“Where’s Rostova?” Those two words said by Raymond Reddington in tonight’s Blacklist episode basically made everything in the 55 minutes preceding them disappear. My ears started buzzing; my wheels started turning on what the information the next five minutes might hold regarding Elizabeth Keen’s legendary Russian mother.
Did we find out who Rostova was? Did we get to see her, or hear her, or learn why she pulled a fake-Ophelia into the ocean after “the man she loved [was] killed by the child she adored?”
Of course we didn’t, don’t be ridiculous. The season 3 finale is months away, and Lizzie is still waffling between screaming at Red in the streets and then giving him loving cheek-kisses every 30 or so minutes… it’s not time for Mama Rostova to come out to play just yet. But with just those two words we learned — I don’t know — one thousand different things: We learned that Masha Rostova is 100 percent alive. We learned that she’s as big a fan of making a statement as Red. We learned that though he knows she’s alive, Red doesn’t know where Katarina Rostova currently is. And while we can’t be totally sure, it seems that we’ve learned that there might just be someone out there who’s even more omnipotent than Red — two steps ahead of the man that’s always 20 steps ahead.
To quote Red’s final words in last week’s episode: “It just keeps getting worse.”
For fans, that would be referring to the suspense — even though the series has thrown a few huge reveals about Lizzie’s past at us recently, it feels like we’re really no closer to meeting Katarina Rostova or hearing what she can tell us about Red’s connection to her daughter. But for Red, it seems like the opposite could be true — the closer he gets to Rostova, the “worse” things become. Because the most important thing we learned from those two words up top…
Katarina Rostova is no friend of Raymond Reddington’s. In fact, I believe he calls her his “enemy.” I certainly wouldn’t want to be Red’s enemy. But according to a lovely little painting I saw recently, it’s looking like I probably wouldn’t want to be Rostova’s either.
DREXEL, NO. 113
As I said above, the last five minutes of Thursday’s episode make the rest seem a little inconsequential. But still, when you’ve got some Banksy-on-crack out there labeling his homicides as “performance art,” it deserves to be talked about. The episode opens on a tech entrepreneur named Randy unpacking in his new house, when a man sneaks up on him from behind and chokes him to death. He then moves Randy’s body to the couch, plugs earphones into his ears, puts a phone in his hand, and pours him a glass of wine. Frankly, this guy’s “performance art” leaves something to be desired… that seemed like a pretty average murder scene to me, especially when you consider all the fanciful stuff that was going down with those carnivorous butterflies last week.
But no matter, Red tells Liz about the murder and that he thinks it’s connected to a performance artist named Drexel, a man who uses “death as entertainment” as part of an underground protest movement. The Post Office quickly discovers that Drexel was advertising his most recent kill as part of a series on an underground website named Rigby, and that one of the site’s writers named Ramona is set to have an exclusive interview with him soon. Red heads out on a mission to find her while Ressler and Samar head to Randy’s tech start-up to meet his business partner, John Adelson. Adelson doesn’t seem like he’s Drexel, but he does seem nervous. And he doesn’t even know that his every move is being watched by Drexel who’s somehow hacked into the security cameras in his office.
NEXT: I smell a RAT…