistakes, your addictions, your triumphs, your crimes.
[22:53] matociquala: "This is not a memory you want."
[22:53] beatriceeagle: You might regret them, but they're still yours.
[22:53] beatriceeagle: It's a memory you'll have, regardless.
[22:53] matociquala: Yeah.
[22:54] beatriceeagle: You can't escape. You can't forget.
[22:54] beatriceeagle: (All of Reid's refrains have turned into images of forgetting.)
[22:54] matociquala: And what a nice reminder in there that Reid has always been more than he seemed.
[22:54] matociquala: It's all set by fifteen
[22:54] matociquala: and "I've got it."
[22:54] matociquala: That's the guy who went up against Eric in the Fox, even
[22:55] beatriceeagle: Yes.

Tags: geeks with guns
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