The Blacklist (2013– )
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Milton Bobbit (No. 135) 

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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Cast

Episode cast overview, first billed only:
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Milton Bobbit
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Danny Moss
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Christopher Maly / Craig Keen
Jacqueline Antaramian ...
Wahid's Wife
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Ellie
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Vlad Cvetko
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Mitchell Travers
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Storyline

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.

Plot Summary | Plot Synopsis


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TV-14
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31 March 2014 (USA)  »

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| (HD MA) (blu-ray)

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16:9 HD
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Did You Know?

Goofs

Red tells Elizabeth that "Yesterday in Brooklyn a taxi drove into the back of a truck under the 86th Street "L" train." The train that runs on 86th Street is the "F" train. See more »

Quotes

Raymond 'Red' Reddington: Terrifying. You know this artist got his start with puppets? What is it about puppets? It's the same with clowns. I'll never forget a puppet show I saw when I was five, maybe six. Hansel and Grettle.
Christopher Maly/Craig Keen: Why are we here?
Raymond 'Red' Reddington: Scared me to death. But it wasn't the witch, it was the oven. Imagine, an oven puppet. Ooh. I don't think I set foot in our kitchen for a month.
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Connections

References The Joy of Painting (1983) See more »

Soundtracks

Can't Pretend
(uncredited)
Performed by Tom Odell
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User Reviews

 
the long arc and the short arc... a clinic
2 February 2015 | by (North America) – See all my reviews

Let's cut to the chase.

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.


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