Last night’s Person of Interest was the best episode of the show to date. There’s a simple reason: the person of interest story was practically non-existent. Instead, viewers got another look into Reese’s background, lengthy conversations between Carter and Reese, and a reappearance by Elias. It is a good thing that the person of interest story was so minimal – it involved Fusco trying to save an underwear model (Karolina Kurkova) being chased by Armenian gangsters.
The focus on Reese’s incarceration allowed for more thorough story and character development than we typically see in this show. Usually, they are trying to cram in too many storylines. With the focus off the person of interest, viewers gained more insight into Reese’s background and the bond between him and Carter. Reese’s interrogation was the most intimate conversation the show has ever had. It was great to see a personal connection between Carter and Reese. Even though Reese was feeding some false information to the FBI, there were nuggets of his personal struggles and Carter instinctively knew those to be truthful. After Reese was released and met up with Carter, they seemed to understand each other as individuals – not just as vigilante colleagues.
Another great thing to come out of Reese’s incarceration was the reemergence of Elias. Even though it was a short appearance, his presence brought a certain whimsical evil to the situation. Elias’ best moment was his comment that he thought the FBI could have come up with a more creative name than “the man in the suit.” Agreed!
The big reemergence, though, was Reese’s former partner, Stanton. Even though Reese was previously in the military, the flashbacks of him with Stanton show that the two assassins are nothing alike. Stanton takes glee in killing and follows orders blindly. Reese questions the “who” and “why” of their targets. Stanton drugs Reese and likely kidnaps him, but there is no clue what will happen to Carter.
Once Donnelly captured Reese and Carter, every phone Finch walked by began to ring. A series of codes were given on the other end of the line. I’m not quite sure what these codes were. Do we know yet? Did I miss something?
There’s always some flaw in the show. This time, I’m giving it to the lame 1980s music at the end. All that was missing was a saxophone solo. It was a tough call between this and the clunky dialogue from McAvoy, “Screw that. Nobody rats me out.” But, incredibly, the actor delivered the line with credibility, so the bad music wins.
I think we should all take a moment to acknowledge how much better the show is when they are not running around in fifty different directions. Distractions like HR aren’t necessary when they spend the time on their main characters.
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