After five seasons of intricate mysteries and Patrick Jane’s relentless pursuit, The Mentalist finally unmasked its elusive nemesis, Red John. The revelation promised to be a monumental moment, the culmination of years of suspense and intrigue. This was the serial killer who haunted Jane’s past, the puppet master pulling strings from the shadows, and the architect of countless tragedies. But when the identity of Red John was finally revealed, the reaction was less of shock and awe, and more of a collective letdown.
Red John turned out to be Sheriff Thomas McAllister, a seemingly unremarkable character from early in the series. His unmasking, subsequent dialogue, and swift demise left many viewers, and even Jane himself, feeling underwhelmed. While the episode aimed for a shocking and satisfying resolution, it ultimately stumbled, highlighting missed opportunities and raising questions about the show’s overall narrative direction.
This article delves into why the “Red John” episode of The Mentalist both succeeded and, more significantly, failed to deliver the impactful conclusion fans had anticipated. We’ll dissect the elements that fell flat, from the underwhelming identity reveal to the rushed capture, and acknowledge the few aspects that resonated, particularly the final confrontation and Red John’s death.
The Identity Crisis: Why Sheriff McAllister Missed the Mark
Alt text: Unassuming Sheriff McAllister portrayed by Xander Berkeley in The Mentalist.
The reveal of Sheriff Thomas McAllister as Red John was, for many, the episode’s most significant misstep. As Morgan Freeman wisely stated in Seven, a mysterious villain’s identity can rarely live up to heightened expectations. However, The Mentalist had five seasons to build anticipation, far exceeding the timeframe of a film. By limiting the suspect pool to Jane’s list, the show constrained itself, and most of the names, barring Bret Stiles, were relatively ordinary. Jane’s own on-screen disappointment with Red John’s identity mirrored the audience’s sentiment, inadvertently acknowledging the underwhelming nature of the reveal.
Bruno Heller, the creator of The Mentalist, admitted in an interview that Red John’s identity wasn’t decided until relatively late in the series’ run. This revelation sheds light on the convoluted and sometimes inconsistent nature of the Red John storyline. For seasons, the show sprinkled clues without a clear destination, a frustrating approach for a mystery-centric series. While Heller claimed to have a backstory for Red John, the lack of a defined identity for so long allowed the character to become an amorphous, almost supernatural entity, capable of seemingly anything. When the time came to pin down Red John, the choice of McAllister felt like a hasty decision, a convenient rather than carefully crafted conclusion.
The issue wasn’t solely McAllister’s identity but also his portrayal once unmasked. Despite Xander Berkeley’s acting talent (demonstrated in 24 and other roles), Red John, in his final form, lacked the menacing charisma and intellectual weight expected of Jane’s arch-nemesis. Heller attempted to preempt this criticism by suggesting that mysterious villains are inherently disappointing, comparing the ideal Red John to a mythical Sean Connery with horns and a tail, and then contrasting this with the mundane reality of evil figures.
However, this argument falls apart when considering iconic villains who do live up to expectations: Hannibal Lecter, John Doe from Seven, Norman Bates, Moriarty from BBC’s Sherlock, and even Joe Carroll from The Following. These antagonists possess a captivating presence and intellectual depth that McAllister’s Red John sorely lacked. Even The Mentalist‘s own earlier rendition of Red John, portrayed by Bradley Whitford in the season 3 finale, was arguably more compelling and chilling than the actual Red John reveal.
Alt text: Bradley Whitford as a more convincing fake Red John in The Mentalist season 3.
In retrospect, the food court confrontation with Whitford’s “Red John” might have been a more impactful and satisfying end to the Red John saga. Dragging out the mystery only to reveal a lackluster villain diminished the overall narrative. The final confrontation with McAllister echoed the food court scene in structure: a brief conversation followed by Jane killing “Red John.” This repetition underscored the wasted potential of the extended Red John storyline. The decision to prolong the mystery likely stemmed from a fear of losing the show’s central hook, even at the expense of narrative coherence and impactful resolution.
One redeeming element of Red John’s identity was the introduction of The Blake Association. While the name itself is somewhat generic, the concept of a clandestine network of corrupt law enforcement officers offered a plausible explanation for Red John’s extensive power and influence. McAllister’s position as a sheriff aligned with this concept, providing a degree of logical consistency to his ability to evade capture and manipulate events.
A Rushed Resolution: The Anticlimactic Capture of Red John
Alt text: The rushed capture of Red John in The Mentalist.
The Mentalist typically adheres to a procedural format: a killer is identified and apprehended or eliminated within a single episode. Regrettably, the Red John storyline, despite its overarching significance, followed this formula. The capture and demise of Red John felt rushed, especially considering the years of build-up. If McAllister was indeed the intended Red John, dedicating less time to concealing his identity and more time to showcasing a dynamic rivalry between Jane and Red John could have yielded a more engaging narrative. Simon Baker himself expressed a similar sentiment, wishing for a serialized, 24-style pursuit of Red John, but acknowledging the constraints of CBS’s procedural format.
Moreover, the episode failed to convincingly portray Red John’s supposed intellectual prowess after his reveal. For years, Red John had consistently outmaneuvered Jane, but this was primarily achieved off-screen, through writer contrivances designed to maintain the mystery. The episode missed an opportunity to actively demonstrate McAllister’s cunning and strategic brilliance, to illustrate why he was considered Jane’s intellectual equal. Showing Red John’s mental capabilities post-reveal would have made Jane’s eventual capture all the more satisfying. Instead, McAllister devolved into a stereotypical villain, engaging in smug monologues and predictable behavior.
The infamous pigeon scene further undermined Red John’s credibility. In a moment that strained credulity, Red John accepted a mysterious object from Jane, his sworn enemy, and was subsequently startled by a pigeon. This sequence, intended to showcase Jane’s trickery, instead made Red John appear foolish and incompetent. The idea that Red John’s bodyguard missed a live bird during a pat-down only amplified the scene’s absurdity. Red John, the supposed mastermind, was ultimately undone by a parlor trick.
Red John’s flimsy explanation for obtaining Jane’s suspect list – claiming psychic abilities – felt like a weak and dismissive attempt to address a significant plot hole. It suggested a lack of genuine answers from the writers, further contributing to the sense of a rushed and somewhat carelessly constructed resolution.
One clever element was Jane planting a gun in the church in the preceding episode, a plot device that, unfortunately, was spoiled by CBS’s promotional materials. This demonstrated a degree of Jane’s strategic planning, but it was overshadowed by the surrounding narrative shortcomings.
Redemption in Death: The Powerful Final Scene
Alt text: Patrick Jane strangles Red John in a powerful death scene in The Mentalist.
Despite the episode’s numerous flaws, the scene of Red John’s death stands out as a powerful and effective moment. For Patrick Jane, it was the culmination of years of anguish and obsession, a moment of long-awaited revenge. Red John, wounded and vulnerable, lay helpless near the cemetery where Jane’s family was buried. Jane, straddling his nemesis, exuded an unsettling dominance. Simon Baker’s portrayal of Jane throughout the series emphasized his refined demeanor, his almost British sensibility. Seeing Jane physically dominate another person, particularly Red John, was jarring and impactful.
Jane’s interrogation, delivered through blinks, was a masterstroke. Asking Red John if he felt remorse and fear, and eliciting affirmative responses, gave Jane a final, psychological victory. Jane’s reaction to Red John’s admission of remorse – a chillingly “giddy” “Good” – was a brilliant piece of acting by Baker. It underscored the deeply personal and vengeful nature of Jane’s quest.
The episode wisely kept the camera focused on Jane as he choked Red John to death. This choice emphasized the emotional impact of the act on Jane, rather than glorifying Red John’s demise. Red John, in his final moments, was rendered insignificant. What mattered was Jane’s reaction, his transformation in the act of taking revenge. Baker’s nuanced performance conveyed a complex mix of emotions, capturing the profound weight of this moment for Jane.
In the episode’s final moments, Jane flees, running not necessarily from the law, but towards a newfound freedom. For the first time since his family’s murder, since the series began, Patrick Jane was liberated from the shadow of Red John. This sense of liberation, however bittersweet given the preceding narrative missteps, offered a poignant and resonant conclusion to Jane’s personal journey.
In conclusion, while the “Red John” reveal episode of The Mentalist suffered from a disappointing villain identity and a rushed resolution, the final death scene provided a powerful and emotionally resonant climax. Despite its flaws, the episode delivered a sense of closure to Jane’s long and arduous quest, even if it left viewers pondering what could have been.
