I’ve always felt that with a character-of-the-week type of show, the character introduced and dismissed within the week should give some glimpse into the larger story at hand or at least work as a metaphor for that story. We see this with his assistant Grey (SKINNY PETE!!!), who pops up just to give a little more background into who Red is, but it’s handled so sloppily, it’s embarrassing. For example Red’s entourage of assistants, who we rarely ever see, have become nothing more than a way to throw in exposition. He’s a way of delivery, and for the writers of The Blacklist, he’s simply just the personification of an idea that they heard of and thought they’d throw in, because why not? This lack of depth is a major problem in The Blacklist, not just with villains but with the entire cast as well. The Courier uses his lack of feeling in order to hide different things inside his body, just as hiding data in a newly created knife wound.īut The Courier is little more than what his name implies. But The Courier’s quirk is that he can’t feel pain, and due to his father using him for dogfights as a kid, this includes emotional pain as well. The Courier here is a middleman between criminals who will kill both parties if things don’t go as planned. By reveling in how weird it can get-most notably with the Blacklist criminals-the show should be getting more enjoyable, but instead the show’s villains are hardly even characters, but rather strange ideas with no deeper purpose. Between this week’s episode, “The Courier,” and last week’s “The Stewmaker,” it seems like The Blacklist is trying best to embrace its craziness.
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