Stakeouts, chases, false starts, disappointments, and still we learn new things. We learn that Stevie makes an awful girl. We learn that Moore may be turning over a new leaf. We learn that Sara understands why men will never be good at typing. Yeah, typing. And we learn a little more of the truth behind Kreizler’s childhood. J. P. Morgan issues a veiled threat. And we learn who the murderer most definitely is not…
We come to the halfway point in the series, and Kreizler’s more puzzled than ever. Moore proposes to Sara—in jest? What if he were serious? But she doesn’t answer that question. After a visit to character actor David Warner, Kreizler takes Moore on a trip to Sing Sing. But it’s only after a visit to an Episcopal church that Kreizler realizes the murderer’s pattern isn’t the numbers of the dates…and Roosevelt rides into action to catch the killer…or does he?
Everyone is watching someone this time around. Kreizler meets an old patient and discovers some simplistic psychology. Sara observes a young mother with an empty perambulator. Moore asks Mary out to a moving picture show. The Issacson brothers are looking to the sky and discover how the killer climbs up and down. And by the end, the killer is perhaps watching the entire group as they wonder why Kreizler has called them all together—as does Kreizler, who did not. Surveillance takes its toll…
There’s another murder, we sort of but not quite discover what happened to Moore after the last episode’s fade out, we wonder why he isn’t more shaken by it, and then there’s another murder. But this time, Kreizler and his Victorian Scooby Gang are able to process the crime scene before the police department. And curiously, we find the one on one conversational scenes far more thrilling than the vibrant action scenes.
After discovering a new way to light a darkened morgue, David and Jess take a closer look at how the story develops and diverges from the novel. Also, is there a need for an eyeball counter? This show really loves close-ups of eyeballs. And Kreizler questions whether or not Moore has served his purpose already, sending Moore off on his own…which might not be a great idea…
Taking a look at TNT’s new adaptation of the novel “The Alienist”, a story of a serial killer in 1896 New York City, contrasting the poorest sections downtown with the Gilded Age uptown. David and Jess puzzle over why the crime reporter who narrated the book is suddenly a newspaper illustrator, why the production design is excruciating in its historical detail and supposed accuracy while this version of Teddy Roosevelt is not, and what is with the eyeball soup?