The Blacklist rarely gets credit for its weirdness, but maybe this episode, the Season 7 finale, will be the one to turn the tide. Much has been made (rightfully) about the quarantine-induced decision to complete the half-finished episode with “graphic novel”-style animation and accelerate some of the plot lines to function as a thrilling season
Laila Robins
After a long hiatus, The Blacklist appears willing to ease back into its main conflicts and storylines. The fall finale upended the status quo once more, with Liz (Megan Boone) and Katarina (Laila Robins) teaming up to outsmart Reddington (James Spader), but the first episode in three months kept the familial turmoil on the back
For TV shows, there’s no perfect way to tease out a major plot development. If you rush the information out quickly, it feels unearned. But wait too long and viewers can lose interest in the journey it takes to get to the reveal. The Blacklist currently has two major storylines hampered by the latter issue,
OK, The Blacklist is at the peak of its topical episode powers right now. After last week’s magnificent riff on the horrors (/evil benefits) of deep fake technology, this episode went to a much darker place, one where the 1994 comedic film Junior and modern politics intertwine. That’s right, folks. This hour was all about
Three’s a trend — that’s the saying, right? Following Aram- and Harold-heavy episodes the last two weeks, The Blacklist gave Ressler (Diego Klattenhoff) a turn at the center of the action, sort of. “Norman Devane” had more business to handle than the previous two efforts, but it still provided a solid exploration of Ressler’s shifting