TV Show Review

TV Review: BLINDSPOT: Season 1, Episode 7: Sent On Tour [NBC]

Joe Dinicol Blindspot

NBC’s Blindspot Sent On Tour TV Show Review. Blindspot: Season 1, Episode 7: Sent On Tour plops the agent team right into secessionist territory, and onto the F.B.I.’s 2nd most wanted, Sal Guerrero’s (Lou Diamond Phillips), doorstep. A cat and mouse chase breaths most of the aired action for the episode, and Jane (Jaimie Alexander) doesn’t get to show off her usual skill set, but she does get to fly a helicopter. Yay.

Patterson (Ashley Johnson) is taken aback when her tenacious David (Joe Dinicol) asks to move into her apartment. After she figures out the new lead on the steganography and pushes the team to Michigan, Joe takes initiative on a classified puzzle and lures her to the Brooklyn Historical Society entrance which is depicted in a tattoo with some additional Roman numerals. They investigate an ISBN hunch and find a book being used to communicate with a secret code by circling and erasing letters on page 111. These two have amazing dopey chemistry, but Patterson isn’t worried enough about his involvement enough and is slightly letting love put her job at risk. Ok, more than slightly.

The team has to foot the road after the suburban tires are slashed and the fuel line is cut. Sal has a militia in his pocket and on payroll with instructions not to let the team out alive if they have him in custody. They should have left someone to guard the vehicle knowing how bad the area sentiment was towards law enforcement. Thankfully, everyone has better aim than the rusty rednecks.

The most prominent tattoo is Kurt’s (Sullivan Stapleton) name right below some oil derricks that Jane spots right off the road, but deep into the woods is not ideally where they want to be. In the opening scene of the episode, the mysterious man (Arnaud François) with the deep rooted tree tattoo and a friend were buying some supplies in the same spot. Jane notices the hollow floor and Kurt uses handcuffs to pull up the newer boards. Voilà! Water, guns, and ammo — just what the team ordered. Sal tries to get inside their heads by what could have been an attempt to buy them off by insulting their salaries. I think Jane realized she isn’t getting paid anything, and that takes some serious dedication considering she is under constant scrutiny for leading them into dangerous situations.  

Edgar (Rob Brown) is still the fastidious voice of reason on the show and there doesn’t seem to be any reason for his character to change tone, but he does get to offer some comic relief in this episode after a standoff inside an old ranger station after he and Jane team up and locate the station marked by an “x” on a map inside the goodie box. Jane needed to spend some time with Edgar to mellow him out a little. I think he is starting to appreciate her help and accept her as a necessary part of the mission to decode her. It becomes clear when they all climb aboard the helicopter that Jane’s muscle memory relearns to fly that they are being helped by whoever did this to her. This whole scheme is some encrypted path to leads and evidence that no one can reveal on their own. The viewers can see the people working behind the scenes in bits and pieces, but suspicion is now a relay of insecurity. Jane is leading them into the biggest investigation ever.

Jane also notices another map inside the station that matches a tattoo on her leg, but the tattoo has an additional “x” and leads them to a helicopter. They have to double back for the standoff to meet up with Kurt and Tasha (Audrey Esparza), who delivered some tough girl stuff this week. I’m glad to see some backbone coming from her character in contrast to having become Thomas Carter’s (Michael Gaston) informant (maybe). She gets used as a hostage for a brief moment, but then gets this amazing opportunity to hang out of the helicopter firing a semi-automatic rifle. I love this show. There are some big “what-ifs” that make the story possible on screen and impossible in real life, but that’s Hollywood.

Boss lady Mayfair (Marianne Jean-Baptiste) notices the remote login from Patterson’s computer and tracks her right to the flirtatious code breaking session she is having with her boyfriend. They are in hot water for a minute, but Patterson gets to keep her job. She doesn’t want to keep her boyfriend, though, calling him a distraction, and let’s face it, he is one. Kurt notices Mayfair barely tries in her attempt to deal with Sal, and demands answers while accusing her of never having been the handler on his case. The cliffhanger ending culminates with Mayfair introducing project Daylight to Kurt. I can’t wait to find out what all of that is!

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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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