“It’s been a hard year for us, Jason.” What an understatement. Season Two of Criminal Minds has seen our heroes through personal tragedies and professional trials. The killers they track seem to get cleverer, more difficult, and more disturbing with each episode. The affects they have on the profilers is cumulative, and the costs for these very compelling characters gets higher and higher. Elle flamed out. Morgan was confronted by his past. Reid was utterly changed by his ordeal. Prentiss still looks on as an outsider. Hotch tries to remain the strong rock of calm amid the scenes of carnage around them. The cases haven’t just been hunt the killer/save the victim cases – “the residual impact” of these cases, as Erin Strauss would say, have left wounds – deep, searing wounds.
But, not to be too cliché about it, the man was right who said that without darkness, the light could not be seen. It’s been a dark year punctuated by moments of brightness and camaraderie – small things – a smile, a shared joke, a Chaplin film, a moment of openness, a nod of understanding. And, even as we wade through the blood of Frank’s victims, that is not forgotten, and the profilers take on added dimensions, and give us more reasons to care about them.
The plotline of the ep itself was brilliant. Ed Bernero + Mandy Patinkin = some kind of wonderful. Every single shot was beautifully orchestrated, especially the rapid cuts of Gideon in the phone booth, the bathroom, remembering Frank in the diner, and leaving the florist – and following Hotch’s eye-flicking POV around Strauss’ office. Hotch’s voice-over profile of the team was a tender accompaniment to the visual scenes, and is one of those things that I can close my eyes and see again and again. Mandy is absolutely emotionally truthful in this one. How he manages to show everything from rage to terror to emptiness is beyond me. His teacher/student moments with Garcia help him get his footing back so he can crack the puzzle of Frank. The framing of Hotch and Reid as bookends of Gideon’s life is also amazing. Gibson is at his best in his quiet white intensity, and Gubler is really the only one who shows his character is truly terrified about what may have happened to Gideon. And one of the most revealing moments was at the very end when Reid re-entered the bedroom to gaze down at the corpse of Frank’s mother.
No matter how many red herrings about Prentiss you pass before my eyes – her insistence on calling in the MPD, wanting to give up evidence, forcefully questioning Hotch about Gideon’s “capacity” at the train station – I believe in her. The CM writers have done a great job fitting her into the team, giving her a role beyond Elle’s and teaching her about her own weaknesses by showing her the weaknesses of others. She will be sorely tried during this political tug-of-war, but she’ll prove to be faithful.
Throw back the curtains, and let in the light. A metaphor for revealing truth – the truth about Frank, the truth about Prentiss’ possible role in the BAU, the truth about Hotch’s position, the truth about Gideon’s standoffishness with the people around him. Bernero gave us two small visual metaphors when first Hotch, and then Reid, opened curtains in this episode. Things are coming to light. Secrets. Conspiracies. Problems. Scars. As with Fisher King I, the minds behind the Minds are giving us a hint of what is to come. Are Hotch and Reid to be revealed? Or, perhaps they will be doing the revealing. But remember, the light can sometimes show us things we’d rather not see. I have a feeling we ain’t seen nothing yet.





