The Blacklist (2013– )
8.4/10
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3 user 9 critic

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.

Director:

Steven A. Adelson

Writers:

Jon Bokenkamp (created by), Daniel Voll
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Photos

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Cast

Episode cast overview, first billed only:
James Spader ... Raymond 'Red' Reddington
Megan Boone ... Elizabeth Keen
Diego Klattenhoff ... Donald Ressler
Ryan Eggold ... Tom Keen
Parminder Nagra ... Meera Malik
Harry Lennix ... Harold Cooper
Damian Young ... Milton Bobbit
Isiah Whitlock Jr. ... Danny Moss
Hisham Tawfiq ... Dembe Zuma
Amir Arison ... Aram Mojtabai
Peter Scanavino ... Christopher Maly / Craig Keen
Jacqueline Antaramian ... Wahid's Wife
Susan Kelechi Watson ... Ellie
Gregory Korostishevsky ... Vlad Cvetko
Clark Jackson ... 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


Certificate:

TV-14 | See all certifications »
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Details

Official Sites:

Sky [United Kingdom]

Country:

USA

Language:

English

Release Date:

31 March 2014 (USA) See more »

Filming Locations:

New York City, New York, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Stereo | DTS (HD MA) (blu-ray)

Color:

Color

Aspect Ratio:

16:9 HD
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Did You Know?

Trivia

In 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. See more »

Goofs

The 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. See more »

Quotes

Raymond 'Red' Reddington: Looks like we're a little late to the party. You must be the brother-in-law.
Elizabeth Keen: Ressler called. I have to step out. He isn't cooperating.
Raymond 'Red' Reddington: Oh hell, Dembe, get the hacksaw. We're gonna have to take him out of here in pieces.
See more »

Connections

Features Disorder in the Court (1936) 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 A_Different_DrummerSee 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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