Another episode and another struggle to remain interested, even in taking it apart. Seriously, when it’s this straightforward it’s just no fun.
Here’s the thing; Limitless is about complex things. It’s concept is about connections and information and that sort of stuff. But, it’s foreground is all kinds of simplistic and that includes the day-to-day, episode-to-episode plod. The best example of this is in the scene were they visit with the task force.
We see three people enter, but when we turn back to see, there are four people in the room. Why is this impressive? ‘Cause the fourth person is sitting down and thus we can’t see his height which is key to identifying the killer. However, we don’t see this so it is presumed that the protagonist doesn’t see this, which, well he would.
Indeed, the protagonist makes a point of focusing on the killer and makes note that he has observed him.
This is pretty standard fare for the Specialist Male/Cop Female shows. Castle, for example, almost always has a scene were there are two or more people being questioned. The one who’s being questioned isn’t the killer, but the person sitting next to them often is. It’s Chekov’s murderer.
In addition, this episode featured a guest spot by the protagonist’s real life snuggle monkey... and it showed. The interaction between the two of them was very flat. If you want to see Analeigh Tipton in something better, find Two Night Stand with Miles Teller. For a two-header romantic comedy, it’s awesome.
The last major turn was the introduction of Mr. Sands. Yes, of course Bradley Cooper wasn’t going to slum it in Network TV for a year, but the introduction of Sands offers up a couple of questions about the underlying world of the show. Is Sands on NZT and if not, why not? So, how is Finch going to outwit someone who is better than him off NZT? Why come off as a villain? Seriously, everyone’s saying the Morra is a villain, but I’m not getting that. I’m getting controlling, sure, but since NZT allows someone to operate on a higher level than those around them, explaining their schemes is pointless and being a little draconian only comes with the territory.
Sands’ introduction is a mislead from the arc plot (if there is one, ‘cause I’m doubting if the writers even know where they are going).
Finally, a note on production and how actors are, well, maniquins who are told where to stand. In the scene where they discuss the dead agent, they make note that only one person got an “A” in his class at Quantico. In response to this, the lead FBI agent’s partner makes this obvious head feint towards her as if we didn’t already know who they were taking about. It was stilted and strained and, maybe, the actor felt self-conscious doing it. It was just tacky.