DEM

At long last, a promo! ...with accompanying text article.

The thing that threw me off about Doc Holliday's identity is that just when I thought I GOT IT!, they showed that old photo of him in Waverly's collection. How is it that Waverly, lover and keeper of all things Wyatt Earp, historian extraordinaire, didn't show the slightest bit of recognition of Holliday? She didn't even misidentify him ("Don't I know you from somewhere? Weren't you part of that traveling circus a couple of years ago?").

But what why would one do that? Sherlock and Joan are friends, not cop and suspect or stalker and target.

Exactly! She went to a hospital, fled the hospital, then tried to make her way BACK to a hospital. "Huh, I wonder what that means??" And then there's Sleepy Hollow. The main reason I'm entertaining the idea that Keen is not dead is because the showrunner did not give interviews or release a statement.

Wow, I'm stunned. The only way that could be a ruse is if the medical team and Mr Kaplan conspired behind Red's back. Even that is a stretch because Liz was lliterally not breathing for an AWFULLY long time; moreover, a coma patient and a dead body do not feel the same. I was confused by the news of Tom leaving for a spinoff and how that would work for Liz, but if she's dead the question is moot. TVLine: EW:

I expected the moral of the story would be something like her love for and guilt over David were causing her to be reckless and make the same mistakes he did, and thus, that she needed to deal with her feelings and find some measure of resolution. I didn't like that she was made to be SO clueless in order to reach that point, but the writing of that final scene was nicely done -- dare I say, deft. Whodathunk Blindspot could manage such a feat! That said, I am approaching my Patterson tolerance level. She's of a particular character type that I've watched sci-fi teevee writers fall in love with and progressively over-use. I'm seeing the same creeping expansion of knowledge, skill, and screentime that I've seen several times before. Salt should be used sparingly, Martin Gero! Things I liked: 1) Zapata knowing about Alderaan, er, Aldebaran; it was a nice, unexpected character note. 2) Reade coming clean with Mayfair. I hope Mayfair recognises the obvious honeypot. Jane and Weller have more chemistry with BLID and The Marshall than with one another. Oops!

Less Five. Zero One/Two Romance. Much more attention to the original issue of the memory wipe (and all that entails, as laid out nicely by Chicago Redshirt). The S1 finale featured a cursory, dubitable discussion (between Five & Six), and then trod all over the reveal with the Six Betrayal Twist. Unacceptable! I'd also like the writing to be better and smarter surrounding the psychological ramifications of the wipe, but that's a tall order.

RICK: You don't even know Carol. Finally someone said it! I'd been wanting to hear that all season.

A lot of the character beats in this ep were rushed or poorly fleshed out IMO. The Karen Meets Elektra scene was just... not good. I don't even like Karen that much, but if I were to imagine her walking in on a woman who looks like death-warmed-over and some old dude, I wouldn't expect her to rush to judgement, flounce off, and refuse to talk about it. Second, Matt distracts Elektra at a critical moment, resulting in her near-death, but that's glossed over with one line. Instead Elektra wants to come into The Light. No middle-ground, no discussion of tactical do's and don'ts, only Redeem Me! Finally, Matt and Karen both sense that something is wrong before Frank takes the stand, but for reasons that are never given, Matt doesn't do anything. Conveniently, this was the only session of court in which Frank was not seated with his attorneys. On the plus side, this was the only ep where the character work took me out of the story. The eps have been good til now. The writer had a lot of ground to cover, but the script could have used another edit.

By far the single biggest detriment to my enjoyment of this show is Kurt Weller. Sure, the depiction of anything and everything about how the FBI/criminal investigation works is sketchy (and laughably bad this ep), but Weller is aggressively terrible -- from the writing to the acting. Weller spent nearly all of this episode lecturing, shouting, yelling, and ordering people around -- even about things that didn't require any force. I'd like more non-Weller-focussed ensemble work (i.e., Mayfair, Reade, and Zapata with less of Jane's wide-eyed attachment to Weller). I wonder if there's any chance the show will course-correct.

I just finished watching 2x05. This series is FANTASTIC!

I read that quote right after seeing the episode last night and was astounded, especially because Jane is at her absolute googliest "[in service to] the male lead." There have been so many times when Alexander/the directors could have tweaked her acting choices and transformed Jane from "civilian wife unwittingly caught up in the fray" to "very concerned but competent peer." It wouldn't take much, but would make a world of difference. There was a moment in this ep when Weller ran off to derring-do and Jane wanted to go with him, and she came across so desperate. In the early eps this was more understandable (even if it tried my patience), but by now it's just... not good.

If they must go there, please don't let it be Morgan.

How did Patterson decide to decode the pi pieces a mere two days before the terrorists launched the plane? Funny how Jane spent the first ten episodes longing for information about her past and why she has the tattoos, but when Better Love Interest Dude shows up and rescues her from Evil CIA Guy and shows her a video of herself, her first response is to try to shoot him. Okay. I'd hoped coming back from break we'd see some adjustments of the character dynamics such that Jane isn't so anxiously attached to Weller and Weller stops being a creeper who looms out of the shadows, but no such luck.

As a born-and-bred Ohioan, I applauded a little bit at the 'pop' discussion because I was happy 'Hollywood' got it right. I think 'soda' has been spreading, and I suspect that's partly due to the NYC/Los Angeles drama world believing everyone in the U.S. uses that term.

I believe it's a capsule knot. It's not a cape knot because there's no mini-cape behind the main body of the tie.

There is a makeshift meeting place for the congregation inside the walls. The formal church building (Glenn's location) is outside the walls.

Tom is a freaking cockroach. What kind of professional killer sprays an enclosed space with a gazillion bullets yet manages to hit one of the targets only in the leg? Pathetic. Lizzie is just sad. Are we going to have to endure family-related Blacklisters each week until Megan Boone pops out the wee one? Ugh. Can you imagine being adoptive parents and having to deal with Lizzie and her ideas of "qualified contact"? I wanted to warn the nice couple to run far away. Ressler can be rigid and self-righteous at times.

I haven't read the books, but I understand from reading the threads that the tv writers have combined Books 1 and 2 to make them run concurrently. I think that's a great idea, but it seems like they could have gone further with that. That is, it might have helped for the show to alternate between Quentin and Julia as the primary protagonist each week.

The date on the newspaper in episode 2x03 was July 16, 1947.

No, that is not true. Both the American Medical Association and "the Feds" via HIPAA Privacy policy state that confidentiality continues to apply postmortem with very limited exceptions. TV shows are very, very bad about this in that they tend to portray health care professionals as uptight, selfish obstructionists. This ep of Elementary was better than most, but the premise that "LOL she dead, follow your bliss!" was flawed. The actual pertinent issue was not that the patient was dead, but rather that the NYPD: a) were pursuing relevant information on the victim of a crime and b) trying to identify a suspect. A subpoena would have been easy to obtain and would have resolved the matter right away.

I was familiar with both the brother and the realtor (both Bean and Basche have extensive resumes), so the familiarity factor didn't help much. I did guess that it might be the brother and for the very reason that he stated, but semi-discarded the idea for the same reason Sherlock did: the children. I suppose if they had revealed the children were adopted earlier in the story, that would have been too big a clue. I would have liked for the Bell plot to remain primarily Bell and Watson. I can't articulate my issues regarding Watson's stories very clearly, but suffice it to say they often feel like "big overture, little show."

At the TCA spring event, CBS announced changes for the spring schedule. Guess what? Person of Interest was not on it.

I went back and watched the entire Carol-Morgan sequence a couple of times because some of the descriptions of Carol's actions [not yours, CM!] were messing with my mind (i.e., they were extremely inaccurate). It seems to me the confrontation in the cell was one of the many instances of less-than-inspired direction and confusing editing. See also: Maggie's trip, fall, and jog to the ladder; and disappearing Tobin + Eugene suddenly being alone when he'd been with Tara/Rosita/Tobin only moments before. When Carol entered the cell she already had her knife drawn and she told Denise -- who was daintily putting away her tools one-by-one -- to step aside. Denise finally moved but Morgan immediately entered the room and stepped between Carol and Wolfie. The sequence of actions was just too slow. I guess the director was trying to show that Carol was hesitant to kill a man who was tied up, but to me it came across more like "Character A needs to delay until Character B enters so they can fight!" The entire episode was a strange mix of High! Octane! Action! and Sloooow. Character. Beats.

Joan and Sherlock continued to chat. Sherlock prepared and applied a poultice to Joan's face. This is the bulk of the scene in gif-form.