The episode was okay. Even though the murder case was boring, and could have had a better (and more logical) conclusion, I liked the side plot of Summer (Samaire Armstrong) and her little relationship with Cho (Tim Kang). The ending also makes it look like as if Summer will be used on a regular basis (or jus for another episode, or two), when it comes to the writers trying to think of a story for Cho. I wouldn’t mind, because the show definitely needs more serialized plots. Even when it means the return of at least some guest stars.

So, the undercover narc operation was bullshit at the end. I didn’t even understand why Bianca (Victoria Gabrielle Platt) killed Yolanda (Natalia Castellanos), even though she was her best friend. I didn’t even understand how Patrick (Simon Baker) was realizing that Bianca was the killer. The conclusion seemed so random, I’m still thinking about how logical the motive was, and hoe easy it obviously was for Patrick to figure out the real killer so fast. I really don’t know if it was the clever way, or if there was more in the script than meets the eye. Because it really seems that something is missing. Or the writers didn’t make clear that Bianca was working for the bad guys here. In addition, the whole scene with Bianca and Patrick in front of Omar (Kamar De Los Reyes) seemed ridiculous. First I didn’t know that Bianca’s cover was blown, and then she totally plays with the information that Patrick is a consultant for the police, and that Yolanda was undercover? Did the writers really think about the plot here, or is it just me who’s confused?

The only likable plot was, like I said, Summer’s. I love Samaire Armstrong, even though she had a few shitty appearances in a few shitty TV shows. But here she was so sunny and warm (as a hooker no less), I want her to return. Just so she can masseuse Cho’s back (I was surprised it got mentioned again) and make him happy. I saw him smile again during the first interview with her, which probably comes up to three smiles by Cho in the complete run of the series so far. In addition, Samaire finally got a role she can play with, she can make out with or something. And who knows, maybe even the writers plan to give Cho something of an emotional storyline. With Summer being a confidential informant now, who knows when she’s going to be killed, and Cho is crying for his loss. Who knows if Summer actually becomes a love interest for Cho. Who knows if Summer is actually coming back as a character to the show?

And last episode’s cliffhanger. “We have to talk about Red John”, and that was it. Nothing more. I knew it would happen, and Patrick and Lisbon (Robin Tunney) probably won’t talk about that topic until the next Red John themed story, but it’s still lazy writing. I’d wish for Damon Lindelof to write an episode… 5.5/10

Anybody can take a wild guess why she was cast for this episode

Also: Samaire showed what she has under her clothes

A good episode. But not all the 49 minutes it had. The first third was uninteresting, because I didn’t get invested much in the wake for Walker; the second third seemed interesting, because it teased that Brody (Damian Lewis) and Mike (Diego Klattenhoff) had some things to talk to each other, as well as the terrorist B arc; the last third was thrilling, and I didn’t want the episode to end. All of a sudden, shit is starting to hit the fan. I never would have thought that the stories take these turns.

Especially Carrie (Claire Danes) having a quickie with Brody. I can excuse that, if she really was drunk as dead, and she didn’t really know what she was doing (together with her status as a crazy person), and I would totally excuse that, if she just fucked with him, because she wanted to ask the question, if Brody was ever faithful to his wife. Kind of hilarious – when you wanna ask this question during a polygraph, make sure you have fucked the one doing the polygraph. But I don’t think Carrie just slept with him because both were drunk, and both needed somebody to talk to. They are actually fitting as characters – kind of the same, yet completely different, but compelling enough that you would probably root for them. Interesting dilemma at this stage of the show: With Carrie hunting down Brody for being a terrorist, she has a secret relationship with him. While his family is about to fall apart. That’s how you connect both the season arc and the emotional private, character arc together. I don’t even know when I have seen that last time. Maybe somewhere in ALIAS.

The terrorist plot was okay. Well, almost nothing happened anyway. Raqim (Omid Abtahi) and Aileen (Marin Ireland) on the run, Raqim dies, and the revelation that Aileen is the one running the thing. I was noticing it back in the fourth episode, when I had the feeling she was controlling him, and not the other way around. So, during the first third I was expecting for the CIA to realize that Aileen might be running the threat. Then Raqim was killed off (not a surprise), pushing the story to the next episode (not really good, but I can understand why), making the whole plot a secondary arc in the series. It might have nothing to do with Brody and the current arc, or it might be the one bringing the CIA closer to the actual terrorist attack and/or Brody. But I’m proud to say that I can’t wait to watch the next episode. And this is the feeling I’m currently missing in television.

The polygraph tests were interesting. Carrie lying about her drug use (I hope it’s going to have consequences), David (David Harewood) making the joke out of it (I was laughing, when he talked about cheating his wife), Saul (Mandy Patinkin) being nervous about it (as if he lied, when asked if he gave Afsal the razor blade), and Brody hitting everything to the ground with that last question and that staring into the camera. Damn, I was literally like “WTF”. Again the writers deliver us a twist that there is something with Brody, that the actual threat of him being a terrorist are completely true. I know that the writers always try to find a way out of those kind of plots, which is why I’m glad the writers give even more twists to make me believe Brody is the real deal.

The family plots were okay. Like I said, didn’t care much about the service for Walker, and how Brody beat up Mike; I also didn’t care much about Mira (Sarita Choudhury) wanting to go to India alone. It’s the typical personal storylines filling time, giving the characters a moment to shine outside of the story arcs. I don’t have a problem with it, but when they are kind of boring like that, and almost take half of the episode, then I will yawn every now and then. Or look at the watch, seeing how long this episode is going to run. Other than that, it was still an entertaining one. Thanks to the final third. 7.5/10

Wide shot of religion and death

And now we see pure shock in Carrie's face

And now this episode seems to be the ending of the whole kidnap and ransom plot, though it didn’t even have a proper ending. Sorkin definitely had the idea to stretch that storyline, and combine it with all kinds of debates about terrorism, patriotism, comedy during a complicated time, as well as war themes. But again, almost nothing happened, because Sorkin was waiting for the best time to get the K&R action going, just so that there is some conflict created between Tom (Nathan Corddry) and Captain Boyle (James Lesure); so that the story actually means something, since it was prepared for two episodes now. And this seems to be the problem of the three-(five-)parter – watched as a whole, it’s kinda fun and entertaining, because it feels like a movie. But in the episodic way, it’s just so damn tiring. I don’t really know why I’ve had the three-parter much better in my memories.

Again, the flashback story was more interesting, though it was basically almost all sitting around in Jack’s (Steven Weber) office and listening to the radio show. I find it hard to believe that the ad reps had no problems with the non-patriotic sketch on the floor, before all the shit started piling up after the radio show, and shortly before Matt (Matthew Perry) and Danny (Bradley Whitford) get fired. It’s just not believable that some ad reps don’t have anything to say, when even Jack predicted what would happen. I don’t know if it was because Jack made a promise, and Sorkin wanted to keep that in his background, or because he didn’t really have a more believable idea why Jack would fire the two. In addition, the “It was Wes Mendell, who opened the door” from earlier this season also seems to be a bit off with the story here. I’d never believe Wes would make Jack fire Matt and Danny in the first place. Especially after the two were handled to be Wes’ successor in the future.

The present storylines… well, I am a broken record, when I say nothing happened. Harriet (Sarah Paulson) taught Danny to pray, or he taught her reasons why he shouldn’t pray (which was an interest insight into a non-believer again), while Simon (D.L. Hughley) was sitting in an office and drinking some hard liquor with Jack. It was all talking and stuff, debates, discussions, and all that. Sorkin definitely can write all that stuff, but does it something good for the story? I wouldn’t have needed all the stuff with Simon for example. I just needed a reason why he wouldn’t apologize (and I can understand him in this episode – more than I did in the last, when he was losing his cool), and good is. Nothing more was needed, yet Simon had way too much screentime for me.

That Tom would agree to the K&R at the end was predictable though. There is not another reason for the scene, when Matt, Jack and Mary (Kari Matchett) were telling him about the firm, about the 50/50 chances, and that Tom would say “No” at first. In fact, the scene was only there, just so Tom can agree to it, because Captain Boyle is still there, needing something to fight against with his words and morals.

And there is nothing more to say. I’m actually impressed I was getting four paragraphs together in an episode where barely anything happened. But then I realize I repeated myself. Well, series finale next. It’s always good to rewatch the show, but when I’m at the end of the show, I’m happy I finished it. I don’t think I can go through Sorkin morals five hours per day for one month straight. Hello, THE WEST WING – when am I going to watch you? 6.5/10

Sometimes you don't know what to do

Discussion with hand movements

I was surprised about the solidness of this episode. Sam (Jared Padalecki) didn’t go back to Dean, Dean (Jensen Ackles) feels happy about him not worrying about his family anymore, and Castiel (Misha Collins) actually proves to be a funny guy, without actually being funny. Who would have though that? In addition, the apocalypse story was nicely included, though it lets the rest of the season look like as if it will deliver one apocalypse story after another. Similar to the last season and the breaking of the 66 seals. Could be boring in the second season half.

I like the separation of the brothers. Finally they are doing their own thing, making it possible for the writers to create some new storylines, some new tension and drama, and maybe even some new relationships. This episode started off good in that department, when Lindsey (Emma Bell) was introduced. But her part of Sam’s story was kinda cut off very brutally, after Sam fought against the two other hunters. I really would have seen the aftermath of that fight for another minute or two. But who knows, maybe it wasn’t even the end for Sam alone and Lindsey seeing what the evil world is all about (or better: hearing about it). Other than that, it was a bit ridiculous that the “evil hunters” would get Sam back to his bad habits. Even they should know that a really evil hunter is good for nothing. But even without all of this, I find it ridiculous that Sam had to defend himself in the first episode without Dean now. I know it’s just all about “your real life/fate never forgets you”, but why not risking it and make the life of Sam look good for an hour? In addition, the fact that he is supposed to be Lucifer’s (Mark Pellegrino) vessel makes me think that the writers didn’t really know the season premiere anymore. Was the whole story of Nick two episodes ago for nothing? Did Kripke really wasted half an episode for a “plan B”? Come on…

Dean’s story with Cas was entertaining. What a shame that it wasn’t a “last night on Earth” story for the whole episode, because I clearly would have seen more of Castiel trying to get through a prostitute and come with father issues. Hilarious. Even more funny was his face, when he couldn’t even look at Chastity (Katya Virshilas) or talk to her, and Dean had to be a wingman. Like Dean, I wasn’t laughing as hard as during this scene. Maybe the writers should have thought about delivering those kind of comedy episodes, instead of doing homages to Hollywood or special genres. Just let have the boys a great night for once, let them wreak havoc or whatever they want to write. The “normal” comedy in the episode seems to be working better than the actual comedy episodes – which is just wrong.

The thing with Raphael (Demore Barnes) was a bit ridiculous though. First, what was the scene in the hospital all about, when Raphael was already in the “B trap”? That didn’t make sense. Also, the talk of God being dead. Seems interesting, but with all the parallels to Dean and his search for his father made it predictable that Cas would continue looking for God. I have to say that the sound was a bit too loud for me during the confrontation scene between Raphael and Cas/Dean. Storm, lightning, exploding windows… It was just too much of everything. 7/10

Those tits must look good for this virgin angel

Blood on the face, knife at the throat

Dammit! Hilarious episode. I wondered when this show would become good. I have flashbacks to 100 QUESTIONS, and how good this show actually was in its last few episodes (I know, there were only six of them, but I watched them all). Can it be that ARE YOU THERE, CHELSEA? will also be that funny in a couple of episodes? So, why aren’t the writers able to bring the fun in during the pilot? Damn TV pilots to hell!

I loved the Celibacy Jam session. Especially the battle between Sloane (Chelsea Handler) and Nikki (Natasha Leggero) was to cry for. And I was actually crying, when Nikki started to baby-cry and brought Sloane to leak on the stage. The funniest scene in the episode, and probably even the funniest scene in a multicam sitcom in years (probably not, but I can’t remember having laughed that hard during a multicam sitcom). I hope Chelsea Handler has some time to continue her starring in this one, because I wanna have more of the duel Nikki vs. Sloane. It wouldn’t be bad, when this show had a running comedy gag, and since this one worked in this episode, the writers should work on it. Otherwise the show falls back to being unimportant and forgettable with the next episode.

I also liked that Dee Dee (Lauren Lapkus) was included in a plot, and didn’t just stand there, like in the last episode. Even though I wonder how Chelsea (Laura Prepon) is BFF with her after two episodes of nothingness. Maybe it’s just because Dee Dee isn’t much of a character yet, and only being used for the comedy of the show. But it was good to have her at the front of a story, giving her a romance. And Dee Dee looked much cuter in not being the running gag of the show.

There could have been more gags with Luke (Austin Butler) though. It’s a bit awkward to see him guest starring in this show, dating a Twentysomething, while he’s flirting with a deaf teen in another show. What a shame that the writers haven’t continued to make a joke out of his character, when he was dry-humping Chelsea in the van (though I don’t believe a Christian with a hung for celibacy would dry-hump a “hot” blond in-between music sessions). His singing act at the end was horrible though. Austin might become a real rocker in the future, but he should stay away from singing and performing in the shows he stars in. Doesn’t look very good.

It’s nice that the writers seemed to have found the groove of the show. A few more dirty jokes, and it could actually be considered a sister of 2 BROKE GIRLS. I wouldn’t mind to have another dirty sitcom. But the writers should stop trying so hard to make this show look like “people in a bar making dirty jokes”. The comedy should be more fluently. 7.5/10

There's a cross in the canyon

And now the mountains in the canyon have a leak

Very exciting episode. The case was a bit uninteresting in the beginning, but as soon as Patrick (Simon Baker) established James (David Paymer) as the serial killer, the episode grew interesting, and I just knew it would be connected to Red John near or at the end. That made the ending terribly predictable though. Especially during the interview scenes, when I was just thinking about the possibility that Patrick was thinking “Hopefully Red John watches, and will strike”. It’s kinda interesting to see it this way: James was the serial killer, and in front of the camera, he was driven to Red John by Patrick himself, who just wanted it to happen. I don’t know if that’s gonna be a good thing for the story though. Now that Red John is back in the open, I wonder if something is gonna happen with the story in the third season finale. Everyone thinks Red John was killed by Patrick. And is Red John really that stupid to come back to the living, just because Patrick was ballsy enough to ride another serial killer to death?

That will be the question until the next Red John episode. Other than that, it was a good one, thanks to the story of James, and how Patrick wanted to arrest him “in the morning”. I was pretty excited during the scene in the factory, the supposed killing room. Not just a little thrilling scene, but also surprising when Karen Cross (Missi Pyle) was standing there with her camera team. Nice that even the writers can surprise me here sometimes, letting James shine as the intelligent serial killer, who knows what he is doing. The episode could have ended before the Red John cliffhanger though. Like, establishing James as the actual serial killer, and make an ongoing story out of it. Ending the episode during the interview, when it was clear James is the killer, and Patrick knows all about it (and that James knows Patrick knows). But noooo, the writers have to ruin this fun for me, killed off James and brought back Red John. If that’s clever… we’ll see.

The first half of the episode was lame because of one reason: The story with Richard (William Mapother) went nowhere. First he’s delivered the main suspect of the serial killing, just because Patrick made Lisbon (Robin Tunney) have a hunch, and in the middle of the episode his case is gone, because “he’s a photographer”? Sorry, but I wanted a better resolution to this one. Who knows, maybe something is still coming (I’ll doubt it), but spending too much time in the whole hunch thing at the beginning, and abandoning it for Red John in the middle of the episode is just lame writing.

That didn’t kill the fun I had in the second half though. I wonder how many episodes like this will be in the rest of the season. 7.5/10

Ethan Rom is actually crying for once

Interview with Patrick and a serial killer. How exciting!

A very good episode. Seems like the story is finally developing, though it kinda is not. I was a bit confused about it myself, but while the story of the terrorist act is still standing somewhat still, the story between Carrie (Claire Danes) and Brody (Damian Lewis) got a huge development – which saved the episode, but which couldn’t have been more thrilling here. I mean, when Carrie and Saul (Mandy Patinkin) have the chance to see Brody in action, they should do more than just what they have done. I especially can’t believe that Carrie was so reluctant about that topic at first, and didn’t want Brody to be part of the interrogation. Saul’s reasons for Brody’s involvement were sound, and I wonder why Carrie didn’t see it this way.

Also nice that the investigation was used to bring the Raqim plot back on track. I never would have expected that it got back on the radar of the writers and the characters, just because of an e-mail address. I loved the comment of the technician (“You owe me dinner. Possibly even sex”), and I hope that the next episode will rock because of this. Doesn’t hurt to finish this storyline really fast, since it was kind of nothing in the past two episodes. Raqim and his shady girlfriend could be used to make not just Carrie believe that Brody might be a sleeper.

Anyway, the interrogation was nice. Beginning with how violent-free it was, going over to the ridiculous way of torturing (now you know why such music actually exists), ending with the sudden suicide. I was expecting something like this though, when Brody repeatedly expressed his wish to stand in front of Afsal Hamid (Waleed Zuaiter), to tell him very bad things. I was expecting that this story might be a plot by the writers to either build some mystery around it, or to make the audience believe that Brody might in fact be a sleeper. So, the razor thing didn’t surprise me at all. Though I wondered for a bit if this would happen, even after Brody attacked Afsal in the interrogation room.

Saul’s little side plot was surprising though. I can’t say it was interesting, because it kinda felt like the writers forced him to have a private life. Mira (Sarita Choudhury) seemed an interesting character, and judging from what happened here, I’m seeing a divorce. But I also find it a bit unbelievable that Mira and Carrie would be something like best friends. I always thought your mentor in the work business is only your mentor and not a guy whose private life you know inside out. Or maybe I just don’t know the American way of life here. In addition, his interrogation methods were interesting. First he greets Afsal, as if he were a human being, and he wasn’t keen on torturing him. Which is kind of interesting, when you see another (unintentional?) contrast in the scene, where he fixed the carpet in his office.

The little scene with Carrie, Maggie (Amy Hargreaves) and the two kids (Renee St. Gelais, Rachel St. Gelais) was cute though. In contrary to Brody’s family scenes, I like those, and I wanna see more of those. I would almost think that the writers plan to kill off Carrie’s sister in the future. Develop her as the loving family member, and then kill her off just for fun. That’s what I would do. (And what I would do is almost always a cliché). 8/10

Looking at the enemy

Looking at the future of the family

Uuh, say what? Such a simple plot is being used for the introduction of one of the Four Horsemen? Kinda lame, isn’t it? I would have imagined that the Horsemen are gonna be used as four annoying siblings, who just want the one thing, and don’t know how to talk to each other. Similar like the Seven Sins opener of the third season, just much better, and with some of the sins reappearing in future episodes. Who knows, maybe the Horsemen will reappear in the future. But do I believe it after the “silliness” of this episode?

The story was partly okay. A smalltown, angry townboys, people killing each other and thinking the other party are demons. But I can’t think of any reason why Ellen (Samantha Ferris) or Jo (Alona Tal) weren’t realizing the truth behind the threat. I mean, the “demon party” was in a hideout, basically waiting like themselves – is there any reason for a demon to just sit around, wait, and do nothing? At least Ellen, when she was the major recurring character in this episode already, could have asked herself some question. That she started after Jo called her a “black-eyed bitch” makes me question if people not named Winchester know what’s actually going on in Demonland.

Also, the story wasn’t really catchy for me. You use it to get some drama and tension between Sam (Jared Padalecki) and Dean (Jensen Ackles), so that the break-up at the end is somewhat better explained than before the episode. I can kinda understand Sam’s decision, but I don’t believe he made the decision either during or right after the events in River Pass. Because once again, the episode showed why the brothers are still alive and kicking the shit out of the demons, and even Sam would know it would hurt the cause, when Sam and Dean don’t hunt together anymore. It makes for an interesting story, if the writers would hold it together for more than just one episode.

That Titus Welliver was the bad guy of the episode was clear to me after the camera moved from survivor to survivor. It’s the curse of casting, especially back in the time when the episode aired – after all, Welliver was already known as “Man in Black”. At least the little twist of him being one of the Four Horsemen was interesting. When he mentioned his siblings, I was imagining a Horsemen related episode in front of my eyes, but then this episode continued and basically disappointed me. Especially since it was so damn predictable. Of course Sam and Dean wouldn’t die, of course the writers wouldn’t risk killing of Ellen and Jo, after they were absent from the complete fourth season (IIRC). So, the whole second half was basically just one big blah.

But now to the episode title: It was God, who saved Sam and Dean from Lucifer’s rising? Somehow that little thing reminds me of DOGMA. God is not in Heaven, instead he might be in Mexico. I wonder what God really is doing, but now that Castiel (Misha Collins) is on the lookout for him… Not that I expect for God to ever be found, but when you have the devil, you better bring God into the game. At least something fits in here. 5.5/10

Super bones - now you can sell them on the black market

Black eyes don't always make you evil

Seemed like an alright season premiere. Lucifer is among us, the brothers are ready to fight, the angels are fucked, and Castiel (Misha Collins) finally disobeyed in the most literal terms of the word. I would have seen latter much earlier in the fourth season, like, when Anna was still around. Better late than never. But I really want to know how Chuck (Rob Benedict) knew about Michael’s sword in John’s storage room. I was thinking he knew from Castiel, before he vanished, but how did Castiel know? Or was it all just a scheme from Zachariah (Kurt Fuller) to lure Dean (Jensen Ackles) into the storage room and tell him he’s the sword? He could have had that much easier…

Seriously, those question make me angry. When I think about those question, how did the writers not think about them? How was it not possible to realize that the stunt in the storage room didn’t make any sense at all? Yeah, you have a crazy scene with a crazy executive angel, who would do anything to make war, not love, with Hell, but in terms of storytelling, that scene was not logical, was not needed. When the season starts like this already, I shouldn’t bring up my hopes for a grand fifth season, should I?

Seems like this episode was all about Michael’s sword, and Lucifer finding his vessel in the B arc. Not really that much for a season premiere I might say. First off, Nick’s (Mark Pellegrino) story was kind of interesting, judging from his background, but it felt like the audience was given a clear reason why he said yes. The only thing is just that the audience needed just that one word (yes) and not a whole minor arc surrounding Nick’s decision. I would have also accepted Lucifer in his vessel in the beginning already, not making the Nick detour. The same happened with Castiel after all, and we got the story of his vessel much later. I didn’t need Nick’s story. I also didn’t need the detour with Bobby (Jim Beaver) being angry at Sam (Jared Padalecki), despite the demon talking and not Bobby. But I know that the conflict between Sam and Dean is necessary after the mess of the final season four episodes. That’s the only good thing coming out of the “drug” story: It makes Dean not trust Sam anymore, and it makes Sam act. If the writers make Sam act.

The beginning… whoa, what was I annoyed again, after I got the answers. So, the angels didn’t save Sam and Dean. Does it mean Lucifer just saved his future enemies, because it was somewhere written that Dean is Michael’s vessel? I don’t even understand why Castiel was saved. Normally he would have been destroyed by the archangel protecting Chuck, but now he’s still alive and kicking? I so hated it, when Castiel brought out that it wasn’t the angels who saved him and the brothers. I also hated that Sam got clean while being transported into the plane. Pretty convenient to just delete that storyline within seconds. When the writers don’t want to go another withdrawal, they are packing out magic methadone – very very convenient, and totally hatable. I wouldn’t mind for Sam to go through another difficult phase. Think Jack Bauer in season three of 24. It would have not be a problem to show a little of the aftermath of the last season four episodes in this episode (and less of a little bit in the next). Illogical. Inconsistent. As usual. 6/10

Touch the wall for some magic!

A house glows

Are you kidding me? What am I gonna do with this episode, which literally gave me nothing to work with. Another simple inmate-of-the-week episode, which had nothing to do with the mystery of the show. In fact, I don’t even know if the writers knew during the production what the big secret will be. Or if they knew when they would release it into their scripts. When I hear Rebecca (Sarah Jones) saying that 302 bad and scary people have returned, I wonder if she’s also talking about the guards. I wonder if all the returnees are as evil as the previous two inmates. I wonder if even the little robber or innocent man (there will definitely be an episode about the smaller people) will be the evil, serial killing guys. Three episodes in, and the show still doesn’t have any kind of focus. Super-lame and disappointing.

Even the story couldn’t entertain me, though Kit Nelson (Michael Eklund) was a creepy enough character to make it worth the while. I don’t even wanna think about the possibility that the show tries to go into all the inmates and guards first, before going into the story of how they vanished and why they returned. Am I really gonna waste my time with generic standard plots, without them ever going into something of a serialized storyline, or going into the mystery of the plot? Why not bringing Lucy into the 60s plot, letting the audience realize she’s not just in danger in the present storyline, but also part of the Alcatraz history back in the 60s (and maybe even the 50s). It would have been a great opportunity to bring Lucy into that plot after last episode’s cliffhanger, but the writers didn’t. Why not? In addition, they could have somehow delivered something for the bigger picture of the show. It’s the second episode in a row, where Rebecca and Diego (Jorge Garcia) just take it that another time traveler is back, continuing where he left off before Alcatraz happened, without anybody asking any kind of question. What am I supposed to think as a viewer, who has enough of all this bullshit mystery?

I was thinking exactly that, when Diego came with “When I was eleven”, didn’t finish his story, and Rebecca ended with “You’re having an origins story by yourself”. I was vomiting right there – why not telling what happened to Diego right in that scene? Why not giving away the secret right there, right now, letting Rebecca have something she can think about. But noooo, nothing was told. Instead Diego just told his story to Dylan (Will Shadley), who we probably won’t see ever again in the show, and the heroine of the show still doesn’t know about her partner’s childhood (it also makes me ask why Emerson [Sam Neill] knows). That’s just silly writing, and I would never let the reader or the audience dance around a hot topic, which isn’t supposed to be released into the story just yet. Either say it out loud or let it be. Or bring the question marks of that little mystery into the plot, where it makes sense. But don’t just do nothing and let it stay in the room like an elephant.

I don’t even wanna ask the other questions. Most notably why Emerson canceled the Amber alert. But I fear that all those questions are just part of the mystery plot, which will never be mentioned again in this season. Like the possibility that we will have zombies at the end. Or that plan Emerson has about his old friend. Questions in a row of even more questions. And I’m tired to be asked all this crap, when the writers don’t give me any reasons, why I should continue watching this show.

The flashbacks were more interesting this time. But only because Kit was a sorry bastard with all those creepy guys. What a shame there wasn’t more about him though, since his own story was missing in the present storyline. I would have loved to see more scenes with his father (Mackenzie Gray). I would have also loved to see what happened with him in the sound-proof solitary (but hey, the writers barely give answers already, so why showing those scenes in the first place?). Unfortunately, the flashbacks always feel like filler. They seem unimportant in the first place, because they only give background to the villain of the episode. Yet the background given mostly has nothing to do with the plot of the present. So, here the writers still have to learn to connect both timelines to make the stories more compelling.

Yes, my hate for this show is speaking now and clouding my mind. But I just can’t carry a show over a span of multiple years with those kind of mystery building. When I facepalm throughout two thirds of the episode, it’s obvious I will never be a friend of the mystery. Same thing happened with TERRA NOVA just a month ago. Now it’s happening again with ALCATRAZ. I really hope mystery shows like FLASHFORWARD or THE EVENT (and now this one here) are dead now. You can build mysteries and asks questions, but don’t be so silly about it. Don’t ask those questions and forget them for the next ten (thousand) episodes. Remember Mister X from the FRINGE comic episode? Well, there you have it. That’s ALCATRAZ, only worse, because I still don’t care about the characters. 3/10

Someone is angry and someone is annoyed

Fire and crazy guy in the hole!