TV Show Review

TV Review: BLINDSPOT: Season 1, Episode 6: Cede Your Soul [NBC]

Ashley Johnson Blindspot

NBC’s Blindspot Cede Your Soul TV Show Review. Blindspot: Season 1, Episode 6: Cede Your Soul was a little fuzzy around members of the agent team and their relationships. Did everyone on this show have PMS this week? At least Jane (Jaimie Alexander) had a nice sexy dream about a dude she doesn’t know, but probably used to know. Is it a prophecy or a memory? We’ll know next week. This mysterious character (François Arnaud) is the only other continuation in the story right now other than Patterson’s (Ashley Johnson) frustration with Mayfair (Marianne Jean-Baptiste) over a tattoo lead she won’t dig up by having a case file opened.

Kurt (Sullivan Stapleton) gets a stern talking to about his role as agent team leader in tandem with his little crush on Jane. Mayfair accuses him of being soft out there when they are together. Kurt starts busting her chops like he is her actual boss, and swiftly turns cold, or tries to remain “objective” the way agents are supposed to. He is a pro at shutting himself off from the people he is supposed to love, especially while his dad (Jay O. Sanders) is camping out on the couch per the arrangement made with Kurt’s sister (Jordana Spiro). I don’t know what’s keeping Kurt from feeling relief that Jane is alive when it is relevant to his pops being innocent.  

Jane is completely overwhelmed with her lack of autonomy from her work and becomes desperate for more than identity, but wants her own social life. Are they even paying her at the FBI? That might help a little. She isn’t an agent, but is all this work pro bono until they solve her puzzle? She doesn’t get to showcase any hand to hand in the field she’s absurdly volunteering her time in this week, but there are two pretty cool explosions.

The team has to pursue the closest example of cyber terrorism that they will probably encounter in the series when a Saudi prince is assassinated and Patterson reveals he was being traced with an app in the dark web with a logo matching a creepy owl tattoo on Jane’s leg. Trakzer, the app, was built by a plucky yet green teenage girl, Ana Montes (Aimee Carrero), who Jane tries to latch onto as she discovers how lonely she really is in the world.

Kurt has an epiphany about good guys helping his team by plopping Jane’s decorated anatomy in the city for them to discover. Mayfair doesn’t get enough screen time this week, but seems to take to the idea that maybe they aren’t up against the people who did this to Jane, but only the people the clues lead to. It seems over zealous to go through all the trouble of encoding the information, when real help would fess up and free up as much as humanly possible in the most efficient way available.

Jane keeps revelling in feelings about her body to Weller. If it weren’t for the drugs pumped into her system, she would probably have fallen apart by now into a weepy puddle and had to face the world alone.

Ana is wise enough to stick to herself, but needs the team in the second half when some Russian heroin ring mafiosos ambush her to get Trakzer back online. She leaves a nice clue to help locate her in the midst of her kidnapping, and the team has to race back out against the wind to save her and prevent a truck load of U.S. arsenal from being intercepted.

Kurt decides to man up and asks Jane if she wants a new boss. He seems more complaisant after the team is out of harm’s way for the evening or they are making progress on tattoo leads. Ana helps them decipher a new one they thought was dead, but turns out to be a steganography with a hidden graphic. There is some clever writing in this show around the central moral dilemma of solving the puzzles. It’s something I personally look forward to on Mondays. 

Zapata (Audrey Esparza) is in over her head with the bookie, and reveals she took slime ball Carter’s (Michael Gaston) bribe to pay her debt. I’m intrigued as to where this lead could possibly go. The person I assume would most like to give Jane up to the C.I.A. is Edgar (Rob Brown). There’s some more dirty underhanded tricks in store I’m sure, but only time will tell.

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About the author

Stephanie King

I am a meticulous writer. Story is my strong suit.

I do not waste time on political "critique" or paranoid "undertones" that might have been an inspiration to a story writer, but clearly are not a main or secondary theme.

I can identify high concept, main and sub theme(s), protagonists and antagonists, secondary character roles, the turning point, the key, the antagonist's story thrust, the spine, twelve sequences, the climax, the resolution, and most importantly, the goal of any film. I am aware of the act structure which can be from three to five acts, generally.

Aristotle elaborates in his Poetics on Plato's Republic on act structure.

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