After five seasons of intricate plotting, psychological games, and tantalizing clues, The Mentalist finally unmasked its elusive nemesis, Red John. The revelation of Sheriff Thomas McAllister as the notorious serial killer sent shockwaves through the fanbase. Was this a stroke of genius, the culmination of years of suspense, or a narrative fumble that left viewers feeling cheated? This article delves into the controversial Red John reveal, analyzing what worked, what didn’t, and why the ending of this long-running mystery divided audiences.
The Disappointing Identity of Red John
The build-up to Red John’s identity was monumental. For seasons, Patrick Jane, the brilliant but tormented protagonist, pursued this phantom menace, the man responsible for the brutal murder of his wife and daughter. Red John was portrayed as a criminal mastermind, a puppet master controlling a vast network of followers, seemingly omnipresent and always one step ahead of Jane and the CBI. Expectations were understandably sky-high.
However, the unveiling of Sheriff McAllister as Red John landed with a thud for many viewers. McAllister, a seemingly innocuous character from early in the series, felt like an anticlimactic choice. As the original article aptly pointed out, it echoed Morgan Freeman’s line in Seven about John Doe not living up to expectations. In a two-hour movie, this might work as a subversive twist. But after five seasons and over 100 hours of television, the payoff felt disproportionately small.
The show itself seemed to acknowledge this disappointment. Jane, upon confronting McAllister, even expresses his own dismay at Red John’s identity, as if preemptively addressing viewer dissatisfaction. This meta-commentary, while perhaps intended to soften the blow, ultimately underscored the underwhelming nature of the reveal.
Creator Bruno Heller’s admission that Red John’s identity wasn’t decided until relatively late in the series’ run provides a crucial piece of context. It explains the convoluted and sometimes contradictory nature of the Red John storyline. For years, the writers were dropping clues and red herrings without a clear destination in mind. This improvisational approach, while potentially allowing for creative freedom, ultimately undermined the central mystery of the show. Red John became less a character and more a plot device, a shadowy figure capable of anything because his identity remained fluid and undefined.
The choice of McAllister was not just disappointing in itself, but also in its execution. Once unmasked, Red John became surprisingly ordinary. He lacked the menacing charisma of a Hannibal Lecter or the unsettling presence of a Norman Bates. Even The Mentalist‘s own fake Red John, portrayed by Bradley Whitford in a prior season, was arguably more compelling and chilling than the real McAllister. This raises the question: if the intention was to subvert expectations and reveal a mundane villain, the execution still fell short of making McAllister a memorably disappointing antagonist.
The Anticlimactic Capture of a Supposed Mastermind
Adding to the letdown was the rushed and procedural nature of Red John’s capture. The Mentalist typically followed a formulaic structure: a crime is committed, Jane investigates, the killer is revealed and apprehended within a single episode. Applying this same structure to the Red John arc, the show’s central narrative thread, felt like a significant misstep.
Red John, who had consistently outsmarted Jane for years, was suddenly reduced to a typical weekly villain. There was no real display of his supposed brilliance or cunning once his identity was revealed. Instead, he resorted to standard villainous tropes: smug pronouncements and monologues. The cat-and-mouse game that had defined the Red John storyline evaporated, replaced by a conventional capture scenario.
The infamous pigeon trick further exemplifies this point. Red John, the supposed criminal mastermind, falls for a simplistic sleight of hand involving a bird hidden in Jane’s pocket. This scene, intended to be a clever moment of Jane’s ingenuity, instead made Red John appear foolish and undermined his established persona as an intelligent and formidable adversary. The explanation that Red John knew Jane’s suspect list because he was “psychic” only compounded the narrative inconsistencies and felt like a weak attempt to explain away plot holes.
The Redemption in Red John’s Death
Despite the shortcomings of the reveal and capture, the death scene of Red John offered a moment of powerful catharsis and thematic resonance. This scene, focused intently on Patrick Jane’s reaction, provided the emotional depth that was lacking in much of the preceding episode.
The setting, near the cemetery where Jane’s family was buried, underscored the personal nature of Jane’s quest for revenge. The physical dominance Jane asserts over Red John, straddling him and choking him to death, is a stark departure from his usual demeanor. As the original article notes, this act of physical violence feels particularly jarring for a character often portrayed as intellectual and detached, akin to a British gentleman or Sherlock Holmes. This unexpected physicality highlights the profound impact Red John’s actions have had on Jane, pushing him beyond his usual boundaries.
Simon Baker’s performance in this scene is truly exceptional. He conveys a complex mix of emotions: grief, anger, satisfaction, and even a hint of giddiness. Jane’s chillingly calm questions to Red John about remorse and fear, followed by the act of strangulation, are both disturbing and deeply satisfying. The camera’s focus on Jane’s face during the act emphasizes that this moment is not about Red John, but about Jane’s long-awaited release and the profound emotional toll of his years-long obsession.
In the final moments, Jane running away is interpreted not as an escape from the law, but as a symbolic run towards freedom. With Red John finally vanquished, Jane is liberated from the shadow that has haunted him for so long. This interpretation offers a poignant and fitting conclusion to Jane’s personal journey, even if the path to that conclusion was narratively flawed.
The Blake Association: A Missed Opportunity for Deeper Conspiracy
One intriguing element introduced with the Red John reveal was the Blake Association, a shadowy organization of corrupt law enforcement officers. This concept had the potential to add depth and complexity to Red John’s influence and explain his seemingly limitless power. The idea of a secret society operating within the police force offered a compelling layer of conspiracy and intrigue.
However, the Blake Association remained largely unexplored. It was introduced as a quick explanation for Red John’s reach, but its potential for further storylines and exploration of systemic corruption was left untapped. Developing the Blake Association could have elevated the Red John narrative beyond a simple serial killer hunt and provided a richer, more nuanced understanding of the evil Jane was fighting against.
Conclusion: A Satisfying End to a Flawed Mystery
The Red John reveal in The Mentalist is a complex and divisive topic. While the identity of Sheriff McAllister and the procedural capture were undeniably underwhelming, the emotional resonance of Red John’s death and Simon Baker’s powerful performance provided a degree of redemption. The introduction of the Blake Association hinted at a deeper conspiracy that, while underutilized, offered a glimpse of what could have been.
Ultimately, the Red John storyline serves as a cautionary tale about the challenges of sustaining long-term mysteries in television. The pressure to maintain suspense and surprise can sometimes lead to narrative compromises and unsatisfying resolutions. Despite its flaws, the culmination of the Red John arc offered Patrick Jane a hard-won sense of closure, allowing him, and perhaps the audience, to finally move on. While the mystery itself may have stumbled, the emotional core of Jane’s journey provided a resonant and ultimately satisfying conclusion to this chapter of The Mentalist.
