Criminal Minds: Evolution Season 19 Episode 10 “Bad Blood” is the type of season finale we’ve come to expect from this series. Overall, it’s a strong hour, with even stronger performances. There’s a certain level of suspense and urgency that can only be reached due to very high stakes. Also, watching this episode might or might not result in forgetting to breathe for a dangerous amount of time. Nothing new there. Once we can breathe, the hour treats us to some more personal moments, drawing out our goodbye (for now) to the extended BAU family. But instead of feeling like a carbon copy of other concluding chapters in the Evolution saga, this one’s unique.
Part of that uniqueness comes from the interesting choices Justin Kirk makes as The Fan. (Right up until there are, uh, no choices left to make.) For most of this season, my main complaint was “but what’s the big deal,” with “a lot of this seems very random and unrelated” coming in a close second. Well. If Kirk’s very first appearance didn’t convince viewers, Episode 9 most definitely should have. That penultimate episode brought all of the chaos together to make the master plan begin to reveal itself. And “Bad Blood” gives us more of Crowley’s backstory, more connections to Voit, the standard level of “BAU explains everything to the audience” (as in, lots), and—obviously—the grand finale. So, now, all I have left to complain about is that we didn’t have more time with Kirk doing that.
But, back to why Criminal Minds: Evolution Season 19 Episode 10 takes us in an unexpected direction, despite hitting so many beats that we could copy and paste from previous seasons. As in, let’s talk about the specific way Criminal Minds: Evolution Season 19 ends. No final shot of Voit, miserable after imagining himself killing a bunch of people on the prison bus. The very last scene isn’t one of Voit getting jumped, with the question of whether or not he survives left up in the air either. We don’t even end with a door, mysteriously opening on a Voit who everyone thinks is being locked away, never to be seen or heard from again. Nope. Instead, Director Madison (rudely) interrupts Prentiss and Lewis’ late-night drinks…with a new case.
(If that new case feels like “Dexter, but add the body parts being shipped to the FBI,” then congrats! Because maybe you, too, have watched too much TV.)
Sure, there’s talk of where Voit winds up and how it feels wrong, somehow; and Rossi banishes his inner Voit for what very much feels like it’s for good. But the Big Bad formerly known as Sicarius doesn’t get the last word. And that? That feels very, very different. After an hour of wondering “what will happen when a free Voit comes face to face with The Fan,” not “can the BAU stop this larger-than-life Voit or Voit-adjacent UnSub,” and multiple seasons spent with him always there, the story that’s become synonymous with the Evolution era comes to a close. So weird. Can the next major arc ever be this? I’m not so sure.
Regardless of what the hour means for the series’ future, Criminal Minds: Evolution Season 19 Episode 10 checks all the right boxes. And considering the season’s rough beginning, coming in for such a smooth landing is especially impressive.
MORE: During our recent interview with Kirsten Vangsness, she promised us “a thrill” for the Criminal Minds: Evolution Season 19 ending.
“…a messenger. Of sorts.”
For as excellent as the main cast is every time we see them, a large part of Criminal Minds: Evolution Season 19 Episode 10 has more to do with Voit and Crowley’s showdown than the team. So, a lot of our time with them is made up of various BAU members explaining things to the audience in a way that, hopefully, will make the most important parts stick. (If, for example, AJ Cook’s ability to steal a scene totally distracts you from the whole discussion of Crowley’s why, though, no shame. At all.) To some extent, that’s the format for most episodes. This particular hour just seems like it takes the emotional heavy lifting off their shoulders somewhat. The major exceptions are Laura Boyd’s rescue and all of the personal moments that come after The Fan’s story ends.
So, before going into the broader discussion of The Fan, Holly, and Sicarius, let’s talk about that tricky rescue. First of all, although my initial impression of Laura Boyd was…not particularly positive, I’m blown away by what Jessi Case did in this season finale. It’s above and beyond her truly remarkable work in the season’s penultimate episode. Additionally, sustaining Laura’s extreme level of fear, pain, and desperation—while the character had to almost robotically read the Big Bad’s script—could only come from digging deep and fully committing in a way that a lesser actor wouldn’t be able to pull off. It takes real talent and hard work to make all of that realistic and not melodramatic in an irritating and/or clownish way. And Case goes there, pulling from some sort of raw, horrifying place. Basically, she very much gets the job done. More than.
The whole time Laura’s reading her lines to Penelope, her expression tells the truth behind Crowley’s pre-written lies. Laura knows this is probably the end. And it’s a bitter, painful one, no less. But here’s the thing: There’s something that Laura doesn’t know, something fans do. It’s the genius of Penelope Garcia. And it’s that, no matter how big the obstacles in her way are, Penelope Garcia will figure something out.
Criminal Minds: Evolution Season 19 Episode 10 gives Kirsten Vangsness yet another chance to shine. From the second Penelope gets that email and calls for Emily in that tiny voice (whatever you do, don’t think about Spencer Reid using a similarly-tiny voice to say “Emily?” for the most painful reason years ago…), to her reaction once she actually sees the video and realizes it’s worse than she thought, right through to the very end of this saga, the hour uses both Vangsness and Garcia in the most perfect of ways. The angst, the empathy, and eventually the thrilled confidence from Vangsness really stand out. And well, Garcia’s just brilliant AF. As always (on both points).
It’s gutting to watch Penelope try to trace the video, then realize what she’s doing is hurting the very person she’s trying to help. When she pulls her hands off the keyboard, freezes, and sits there in shock—jaw kind of dropping, head moving some kind of way—before trying again, that hurts. But watching her furiously typing, suffering the whole time she’s doing what she usually loves to do, knowing she’s causing damage and hating every second of it while she tries, yet fails, to find a solution is even worse. Emily’s confident in Penelope as always. She’s sure “there has to be a way to find her,” but Penelope Garcia actually says she can’t do something.
Nobody should be surprised that Vangsness kills it. And yet, the well of grief she brings to that moment, the barely-controlled tears, the swallow as she shakes her head no and says “not digitally, there isn’t,” then shakes her head two more quick times after that, are all just impossible not to praise. Saying no, giving up—those aren’t things Penelope Garcia can accept. Especially not when it means they might not find Laura in time. Her heartbreak is unbearable to watch. But when Penelope finally comes up with a plan, that makes the breathless, thrilled sort of way she says she has an idea extra precious. Because that’s how we love our Baby Girl.
So, Criminal Minds: Evolution Season 19 Episode 10 sends Luke, Tara, and Tyler to that abandoned typewriter factory to rescue Laura. Penelope loops the cameras, creating just enough of a cover to get them inside. Eventually, Laura gives up the script and admits to Penelope how scared she is. She knows she’s going to die, no matter what this creep says. Because she’s seen The Fan’s face, there’s no way she survives. But from all the way back in her office, Penelope gains that girl’s trust as only Penelope can. And she does it while killing the cameras so the others can do their jobs.
The entire obligatory end-of-season rescue at a tricky location with no way out is, as always, incredibly tense. As Laura whimpers, and Tyler and Tara try to convince Luke there has to be another way to get Laura off the pressure plate and to safety, Criminal Minds: Evolution Season 19 Episode 10 sets up the very real possibility that Alvez might not make it out alive. As Luke, Adam Rodriguez may tell his teammates he’s “got this.” But he plays the moment, all worried glances and clenched muscles, like a man who knows this could be a suicide mission but is committed to saving Laura anyway. There’s not a single trace of a Luke who’s confident and looking forward to being the hero. And that makes for great TV.
After a countdown from Luke. a shaky breath from Penelope before she officially cuts the signal, Luke’s potentially last uttered prayer, and a rush to get Laura out the door, the whole place blows. We spend just enough time with Alvez facedown in the rubble to really worry. And when that dog comes and barks, licks his face, and sends him staggering through those eerily-lit corridors, it could go either way. Thankfully, he emerges to the real, outside world. He’s still shaken, still a little bit out of it. It’s that sustained physicality from Rodriguez as he stands, and walks, and looks just a wee bit off that really sells the sense that this is the aftermath, the wreckage. Also, Aisha Tyler and RJ Hatanaka’s concerned looks after Luke asks “where’s the dog” are great touches.
It’s a fitting full-circle touch—if cruel to me, personally—to include the rescue dog. Roxy saves Luke one last time, sending him back into the arms of the people who are there for him and can hold him up now. And, as always, it’s nice to end a season with our fictional heroes saving as many people as possible.
“Killers begetting killers”
But Laura Boyd isn’t The Fan’s main target—she never was. As Criminal Minds: Evolution Season 19 Episode 10 reveals through flashbacks, she just happened to attend a lecture with guest speaker James Crowley. And it was the same lecture that Holly Voit, daughter of the legendary Sicarius, attended. Laura thought she could trust this man with questions about her boyfriend who’d suddenly changed. Holly risked exposing her true identity by trying to get answers about whether or not she might have inherited a “dark side” from her father. If only she’d known that the man was obsessed with Elias Voit and had photos of his whole family—her whole family—on his Sicarius fanboy mood board.
A couple of details about all of this stand out. First, there’s the obvious. Much like in every other scene he appears in, both in this finale and in the season as a whole, Justin Kirk does some genius level work as the guest lecturer whose brilliance and interest in the topic at hand outshine his creepiness just enough to make him approachable. Yes, students recognize that something may be off about this guy. But they write it off as the talk itself—the subject matter—being creepy, not the person giving the lecture. (See also: Laura calls it “a really cool talk—I mean, it was a little creepy, but it was very cool.”)
Then, there’s what happens during his conversations with Laura and Holly, respectively. With Laura, there’s a keen interest when she mentions the changes in Lance. Kirk plays it as a burning academic interest that dances just across the line between passion and something deranged. Then, Crowley spots Holly, waiting around nervously, apart from everyone else. Kirk’s gaze is sharp, intense, laser-focused. And that’s only the beginning.
When Holly asks, “so, in your research, you’ve never encountered anybody who felt as if maybe they’d inherited their…dark side…from a parent,” she’s initially so very hopeful. But, in a great performance from Allison Nordahl, viewers can notice how Holly loses confidence, little by little, as she goes. It’s like Holly’s catching herself, trying to be more careful even though it’s hard. And, more importantly, she’s not exactly sure she wants that answer.
Meanwhile, Crowley can’t remain calm—not even close. That professional mask slips, revealing someone hanging on Holly’s every word, like a a starving man waiting for the tiniest crumb to drop. He’s so close to possibly learning more about his idol, yet doesn’t. Not quite. When Holly tells him her dad’s dead, though, the subtlest movement from Kirk, just barely raising his brows, shows exactly how extremely interesting The Fan finds that.
It’s Holly’s “dark side” that, ultimately, saves her father. And I don’t only mean the way she shoves that knife into Crowley’s back—sharp, strong, brutal, zero hesitation—or even the overkill, stabbing The Fan over and over, that comes after. I mean, yeah, that’s definitely how The Fan dies and all that good stuff. But before that, Holly throws him off his game. His “perfect” plan relies on her being a victim so he can emotionally destroy Sicarius, then kill him. I’m not sure, based on what we see in this season finale, that he was ever going to actually get that out of Holly Voit.
Admittedly, he comes close. But the tears he gets out of Holly aren’t about fear. They’re regret and grief for trying to kill her dad in prison when she was at her lowest. For better or worse, Holly loves her father. We see plenty of proof of that in this finale, long before she throws herself in his arms. Later, after Garcia kills Crowley’s audio and visual so he can’t see (but is smart enough to figure out) the BAU saving Laura, Kirk has one of his absolute best moments in this season finale. After spending the hour in Crowley’s usual calm self-control, darkly friendly when he talked about Holly attending his lecture, amused when it bothered her to talk about attacking Elias—subtly menacing and altogether wrong under the surface, all along—Kirk finally brings the pure evil at his core to the forefront.
As Crowley moves toward Holly in that slow, deliberate way that builds fear as much as possible, the level of threat from Kirk progresses just as slowly and deliberately…and then, all at once. When he looms over Holly, right in her face, then grabs her neck, that physicality, that expression, that way he delivers every single line…it’s all just chilling. But even that doesn’t totally break Holly. Especially not since she notices, and grits out, that The Fan is afraid.
And well he should be. Because the father/daughter duo takes him down.
Ending explained: What happens with Elias Voit and The Fan
I know a lot of this phrasing gets used way too often, but it fits here. So. Too bad. Criminal Minds: Evolution Season 19 Episode 10 kept me on the edge of my seat, holding my breath, and all that good stuff. I found myself both dying to know what would happen and terrified of the answers at the same time. The main source of all that suspense and angst? The “healed” effin’ serial killer. Because the character’s been with us for four seasons, because his development has been so well done, and because Zach Gilford has made him such an entertaining part of this series even when he was at the height of his Sicarius era, I was just willing everything to turn out ok for him. Somehow.
The thought of Sicarius rising once more, or even of The Fan actually winning, just…both of those things would’ve been such a disservice. Thankfully, that’s not what happens in this hour. Voit’s not a hero, and this isn’t redemption. Neither of those things are entirely possible. Not after breaking out of prison, and definitely not after every murder he’s responsible for. Voit’s known that all along. And smartly, for every genuinely good thing Voit does in this season finale—apologizing to Penelope, going for the cuffs instead of the weapon when he has the chance to kill, submitting without a fight when it’s time for his latest arrest, trying to comfort Holly until the very last possible second, taking the blame for Crowley’s murder so Holly has a chance at a life—Criminal Minds: Evolution doesn’t give him a “good guy” ending. He faces more consequences, not fewer.
For much of “Bad Blood,” we toy with the possibility that Voit may very well be knowingly driving to his death. At the beginning of Criminal Minds: Evolution Season 19 Episode 10, when Voit’s imaginary friend Dave brings up things like folks looking out for the car he stole and asks what happens if they can’t find The Fan, Voit has answers. He tries, unsuccessfully, to sound confident about all of this. But it’s painfully easy to see his anxiety underneath all that forced calm. It’s in the rougher quality of Gilford’s voice. Then, there’s how he looks. His posture—shoulders up, kinda curled in on himself—is also a huge giveaway. Voit’s dreading this. He’s scared. He doesn’t want to have to kill, doesn’t think he’ll be able to kill, and is terrified for his family.
In the penultimate episode, The Fan told Brian Garrity all about how he felt nothing after killing. We also saw him center himself by remembering his first murder. For Voit, though, it’s not like he randomly locks in after looking at those old stories about Deena Ryan. That’s not the purpose for him. (If anything, it unsettles him more.) He’s just trying to figure out where his path crosses with Crowley’s so he knows where to look for him.
When we catch up with him again, after so much has happened with both of The Fan’s hostages, Voit’s even more anxious. Now, not only is he getting closer and closer to a situation in which he knows he’s not going to have the upper hand, but he also has to do something worse—face Rossi’s judgement…and the fact that he’s let Garcia down. Gilford’s deep exhale and nervous swallow before Voit makes that phone call to Rossi are very much like a little kid, knowing he’s about to be in big trouble. And although Joe Mantegna plays that immediate anger and the open threats of tracking Voit down very well, Dave does reassure Elias that Sydney and Harlow are safe. At which point, the sigh of relief from Gilford says it all.
Penelope and Elias have shared some uncomfortably sweet moments, even back when he was still more of an adversary than ally. So, Voit specifically apologizing to her while looking so vulnerable and awkwardly unsure of how this whole “heartfelt apology” thing even works is so important. And so angsty. Especially when you think about how learning about Penelope’s testimony on this guy’s behalf upset Rossi so much, yet Dave’s standing there, looking like it’s even getting to him. It’s good to have that kind of closure in a season finale, and it feels like major, major closure in a way that spells Trouble—capital T—for the guy who’s saying both “I’m sorry” and “goodbye.”
Voit can’t even muster his usual brand of snark when a frustrated Rossi asks why he’s even calling if he’s not asking for help. Gilford mutters his way through “I just want to hear your voice” and gives no life to it. His use of breath, once again, makes an already-loaded moment land even harder—right there before that quiet, sad “and…say goodbye.” Rossi’s last-ditch effort doesn’t help. That last sigh is definitely part of the overall dread Voit’s feeling, that “here we go” kind of feeling. But I also think he’s beyond relieved to hear Rossi say he’s not that guy anymore. It makes his situation that much more dire not to be able to become Sicarius, sure. But to know that he’s really, truly the person he thinks he is now, the one he wants to be…at least he gets to go out the hero.
Except. Well. Back to my original point. Criminal Minds: Evolution Season 19 Episode 10 doesn’t let Voit go out the hero in some righteous, sacrificial blaze of glory. That wouldn’t be an honest way to handle the complex, impossible type of character changes to the character over these four seasons.
There’s absolutely nothing about how he holds that gun and points it at The Fan, even less about Gilford’s presence as he squares off against a very sure and steady Kirk, that screams “he can and will shoot.” Not a chance. Gilford plays the whole, intense back and forth as if Voit’s crawling out of his skin, locked in a fight-or-fight response that’s screaming “flight,” all the while knowing he has to stay here and fight for his daughter.
And so, after a wonderfully-tense standoff, Voit kneels for The Fan. Watching the former Sicarius at someone else’s mercy like this just feels wrong, especially for those of us who’ve somehow become attached, entirely against our will. But submitting works. It allows him a trip downstairs to see what Crowley thinks is going to be him torturing Holly in front of Voit. But although Elias can’t shoot a man in cold blood, watching his baby in pain while he’s trying to break her free is enough to at least get him to throw a punch. That gives Holly the chance to escape…but when she hears the fight below, all the squeezing her eyes shut and covering her ears in the world can’t make her leave her dad down there.
Holly Voit kills The Fan. Elias watches, in terrible, horrible slow-motion. Eh, horrible for him. For the series, it’s extremely well done and effective. Right on time, the BAU arrives. Elias frantically begs his daughter to listen, to trust him. And there’s the shot of Voit, covered in blood, looking like “what have I done” (viewers know it’s more “what has she done”). Rossi gets him to drop his weapon. He gets arrested. There’s the emotional goodbye, with Dave studying Voit intensely when he tells Holly she didn’t do anything wrong.
But then what? After Rossi has an explanation for all of Madison’s doubts about the evidence, we get to the part where Rebecca tells the BAU about Voit’s move to a high security facility. It’s now going to be 64 life sentences instead of 63 because he’s confessing to Crowley’s murder…but the broad majority of the team’s just kind of…deflated. Penelope obviously feels the worst, with JJ a close second because she doesn’t exactly want to see Holly lose her dad again (especially not now, when she’s got her own dark side), Tara and Emily somewhere in the middle, and even Dave with a regretful look down. So, now what?
Is Dave really done with Voit? Or is banishing that inner demon a way of dealing with all that trauma from the Sicarius days? If something comes up with Holly, will they find a way to get her dad’s help? Or is this…really, truly it? Like, he’s gone? Forever? Well, at least for now, we know Voit won’t appear in Criminal Minds: Evolution Season 20—that’s been confirmed via Give Me My Remote‘s interview with showrunner Erica Messer.
If this is truly the end, what an end it was. Through The Fan’s obsession with Sicarius, Criminal Minds: Evolution Season 19 has reminded us of the dangers of giving serial killers celebrity status. There’s also been an intelligent (if purposely extreme) study on what happens when admiration becomes unhealthy obsession, how fandom can become dangerous and toxic. And where this season finale leaves Voit himself is satisfying, not in spite of how wrong it feels but because of the wrongness.
The series made (some of) us fans of someone who, despite the miraculous changes, should never have fans. Yet, the person who did all those evil things isn’t evil in that way anymore. It’s bleak, and gray, and twisted, and neither a happy ending nor the most irreversible depressing one (death, obviously). So…here we are.
And although I could do without David Rossi writing book after we’ve seen how his writing helped “create” Sicarius and The Disciple, I mean, just that one last glimpse at the sarcastic, snide, irritated guy who spent Season 17 inside Dave’s head is a nice treat. Not to mention, it’s a fun way to remind us how great Gilford was at that version of Elias Voit, as well.
…the bittersweet
After Penelope helped JJ and the boys move in the season premiere, let them live with her when the new place had a problem, then threw a party to celebrate Henry getting into college, I figured we’d already had all the family moments we could possibly fit into Criminal Minds: Evolution Season 19. Sometimes, I love being wrong. That’s a rare occurrence—not the being wrong, the loving it—and all, but this is definitely one of those times. It’s also one of those times when, although I understand why Emily would need to stay behind and hold down the fort, I’m kind of like “thanks, I hate it.”
What can I say about AJ Cook that I haven’t already said over and over again? Her portrayal of a JJ who is so beautifully proud of her son while, at the same time, hating that she’s about to be separated from him is simply stunning. And oh, oh when JJ walks over, stands so close, and looks up at Henry with those unshed tears in her eyes while she struggles to get through telling him his dad would be proud! I’m not being melodramatic or exaggerating for fangirl purposes here at all when I say just thinking about it gets me emotional.
Overall, JJ’s been in a much better place this season. That’s, in large part, due to the time jump. But the thought of Will not being here to see their firstborn all grown up, mixed up with everything else she’s feeling is—of course—going to make that grief feel fresh, and raw, and too much all over again. Cook nails that feeling. And she nails that sense of JJ having so many emotions tumbling all through her at once, with the grief winning for just a moment before it’s back to something a little more bittersweet than outwardly sad.
Seeing Auntie P jump up and down, all “go, Bobcats!!” as Henry walks away is about as on brand for this little family as it gets. But aside from that, I’ve got to commend Vangsness for just staying completely present, even when the camera’s not actually focusing on her. If you can tear your eyes away from that tight, tight hug between mother and son and/or all the big emotional stuff leading up to it, just watch what Penelope’s going through in the background. Get you someone who is literally right behind you, feeling all the feels right along with you.
And, back at the BAU, there’s a much quieter goodbye. An exhausted Tara and Emily toast to the end of the Sicarius era, with Tara realizing it’s been exactly four years since it all began. It’s fitting that it’s these two, given their roles as the first to look into the mystery of the shipping containers in Season 16 and the first to have major questions about Gold Star in Season 17. And I’m just flat out grateful Emily isn’t having some kind of sad, solo drink. Tara’s a good friend, and Aisha Tyler and Paget Brewster are pretty great scene partners themselves. But, in true Criminal Minds: Evolution fashion, the Season 19 finale ends with a reminder that Emily just can’t get a moment’s peace.
MORE: I definitely prefer this goodbye for JJ to the heartbreak last season.
More Criminal Minds: Evolution Season 19 Episode 10 reactions
- All it takes to get me locked in is that opening shot of The Fan framed in that doorway. Amazing.
- “…and fortifies his blind faith in his own invicibility, which makes him incapable of accepting…that he could ever be made to answer for his crimes.” I love this delivery from Kirk, but I can’t even put my finger on why.
- “…false sense of security because, truthfully, such measures only deter men who fear the law.” Anyone who’s gotten a restraining order against a sh**y man, only for him to keep coming around, can confirm.
- OMG that dark look at his Sicarius stan board.
- “I mean, I hate math.” Thanks. I hate this.
- Classic lead up to The Fan snatching Holly. Works for any era of Criminal Minds, could work for a good slasher. Perfect.
- “The best weapon against an enemy is another enemy.” – Nietzsche (Except that’s not quite what happens in this finale. The other “enemy” would be Voit…but it’s Holly who takes The Fan out. So, um. “Isn’t it ironic? Don’t you think?” – Morissette)
- “Voit has escaped.” “What?!” I cracked up. You mean to tell me BAU UNIT CHIEF Emily Prentiss didn’t see this coming from a mile away. Can we please be for real?
- “Voit didn’t kill the guards?” “…no. Thank god.” “I know this is gonna sound crazy, but Voit doesn’t pose a threat to the general public.” “Yeah. That sounds crazy.” When you watched none of Season 18.
- You know Rossi hates having to defend this man.
- But ok, ok. Check out what happens when Madison tries to get sassy about The Penelope Garcia. It doesn’t matter that he was upset with her at first. Not only did they patch things up pretty quickly, but you do not F with this man’s family. Period. What a moment from Joe Mantegna. That “hey!” does not leave any room for this man to ignore what comes next. None. Nope. Nada. Just so sharp and, like, angry.
- …or, as my ridiculous notes say: “Hey! The only reason Voit got special treatment is because you made a deal with the guy!” Old man barks at Director, points finger angrily, defends Baby Girl. And then, just the pause for the giant “FML”/buffering expression on Clark Gregg, while Dave just keeps glowering at the Director.
- And here we have poor, exhausted Prentiss, sick of having to deal with men.
- That very first big sigh from Voit. Dude’s unwell and doesn’t need to be hallucinating “Dad” while he’s already F—ed up enough.
- In which Not-Rossi is the literal Dark Passenger now, seeing as how he’s Dark Rossi and in the passenger seat of that stolen car. (Sorry, not sorry, to Dexter.)
- The Fan’s idea of “comforting” Laura with that…bizarre excuse for a smile, uh, doesn’t exactly do anything other than scaring her more.
- “Holly Voit is missing. Marshals have Sydney and Harlow in protective custody. But Holly is…they have no fu**ing…clue.” Rebecca is so totally effin’ done here. And Nicole Pacent’s delivery on the “no [effing] clue” part is absolutely everything.
- I don’t understand how she does it, but all AJ Cook has to do is say one line in some kind of shaky voice, and the scene is 10 times better. Here, it’s “Crowley has her and Laura Boyd.” That’s it!
- “Because…he needs to sacrifice Holly in front of Voit.” This is a great moment from Aisha Tyler. Tara really, really doesn’t like coming to this conclusion and likes that she has to say it out loud even less.
- “…what?” You know Rebecca would rather have been like what the F, huh.
- …and JJ looks sick while Tara’s explaining everything. Again: Scene stealer during the whole explainer. Cook doesn’t have to say a single line, and you know JJ’s disturbed, worried about Holly, sickened by The Fan, and so much more. She’s everything.
- “…a man at psychological war with the two sides of himself.” I actually can’t tell if I like the writing or the delivery better here. So, A+ to both.
- “And that conflict truly makes him pathetic. But there is one thing that could calm those waters. And it would be, once and for all, to surpass his idol.” Meanwhile, you can see the “WTF did I marry into again???” thought bubble just begging to come out and float above Rebecca’s head. (This is awkward wording. I know. If you’ve made it this far, please go with it!)
- Everything about this delivery is spot on. “Emily? I-I-I’m going to need you to come and see something, like, now—like right now?” And that super frantic nod with the “ok” that does not come across as actually ok. The deep, calming breath…all brilliant.
- “Yes, I do. Weee do.” THE HANDS UP IN SURRENDER.
- “Because there’s no reason for me to die. But I am willing to be sacrificed…for the greater good.” Case’s sense of grief on “the greater good” messed me up. I’m not going to lie.
- Meanwhile, when we cut to The Fan, he’s totally emotion-less.
- “Crowley has it rigged. So if I even try? To identify the root for the ISP, I’m going to, to get Laura shocked.” Such a deep level of emotion on “even try.” Ouch.
- Tag yourself: I’m Tara’s “Jesus F**king Christ.”
- Laura is drained, just gasping through that pain. “Now that you have been warned, I shall continue…to remain safe…and when God so chooses to…offer his mercy I shall be…set free.” Every single time Case stops to take a breath, it drives that level of extreme pain home even more.
- I love how our very first couple of moments with Holly in Crowley’s lair say everything about her. Yes, she’s terrified, on edge. Nordahl’s shoulders are up, she’s breathing those quick, nervous breaths. But the second Crowley comes over her, she turns away so he can’t see that while she gets herself more under control.
- “Get away from me!” “You’re gonna need your strength.” “F**k. You.” Amazing. 10/10. And Crowley just gives her that disappointed professor look, with the hint of danger underneath.
- I can’t say enough about the lighting in Criminal Minds: Evolution Season 19 Episode 10. That beam on Crowley adds so much extra creep factor.
- “Do you believe in provenance? My father revealed its meaning to me, and he knew the truth. Embodied it.” The way Kirk moves as he never/barely breaks eye contact, sets that chair out, and perfectly calmly sits in it makes this whole “true believer” type monologue more unnerving than if he was angrily, vividly describing all the awful things he wants to do to Holly and/or father.
- “The universe has always done for me what I could not do…for myself.” Sounds like a cult leader. Fitting, considering what we learn about Crowley in this finale.
- “The fact is, my dad is smarter than you, and when he gets here, he is going to f—king kill you.” Completely, absolutely, totally, fascinated by the little beat and glance to the side Kirk takes before that “…yeah. You’re probably right.” In any other situation, it would be hilarious. But he’s taken impeccable comedic timing and twisted it to his advantage to make Crowley’s detachment while running the odds of his own potential violent death spooky AF.
- The way this man walks.
- Also: The way he picks up that knife and studies it.
- “…but he’s not gonna kill me before he gets to see your blood spilled out all over my floor.” Wow.
- “Now, even though this guy professed some…deep spiritual convictions, that didn’t stop him from being accused and acquitted of sex crimes in the late 90s and early 2000s.” First of all, that checks out, disgustingly enough. Second…the line reading from Mantegna here? Chef’s kiss.
- “Heeeee’s probably set up some sort of AI algorithm that’s feeding her lines, that she’s reading off. And then, meanwhile, he’s off preparing for Voit.” It’s the way Garcia says “preparing for Voit” with the frustrated little air quotes for me.
- “Of what.” Same, Tara. Same.
- “I once had to try to install a sh** ton of it at an undisclosed location in Afghanistan.” Love the way RJ Hatanaka does this little trip down memory lane. Tyler’s, like, grinning at the memory in spite of himself. And then, just…boom. He instantly changes expression as he snaps himself out of it. “That’s a long story.” And that little movement of his head. Amazing.
- “I know where you are.” “Well, not exactly.” “I will when I trace this call.” If I had no context at all and just heard this exchange, I’d really think Voit was Rossi’s son who snuck out and was about to get his a** grounded.
- “Look, I have to handle this. Nobody else needs to get hurt.” “You know I can’t agree to that.” Indeed, he does know. But he can’t just ask for help like someone who’s had a remotely normal upbringing with people he can count on, so.
- “Hello, Penelope.” It’s the tired way Voit says this—as close to his usual snark as it’s gonna get—for me. Dude knows exactly what Rossi’s going to do when he calls and exactly how long it’s going to take him to do it. Family! Also, adorably-confused Penelope is one of at least a dozen favorite Penelopes. “…hello, Elias.”
- “I’m…sorry. I f—cked you over. When this is all done, the blowback’s going to come back on you hard because you went to bat for me.” I hate that this show made my eyes water over one of the worst serial killers they’ve ever dealt with. Rude.
- Penelope looks like she has no idea what to do with this. But oh, she tries. “Well, I appreciate that. Uh. So, why don’t you do me a solid and surrender and let us save Holly?” That nervous quality of voice from Vangsness…Penelope knows this isn’t going to work before she even starts. But she also knows she has to try. “I would if I could, but I CAN’T. If Crowley doesn’t get me down on my knees, then Holly’s dead. If I can get there, I might be able to help her.” THAT “CAN’T.” Pure agony. Help.
- Someone needs to pay for making Penelope have to brace herself like that after the mere mention of Laura Boyd.
- “I spy with my bespectacled eyes…
- “Smiles, everyone.” Oh, Penelope is so back. And she knows it!
- “I hate to be this guy, but…how will we even know if this is working?” “Oh, ye of little faith and so much temerity.”
- THIS IS SO F****** TENSE.
- “I poked Crowley’s eyes out.” MY GIRL.
- The urgency from Rodriguez in Luke’s hollered “GO!”
- …is this where I say this is a Derek Morgan tribute?
- “The universe…doing for me what I cannot do for myself. If your father truly loved you, why do you think he risked your life by leading a double life? Why do you think he built you up, filled you with dreams, plans for your future? He knew one day it would all come crashing down.”
- Whew, that “answer me.“
- Dude looks like he might just be starting to realize his plan isn’t as perfect as he thought. If nothing else, waiting for Voit to show is boring.
- I love the contrast between that “Unit Chief Prentiss” tone on the phone while Emily kinda bends the truth with Madison…and the pure Emily on that jet with JJ and Dave. Also, everything about her is screaming “I do not want to talk to this man, and I can’t stand having to answer to him.” Not even the respect in that conversation is honest—only wanting to end it is—and I respect her for that.
- “They’re gonna shoot on sight. And Voit’s a dead man.” “Which is what he’s wanted, ever since he woke up from that coma,” That is correct.
- “Now, he’s just a desperate dad.” On the one hand, anyone who’s watching and doesn’t understand this through Gilford’s performance alone isn’t paying attention. But on the other, I do think Rossi, specifically, needs to recognize this. Like, he’s not going to ever move on from any of it if he can’t first see reality.
- Super smart use of the camera and editing as Voit goes through that house, looking for Crowley. Just, again, classic thriller/suspense stuff.
- “Ok. Take your best shot. But you should know better cause I hold all the cards.” Kirk’s hands barely move out a few inches on “take your best shot,” like Crowley’s not going to deign to so much as pretend to surrender.
- Literally sitting here watching this standoff like “they are both so. good…but please do not hurt my emotional support serial killer.”
- “DADDY!” Help.
- That moment when Holly throws herself in Elias’ arms…my heart. The hug, the “I love you, Dad” after everything, and his quiet “I love you” in response since he’s grateful to get just this tiny thing??? Brilliant.
- “Elias. Look who’s come to save you. Daddy’s little girl.” AS THE BLOOD IS COMING OUT OF HIS MOUTH. AMAZING.
- AND THE LOOK IN KIRK’S EYES.
- “I can’t let them take you away from me.” Kill me now.
- Oh. JJ is so gentle with Holly. And such a mom.
- I think the other thing that I really appreciate about Criminal Minds: Evolution Season 19 Episode 10 is that it shows how well-planned the season was. So much was set up from the start. Luke’s dog: Episode 2. Voit trying to take credit for murders he didn’t commit, just like he stands in for Holly after she slaughters The Fan here: Episode 3. The weird device Crowley has Laura stuck on and his use of a script? Lance (RIP) Episode 5. On and on it goes.
- “I’m sorry.” “No. No, you didn’t do anything. It was all my fault. All of it. I’m sorry. I love you.” Pain. Also pain: Elias and Holly just…gazing. What a goodbye.
- “So to be honest, neither Agent Jareau nor I felt it was appropriate or necessary to execute her father in front of her.” Mantegna’s line reading is super here. Dave is so utterly and completely careful while he just stares the Director down and insists he just go with the story.
- Rossi imitating the stabby-stabby motion. Love it.
- …did they…did they leave us with the hint that Holly will be following in dear ol’ Dad’s footsteps???? Some of those looks of hers, especially on the “what she doesn’t know can’t hurt her” there at the end—and JJ and Emily’s reactions to her—certainly leave the door wide open.
- Or was it eerily familiar…but harmless?
- “Actually, there are only three people who really know what happened. One of them is dead, and you know your father would do anything to protect you because…” “Where is he?” Oh. Paget Brewster and AJ Cook, folks. Huge round of applause. Emily and JJ’s pained looks are, like, right in sync. I’d say they’re twin pained looks, but Brewster and Cook each do their individual thing so they’re not identical twins. (Hm. Fraternal twin pained looks?) Emily’s got those eyes squeezed shut while she shakes and hangs that head, whereas JJ’s doing what I’ll call her trauma stare. You know the one!
- AND YET. My GIRLS.
- I also very much appreciate that, despite them sharing so little time together this season, JJ and Emily have that opportunity to be there for Holly together. They’re a united front. And about that just fits.
- “Your dad knows only we would understand.”
- Rebecca just relishing delivering the news, Penelope kinda having that cute, perky “???” reaction, Emily’s disbelief on “high praise indeed,” and on and on…I just want to say, this is what a true, cohesive unit—a real team—does. Everyone gets their moment; everyone’s kind of equal in all of this. No one’s overshadowing the others or taking up all the space. Always nice to see an ensemble work together like this.
- “As far as Director Madison is concerned, Elias Voit shall not darken the door of the BAU ever again.” “…and why is that? Because they’re just gonna throw him down a hole and forget about him?” I DON’T WANT THIS. (But as I said above, it…is actually much smarter storytelling than just about any other option. Woo, nuance!)
- I hate this show for making me get this attached to effin’ Voit…
- …but I mean, I also kind of love it.
- “Whoever, whatever Voit is now needs to be buried so far down, it denies all the oxygen of his so-called celebrity. Why risk inspiring another fan?” Tyler has a point, but I’d appreciate that point a lot more without him and Luke sporting their sh**-eating grins.
- “Wheels down” is objectively corny, yet it just…it’s fine. It fits. Especially coming from Emily. I love Emily, but she can be corny at times! And it’s FINE. It’s part of her charm.
- Nice Emily/Dave bookend (no pun intended) for their conversation at the beginning of the season.
- …would prefer more Jemily, though.
- “Your…your dad would be so…proud of you.” That break gutted me.
- A Gideon reference!
- The Soul of the Spider. Yeah. Sure. Because that’s not going to cause more celebrity. Come on.
- “You honestly think you can get rid of me that easily?” “Watch me.” BUT WHYYYYYYYYY.
- Not these two sharing quotes that I know have been on this show before.
- “Emily.” “Oh, JESUS, VOIT?!” Paget Brewster, comedy queen. As always.
- And Clark Gregg ain’t half bad either. Director’s absolutely, hilariously, dumbfounded.
- Unit Chief Prentiss, calling the family back for duty.
- It’s…over?
Agree? Disagree? What did you think of Criminal Minds: Evolution Season 19 Episode 10 “Bad Blood”? Leave us a comment!
All 10 episodes of Criminal Minds: Evolution Season 19 are now streaming on Paramount+. The series has already been renewed for Season 20, so stay tuned!
