By Kyle Fowle
May 04, 2018 at 09:00 PM EDT
Eric Liebowitz/NBC/Warner Brothers
S3 E20
B-
type
  • TV Show
Network

The last few episodes of Blindspot have all felt like the set-up for the season’s endgame. While some of them have been compelling enough on their own, they’ve also been episodes that felt like they were the start of something bigger. At their worst, they’ve felt like the show delaying the confrontation between Jane, Roman, and Crawford, trying to create conflict elsewhere and fill in the 22-episode order. At their best though, they’ve managed to hint at the enormity of Crawford’s plan, something that’s been ill-defined all season long.

“Let It Go” is a strange episode. While it admittedly reveals part of Crawford’s plan after such a long wait, which is a welcome development, it doesn’t do so until the end of the episode, and once again we’re stuck with 42 minutes spent on what feels like an unnecessary plot thread. Blindspot has spent the last few weeks setting up one lead after another, each one described as the team’s last chance to get Crawford. And yet, every week, that lead ends up dead and another emerges. It’s a pattern that grows especially tiresome in “Let It Go.”

It takes a while for “Let It Go” to get to its central plot, instead taking some time to work in the all the personal drama that’s been unfolding. Roman is off in the woods working on Plan B for Crawford, and yet he’s coming up against a surprising force of resistance: visions of Jane and, eventually, another version of himself. “They told you this was coming. You’re sick,” says the vision of Jane. Roman’s trauma has finally caught up with him.

Of course, the FBI team has their own issues. Megan is back in Reade’s life after a few weeks investigating a story, and while that should be cause for celebration, Reade finds himself constantly dismissing the kind of wedding plans that need to be made when you’re engaged. Megan offers to slow things down, but he refuses, hiding behind the idea that he just wants to spend some time with her now that she’s home before diving into the chaos of wedding planning.

Then there’s Jane and Weller, who are realizing that asking a teenager to live with them isn’t exactly a drama-less thing, especially when said teenager only recently found out her mom is an FBI agent with memory loss and her father was party to large-scale terrorism and corruption. Jane wakes up one morning and sees that Avery isn’t in bed. She freaks out, running around the apartment and getting Weller up until Avery walks in the front door with some bagels. Jane yells at her about leaving without telling them, to which she replies that this house is the same cell with different wallpaper. Teenagers, am I right?

The action kicks off when the body of Avery’s father, Robert Drabkin, finally washes up on shore like it was supposed to. Riddled with bullet holes, it’s clear he didn’t kill himself, and that the body must have been dumped before Roman turned and began working to protect Crawford and Blake. Roman may have overloaded the tattoo database, but he couldn’t take back a move he already made, which means the FBI has…say it with me now…one final lead on Crawford.

A UV tattoo on Drabkin’s neck matches up with one on Jane’s body, and he has a key lodged in his throat. When Patterson overlays the pattern of the key with Jane’s tattoo, the name Charon, the ferryman transporting the souls of the dead, appears. As Weller points out, Charon is also the alias of a notorious contract killer that’s never been identified. Roman must be pointing them to the killer, suggesting that he’s another link to Crawford. Charon must have been hired by Crawford to kill Avery’s father.

The team investigates a drop box at a law school that the key opens, and inside they find a camera. It must have been used by Charon to watch who was paying him for his work. So, Patterson needs to find out the location the camera was transmitting back to, therefore nailing down the location of the infamous killer. At the same time, Patterson needs to work on restoring the tattoo database, which involves reluctantly bringing in her father to help her, because he built the algorithm.

So, in walks Bill Nye the Science Guy. For real! Weller is blown away, and Jane doesn’t know who he is. “I’m sorry,” says Weller, “she has memory issues.” Yes, Patterson’s canon father is Bill Nye, and he’s here to lend a hand with both work and life advice. He gets to work on the database while Patterson tries to track down Charon, and Jane loops Avery into the investigation, telling her the truth about her father’s death and Crawford’s involvement.

Bill’s involvement in the case really helps Patterson, as he uses his signature father distraction technique to get his daughter’s mind off the case for just a second, so that when she returns to her screen she immediately sees a connection. She determines that the camera is feeding back to a store called Little Comics, and the FBI teams is off. They storm the storefront, and Charon takes off, scaling down a fire escape and running through a back alley. He fights hand-to-hand with Jane before pulling a knife, and she has no choice but to turn it on him and kill him. Again, the one connection to Crawford is dead.

Of course, there’s always one more piece of evidence to dig up. When Weller questions an employee at Little Comics, he says Charon had a safe in his house filled with rare comics, and Weller somehow guesses that some of them were used as payment for his contract killings. Who knew that the gruff FBI guy knew so much about comics and Bill Nye!

While Patterson tries to track down a list of who purchased certain comics so as to nail down who hired Charon, Avery takes Jane along to visit her godmother Lynette, who’s been put in charge of Drabkin’s estate. He’s left a generous life insurance policy for her, and all Avery needs to do is sign the papers. It all sounds so shady, but Avery’s known this woman her whole life and doesn’t suspect that anything is off.

As Jane and Avery arrive at Lynette’s giant house, Reade and Megan fall apart. Their impending marriage has always been doomed, it was just a question of when their engagement would finally be derailed. With Megan learning about Zapata’s feelings about Reade, and vice versa, she calls it all off. She’s not angry so much as accepting of the truth. She leaves Reade in his apartment with the news that she’s going to come out as undocumented in her New York Times column the following week, and perhaps, finally, Blindspot can put an end to this incredibly forced love triangle.

To the absolute surprise of no one, Avery’s godmother turns out to be working for Crawford. It isn’t long before Jane’s in a gunfight with Lynette and her security, all before running off with Avery and hiding in the mansion’s panic room. As the guards try to get through the door, Jane gets to be the badass role model she’s always wanted to be for Avery. It’s charming seeing Avery light up as her mother MacGyvers her way out of the deadly situation, with the help of a little red smoke, a fire extinguisher, and Weller showing up just in time. Plus, when Avery pulls a gun on Lynette, Jane is able to talk her down. This family has the weirdest bonding experiences.

Essentially, there’s not a whole lot happening in “Let It Go.” Roman spends the entire episode locked up making secret plans, and the hunt for Charon followed by the confrontation with Lynette seems rather inconsequential in the grand scheme of things. However, with the episode-ending reveal that Crawford seems set to attack a number of New York landmarks, perhaps the final few episodes will provide the tension and conflict that we’ve been waiting for.

type
  • TV Show
seasons
  • 4
Rating
  • TV-14
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Premiere
  • 09/21/15
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