Television: The Following, "The Siege"

More teen angst and drama are dialed up for the "killer cult" kids by way of a threesome. Alas, if this was meant to be steamy or shocking, it failed on both counts. But it gives Joey the opportunity to sneak a phone call to his mother, and by extension the audience is given hope that the whole kidnapping plot may yet end.

Meanwhile, Carroll apparently holds enough sway over his former attorney that he's able to force her to read some Masque of the Red Death at a press conference, thereby setting more of Carroll's followers in motion. Then she goes to tell Claire that the only way to see Joey is to be at a certain street corner at a certain time—but, of course, don't tell anyone, and come alone. Anyone else think Carroll might just want another shot at killing his ex? He has no way of knowing Joey has already called his mom, after all.

The key peeve for me in regards to this show is that no one makes sensible decisions. Even just common sense ones. If any one of these people thought about things for two seconds, Carroll would not appear like such a mastermind. (He isn't, by the way.) And so: Joey, having overheard Paul say they were lying to him, runs away and yet is still completely willing to believe Emma when she says he can call his mom if he'll just come back to the farmhouse with her.

Equally stupid: Claire's believing she's actually going to get to see her son when she should know he's at a farmhouse in New York. It's not even that she should or could believe that the FBI is misinformed—she got the phone call herself. And yet she gets into a stranger's car . . . Even though her "brilliant" ex husband has been known to set elaborate traps in attempt to kill her.

Now I could guess I'm supposed to believe that, as a mother, Claire is willing to try anything, but really?

I would say I'm pretty much finished with this show. I will watch one more episode. But if they don't manage to get the kidnapping thing resolved in the next hour, it is over. I will follow nevermore.

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