Milton Bobbit (No. 135)
- Episode aired Mar 31, 2014
- TV-14
- 42m
Now aware that Tom is not whom he pretends to be, Liz uses a case to distract the team as she investigates her husband's true intentions.Now aware that Tom is not whom he pretends to be, Liz uses a case to distract the team as she investigates her husband's true intentions.Now aware that Tom is not whom he pretends to be, Liz uses a case to distract the team as she investigates her husband's true intentions.
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Storyline
Did you know
- TriviaIn the scene in the art gallery, Red (played by James Spader) mentions about puppets being terrifying. The next, almost throw away, line mentions clowns being terrifying too. This is in reference to his role as Alan Shore in Boston Legal, who was scared of clowns.
- GoofsThe cab is shown crashing into an unloaded flatbed truck and instantly exploding into a fireball. While the crash would have been severe, since the truck was unloaded and the cab's gas tank is in the rear, the explosion would not have happened, nor would the fireball. This is a common special effect used for dramatic purposes.
- Quotes
[Christopher Maly jumps through the window, killing himself. Dembe runs over to look, then walks away]
Raymond 'Red' Reddington: [Nonchalantly] Okay then.
[Walks over to window and looks down]
Elizabeth Keen: What now?
[Red grabs his coat]
Elizabeth Keen: What are you doing?
Raymond 'Red' Reddington: Putting on my coat.
Elizabeth Keen: A man just jumped through the window, there's a body on the sidewalk.
Raymond 'Red' Reddington: Yes, and your husband, the police and all the king's men will be here soon. If you care to stick around and explain, feel free. I for one will not be in attendance.
[Keen grabs coat and heads for the door]
Raymond 'Red' Reddington: Dembe, I'll get her downstairs. After you're finished, grab the pretzels.
- ConnectionsFeatures Disorder in the Court (1936)
TV drama is about entertainment and entertainment is about connection, the ability to temporarily move the viewer to another plane of experience and generate endorphins.
The tools available to the production team are known -- actors, a story, and sometimes special effects. A little music maybe.
The story element is especially interesting. Generally this breaks down into the long act and the short arc. Take for example THE FUGITIVE, one of the standards. The long arc was simple. He was innocent. The short arc was the entanglements he got into week after week.
That was pretty much the template until the 1990s when, it is generally thought, a then-obscure writer named Joss Whedon changed the nature of TV drama by doing things with the long arc no one had ever thought possible.
In the view of this writer, it took over a decade for Whedon's vision of what TV "should be" to migrate to the mainstream. Now all shows have complexity in both the long and short arcs. That's a GOOD thing.
Which means the challenge for the writers, what makes each episode special, is the ability to keep interest in both sides of the story cooking at full boil for the entire length of the episode...? It is difficult to dance with two partners at the same time. But that is still the goal of a series's writing team. Every episode of every show.
I did the long intro above because this single episode, moreso than others, is one of the most exquisite examples of running both arcs at the same time -- we have a wonderfully creative bad guy, almost magnetic, and we have Lizzie in turnabout on her not-so-perfect husband.
And both stories are mesmerizing.
Perfection.
- A_Different_Drummer
- Feb 2, 2015