krimimimi

Lemme take a crack at this... So Frankie told her fiance the story that her mother had told her of how Mom used to leave letters to Frankie's Dad in his desk. That story isn't timestamped. She could have done it while the relationship was growing (and while they carried on given the wife's indifference), before Mom "fell" pregnant with Frankie and was banished from the household. And it makes some sense that when she kept in touch with the Dad in the years to come, for example updating him on Frankie's growth, that he put those letters together with the old ones in the hidden drawer. It's both practical and sentimental. If you think about that letter, it doesn't sound like something you'd write to a person you see every day, but to someone you haven't seen in a long time. So long after she stopped working there. And that's why Frankie has no memories of that family or her mother working for them. Clearly her mother also didn't want to tell her who the father was, so she probably wouldn't have mentioned the previous employers by name, and doesn't seem to have mentioned that the father was a married man, either. Toby found out about the possibility of the letters thanks to the fiance. He showed up at the club and told Toby about the love letters and that's when Toby went stupid. Then Toby ransacked (and wantonly mangled) the furniture looking for the letters, but as he didn't know they were there for sure, stopped looking when he didn't find them and decided to address the possible living DNA evidence instead.

I agree with Julia's take completely. Unfortunately. I really don't like what they've done with Bishop's character this season at all. To be fair, I was indifferent towards her before, but this... Yech. I hate the trope of the spouse who can't handle their LEO partner's career and eventually leaves (after much annoying drama. it's so overused that it fails to be compelling tv.). This manages, improbably, to be even worse. Didn't think that was possible. So a quick bit of fact checking: she is the one who chose to change jobs meaning they could no longer talk about his/their work. We've seen her in danger before, which apparently is ok, but not when it's her hubby under threat. And she thinks it's reasonable to spy on him (illegally. total misuse of government resources in the process.) endangering his job and possibly his mission. And when he does finally tell her something (that he probably shouldn't) (whether it's true or not) about a breach at the NSA, she's told, what, every member of her team within 24 hours? And wonders why he doesn't talk to her??? I'm supposed to hate her, right? Writers, you are very questionable. This is just plain character assassination, and you've nuked one of her only defining characteristics to boot. Splendid. /sarcasm. Just: pfui.

Good effort once again! Best new show this season! (Damning with faint praise?) Fine: thoroughly enjoy it. Can't even say that about most of the older shows I watch. This show makes me smile and sometimes even laugh. I like that. Loved the movie clips at the end, the clay figures, the 10 most wanted movie... The voice work during that! Too funny. And "That was all in one take!" "It was actually a little showy for my taste..." lol excellent! I know people like that. Really like that Boyle's not cool with the drug use, and that he legitimately questions where this will take Brian in the future. He still needs more personality and HH can certainly do more when provided, so c'mon writers: do him a solid. It's hard to flesh out the straight guy, but it can be done. Thought the drug usage issue was nicely contrasted with Brian's sister getting baked at his place, where even Brian gave it a little bit of a side-eye. Continue to enjoy Naz; thought her BYO salad sniffing was a nice touch. Like little moments like that that you can totally blink and miss (those are her initials on the tupper), but that flesh out the characters and their personal boundaries and self-imposed limitations. No time taken away from the story, but better characters drawn as a result. More more more. Plus MEM does good faces. Interesting that Casey is now in the know(ish). Look forward to that being a tiny (no relationship drahmah please) issue with AgentDeb. Loved the expansion on Mike and Ike. And Mike can totally work a dress. I heart those guys. (And the reappearance of the paper machè versions.) Really like the continued use of LEO violence being totally in Brian's head. Shows seem to feel the need to bring that (cough*Blindspot*cough), but here it's completely turned on its head. "Of course not. No one got kicked in the face!" scandalized AgentDeb. These actors are really good with the physical comedy, too. Even a brief flash like the facial expressions at the "Muntouchables" reveal were just great. The continued presence of family is a nice touch. This show (re-)uses a lot of actors in their world building, which I think generally works out to be a good thing for shows. Glad they're keeping that up. (Like they saved money on sets/locations with the video conferencing this ep, but spent it on more actors. Totally works for me. Conservation of resources and some clever allocation.) And adored DaddyArvin's curated collection of Brian's Artworks of Nefarious Doings. And Isiah Whitlock Jr. put in a good performance as the not!villain of the week. Always glad to see him. Love that man's voice. Indeed. Netfoot, I think that was a nice example of Brian working outside of the normal parameters. He saw things that didn't fit and questioned them. Although I liked the scene on the bus fixing random strangers' problems early in the season. Not sure I'd like to see them go too broad on what he does though, as most shows usually bungle things when they try to cover too much ground. I prefer seeing less done well. Do a better job of developing what you have first. (Not suggesting that you're advocating that they should do a poor job... Just concerned that they would if they try to do too much.)

I think it's the other way around. Because the threats are becoming imminent, something makes them pop up on Patterson's systems. Basically, the tattoos provide info on people who continually do bad things. It's ongoing behavior. They did bad stuff yesterday, they'll do bad stuff again tomorrow. A professional assassin has killed before and will kill again. So they don't need to be flagged for any one action, they're tagged in general, but become noticeable and get found when they ramp up their activity due to a current action.

"She tried to have [sullivan Stapleton] fired and replaced, which is pretty amazing considering their characters are supposed to develop a romantic interest,' the source told Page Six." Welp, she and I see him in about the same light then... Actually, I rarely believe "sources," especially when we agree. Pfft. Stupid question - is SS or JA the star? Can't help wondering if a good reason for a pulmonary illness would be standing around naked for bunches of hours during the makeup application process as opposed to, say, potential toxicity of the ink. Or shooting naked in Times Sq for hours in the middle of the night?

Can't seem to edit in the mobile version? Alrighty, that's 2 buying the Weller/ Jane romance (and HappyHarpy, I was totally thinking about you when I asked that.). Aside from the anvilicious presentation ;-), are you buying the portrayal or are certain notes ringing false for you?

Oh noes! Not the Nerdmuffin!!! (Although I assume Chekov's witsec agent can multitask as Weller's cheerleader *and* the way to bring David back once the show runners realize Patterson/David was probably more popular (and definitely more believable :-p) than Jane/Weller ever will be. (YMMV ofc)) David's totally only mostly dead. No, really, show of hands - does the Jane/Weller stuff work for anyone? Are some folks buying the attraction (between them, I'm not asking if you personally find the leads attractive)? And if so, does the portrayal work for you, or do you just kind of watch around it? (I can imagine a scenario where you could understand the attraction, but hate Jane's whatever that is behavior around Weller, say.) Bugged me no end that Patterson and David just happened to pick the heretofore only non-lethal tattoo. All others seem to end in firefights. Of course, that actually bugs me even more. Less stupid fight scenes, please. Especially when combined with that thoroughly annoying camera work. (Another serious question: Does anyone actually like shakycam? Am I just too old for it and am missing the appeal? Most comments I've read here seem down on it. Any fans that just haven't spoken up?) Liked the team hanging out. Didn't feel organic, and was long overdue, but still. I'll take improvements where I get them. Pet peeve: I know the assassins were evil!bad guys, but didn't the team just roll up, unannounced brandishing weapons at them? And they didn't bother to ID themselves? Seriously, armed people looking like Weller and Jane aren't instilling me with reassuring thoughts. Also, the other buyer of the witsec list (that they got shot, d'oh) could very easily have been an undercover agent for all they knew. Not at all how I like to see supposedly not-corrupt law enforcement portrayed. (Tell me, where does Weller get off giving Mayfair self-righteous attitude again?) Too little Reade. Although he and Patterson scrub up very nicely. Wow. Guess that makes up for it. (Did not like what they did with Jane there, otoh. You have to work hard to make such a dog's dinner of such a pretty lady. Did not like her look at all.) Missed the shrink and wish they'd use him more, too. I assume Mayfair was responsible for the dude following David. Points for her for thinking ahead. Now if they could only make her the boss lady she totally can be, I'd appreciate it. Irksome the way Weller and (Gaston) just feel like they can do whatever they want with her. C'mon lady, kick some butt. Total waste of LDP. He was such a lovely bad guy. I would have been pleased to see (a lot) more of him. *sniff*

No, no, a thousand times no. You can't be too harsh on Weller. SS is positively dreadful in the role. Hate him. There has literally not been a scene in which I liked him, just some times that I failed to hate him. Plus he still looks like a bum. Agent Neckbeard, invest in a razor stat. But you're right, Jane is frequently dreadful, too. Pretty much in all scenes with Weller, in fact. Make it stop. (And that's not just him being terrible, but her scene-chewing, trembly-lipped take on "acting." Holy smokes.) The two of them had me just seconds away from turning the ep off this week and quitting for good (just like the hot mess called "Quantico" got me to quit a few weeks ago; quitting that has done good things for my blood pressure), but the other characters here salvaged it at the last moment. I particularly liked the scene with Jane and the ladies at the bar. That was pretty good and overdue. And the stories are sort of interesting (in a bizarre OTT way). Pity I'm watching this show around the leads. What really almost killed it deader than dead for me was the scene with corrupt/ murderous cop who bizarrely chose to speak in much the same pattern as Weller/SS. Is that a thing? Is that how tough LEO's are supposed to talk? Between that and the shakeycam, I really gotta call the direction choices into question. Boo! For shame! Bow your heads and slink away. But Weller's complete asshattery towards Mayfair was insane. The writers deserve some serious shade here, too. So acting on illegally obtained info is ok if somebody tattoos it on a hot chick, but not if it's acknowledged as such? STFU. (But I'll hand wave the "only four people knew" how the info was getting cleaned as acceptable, because Weller proves that given even the faintest "washing" the info is considered actionable by agents of theoretical principle and no one else needs to know for sure. Because these depictions of our intelligence agencies don't feel the need to actually manifest any real intelligence. Super. The brave (or at least competent) men and women actually doing those jobs are owed an apology.) Anyone know at what point we'd be likely to see course corrections from the show runners (if they're likely to be coming at all?)? When are they seeing the feedback to their choices? How many weeks were they ahead? Longer term, I think they'll need to kill Weller for me to continue watching. Jane can at least get a personality transplant with her memories, and she's usually only really awful with him anyway, so that would sort it.

Not just that - Annalise didn't ask Oliver to hack Philip. And Connor expressly told him not to. Ollie just got carried away and did it of his own accord. That's on Oliver, and on Connor for 1) dragging him into things and 2) not giving him enough information to reasonably understand some of the potential danger Ollie is in. It was more than that with the painting IIRC, because I think the screencap showed the painting kinda crammed into a corner. If Philip had legit (and coincidentally) purchased it, that wouldn't be how he'd treat it. And for our benefits, having seen Catherine and Philip together, it shows us Philip probably doesn't love or particularly value her, or he'd treat the painting differently as well. So I think that would argue against him being her pawn, too, unless it's along the lines of winding him up and letting him loose, without needing him to care about her/them. Also, pretty sure they aren't hooking up, because Catherine passed the virginity test a few eps back. I think it's easy to forget how isolating the past season and a half have been for Nate. The time (and emotional) commitment involved in caring for terminally ill family members tends to corrode a lot of acquaintanceships. He was on the outs at work (thanks to Anna) prior to being a suspect in Sam's murder, which doubtlessly made things even trickier for him at the station. I could totally see him being mostly on his own these days and just plain lonely. The scenes in his apartment didn't show piles of cards, flowers, food and tupperware from concerned friends and neighbors (I'd bet the charges of assisted suicide/murder of his wife brought those to a screeching halt). So he turns to his mistress and one time confidante. I get that. Or he's playing her, which is also easy enough to get behind, but I can understand if he's just become so isolated and desperate and needs/wants her. Pretty sure she did that on her own/ without judicial sanction. Also, it won't be a coincidence that it was in the pen. The files' provenance is clear. The pen would be a lot harder to prove. I don't think they plan to pin this on Philip. I think they consider him an actual (and probable) suspect in the Hapstall murders, and if pressed (i.e. the siblings are taken to court) they would offer him as part of an alternate narrative of events. But either way, they don't need to prove it, just create reasonable doubt. If Philip is more closely examined by TPTB and claims "foul" on Anna & co.'s parts, this too doesn't matter much, because he's now a very suspicious character and less likely to be believed. And all they've done is hack him, and it would need to be proven. As to Nate's document editing - if he's smart, he changed it back once the detectives left. This wasn't something they needed in the system longer term, they just needed to forestall anyone acting on Philip's information at that point in time. Changing the info back will make it pretty damn hard to find in the system later. (searches by his name will yield no results, searches by schizophrenia will yield nothing similar to his name, so they're unlikely to notice the record that they looked at unless they examine it one by one. not gonna happen.) The assumption will be user error, and it would probably get left at that. I also don't think he logged in to the computer. You don't need to hack a system if you can hack its users. Keep in mind that this is a system he himself worked in and with until recently with precisely the users still using it. You know who goes for a cigarette or coffee without logging out, and how to quickly find the data you need once in the system. He inconspicuously walked in in plain clothes on his day off. And the more secure a system is supposed to be, the more frequently they force users to change their passwords, and the equally less probable that anyone (certainly over 50) remembers them. Within two minutes of sitting at an average desk in that environment, you'll probably find the post-it with the current password on it. It's a question of inertia. He doesn't need to have destroyed the drive, he just needs to have given Ollie enough of a push that he stops trying to think of what to save off his computer and instead will do what needs to be done.

Sorry for your loss, shapeshifter. I know just what you mean, and think that's a pretty typical part of coming to terms with loss. But as things stand with Dodds, (in addition to there being no such loss) it further erodes his appearance of competence. Especially as he's caught the stupid ball this season, because that's the gauntlet the writers force all new characters through. Carisi was also hard to take initially, and now he's mostly made of win, so here's hoping. But the "my dad says" crap is an additional abstraction of unnecessary stupidity that rivals Carisi's pornstache and really needs to go.

Something like Scopalamine would have been interesting. Basically in higher doses, it makes people highly vulnerable to suggestion/direction. (To the point where victims have cleaned out their apartments or bank accounts for the people who've dosed them and had no recollection thereof after the fact.) In addition to the story that I, too, wish they'd told about his guilt given (let's assume he was telling the truth) lack of volition, a drug like that would probably mean Kim more or less deliberately set him on that poor musician. And I think that is a much more interesting story as to how guilt is assigned.

It's a bit like playing Clue... They're cheating a bit by having murders be non-premeditated; it makes it a lot harder to predict whodunnit. So I'm going with: Asher (with Bonnie and Caleb tied for second choices, and Frank and Anna a distant third) thwacking Sinclaire, Connor trying to leave to report it, Bonnie (or Frank) covering it up by throwing her off the roof terrace, Wes the low-rent gangsta getting gunsy on Connor's ass, kerfuffling ensuing, during which Anna gets shot by accident, probably by Connor (with Wes as a close second) And they're trying to pin it on Ms. Hapstall. (Who probably started it all by trying to cut some weird secret deal in the dead of night with Sinclaire? Yeah, why not?) ...or Asher isn't party to the Sinclaire sitch, that's (Frank, Bonnie or Caleb) instead, but he's the one who accidentally shoots Anna during the fallout post DA drop. Hard call given the absence of malice aforethought. (Well there's an overabundance of malice, but not quite murderous in nature, I'd say.)

Wasn't that storyline the death knell of Ally McBeal? But I guess that's how you pay off those law school loans.

^^ That, plus I'd bet there was alcohol involved, and a greater than 50% chance statistically that the college kids imbibing were under age. That will definitely put the guilt question in a different light. I don't blame him for calling his Dad first (and if he didn't, he could have rightfully expected there to be hell to pay), but suspect once Millstone Sr. got involved, things got away from Asher completely. But I'd argue there has to be some kind of understanding for a kid trusting his parent to both recognize and do the "right" thing, especially if they're a judge.

It's even worse than that, dirtypop90, because Anna also comes from a poor background. Three for three, way to go guys! So I wasn't a fan either when it turned out both black students were poor, and it annoyed me at first. But I've come around to a more optimistic way of looking at things. (Life's too short to be grumpy...) Our Reality Check: the 2014 US Census counted the following: White alone, not Hispanic or Latino 62.1% Hispanic or Latino 17.4% Black or African American alone 13.2% (but a small percent of these may also count as hispanic) Two or More Races 2.5% So in a country with a maximum of 15.7% black and partially black identifying population (it's less than that, because not all mixed race people are part black), they've given us a cast of 40% black law students. That's huge. Even today. And while I don't think it's something we need to bow and scrape before, I do think it's something we ought to acknowledge. Then there's their Profession-Specific Reality Check: In a profession where nearly 90% (seriously? holy cow! just looked it up and couldn't believe it.) of the practitioners are non-hispanic whites, only 40% of the interns are white. That's an impressive deviation from the norm. Less than 5% of American Bar Assoc. members are black, less than 4% are hispanic, so 40 and 20 percent of the K5 respectively isn't bad at all. And instead of the 30% ABA female membership, we've got 40% of the interns. (Ok, they were hardly going to cut students in half, but consider that Anna and Bonnie and even DA Smugface are the other lawyers we regularly see. We are so far above reality's averages it's stunning.) So maybe we can forgive them for making Wes, Michaela and Anna from poor families. And the fanwank that may make those impoverished backgrounds more palatable: the K5 isn't necessarily representative of her classroom, beyond them also being some of the most qualified. Maybe Anna is providing talented youngsters, particularly those she can identify with from personal experience, with her own form of affirmative action/ equal opportunity mentorship program? So while she'll still accept an Asher if he's bright enough and puts in the work, all things being equal, she'd tend to pick a Michaela or Wes. I think that isn't improbable, and could also be viewed as a good thing, without detracting from their respective skills. But I think it would also help the characterization, if that's the case, if there was some acknowledgment of that fact. Or who knows, maybe it's a familiarity bias, where like subconsciously recognizes and is drawn to like. That's a thing, too.

it would never work, because there is no way Jane's hair would ever deserve it's own billing. Except possibly as a bit part for a guest star in an adversarial role...

Echoing RedheadedZombie's "closest thread" sentiment... I disagree about the desirability of a mentor for Anna, although those who posed that suggestion may have changed their minds 8 months on? I really like Anna in pole position (yes, it might help that she's a rarely (never) seen black, bisexual, female badass LEAD on network primetime, but still), and I don't want to see her needing a mentor. Pfui. (That doesn't mean she shouldn't be allowed to show any weakness ever. Her moments of doubt are incredibly compelling, and then she picks herself up, dusts herself off, maybe collects an "attagirl" from Frank or Bonnie and then takes no prisoners. Marvelous! More, please!) Instead of a mentor to provide insight into the inner workings of her mind, I would like to see a bit more openess with Frank and Bonnie, especially more discussion of plans/tactics, without going overboard and making this HTGAWM for Dummies. Their scheming is captivating, and I love that the writers haven't dumbed things down, but that doesn't mean all statements always should be as ambiguous as possible. That just seems absurd and lazy. ("It's him."(Anna to Eve re Wes. Him who now?) or "You told him?"(Bonnie to Anna re Asher about possibly anything, but maybe her past sexual abuse) These statements meaning anything and nothing. The Cobbler Effectpossibilities means you need to spell stuff out once in a while to not make everything an uncertainty.) I'd like more any explanation of their relationships. Why are Bonnie and Frank this loyal to Anna? Story, please. I would love to see the characters as a whole better developed, fleshed out and more consistently portrayed. That's writing and not the poor actors. Give them meatier stuff; they can handle it. Elementary regularly gives me a better feel for characters with a handful of minutes of screentime than HTGAWM has after a season and a half. Do better, show. Criticisms about characterization aside, plot is something they do surprisingly well. (Although they should feel free to tighten up the COTWs a bit.) I wanted to expand on that. First off, I sincerely meant it. Secondly, I think it's often far too easy to piss and moan and overlook the good, and I wanted to praise the show runners explicitly for a couple of things:1) Last season, the Wes & Rebecca drama had me watching the show around them. They were awful. I wanted them gone. And lo! Death happened! The removal of Rebecca improved Wes by an order or two of magnitude. I like to think the writers saw what wasn't working and course corrected, and it wasn't just about the drah-mah of yet another murder. (Again, nothing against the actress, just hated their storyline.) Sadly, Wes is an ungrateful, entitled asshat of the first order, and any ground he gained has been lost once again. (That's plot, of course, but also partly down to AE, although it may be because he has no idea where things are going yet. Still. Not liking a lot of his choices.) So again I am baying for his blood. That he seems to have brought a gun to whatever happenings at the Hapstalls' like some kind of low rent gangsta does not make me like him more. But I have faith. In part because of 2) the handling of Sinclaire. In any other format, she would have long since become unwatchable for me, what with the veritable mustache twirling. As it is, thanks to the flash forwards, I know her days are numbered, and the more evil or just annoying she is simply helps pave the way to her inevitable doom. To which I've been looking increasingly forward, I might add. It has converted what might otherwise be an intolerable mess (any and all scenes with DA Smugface) into something worth combing for details, and has made a device of which I am less than fond (pretty much all time jumps back and forth) into something really rather well done. Kudos! That's two improbables right there, combined to an even far less likely good result. Now that is compelling writing I would have bet against. Glad to have been proven wrong.

I hear what you're saying, know exactly what you're talking about, and you're not wrong... But. No, sorry, I do have a nitpick with it, and it's that I felt the energy there all came from Eve /FJ who seemed (played it (rather convincingly, I thought)) far more infatuated with Anna than the other way around. That's something I have anti-interest in watching play out, because we need another chump like a hole in the head. No doormat please, and I would particularly dislike seeing someone who seems like a sympathetic and competent lady morph into one. I like Eve. She deserves better. Looking at their scenes, I also haven't seen Anna being honest with her (which is fine given the story, but could also make for an interesting change if she were), except to say she's protecting someone for Sam's murder, hinting that it's Wes and saying "it's him" (although we don't know that that is true, particularly as we don't even know what it means. the cobbler effect is in full force.). So they're not providing that either. As to her ease with Eve vs. Nate - welp during the Nate sitch, they were both cheating and his spouse was terminal. That's gotta put a damper on things, so increased relaxation or comfort with Eve (for me) doesn't directly equate to different/deeper feelings as much as different/improved circumstances. That in and of itself can make for a welcome change, but given that it doesn't resonate on a deeper level for me, and it doesn't tie into the story, I would rather not pursue a more significant relationship with Eve. (By which I mean Anna/Eve onscreen.) But chemistry is totally subjective, and mileage varies. I think it's interesting what different folks take away from it. Given that the show has pleasantly surprised me till now, I'm not going to get my knickers in a twist whatever they do, but trust enough to see it play out. So far it's been rewarding.

Given how I feel about Weller and SS, I guess I was thinking Jane and anyone/everyone but Weller. But you're right. There was some effort on his part. But that dinner was entirely self-serving for his family, and he has become weirdly remote and grouchy since (while still being oddly obsessed. it's disquieting.). Last we saw, she was looking for somebody (non-Weller) to hang with, and coming up empty.

Miscellaneous thoughts: Pretty sure: 1) Connor at least has reason to believe Ollie is ok by the time of the flash forwards because he's too calm. 2) Sinclaire was either unconscious or dead when she goes over the balcony. Doubt AK and crew dragged an unconscious or dead Sinclaire to the Hapstalls', so I guess that means she was there of her own accord and for her weaselly ways. Could picture: 1) Someone trying to stop Sinclaire, and it ending in her being coshed. (Hell, I've wanted to cosh her a couple of times this season, and I'm not on the receiving end of any of her crap.) How about Asher, who she's pushed around a lot this season? He's been close to breaking once or twice and doesn't have the advantage of other interns to back him up like the M4 have with each other. And then Bonnie tries to cover it up for him by dropping her off a balcony. 2) Connor getting a clue and/or conscience and trying to bail on whatever stupid thing they've done this time, prior to Anna's getting shot. The likelihood of this increases if the person screwing up this time is not one of the M4, because any new charges against any of them increase the likelihood of a deal being made and that person flipping on the rest. So Asher, Nate, the Hapstalls or the cousin are fair game, but (probably) not AK, the M4, Bonnie or Frank who know the score. Questions: Whose blood is on the Hapstalless? Is Frank framing her for something? If so, what? Why is Nate cool with Anna again? Is he faking that to cover for something he did?

If for whatever reason you can't see that clip where you are, basically, Wes hollars "Stop!" and M&C do, M starts to turn back towards Wes and Laurel, but Connor says "Michaela, no..." (or maybe "don't," not sure), but is interrupted by a supine Sinclaire sailing silently downward and splatting at their shoes. At which point M lets out a perfectly reasonable gasped scream. Understated, in fact. And then we pan up past W&L to see Bonnie on the next balcony/terrace/whatever. But no shove is shown, no flailing, no scream prior to splat, so Sinclaire was probably dead or unconscious when she went over, and we don't know for sure Bonnie did it.

I was going to describe it, but some kind soul has already youtubed it:https://m.youtube.com/watch?v=iS4KhWdPHX8 And, because 1) some people sometimes are made of awesome and 2) anything you want or need, somebody has probably come up with, the dude also strung all the flash forwards together in (what I think is) correct chronological order. https://m.youtube.com/watch?v=8OZ3cyhZfM8 (I don't have a youtube account. If one of you guys does, would you mind thumbs upping that for me? Thanks, xox mimi) Posted upthread (or was it spoilerfree spec?) that I think Connor still needs to go back into the house post "splat," so I'm betting Anna hasn't been shot yet in this flash forward. Which the string of videos tends to support. Remember he needs to ultimately leave the house in a panic and covered in Anna's blood, and that's after the other 3 have left, which they haven't in today's FF. Also there's no way he's that calm in today's FF if Ollie is still missing, or he thinks Ollie's still in harm's way. (I just need to keep telling myself that... ::shudder::)

Taking a page from the M4's book, duct tape is apparently recommended. Y'know, for making people stay put and/or quiet.

Good points, possibilities, about why the DA would even be there. It can't be that they're serving a warrant, because then the cops would have been there. So spitballing here. I'm betting Sinclaire was up to something shady, because I honestly can't think of a legit reason for her to bet there at night on her own. She has demonstrated a completely OTT drive for getting something on Anna, and specifically a fondness for recordings of her. The Hapstall sister has taped the K5 without their knowledge before. So how about Hapstalless is listening to the recordings and spots something off. She tries to negotiate a deal with Sinclaire to get herself off for her parents' murder by turning whatever it is over. Caleb lets AK and crew know, they bust in, and things go badly wrong, which is why they are now trying to pin the events of this evening on Hapstalless and hide them from Caleb. They've cut her loose as a client, and are no longer trying to get her off, but actively discredit and frame her. Would explain Frank's actions with her. Although he could be running a parallel scheme that was independent of whatever happened in the murder mansion, but the other version ties into things we've already seen better.

And there in a nutshell is the biggest problem with their depiction of Jane. (Beyond her fear of everything she can't shoot.) She doesn't understand any human dynamics, so how can she help anybody on a non-shoot 'em up level? (Didn't have to be this way. That's all on the writers. She could have been more intuitive.) Right now, her colleagues should be spending some of their off hours making sure she gets exposure to life. Could save a life some day, possibly their own. And might also make for compelling viewing. So how about one less firefight, and have them go grab some beers instead? Cheaper, too.