The Mentalist (TV Series) Red John's Rules (2013) User Reviews

On the List of Seven

[tristanspohn · 10/10 · 5 May 2023]

Great episode, perfect season finale, and I'm spoiled watching on HBO Max, where I can immediately go to the next season.

This is only really a spoiler about the list of seven, which I'm not sure even is a spoiler, I saw this last week.

I'm only on episode two of the next season, so I don't know who Red John specifically is. It may not even actually be someone on the list, although that would be a cop out. I feel like of the seven, it only makes logical sense for it to be the Homeland Security Guy or Bertram.

None of the other people on the list could possibly have the access to resource that allows Red John to have this sort of unrealistic and superhuman access and connection to everything that keeps him multiple steps ahead of everyone. The one exception is Malcolm McDowell, who I just can't seem to think has the physicality, being on the older end.

I'm sure every time we've heard Red John, there's been a voice modulator aspect, but it just doesn't at all sound like it could be Bertram. The cadence and pronunciation doesn't connect to me.

So logically speaking, I feel like it just has to be the Homeland Security guy. I could hear his voice sounding close to Red John if he was put through a modulator, and could somewhat believe he could have the access Red John seems to have.

They could go the Psychic route, but that would feel so shark-jumpy, so I hope not. And I just wouldn't believe any of the other seven hold enough power in their position to have the level of control Red John has if it doesn't go the psychic route.

Anyway, I doubt anyone will read this, but it's fun to wax poetic on a theory.

Interesting, but I don´t buy this Red John story

[florian_adler · 8/10 · 4 March 2021]

Pretty much everyone who new Red John they ever had in police custody died by Red Johns hand (or the hand of an accomplice for that matter). So why don´t they start watching these people more closely (e.g. have an officer present at all times)? Or maybe set a trap so the killer will at least be caught? Here the witness swallows a pill. It could have been avoided by having an officer watch her (sit with her in the back). Anyhow there is no way Red John is that smart and organized. I also don´t understand why people follow him. What does he have to offer? And how does he find all that free time to do these things? However, it keeps the story running. But it´s not very plausible in my opinion. Still entertaining though :)

Finally getting closer

[xbatgirl-30029 · 9/10 · 30 May 2022]

This includes spoilers for the series as a whole so - you've been warned.

I love that there is finally some movement closer to discovering Red John in this episode. I also love that it is not a cliffhanger ending to a season, something I've grown to hate. I've mentioned in another review I believe the theme of the whole series is that law enforcement, and those in power, are often corrupt and even criminal. Also that those considered outsiders and the underclass are often depicted as the best people, the most compassionate and moral. This episode is a perfect example.

On the one hand, we have Patrick's carny friends, who will be back. Most might look down on them. In the case of the nephew, they might be set up as criminals or need to make hard choices in order to negotiate our messed up society. But they usually have the best intentions. I'm talking about how the show depicts things, not my personal feelings.

Then you have the woman in charge of the social services office being an insidious monster in her own right. Finally we have Patrick's list of Red John suspects, mostly all leaders in law enforcement, with the exception of the medical examiner, though that is still a position of power. It's nice to get the theme all summed up so neatly in one single episode. There's a feeling that the showrunners are cutting away the dead weight and distractions.

I take one star off because this is where Red John is set up as the most godlike of villains. Over the years, he's been made more and more powerful and far reaching. In this show, it reaches levels that are too hard to believe. When the final reveal of his identity is made, the character does not live up to the hype. It's the one disappointment of the show. By keeping him such a secret from the viewers, there's never a satisfying enough explanation of how he does what he does.

Obviously some people buy into conspiracy theories, but it's just not possible for Red John to know all he does with such precision, nor for him to control such a vast network of people so completely. It is satisfying to finally learn his identity, but it's not believable. It's still fun though going on the journey.

Killing Memories

[claudio_carvalho · 9/10 · 22 January 2022]

When Eileen Turner is found dead in a motel room and her baby vanishes, Red John leaves a phone number on the wall. Patrick Jane and Lisbon meet her social worker Miriam Gottlieb that suggests that her violent husband Roddy Turner might have kidnapped the baby. They also investigate Eileen's uncle Sean Barlow, who is a violent man. Meanwhile Patrick Jane reduces his list of suspects of being Red John to seven names.

"Red John's Rules" is an interesting episode of "The Mentalist", with the revelation of the names of the suspects to be Red John. As usual, Patrick Jane resolves the strange case. My vote is nine.

Title (Brazil): "Red John's Rules"

Ahh, the magic and the fanciful . . .

[jknousak · 8/10 · 7 January 2020]

That last and RJ's "admission" he'd "killed a happy memory that Jane had told no one about". There's the fancifulness of Bruno Heller et al. There's absolutely no linkage from RJ to . . a memory of . . . anyone. The 7 names RJ supposedly knew . . . another fanciful and magic (i.e., TeeVee-land makeup) moment. It's a good ending to this year's series. It's OK there's psychic -- aka, Not Real -- moments. We are entertained.

What an episode

[brouciking · 10/10 · 3 March 2024]

"Red John Rules," the culminating episode of Season 5 in "The Mentalist," stands out as a masterclass in storytelling within the realm of television. This narrative gem unfolds with meticulous precision, weaving a tapestry of complexity that engages viewers on multiple levels. The performances of the cast members are nothing short of captivating, with each actor contributing to the overall brilliance of the episode.

What sets "Red John Rules" apart is its ability to maintain a palpable tension throughout, keeping the audience on the edge of their seats. The intricate plot reveals itself like an intricate puzzle, with every piece falling into place in a satisfying and unexpected manner. The script is a testament to the series' dedication to delivering not only a thrilling crime drama but also a thought-provoking exploration of human nature.

One cannot overlook the profound impact of the unexpected twists and turns in this episode. These narrative surprises not only add layers of intrigue but also challenge the viewer's assumptions, making the resolution of the Red John arc all the more satisfying. The storytelling finesse displayed here cements "Red John Rules" as a standout episode, not just within the context of the series but in the broader landscape of television.

Furthermore, the resolution of the Red John storyline is executed with an unparalleled level of finesse. The long-anticipated revelation is handled with care, avoiding clichés and opting for a resolution that is both emotionally resonant and intellectually satisfying. The writers' ability to bring closure to such a complex and long-standing mystery without sacrificing depth is commendable.

Visually, the episode is a feast for the eyes, with expertly crafted cinematography enhancing the overall viewing experience. The direction seamlessly blends suspenseful moments with quieter, character-driven scenes, creating a balanced and immersive journey for the audience. The pacing is deliberate, allowing for moments of reflection amidst the adrenaline-fueled narrative.

In conclusion, "Red John Rules" transcends the boundaries of a typical television episode. It is a testament to the creative prowess of the show's creators, writers, and cast. With its intricate plotting, stellar performances, and a resolution that defies expectations, this episode not only satisfies the immediate narrative demands but leaves a lasting impression on fans and critics alike, solidifying its place as a standout installment in the rich tapestry of "The Mentalist."

Gene Pitney's "Something's Gotten Hold of My Heart" Was an Excellent Soundtrack Choice

[Thomas_J_McKeon · 9/10 · 7 June 2013]

This is a good final (or maybe)next to final episode. Patrick Jane is pondering his past as well as his present relation with Teresa Lisbon. It is a moody show. The choice of the equally moody "Something's Gotten Hold of My Heart" by Gene Pitney from 1967 AND NOT the more recent and much less emotional Marc Almond version from 1988(which also featured Gene Pitney) was a perfect choice to end this show. The Pitney version utilizes Pitney's powerful voice which in this case does deliberately and to good effect contain "angst" (contrary to what is written in the IMBb Mini Biography). The angst in his voice on this the original version of the Greenaway Cook composition is used to good effect: it hits the listener in the gut (and this does not happen on the Almond version).

"Angst" is defined in The Free Dictionary as "A feeling of anxiety or apprehension often accompanied by depression." Nothing fits this song better nor could have been a better match for what is going through Jane's mind in this episode-or maybe all of the episodes of the series. Just as in the song, there is a certain disquietude that pervades "The Mentalist."

Perhaps this song should be the Soundtrack song for each episode of the series. It is not merely a "teen angst" song from the 60s, nor was Pitney just a "teen angst" singer from the 60s. Pitney was not just a 60s teen idol. He was "COOL." Patrick Jane is "COOL!" The song fits Jane,this episode and the whole show all too well.

It will be interesting to see if this song did a "Gotcha" to those viewers who have not heard it before. It was not a chart-maker in the US (130 on the Billboard Bubbling Under chart in 1967). It was a big chart hit in the UK of Writer/Creator Bruno Heller, making number five. While not a chart topper in Simon Baker's Australia it did hit no. 69. (And Pitney, though deceased, is as popular in those two countries as he ever was.) While doing my best at re-engineering the Pitney "Something's Gotten Hold of My Heart" from master quality sources, an endeavor of several weeks, this episode was on my television. To my amazement near the end I recognized the first two notes of "Something's Gotten Hold of My Heart" as it started. I knew it was "Something's Gotten Hold of My Heart" (but not which version) after just the first two instrumental notes! Probably the Marc Almond version, but by the fourth note I knew it wasn't, hearing the great instrumentation from the Musicor (Pitney)version. Perhaps I had heard it enough in my re-engineering endeavor. To my pleasure it was the definitive Pitney version. On master quality material it has great instrumentation such as low strings like violas, etc. This helped underscore the song's anxious and depressing but somehow hopeful theme. Having spent so much time with the song trying to make it sound as good as it should, it would interest me to know if what was used on the "Mentalist" soundtrack showcased this instrumentation. The audio on the program is Dolby Digital engineered in high fidelity. The song is solely in monaural. No stereo mixes of it were released, nor as far as I could determine, do any exist. I could find no stereo source material at all for my re-engineering endeavor. According to Gene Pitney the song was recorded in London and he carried the track back to the States to put the on the vocals in the New York studio. Likely this was mixed down onto the mono master and that's what there is.

Since I had first written this review on 7 June 2013 I have come upon another Gene Pitney version of this song! No it is not in stereo, but it is nearly half a minute longer at about four minutes and does not have the strings in the versions heretofore released. They kick in at about thirty seconds in the familiar versions, but do not in this one. There is more extensive use of organ and drums on this one, but the strings (most notably missing are the low strings) which are pretty much just not there. Mr. Pitney said that when he got back to the states after recording this in England he realized that the strings were missing: "I don't know why, but we originally recorded the track without violins." When listening to it upon return he "realized that we couldn't have the song without violins. ...They booked time at Bell Sound (Studio) (to add the strings)." Apparently the four minute version I came across was an artifact that remained of the song before the strings were added and was then further edited. The vocals are different in several sections. This version is certainly different enough from the familiar British hit version yet good in its own right that it warrants consideration for use on "The Mentalist", such as an opening and ending song, or whatever theme-songs are called.

Thomas J McKeon Indianapolis