JMO

For me, "The Beauty Inside" = The Beauty Outside.

Agreed that season 8 was a mess, and one I'd not like to see again. But the 'Life After Beth' photo didn't do anything for me. JustMyOpinion!

Which movie was responsible for his awful hair at the beginning of this past season? I'm going to have to boycott it, in protest. I was happy to see that the film he made this summer didn't seem to do the same.

Thanks for trying, Willowy. I noticed you asked him one of the things I was interested in (creating characters vs. writing after they're established)---and I noticed he didn't really answer it. Too bad. But then, maybe he wasn't with the show long enough to live through that progression. It's also more difficult to probe deeply when you're not able to meet in person. Especially considering that, I think you do a great job with these interviews. Your questions cover a wide variety of topics, are always interesting, and have given several of your interviewees an opportunity to really educate us. Thanks for doing them. Hope you've got more planned!

I think they were wise to put a stop to the chats, as so many of them were exactly as described above. With few exceptions, they read like conversations with smart-mouthed teenagers (no offense intended to the non-smart-mouthed teenager) The chats with the cast weren't hostile, but they were equally uninformative, with responses tending to go for the quick laugh rather than answering a serious question. Another misreading of the investment we viewers have in the show. For me, it's better to avoid their social media, because I find I think more highly of them when I don't read it. (Fully recognizing the irony that I am using social media to express this opinion!)

I don't know that I have an opinion either way about any specific writer. In general, I think any of them can get a scene just right, or completely wrong. Same with a whole episode. There are probably some who have more consistency with giving us quality episodes,and some who don't, but I don't even think that plays a major role in my level of satisfaction with the series. I'm more affected by the general misreading of what's interesting (explosions, and chases in the dark), the regression to form by some of them (writing something appropriate for another series they once worked on, that has nothing to do with CM), and, inexcusably, the failure to write the characters with any degree of consistency. Not only is there little attempt to connect a character with his or her past in a significant way, but there is a failure to write them consistently from week to week in the same season. Several of the writers have been open about having difficulty finding the right 'voice' for one character or another. Rather than solve that problem, they seem to address it by ignoring that character----and this seems to be accepted practice. Really, in your workplace----would you still have a paycheck if you told your boss, "I don't really like that part of the job, so I'm just not going to do it, okay?" As though it's impossible to find writers who can competently write for each character on a show. It's lazy, and the laziness starts to spill over into other aspects as well. Research is another one of those 'lazy' areas. It's often half-done, as though the person responsible couldn't make it through the whole page on wikipedia. A major complicating factor is the quality of the editing. The characterizations and general plot lines are clearly the responsibility of the writer. But how things play out on screen, whether a story line makes sense, or an emphasis was appropriately placed------these things can be greatly affected by the choices made in the editing room. I'm not familiar enough with television production to know how many people have a voice in that process, nor who, exactly, they might be. But I think they hold some degree of responsibility, for both the good and the bad.

Willowy, I think we agree on a lot of things, but definitely not this. What is said publicly in the workplace affects everyone in hearing range. That means that everyone is responsible for the quality of their language, and the nature of their exchanges. If I had been riding in a vehicle with Morgan all this time and been forced to listen to it over speaker phone, he would have long since had an earful from me. Not acceptable workplace behavior. And not acceptable to do it in front of those who don't want to hear it. Time for Morgan and Garcia to grow up.

I completely agree, MMC. The blend between the character and the actor is unique with each role, so I see forming a judgment before we've 'met' Kate Callaghan as a waste of energy. Even trying to extrapolate from an actor's previous roles is an unreliable exercise, as many grow, in both skill and maturity, with time and experience. However, I do share others' concerns about whether this writing team is up to the job. Even the best actress can't do something with nothing, which is pretty much what they gave JT. I do think she bore some of the blame, because she didn't exactly bring energy to the role, but she may, herself, have been bored by what they gave her. Good things: Bringing in a 'name' probably means that CBS is anticipating more than just one additional season. And I suspect JLH will give it her best, so we'll at least have someone to love or hate, rather than someone who makes us yawn. If I have to accommodate to a new character, then I'd just like to care about her, one way or the other. My hope: That, as a new, same generation, member of the team, she forms a unique relationship with the mature Reid, not flavored by the sense of him being the anomaly that he was when he first joined. I hope it takes a little while for her to realize his genius, and that she just relates to him as a person. I hope that she takes over the 'badass' role from JJ. Or that she's a non-badass who bonds with Reid in a way that reminds JJ that she and he used to be friends. And I really, really hope that she's appalled by the exchanges between Morgan and Garcia, and calls one or both of them out on it.

The original writing team did a great job of creating characters, and the actors a great job of bringing them to life. JLH has some proven acting chops. Now we'll have to hope the current team of writers can find a way to create her character well, and give her adequate, sensible back story. Then it will be up to her to bring it to life. It's inherently an intimate partnership between the writers and the actors, and we were fortunate to have it go so well at the beginning. Hoping the writers will feel more in tune ('seasoned undercover' sounds right up their alley) with JLH's character than they were with JT's.

Agreed. The well-defined characters were what drew me in, and they are what keeps me with the show (which is literally the only scripted one I've watched for more than an episode or two since the great days of ER and West Wing). I think character development was more a talent of the previous team/teams of writers than the one we have now (holding poor Blake up as evidence), so I hope they don't try to go that route. . The procedural aspect I can take or leave. Procedurals in general don't interest me---nor shows about dystopias, vampires, zombies, etc. Which, these days, leaves me a lot of time for reading and writing. :)

The only news I'd be interested in would be to hear they've been renewed for an additional season, and all contracts are signed and sealed. I got over the 'hype' a good six false 'hypes' ago. They don't seem to have their finger on the pulse of my particular part of the fandom. Whether they're blowing up the plane, or the BAU, or whatever it is, I wish they'd just keep it to themselves. I'd rather be surprised. (But only pleasantly!)

There are a couple of things I wonder about: How does a writer's approach differ from the beginning, when they have free reign to create a character, to later on, when the character is established? Is there any sense of responsibility to maintain some general character traits? At what point do they look upon a character as 'established'? (thinking of the weekly swings in Reid's behaviors, and the annual ones in JJ's) How do the writers work together to create a unified voice for a character? Or do they? How does the emphasis for a series change over time? Is there pressure to focus more on the characters, now that the audience has become attached to them? How do you know when you're out of stories? Do the writers ever write to the demo? How do they try to bring in new viewers? Thinking about the many people who've expressed the opinion that the writing has devolved to appeal to a newer, younger, group of viewers. One very concrete question: Does he think CM has become more or less graphic over time? If more, is that a consequence of spending more time with the unsub?

Physics magic. It's one of my favorite scenes of the whole series. Which tells me that I don't really care if it's a show about profilers (which probably belongs in 'unpopular opinions'). I just love the characters.

Not sure if this is popular or unpopular. But I was (jealously) reading about Willowy meeting Matthew (but, really, I'm very happy for you, as I know how completely thrilled you must have been!), and it made me think. While I would love to meet him, I actually think I'd actually rather meet and spend time with Reid. (I spent a longer time than warranted thinking about this---otherwise, I'd have to be getting work done). That made me think about the others. And it came out this way: Reid, rather than Matthew (though I'd really rather meet both, and skip all the rest) AJ, rather than JJ Joe, rather than Rossi Hotch, rather than Thomas Kirsten, rather than Garcia Morgan, rather than Shemar Paget, rather than Emily Not that I wouldn't like to meet each of the characters, and each of the actors, but I think I'm more intrigued by , or drawn to, the ones noted.

Happy for you, Willowy. Congratulations!

mstaken, answering your query about why some of us like JJ. Which may mean my reply belongs in a different thread. I don''t know. This place confuses me. Anyway----while I'm not as fond of the 'returned' JJ, I do still like the character. And, if I squint just right, I can see traces of the original personality in there. For me, the JJ that I like is best defined by a single scene. I don't remember the name of the episode, but it's the one in which she tells Hotch about her sister. That scene between them on the plane is, in my opinion, the finest AJ Cook has turned in on the show. She told her story and turned it into a means of comforting Hotch about the loss in his life. That's the JJ that I relate to, and I look for her, and like to imagine her, hidden beneath the surface, in every episode. I've known a few people in my life who've undergone dramatic personality changes because of changes in their personal lives. Rather than the ludicrous events of '200', I like to think that JJ is struggling in her relationship with (sleazy--oops, don't know if that's popular or unpopular) Will. Maybe, if we can send him packing to New Orleans, we'll see the old JJ again.

Great thread! I actually completely agree with a few items on your list (Rossi, Gideon, the unremitting dourness of Hotch, Reid’s addiction non-storyline) and partially with others. My unpopular opinions (though I don’t know that they’re all unpopular): 1. A lot of the characterizations are just too ham-handed. Each of the characters has been given some degree of backstory. Given that, I rarely see the actor play it out unless it’s specifically written into the script. Meaning that, unless there is a specific line of dialogue, or unless the entire episode is given over to the theme, we don’t see the characters react to situations that should have affected them. For example, JJ doesn’t react to the victims being ‘young, blonde women’, or ‘women with children’, unless it’s specifically written into the script; Morgan doesn’t react to a family with a missing person unless it’s an episode about his cousin. Along the way, the only exception has been Reid, when MGG uses a facial expression or a change of position to indicate his relating to the situation. And even that hasn’t been done consistently. 2. Speaking of……Reid. Love the character, hate the inconsistency with which he’s written. One week he’s got Asperger’s, the next he’s socially savvy. One week he shakes hands with ease, even touches someone spontaneously, the next he’s waving at the newcomer, and the next he’s even commenting on the risk of contagion. One week he’s completely sympathetic, even empathetic, and the next he’s completely analytical. One week he’s mature and confident, the next he’s regressed. In earlier years, there was much more consistency to the writing, and a clear evolution of the character from a young protégé to a more mature, more confident member of the team. MGG played it well, and I think he even continued to do so for a while after the writing deteriorated. Now, he just seems to go along with the ‘Reid personality of the week’. As much as I don’t like it, I can understand it. It must be exhausting, not knowing who you are for a week at a time. 3. In a similar vein, I used to appreciate the Morgan/Reid friendship, as I liked that Morgan took Reid under his wing. But the time for that dynamic has come and gone. They should be on more even footing now, and I’d like to see some of the advice-giving go in the other direction. 4. Hate, hate, hate the so-called ‘humor’ that makes fools of Reid and Garcia. The fitness thing, the Dr. Who thing----one can be a fan without being a buffoon, yet that’s how they were written. I hate that Garcia has not matured at all throughout the series. If they would just let her do that---which, of course, means having both she and Morgan outgrow their juvenile banter----she might be an enjoyable character once again. 5. Hate that Garcia presents the cases. She has no expertise in the area, except in using the remote. I do wish they would re-institute the role of the case-screener/liaison. Or at least tell us who is doing that work now. It can’t be Garcia.

I've read fanfic sporadically on and off for years, but never felt moved to write anything until CM. I think mstaken is on to something. The characters are well-formed enough that I care about them and find them intriguing, but there is so much untold story onscreen that I'm driven to work through all the 'what-ifs'. I am also a 'Reid-reader', but am picky about what Reid stories I will look at, and even pickier about those I will stay with. Bad spelling, grammar, punctuation or OOC behavior, and I'm gone. I also share the same oddity as mstaken (so maybe we're not so odd). I fast forward through any explicit sex (which, no matter how well-written, always comes across as 'filler material' to me) to get to the actual storyline. Not a fan of unrelenting whump either. I love the relationships, and the human emotions behind them. And fluff, tempered with realistic angst, is fine with me. CM offers us the opportunity to read and write action, angst, friendship, family, romance (even if only in the various shipdoms), mystery and even humor. There are a number of very talented authors whose work makes me thankful to have so much to hold me over until the new season begins!

For me, Strauss' behavior after '100', both in her interactions about offering Hotch retirement, and her interviews with the team, were flavored by earlier episodes. She did, indeed, facilitate Emily's getting to the BAU to place a mole in their midst. This was the largest contributor to Emily's deciding to leave the team at the same time that Hotch was initially leaving. It was in that episode (forget the name, but it had Eddie Ciprian) that he told her about Strauss viewing him as a rival, and a possible obstacle, in her rise to the top. He also noted it was a one-sided rivalry. So, even though her behavior might not have been overtly suspect after '100', I couldn't help but look for (and easily see) a hidden agenda on her part.

I agree with you that the relationships have become more interchangeable in the past few years. I guess I'm reaching back to the early seasons, when they were so well drawn that I still remember them, and find myself looking for remnants of them. I guess, if they weren't still lodged in my memory, I wouldn't miss them. But I also wouldn't still be watching the show. I also agree about the shoot outs and the torture porn. I know many of their cases are rooted in some degree of reality. But I would much prefer that we experience it as the team does...after the fact.

For the future, my wish list: Story lines that are creative in an emotional vein, and not simply coming up with a more gory way to kill. For me, "Ride the Lightning" is a good example of what I mean. Cases where one or more members of the team has an emotional investment. Not necessarily a completely character-centric case----but a case where someone relates more to the victim, or the family, or even the unsub. To me, that is the preferred context for revealing something of the characters' personal lives. And i can't imagine it doesn't happen to at least one of them on every case. More of their friendships. Just a line or two as they're heading out, or back in. A touch on the shoulder, in understanding or support. Not the group thing, but the pairs. Each of them has a different quality of relationship with each of the others, and the 'family gathering' totally dilutes that, to the detriment of the show. With the exception of Morgan and Garcia (which has been uncreatively overdone), the friendships have been sorely missing. And just one more, very specific, thing. I want some Henry and Reid. If AJ's son is still too young to handle lines, I'd recast. But I think the relationship with his godson could bring Reid some much needed joy and unconditional love.

I ship the JJ/Reid friendship more than their romance (although I write both) and I didn't quite see what you saw, Willowy. I saw JJ almost laugh off the idea of Reid as a father (coming dangerously close to eye-rolling), and then Alex pointing out how lucky his kids would be, essentially forcing JJ to agree with her. Don't get me wrong, please. I would have been over the moon if it had all come from JJ, but it didn't. I did appreciate her tearing up with Rossi about it. And then was immediately disappointed when he went from "Me too" (being scared) to "So, let's look at...." Arghh! And I thought we were owed a reunion scene of Reid with each member of the team. As to Reid's ambulance ride....he's not a very skilled eye-roller. Maybe he needs to take lessons from JJ. (only kidding! sort of) I was kind of looking for Morgan to have the same passioned response as he had when Emily was 'dying'. But it didn't quite come across, for me. Still, I was glad we were given the scene.

Forgot to mention something else that I loved: that they showed Reid still carries "The Narrative of John Smith" around in his messenger bag. I knew he could never just leave it on that bookshelf! I also liked that Garcia and Reid were on top of the meds, and that he was scrambling to pull out his IV, and then just chose to clock the guy, from his hospital bed. I agree with those who think this was a better finale than we've had in a few years, but I think it suffered from the same problems as The Replicator. They spent so much time on 'action' (and in the dark---what, exactly, is the point?), and then didn't have enough left for the human interaction. That interaction is why I watch this show, and not others. They lifted the suspense on Reid way too quickly, and therefore, much of that 'action' didn't occur with the tension of realizing one of their own might be dying. The only person who even touched Reid after the surgery was Garcia. I was trying to patiently wait through all the shoot-em-ups, so I could enjoy the scene of Hotch visiting his youngest in the hospital, of the relieved JJ giving him a hug...and maybe even Morgan doing the same. Nope. So then I waited for the scene on the plane, when they would be fussing over him. Nope. Asleep on the couch, so the others could talk. While I agree that someone (ahem...JJ or Morgan) should have stayed with him, I also recognize the need for the plot device so that he and Alex could have their talk. And I did like that Alex texted Hotch on the plane. It was the only thing in the show that caught me be surprise, because I didn't realize it was him she'd texted until he stared not-so-subtly over at her. As to what may come in the future...if the show has only one more year, then I'd say they should keep the team as it is. My only concern is that, since Alex was almost the only one who talked to Reid, he may die of loneliness in the police stations of America. If there is thought the show will go beyond one year, then I would refill the position---or, maybe, bring on another liaison. I agree that JJ shouldn't be the only female traveling member of the team, but for different reasons than others. I think there have been a number of occasions over the years when she and Emily, or she and Blake, were paired for interviews that really were best done with two females, and I'd like to see more of those. Most of the suspense wasn't there for me, so I wasn't holding my breath for the survival of Reid or any of the others. I'd simply seen too much evidence that it was JT leaving, and that MGG was staying. After the botched CBS preview, there was a lot of scrambling on twitter, and in interviews, aiming for misdirection. But ever since their past attempts at misdirection, I've ignored the hype coming directly from the show. It's rarely true, and often annoying. Such is the life of the TV show fan in the age of the internet.

Willowy, The drug was carbenicillin.

I don't know. I truly wish I could have enjoyed it as much as some of you did. It was very heavy on running-around-and-shooting-in-the-dark, and way too light on Reid (or anything to do with him) for my taste. Even a minute of reversing of that balance would have made a huge difference. Why intimate that you've got a major character in a life-threatening situation if you're not going to play it for drama? I did enjoy the premise of the rogue police department, and the suspense of the team needing to work without letting on. The scene with Rossi and Blake knowing they were about to be attacked was very intense, maybe the most of the entire episode-----but the actual confrontation apparently took place during the commercial. The fifteen seconds of expressed concern about Reid was welcome----but it was fifteen seconds. Maybe that was because the wound that was life threatening enough to put him into shock (with a heart rate of 30 instead of 130----a case report in the making) was actually not so life-threatening. How else could he have undergone serious neck surgery without being intubated (for a while there, I thought that surgeon must have been in on the corruption) and recovered within hours so he could eat jello. Alex's decision had long been telegraphed, so the only surprise was her reason. I did think her story line was well portrayed in the episode. And I think she demonstrated that, given material, she can deliver. It wasn't terrible. It just wasn''t what it could have been. But I remain ever hopeful.