Featuring a very Silence of the Lambs vibe, The Blacklist begins with Raymond Reddington (James Spader), one of the FBI’s most wanted, turning himself in and agreeing to help them stop a Serbian terrorist (Jamie Jackson) with a death wish who has abducted a general’s daughter (Delphina Belle) and plans to use her to detonate a bomb somewhere in Washington D.C.
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“Before the Four Horseman can ride an army of evil will make way for their arrival.”
After receiving a vision from his dead wife Katrina (Katia Winter), Ichabod Crane (Tom Mison) attempts to convince Abbie (Nicole Beharie) that a witch (Monique Ganderton) is on her way to Sleepy Hollow which a resurrected Dunn (John Cho) helps bring forth and lead her to her victims. After doing some digging, and prowling around in some Revolutionary War era hidden tunnels long forgotten under the streets of Sleepy Hollow, Crane and Abbie discover the witch is targeting the descendants of those who burned her at the stake.
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As Cam (Tamara Taylor) deals with identity theft, Sweets (John Francis Daley) considers taking a leave from the FBI, and Booth (David Boreanaz) and Bones (Emily Deschanel) go undercover to investigate the murder of a Korean management consultant whose remains were found half-eaten by a bobcat on Indian tribal land. While stuck in group therapy with quibbling couples (John Ratzenberger, Millicent Martin and Greg Rikaart, Tim Peper) the pair investigate with the woman (Carrie Wiita) the victim was staying with at the couples retreat who was the man’s mistress and not his wife (Brittany Ishibashi).
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There are equal parts good and bad to writer Mark Waid’s thinly-veiled look at Treyvon Martin as Daredevil jumps into action when a Civil Rights leader apparently gives the names and addresses of twelve jurors to an incensed public following the acquittal of a man who gunned down a defenseless black teen and demands they take violent action.
Of course the circumstances are nothing more than more behind-the-scenes manipulation of the the Sons of the Serpent, but that doesn’t stop Daredevil from having to put out the fire caused by the stunt (with the help of storm-cloud-seeding giant ants).
The ants are cool, as is the nice hospital sequence as Foggy tries to inspire other patients with Daredevil’s example. However, once again the ridiculous behind-the-scenes power of the Sons of the Serpent storyline doesn’t quite work for me, and, surprisingly, several panels from artist Chris Samnee look uncharacteristically rushed and not up to snuff. The cliffhanger ending hinting and the suicide of Foggy feels equally half-assed. Hit-and-Miss.
[Marvel, $2.99]
Loosely, very loosely, based on Washington Irving‘s short story The Legend of Sleepy Hollow, FOX’s new series casts Tom Mison as Ichabod Crane (re-imagined as a Revolutionary War soldier rather than a superstitious schoolmaster) who in the opening scene beheads a dark figure who also manages to strike down Crane on the battlefield, becoming (as the Pilot tells us) forever linked by blood. More than two centuries later, Crane and the Headless Horseman both awake in modern times where their battle will begin again in Sleepy Hollow.
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