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bear by san

March 2017



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criminal minds hotch trauma hair

it's why i love you.

Being a review of Criminal Minds 06x14, "Sense Memory," written by Randy Huggins, directed by Rob Spera.

A pretty solid monster of the week episode, I thought, if not one of the chart toppers. They managed to personify the Final Girl pretty well, even if she wasn't exactly capable of protagging very much. I would have liked more of the old-style CM focus on the impact of these crimes.

Don't tell her she got lucky. Even if you are her.

Loved the two bits early on with Reid realizing he's answering rhetorical points as if they were factual arguments. Gabba gabba we accept you. One of us, one of us.

Love Penelope's Eiffel tower earrings and yellow stockings. Reid's trauma hair is out of control. And it's Morgan's turn to placate the press. Bet they draw straws, and rig it so Rossi does not end up drawing the short one.

Garcia's dialogue was trying a bit hard. I'm glad I don't have to make her sparkle every week. Writing Danny Brady is hard enough.

I liked the profile-over-the-bikers bit. I still miss my elegant scene fades. There were one or two in this episode that came close--the UNSUB's internal detergent commercial fading into the Gulfstream crossing clouds being the one that stuck in my head.

Also, I guess we had some budget to blow on the car chase, and pointless poetic justice. (I'm pretty sure there's an awful Taxi Driver/Jodi Foster joke I could make here. Just imagine I did. And the Laura Palmer Inaction Figure joke too--though at least Palmer got some (posthumous) character development) Poetic justice is never the right answer, scriptwriters.

Reid got to go into the field (drink).

Marvel Comics called: they want their tacky nudity-screening-scenery trick back.

Prentiss's random affectionate statements to co-workers should be a sign to profilers everywhere that she's contemplating something dumb.

The Prentiss bookends (also related to the title) were a lot more interesting to me. Nice ironic touch with the perfume bottles as villain detector: sort of nice to meet her cat. (Now we need Reid's apartment, and a chance to meet Clooney.) I liked her competence.

It's raining around the full moon.

I was wondering why she didn't call the bomb squad, but I guess from the moment you touch a box with one freesia in it, you know it's not going to generate much of an explosion.

Reid would never have a refrigerator that nice. A relief to discover it wasn't his. Also interesting that this is an episode in which Reid keeps making the links that crack the case, but which develops Emily's backstory.

Guess maybe she didn't come off a desk job after all. That would explain that ability to compartmentalize and the multiple languages (With French, I think she's up to five. That's a pretty good spread, although I know a couple of people who speak more.) Aw, Hotch, you never really bought the cover story, did you?

Also, French, Italian, and English. Interesting. Why does Ian Doyle have a Russian accent, presuming that is him? (It explains what he was doing hitchiking murderously across the tundra last episode, at least.) 

If 06x18 does turn out to be Paget's last episode, I dunno exactly how invested I am going to be in keeping up with the show past that.


wondergeek powers: activate!

Yeah. It was nice to see Prentiss and Reid beeing unapologetic geeks again It's been too long.

Sergio can be Gleek.

(In my head, he's named after Sergio Aragones.)
I loved that she didn't leave him there, but jeebus, traveling with an armful of squirmy cat does not strike me as a sensible self-defense choice. And I don't buy that Prentiss is so stupid as not to own a cat carrier. I'm hoping that she's taken him across the hall to the neighbor's (in order to avoid a cat sitter visiting her apartment and ending up a Doyle victim).
The cat carrier is in the car.

Anybody else notice that apparently Reid bikes to work now? *g* "I didn't see her car when I rode in this morning."
Emily *NEVER* lies, if she can help it. And when she has to, she is bad at it. She despises lies and liars, and she's called Hotch on it once or twice.

JJ lies recreationally. Emily, never. That felt spot-on to me.
Monstrous monster was monstrous, and in a sense knowing that we'll never get all his backstory give closure of a different sort.

Is it actually possible to have a police chase in LA without news helicopters buzzing around?

Poor Morgan didn't get to tackle anybody this ep, although maybe the crane the UNSUB rammed at the end was intended to be the substitute. (A derrick, perhaps?)

Love the Emily backstory. And the sequence where she clears her apartment felt a lot like the scene where Chaz clears his apartment in "Going Over Home". lots of differences, naturally; but quite a few similarities.
The Derek, indeed, ended the chase. *g*

I kind of loved Emily clearing her apartment. Likewise, Hotch clearing his house....

The little black-and-white photo she pulls out at about 3:46 says his citizenship is Irish, but that Irish accent is um, as you say, several thousand miles west of Ireland.
Er, east! East of Ireland!
It's even more thousand miles West. *g* (I knew what you meant.)

Born of Irish parents in Russia? ;-)

Re: Prentiss spoiler possible

Yeah, that's episode 1x18. I guess this means velvet-voiced Scottish guy is toast. :-(
there's not even any Hotchness to appreciate

Well, he did get to pick up the recorder as it talked about "you're just an animal pretending to be human".

But yeah. Emily's apartment-cum-fortress and the revelation that her go-bag wasn't developed with the BAU in mind was far more interesting than perfume-guy or yet-another-set-of-white-victims.

(And a black cat in an apartment with a white bed cover? Oh my.)
Actually, I thought the characters were pretty much themselves, this time around--Garcia felt a bit off, but Rossi's eyerollish heelspin there at the end was great, and Reid and Prentiss were spot on. And I liked Hotch during the car chase.

Where I think it's been falling down lately is the thematic argument between good and evil. But you know, a lot of good writers left the show in the previous round of budget cuts, and Chris Mundy is over on the spinoff now, so it seems like they're running a lot of spec scripts.
I don't want to watch without Emily. Emily is my me character on the show. :(
Well, nice to know they read quality lit in the writers room.

It's Jean-Baptiste Grenouille, 21st century edition!

I pretty much started laughing and could. not. stop.
This. It distracted me throughout the episode.
They did a better job deconstructing The Crow. Twice. And Saw.
I started thinking that when they did the cheesy clothesline cgi and talking about solvents. I turned and said it to my housemates at the first break.


And I am by far not the hardest housemate to surprise.

I'd like a break from the pastiche eps, now.

I almost never comment on your wonderful reviews, but I do read them almost religiously. I hope sharing my opinion isn't unwelcome or imposing.

This episode felt really dissatisfactory and lacking to me. I was really pleased with the Prentiss bookends, but didn't really engage with the main plot. Maybe it's because they did the killer taxi plot (though with different monster/motive) on CSI: New York two seasons ago. I don't know.

It used to be that I couldn't watch a CM episode without crying (why yes, I am a big weenie), either because the acting of the vic was so poignant or because the villain wasn't really a "monster" (as in the episode with the living "dolls"). The last two episodes, though... I was telling my husband they feel like CSI Lite: I'm intrigued more by what's going on with the main cast than caring about the vic or the unsub. In my opinion, this is a bad thing. Criminal Minds should make me care about both.
Yes. It was like The Performer all over again.
They've been doing that lately with Reid, writing him as a "TV genius".
The Prentiss bookends (also related to the title) were a lot more interesting to me. Nice ironic touch with the perfume bottles as villain detector: sort of nice to meet her cat. (Now we need Reid's apartment, and a chance to meet Clooney.) I liked her competence.

And I find it interesting that it's Prentiss who gets the moment of commonality with the alienated savant bad guy--a role that falls most often to Reid.
My favorite moment was the wordless communication between Morgan and Prentiss when they figured out the smell angle. The scripts may fall short, but the acting, never. The cast is excellent and I was glad that Clarice lite wasn't here at all this week.
A bit late to the party, me but I've been having trouble with the Freesia flashback. Y'see, all that bollocks with Ian speaking into the phone about it while the Men With Guns And Dark Glasses threaten him? She'd already been stuffed into the car at that point.

So at the very least they've broken POV on us there, and quite sloppily, at that. This is not the kind of writing mistake I've grown to expect from my show. Sadly, though, it's becoming the kind of writing mistake that's marked this season up one side and down the other.

Honestly, whether Paget Brewster stays or not, I'm not sure how invested I can stay in this show if they don't knock the writing and directing pool back into shape...