This week’s Blacklister sets various alarm bells ringing: he’s a serial killer who regards himself as a performance artist with a social conscience; he publicises his, um, “art” through an underground website; and he goes by the name Drexel. At least he’s not a mime, I suppose, but he might nonetheless be the first woke hipster on the Blacklist.
Anyway, Drexel kills one of the two partners in a start-up tech firm and, although the surviving geek insists that his company isn’t into anything, the Red Team discovers that they’re using stolen technology which allows the user to take control of any network; including, for example, webcams. It’s actually quite a good idea – and the scene when the Task Force finds the baddies’ data hub is a powerful one – so I hope I’m not being ungenerous in saying that the execution felt efficient rather than inspired.
Meantime there is, of course, a reason why Red’s interested; and that reason, of course, is related to Katarina Rostova, who is starting to loom more and more as we get closer to the end of the season, and presumably some sort of payoff on Red’s repeated and portentous warnings to Liz that something terrible is about to happen. Tom is in hospital after being shot last week, and is still on the hook for the jewellery heist of a couple of weeks ago, but he gets an unexpected assist from her ex-boyfriend/surgeon Nick, who we saw a while back. Liz’s reaction is to decide that she wants to keep her baby after all; news which won’t come as any surprise to Ressler, who the writers seem determined to turn into an a-hole. “Women want babies!” he snaps at a startled Samar, who might just want to make sure that the contraceptive arrangements for their hookup have actually worked, lest it was the first part of Ressler’s plan to populate the world with mini-Donalds. Enjoyable, but no more.