I wasn't a big fan of 'Red Brick and Ivy', largely because it was written by a man who seemed worried that we wouldn't realise when Patrick Jane was joking unless another character said 'lol you just made a joke'. The first time it happened I thought 'oh, please don't unnecessarily point out that that was a joke' before the man said, 'Ah, humour! Good!', so I suppose it must have happened in previous episodes, although I can't think of any specific examples (I think it may previously have taken the form of people saying 'you think you're so clever, don't you?', which is at least better than just saying 'AH, THIS IS AN EXAMPLE OF HUMOUR').
I promise you, Mentalist writers, Patrick Jane can stand on his own. If you feel the need to point out to the audience that he is clever and witty by having other characters comment on how clever and witty he is, you're probably not writing him as clever and witty enough. Most of the time this isn't a problem, and Patrick Jane is his wonderful self without requiring a flashing sign over his head telling us how wonderful he is, but that particular episode really frustrated me.
I did love the driving exchange between Lisbon and Jane at the end, though. Obviously Jane is Sam and Lisbon is Dean. Er, a Dean who disapproves of overly fast driving. Yes, all right, the parallel may not be exact. (Also, I want Lisbon and Jane to have incredibly filthy sex against a wall, whereas I think I'd just be a bit taken aback were that to happen with Sam and Dean.)
And then 'Red John's Friends' had the team showing enormous, beautiful loyalty to Jane, and I forgave everything. I love them.
Is there a single family in The Mentalist that could be described as 'functional'? About three quarters of the ones that have shown up so far have been blighted by adultery, and the members of the other quarter have generally been murdering each other. I sort of want the CBI to find themselves working with a completely happy family, just so I can watch Patrick Jane cry.
Wait, did I say that? I meant something much less cruel, of course. Just, er... for a change?
Sorry, Jane.
Sort of related to Patrick Jane crying: I'm about halfway through the first season (just watched 'Red Rum'), and I've realised that we haven't seen Jane at his home since the first episode. He's always working on a case, or with his team, or sleeping on the sofa in the office. Because, of course, he doesn't want to go home.
I'm a bit afraid that one day I'll meet Simon Baker on the street and go, 'Hi, um, I know you're not actually your character but you look a lot like him and he really needs a hug and I suppose hugging you would be the closest thing and - and - why are you running away?'
I promise you, Mentalist writers, Patrick Jane can stand on his own. If you feel the need to point out to the audience that he is clever and witty by having other characters comment on how clever and witty he is, you're probably not writing him as clever and witty enough. Most of the time this isn't a problem, and Patrick Jane is his wonderful self without requiring a flashing sign over his head telling us how wonderful he is, but that particular episode really frustrated me.
I did love the driving exchange between Lisbon and Jane at the end, though. Obviously Jane is Sam and Lisbon is Dean. Er, a Dean who disapproves of overly fast driving. Yes, all right, the parallel may not be exact. (Also, I want Lisbon and Jane to have incredibly filthy sex against a wall, whereas I think I'd just be a bit taken aback were that to happen with Sam and Dean.)
And then 'Red John's Friends' had the team showing enormous, beautiful loyalty to Jane, and I forgave everything. I love them.
Is there a single family in The Mentalist that could be described as 'functional'? About three quarters of the ones that have shown up so far have been blighted by adultery, and the members of the other quarter have generally been murdering each other. I sort of want the CBI to find themselves working with a completely happy family, just so I can watch Patrick Jane cry.
Wait, did I say that? I meant something much less cruel, of course. Just, er... for a change?
Sorry, Jane.
Sort of related to Patrick Jane crying: I'm about halfway through the first season (just watched 'Red Rum'), and I've realised that we haven't seen Jane at his home since the first episode. He's always working on a case, or with his team, or sleeping on the sofa in the office. Because, of course, he doesn't want to go home.
I'm a bit afraid that one day I'll meet Simon Baker on the street and go, 'Hi, um, I know you're not actually your character but you look a lot like him and he really needs a hug and I suppose hugging you would be the closest thing and - and - why are you running away?'
