Question Mark? QUESTION MARKS????
I've never been a big Rigsby/Van Pelt 'shipper - nothing in particular against the pairing; I just don't think they have much chemistry - but there are some moments between them that I really love, and the end of 'Like a Redheaded Stepchild' is one of them. Van Pelt is engaged to someone else, but when Rigsby kisses her it's not an invitation to infidelity; it's just a goodbye. He doesn't expect anything from her. I think it's a really lovely moment.
The Mentalist is usually a fairly tame police procedural show, but then 'Strawberries and Cream Part One' happened and AAAHH
AAAAHHH HELP AAAAAAAAHHHHHHH
First, though, I'm going to discuss a non-AAAAAHHHHH-inducing thing: when Jane was curled up on the sofa with a blanket over his knees, talking to Lisbon on the phone a little sleepily, I immediately wanted phonesex. (Er, by which I mean I wanted Jane/Lisbon phonesex, not that I wanted to have phonesex myself.) What is it about Jane that makes me want to read phonesex? I suppose it's because Jane in my personal canon never actually has sex; phonesex is something that can be sexual for one of the pair, whereas the other is just enjoying constructing a scenario (and occasionally throwing entirely unerotic comments in, just to be a pain in the neck).
When Jane was exploring the abandoned school, Silent Hill was, unsurprisingly, the main thought in my mind. I mentioned to my housemate that I'd started writing a Mentalist/Silent Hill crossover a while ago, and I'd never finished it, and maybe I should-
and then I cut myself off, because LISBON WAS UNCONSCIOUS ON THE FLOOR WITH A FREAKING BOMB STRAPPED TO HER
I WAS NOT PREPARED FOR THIS
(My housemate rolled her eyes and said, 'Didn't see that coming.'
'I didn't!' I squeaked.)
Oh, oh, Lisbon giving instructions to Jane on how to handle the bomb, and she's generally got control issues and she's been forced into the position of literally trusting him with her life and she's petrified but trying so hard to stay calm. I love Lisbon. 'Are there wires attached to the lock? ...right, don't pick the lock.'
And then Jane says she should answer the phone, and Lisbon asks, well, what if it sets the bomb off?
And Jane says, 'We'll never know.'
We'll never know, because he's not going to move away from her. Lisbon is the only one strapped to the bomb, but if it detonates they both die. There is no question about this in Jane's mind. Jane leaving her and surviving on his own isn't even a possibility.
I love them. Have I told you guys how much I love them? I love them.
I was so tense watching the scene where they were driving with the bomb on Lisbon that it was actually a bit difficult to breathe. GENUINELY HADN'T REALISED I WAS THIS EMOTIONALLY INVESTED. I'm still fidgeting with residual nervous energy as I type this. Of all the things I've watched, The Mentalist may well have my favourite central cast, so I suppose I shouldn't be surprised that I freak out when awful things are happening to them.
AND THEN IT TURNED OUT THAT IT WAS ALL ABOUT HIGHTOWER AND THIS EPISODE GOT EVEN WILDER.
I sort of saw the Hightower-is-possibly-a-bad-guy thing coming, because I started to think 'hang on, why would Red John be so devoted to pursuing Hightower? This isn't a random "I feel like killing someone who matters to Jane" thing; why her specifically? ...oh my God it's a setup to catch Jane's attention and Hightower is probably in on it somehow.' I could still be wrong, though!
...I hope I'm wrong.
(Er, please don't tell me whether I am in fact wrong or not.)
In any case, I'll forgive the Hightower-holding-Jane-at-gunpoint bit at the end of the episode for being predictable*, because the rest of the episode freaked me out so much. WHAT I WILL NOT FORGIVE IS THE 'AT THE END OF THE EPISODE' ASPECT. What happens next? (Don't tell me!) I am not okay with this.
* Wait, was it predictable or just foreseeable? The latter is a good thing, even if it has the potential to reduce the element of surprise; shock moments work best when they make complete sense in retrospect. I tend to assume that things I foresee are predictable, because I am tremendously oblivious. I think this may have been a rare occasion on which I actually managed to foresee something because of the clues rather than because it was inherently predictable, in which case there's nothing to forgive there.
...well, that was an awful lot of rambling about something maybe four of you watch.
(Apparently America got to watch the two parts of the finale in immediate succession, rather than having to wait a week between episodes. THAT'S NOT FAIR.)
So this entry doesn't consist solely of spoilery chatter about a series you don't watch: I don't really use Twitter, but I occasionally look at trending topics or run experimental searches. A few days ago, I found that over four hundred tweets listing my name with the then-trending #oldpeoplenames hashtag had been posted within three hours. THANKS, TWITTER. I'll have you know that I have met at least one other young Harriet.
The Mentalist is usually a fairly tame police procedural show, but then 'Strawberries and Cream Part One' happened and AAAHH
AAAAHHH HELP AAAAAAAAHHHHHHH
First, though, I'm going to discuss a non-AAAAAHHHHH-inducing thing: when Jane was curled up on the sofa with a blanket over his knees, talking to Lisbon on the phone a little sleepily, I immediately wanted phonesex. (Er, by which I mean I wanted Jane/Lisbon phonesex, not that I wanted to have phonesex myself.) What is it about Jane that makes me want to read phonesex? I suppose it's because Jane in my personal canon never actually has sex; phonesex is something that can be sexual for one of the pair, whereas the other is just enjoying constructing a scenario (and occasionally throwing entirely unerotic comments in, just to be a pain in the neck).
When Jane was exploring the abandoned school, Silent Hill was, unsurprisingly, the main thought in my mind. I mentioned to my housemate that I'd started writing a Mentalist/Silent Hill crossover a while ago, and I'd never finished it, and maybe I should-
and then I cut myself off, because LISBON WAS UNCONSCIOUS ON THE FLOOR WITH A FREAKING BOMB STRAPPED TO HER
I WAS NOT PREPARED FOR THIS
(My housemate rolled her eyes and said, 'Didn't see that coming.'
'I didn't!' I squeaked.)
Oh, oh, Lisbon giving instructions to Jane on how to handle the bomb, and she's generally got control issues and she's been forced into the position of literally trusting him with her life and she's petrified but trying so hard to stay calm. I love Lisbon. 'Are there wires attached to the lock? ...right, don't pick the lock.'
And then Jane says she should answer the phone, and Lisbon asks, well, what if it sets the bomb off?
And Jane says, 'We'll never know.'
We'll never know, because he's not going to move away from her. Lisbon is the only one strapped to the bomb, but if it detonates they both die. There is no question about this in Jane's mind. Jane leaving her and surviving on his own isn't even a possibility.
I love them. Have I told you guys how much I love them? I love them.
I was so tense watching the scene where they were driving with the bomb on Lisbon that it was actually a bit difficult to breathe. GENUINELY HADN'T REALISED I WAS THIS EMOTIONALLY INVESTED. I'm still fidgeting with residual nervous energy as I type this. Of all the things I've watched, The Mentalist may well have my favourite central cast, so I suppose I shouldn't be surprised that I freak out when awful things are happening to them.
AND THEN IT TURNED OUT THAT IT WAS ALL ABOUT HIGHTOWER AND THIS EPISODE GOT EVEN WILDER.
I sort of saw the Hightower-is-possibly-a-bad-guy thing coming, because I started to think 'hang on, why would Red John be so devoted to pursuing Hightower? This isn't a random "I feel like killing someone who matters to Jane" thing; why her specifically? ...oh my God it's a setup to catch Jane's attention and Hightower is probably in on it somehow.' I could still be wrong, though!
...I hope I'm wrong.
(Er, please don't tell me whether I am in fact wrong or not.)
In any case, I'll forgive the Hightower-holding-Jane-at-gunpoint bit at the end of the episode for being predictable*, because the rest of the episode freaked me out so much. WHAT I WILL NOT FORGIVE IS THE 'AT THE END OF THE EPISODE' ASPECT. What happens next? (Don't tell me!) I am not okay with this.
* Wait, was it predictable or just foreseeable? The latter is a good thing, even if it has the potential to reduce the element of surprise; shock moments work best when they make complete sense in retrospect. I tend to assume that things I foresee are predictable, because I am tremendously oblivious. I think this may have been a rare occasion on which I actually managed to foresee something because of the clues rather than because it was inherently predictable, in which case there's nothing to forgive there.
...well, that was an awful lot of rambling about something maybe four of you watch.
(Apparently America got to watch the two parts of the finale in immediate succession, rather than having to wait a week between episodes. THAT'S NOT FAIR.)
So this entry doesn't consist solely of spoilery chatter about a series you don't watch: I don't really use Twitter, but I occasionally look at trending topics or run experimental searches. A few days ago, I found that over four hundred tweets listing my name with the then-trending #oldpeoplenames hashtag had been posted within three hours. THANKS, TWITTER. I'll have you know that I have met at least one other young Harriet.