Mako Tanida is the first of Red’s associates that was captured by the task force, making me wonder if Red was using the FBI in an informal Blacklist even before he surrendered. He is avenging his brother, illustrating what Red tells Liz in 1.01 “make it personal”, fitting the theme of taking care of the family, in the avenging a family member category.
Is the second time we see a front for a criminal, the first one being Floriana Campo, his real target in 1.02. This time a dirty cop, feeding straight into Liz on the run, which for Ressler would have been a dirty cop, and into Tommy Markin, and Laurel Hitchins. Jonica is very similar to Tom Connolly and Hitchins.
Tanida does not wear plaid, but Bobby Jonica does in nearly every scene.
Ressler proves one more time he is a hothead. He never stop to think that Tanida had never hurt a family member, so in order to keep Audrey safe, he had to get as far away from her as possible, not pick her up to take her to a remote cabin himself. If so worried he should have tasked another agent with picking her up and taking her to a safe place. Do as Red did, stay away from his loved ones, like Katarina did as well. Then he leaves Audrey in the car alone, half dazed from the crash, and goes to get Tanida. Audrey, a very sweet, untrained, not exactly bright woman, with a massive head injury, gets out of the car, and seeing these men who are trying to kill them she walks to them. But fear for loved ones has that effect in most people.
I think Ressler had never truly understood Red’s lessons about the criminal mind: make it personal, do it for real or not at all, don’t be linear, do not be predictable, before buying into information see it if fits the profile of the source.
We get a fascinating look at Tom’s wall of clues. He is either hacking into Liz’s computer, or he has access to inside information. How did Tom get copies of Cooper’s FBI card, or Ressler’s and Meera’s. Who is feeding him information? Interesting to note that his style for the wall of clues, down to the red thread is repeated in Redemption in Howard’s wall of clues, while Liz and Red do clusters.
Tom compromises himself: he talks about his wife and his house, because he is angry at Jolene, instead of the target, and we can see the little light bulb go on in Jolene’s eyes. Jolene confirmed that Tom is involved and his usefulness has ended. Tom also tells a lot of lies to Jolene: that he married Liz as a job, something I am sure he made Berlin believe, that there were a lot of candidates, when we know he was valuable to Berlin because he was already in Liz’s life. Tom difuses things by babbling.
Tom has no choice but to kill her, but she managed to make a call and throw away the phone, so likely to Berlin. Tom is following her, probably to gather more information or to kill her. And the Cowboy who was getting her for Red. I find interesting that Tom kills the Cowboy with a gun, a matter of fact killing, but he suffocates Jolene, killing her with his bare hands and a plastic, in a way that reminded me of Red and Newton Phillips. It was personal, because Liz had been threatened by Jolene in her life. They will do more paralells between them: the knife with Caliguri and Tom with Asher, among many others.
How did Tom get copies of Cooper’s FBI card, or Ressler and Meera’s. Who is feeding him information?
Ressler saying that he will find them and kill them all:1 echoes of Red
Tom was following Lucy AKA Jolene.
Nobody can murder someone in cold blood and come out OK on the other end is a theme for Liz.
Should have been our first clue of what was wrong with Liz, and it goes with the hideous fish story, what he says to Ressler about not being able to see the light, and Liz crossing the threshold.
The shower scene is great, the blood swirling and Whatever you name is. I love bad Tom. As I love bad Red
I always wondered, what did Ressler do with the head? put it in the mantelpiece? buried it? burned it? But Red listens: “Let me guess he double-crossed you, and you want his head in a box. and so he delivers the head in a box”. A very pretty box too:
soon we we will see Berlin send Carla’s finger in a box, her tooth in a box, Tom does it on the cheap and sends the tattoo in a plastic bag, and Red sends Jasper’s tongue to Peter in a box.
The words Red tell Ressler are important and I think misleading in a way:
Searching in the desert for a drop of vengeance to slake an unquenchable thirst is a lonely walk, my friend…. Donald, I understand how you feel. Beneath the iron-and-rust exterior beats the heart of a man swimming in immeasurable grief. I am truly sorry about Audrey. There are few that understand love and loss more than I….Let me tell you something that someone much wiser than I told me at a similar point in my life. Go home. Turn back from this and go home. It may seem like the hardest thing in the world, but it is profoundly easier than what you’re contemplating.
it is easy to think that in order to understand love and loss, and in order to have a similar moment in his life as Ressler does, having lost the woman he loves, a woman he had just recovered, he must have lost someone very dear, the woman he loved.
But all is really needed is that for a time he thought he did: he went on a revenge mission, and I suspect he later found that the woman was not dead, but by then he had lost his way, unable to see the light, not the forgiving kind.
Agent Ressler. Once you cross over, there are things in the darkness that can keep your heart from ever feeling the light again. All I feel is hate. Good. You’re gonna need it.
This will go into the hideous fish, the crossing of the thresholds, and the conversation in the deleted scene from the blue-ray DVD with Tom about the fact that he thinks one cannot go into a revenge mission and come back alive and be a father:
I’m pulling you off
the mission. You risked everything for that girl in the bank. You showed up at Susan Hargrave’s house and grabbed her by the throat when she was
trying to hook the fish. Getting to
Alexander Kirk requires focus. You lost yours. I am focused. I will put a bullet in Susan Hargrave’s head
when this is done. Saving Agnes does not
make up for what she did. Hired gun or not. We get Kirk, I get her. I don’t trust you. I can do this. Do
what? Complete this mission and come
back alive. Maybe you can, maybe you can’t. Or do you mean complete this mission alive , come
back and raise your daughter as if you were a real parent. Her only parent. Because that I know you can’t
do. I’ve always find it enormously empowering , the knowledge that whatever
path I chose it really didn’t matter where it lead and it didn’t really matter if I ever came back. You don’t have that power. You’ve a child.
Most of the mysteries in the show were laid in this episode: The speech about crossing over to the dark side, the ballet performance. The seeds for Red having endured a terrible tragedy, planted in Frederick Barnes with the blowing of the house and the story to Madeline Pratt, and Diane Fowler speaking of telling him the truth sprout here. Firmly cement the idea, without actually saying so, that Red had suffered a terrible loss: Bubble girl and the woman he loved.
But once we see Carla and Jenifer are alive and well, it reaches a halt. But at the moment is so easy to be convinced that all of Red’s family is dead. Masterful illusion to me, and a great First is Best bias use. After cementing an idea, then the writers are free to present any other characters, knowing they would be dismissed. Especially after Ressler finds a pregnancy test, even though Red had no idea of it, it works as a mislead, as now Red and Ressler are firmly established in most viewers minds as having lost a woman and their child.
Then the ballet and another great misleading chance: Red apparently has done it in the past, and that we know past the gossiping:
Everything’s on schedule, just like you asked, just like last time.
Christina makes no reference to every year, only last one. So I discount anything the musicians and dancers say, as it makes no sense. Red’s daughter, a child as he remembers, would not be dancing in a professional dance company as a lead dancer, but in a ballet school with other girls. But the date is of interest as it is March 22, very close to Liz’s birthday.
Red remembers, or imagines a girl dancing. I caution about judging the girl age by the child actor due to the strict laws for young children in sets. The program reads: March 22, 1987. Now the program and the girl may be contemporaries, as in the girl was that age in 1987, or Red may had an old program and the girl as he remembers is older, maybe because he was a fugitive, and he had few possessions or memories with him.
I think this is Jennifer, AKA Bubble girl and Swing girl.
Acho isso tudo muito estranho. Creio que você nunca vai entender e não quero atrever-me á tentar explicar. Eu não me apego. Sinceramente, não me apego á ninguém. Raramente consigo me ver apegada á algo, mas apegada em pessoas, não mesmo. Pois todas as vezes que resolvi dar um pouco de mim para alguém, o ser não fez jus como deveria. E isso não é nada justo. Decidi me privar de toda essa baboseira que por fim me deixava abalada. Pois por mais forte que você seja, seu coração balança e por fim você acaba em prantos por alguém que simplesmente não merece. E eu não sei o que você tem que está me mudando. Você está mexendo no meu psicológico que eu acreditava ser imune á qualquer pessoa existente. E eu não sei porque, mas você tá mudando a minha força, está me deixando vulnerável apenas á você. Como se eu estivesse nascendo de novo, mas apenas por você. E isso é uma frescura danada, pois isso não existe. E eu sei que sou forte o suficiente para negar sua entrada adentro de mim. Mas por incrível que pareça, eu não consigo. Ou não quero. Não sei. Sinto que se eu me privar disso, eu estarei me privando de você, inteiro. E eu não quero ter que escapar de algo que me faz tão bem. Como diz no livro, O Pequeno Príncipe: “É loucura odiar todas as rosas porque uma te espetou.” É a pura verdade, mas é quase inevitável permanecer a mesma depois de tantas coisas passando… Talvez eu tenha mudado, ou você me mudou. Dizem por ai que seu mundo inteiro vira de cabeça pra baixo quando está apaixonado. Paixão, não me lembro ao certo da última vez que me senti “apaixonada” por alguém, mas com você está sendo diferente. É como se eu estivesse redescobrindo o amor, agora com mais intensidade. Apesar de tudo e sabendo que eu possa me magoar, eu gosto disso. Eu gosto de falar com você sentindo meu coração acelerar, eu gosto de olhar nos seus olhos, gosto de te abraçar e poder sentir seu corpo. Resumindo, eu gosto de gostar de você. Além de que segundo os meus cálculos tem uma grande probabilidade de euzinha, exatamente, eu mesma estar sentindo o tal do amor, o tal do remédio que muda o mundo e as pessoas. Piso em campo de batalha que sou vulnerável que a qualquer momento posso ser atingida com mais fechas do amor ou com facadas no coração. Esse é o campo de batalha real, que amamos e assim estamos dispostos a largar tudo só para fugir com o certo alguém. Será que você compreende que você é o meu certo alguém? Será que você entende que é só do seu lado que me imagino estar? Eu estou apaixonada pela vida e quem me fez assim foi apenas você.
Anunciado el reparto y equipo del Anime Digimon Universe: Appli Monsters.
El Anime se estrenará en Octubre.
Desde Moca News han revelado el Miércoles a los principales miembros del reparto, equipo, historia, una imagen promocional y diseños de personajes del próximo Anime para televisión adaptación del proyecto multimedia Digimon Universe: Appli Monsters. El Anime se estrenará en Octubre del 2016 en Japón.