Chapter Text
:31 - This is the first time we hear the main theme (instrumental score) of the show. It’s interesting that this theme is only played only when Malcolm and/or Martin are on screen. The choppy violin is aggressive (like Martin and also Malcolm's trauma). By the end of the theme, it’s almost musical nails on a chalkboard. It crescendos and hits high, uncomfortable notes for your ears because we as the viewers aren't supposed to be comfortable with Martin, or Malcolm’s trauma. The music is the viewer’s reminder that Martin is not someone you’re supposed to like or trust or be attracted to, Despite Michael Sheen’s superb portrayal and the writer’s brilliant dialogue.
1:12 - Having read the original draft of the script for the pilot, let me just say how thankful I am for the numerous changes that were made. While I was unspeakably grateful for an explanation as to why in the world Dani was chomping gum like a Valley Girl, our pilot was superior by far. In the OG script Malcolm was incredibly arrogant to the point of being unlikable. His ability to skirt moral lines to get information still comes out in later episodes (see how he treats a witness in 104), but not in the 80s movie bully sort of way.
1:55 - One of my personal PS kinks: Capable Bright (S/O to Rikki for the title). This scene is one of only FOUR times the entire season that we see Malcolm wield a gun. There is a subset of Prodigies who are pushing for more evidence that Bright spent a decade in the FBI. He has weapons training and at least some basic hand to hand/self defense, yet is often written as though he doesn’t know what he’s doing.
- There’s a valid theory running around the fandom (thanks, TheFandomChic) that proposes that Malcolm absolutely can handle himself, when he’s alone (i.e., the Gym scene with the masochist in 106). According to this theory, when we see Bright struggle to defend himself, it’s because there’s a civilian present who is in danger also. It absolutely tracks, characterizationally, that Malcolm would be more concerned with the civilian’s safety than his own. Thus, his mind would be distracted (for example the struggle with the killer in 117, when Alessa is also present).
2:00 - The difference in how Malcolm thinks vs. the local cops. They’re rushing around barely noticing anything as they go. Meanwhile Malcolm is taking slow deliberate movements, analyzing everything he sees as he goes.
3:09 - Martin’s themes (when not the main) are always low, deep notes. To be honest it is reminiscent of the Jaws Theme. He’s a threat, lurking beneath the surface of his outwardly cheery and “trustworthy” exterior. Martin is certainly the shark ready to bite when you aren’t paying attention, the calm water in which the piranhas are patiently waiting.
4:17 - Shout out to the use of Bright’s flashlight as part of the lighting in this scene. We still don’t know a lot about him at this point. He’s partially in shadow, but he loves hiding his inner self and shining the light on others. Ah symbolism.
4:41 - “No one’s born broken. Someone breaks us.” An Iconic line from the show and a recurring theme throughout. Is it nature or is it nurture? We shall see.
4:54 - Malcolm’s smile before Springer is shot. It’s his version of pure joy. He’s done his job, used his skills to locate and talk down the killer. Malcolm is proud, these are the moments when he is happiest. And in a split second it’s violently ripped away. The blood of the man who had turned himself in is literally splattered all over his face.
5:21 - “I am NOT your son.” This is a line that would normally sound as though the speaker is proud to be their father’s son and doesn’t want someone else claiming that role. Bright speakers this line with his face covered in blood. He’s just punched an officer in the face for murdering the suspect. His eyes are wild with anger and, frankly, Malcolm looks every inch The Surgeon’s son. Out of context, this picture is pretty frightening.
5:33 - Malcolm’s judgement scene is completely devoid of any background music, score or otherwise, until the words “You’re fired” are uttered. Then, for four seconds we hear a slowly crescendoing set of violins- representing Bright’s comprehending the information given to him. As his anger builds, so does the volume. The minute the supervisor mentions his mental health issues and, more importantly, says ”not unlike your father” the main theme returns. Malcolm and Martin’s theme. As the audience is introduced to the laundry list of Bright’s diagnoses (and see the tremors), Martin, the cause of them, is present in the form of the theme.
6:27 - Malcolm makes a point to call out his fellow professionals for mislabeling Martin as a predatory psychopath instead of a predatory sociopath. Much to the fandom’s dismay throughout the season, this label has been switched more than partners at a square dance. Whether this was simply an oversight, as various writers were working on different scripts at different times, is unknown. But Malcolm himself even calls Martin a psychopath in other episodes. One of my few complaints about the show.
6:38 - This scene with Malcolm and Martin talking in the cell mirrors the prior one. The majority of it is also scoreless. Martin is calm, conversational, happy even.
- But the minute he hears adverse news, the strings start again. What’s interesting is that the strings symbolizing Malcolm’s “comprehension” in the previous scene played higher notes, less threatening. As we watch Martin digest the news that Malcolm doesn’t intend to return to see him again, we hear lower strings, deeper instruments. The Martin Jaws Theme returns. The predator is unhappy.
9:14 - The first soundtrack song we hear is “I Can See Clearly Now” by Jimmy Cliff (which I would have swore was released in the 80s, not 1993). This song is everything Malcolm truly wants to experience. There’s also the mentions of not only Malcolm’s chosen moniker “Bright,” but also a shoutout to everyone’s favorite guard-bird, Sunshine. Petition to start a “Best Supporting Animal” Emmy category anyone? Did Malcolm choose this as his last name as a reminder to find the light in the darkness? To force himself to keep from being pulled down by the shadows and demons that plague his existence? We have yet to hear an explanation.
9:40 - Okay, I could write a dissertation on rewatching this season knowing what we do about Ainsley in the finale. Alas, now is not the time. Her theme music, however, is ironically upbeat and lighthearted. Well played showrunners, well played.
10:55 - Gil’s theme has a hard bass line. It tells us he’s a tough, no nonsense kind of guy. The playful piano overlay softens that a bit and shows that he’s someone friendly and maybe even important to Malcolm. Gil’s giant smile upon seeing him solidifies that fact.
11:55 - Dani’s theme/the crime scene theme has a bit of a techno undertone. Hustle and bustle happening on the job, with some high piano notes. The good guys are associated with the right hand of the piano.
12:24 - JT’s theme continues some of the sounds from Dani’s intro, but includes a hint of electric guitar. Given that JT is wearing a black leather jacket, this fits. He is your stereotypical NYPD detective: tough and ready to rock and roll.
16:03 - Jessica’s intro. As I got into this episode and was really paying attention to the themes and sounds from the score, I literally laughed out loud when I came to Jessica’s introduction. Her music starts off even darker than Martin’s does. Perhaps a comedic nod to the fact that, in some ways, Malcolm might think her just as detrimental to his mental health as his father. Her reveal is reminiscent of a slasher film in terms of the sounds in the score. It’s quite humorous. Then, again, silence.
- Malcolm only ever calls Jessica “Mother”. It’s a proper, perhaps wealthy upbringing, term. He does something similar with Martin: My father, Dr. Whitly, or The Surgeon. (At least until 119 - more on that importance later). There seems to be almost a professional distance between our main character and his parents.
18:31 - Edrisa’s Intro. By the time I got to this scene, I was in the zone, paying close attention to the themes for each member of the team. Up pops Edrisa… nothing. No music at all. Another moment where the showrunners, brilliantly in my opinion, let a scene breathe naturally and don’t cover every waking moment with background music. She, however, was the first of the main characters not to immediately have a theme play. Initially I was annoyed. “Why? Doesn’t she deserve her own music too?”
- Then, Malcolm entered the scene, and magically, music. That’s when the biggest revelation of the episode hit me: every character’s theme, their underlying score, represents Malcolm’s view of them. The tone, the notes, all of their sound, is representative of how Malcolm feels about them, what they mean to him. Mind blown.
20:47 -
-
- Dani: Gil said to wait. He’s pulling a warrant.
- Malcolm: breaks protocol, pulls out phone to call suspect, which leads to them entering the apartment prior to Gil’s orders
- Me: Baby’s first “I ain’t waiting for backup”
21:34 - “My profile’s wrong.” Malcolm speaks this line with a fascinated grin on his face. The thrill of the chase is genuine for him. Outsmarting those whom others can’t even begin to comprehend, the reward. He’s not even angry that his profile is wrong, more like “touche Mr. Serial killer, touche”.
23:24 - “I’m going to chop off your hand.” This line and the corresponding giggle, paired with the shift in music, reminds one of a horror film. It’s the moment in the pilot where the audience starts to wonder whether or not Malcolm is capable of the same atrocities his father is. It’s not the first time he’s gone off-book. Remember he’s punched a cop in the face, basically threatened his superior officers at the FBI when they fired him (“Next time you call someone crazy, ask for their gun first”), and ignored his superior’s command to wait before entering the apt. It’s clear his thought patterns aren’t typical. The real question is just how unconventional are they?
26:02 - Ainsley: Don’t you watch my reports? Jessica: Not with the sound on.
- This statement, while a comedic jab, tells us a lot about Jessica. To Malcolm, in private, she hails Ainsley as the perfect one, the one she doesn’t need to check up on. But we frequently see her throughout the series focus on Ainsley’s physical presentation i.e., Looks, fashion, outward appearance. This quote implies that how Ainsley looks on camera is far more important than the content of her reporting (see the “Carpet at the DMV” line in 114). Meanwhile Jessica’s concerned about the content of Malcolm's job i.e., Malcolm’s safety, killers, and the psychological effect the job has on him.
27:23 - The PS Jaws theme returns during Malcolm’s night terror in the precinct. The coloring, the music, the lighting, everything about this scene again screams horror film. The lighting, design, and music departments on this show are simply divine. We are introduced to the infamous Girl in the Box. Malcolm then sleep sprints out of the conference room and accidentally tackles Dani in the process. Despite her barely knowing this man, she’s compassionate toward him. She protects him from the other officers who are literally pointing guns at him. Meanwhile, Malcolm is holding on to her for dear life as he wakes and realizes where he really is.
29:00 - I absolutely love the comedic moment in this scene. As Bright is talking to Gil about his night terrors, Dani, JT, and another cop are behind him, staring at him like he’s crazy. Then, the minute Malcolm turns to look at Dani, they immediately “look busy”. I chuckled. The rack focus between Bright and Gil is beautiful here as well.
30:25 - The grandest version of the Malcolm/Martin theme. Honestly the whole transition from the precinct to Claremont is just genius! Malcolm tells Gil he will go ask his father about the sketches. The theme starts slow, soft, subtle. Then it slowly crescendos as Malcolm decides to visit Martin, is en route, and Martin is being restrained in preparation for his visitor. It gets even more intense as we see Malcolm tentatively walking the halls of Claremont, stress ball in hand, the door opening, Malcolm entering and taking a breath. The slow turn reveal of Martin happens at the screeching strings portion of the music Yet another reminder, this guy looks and sounds charming, BUT WE SHOULD BE AFRAID!
- Martin immediately uses familiar terms with Malcolm “My boy” whereas Bright’s first salutation is “Dr. Whitly”. He respects his title of doctor, but refuses to acknowledge any familial connection.
- In this scene Martin has some VERY comedic lines. The writers are tricking us into liking Martin immediately, into being charmed by him. It’s easy to forget he’s a murderous evil man when there’s no victims around and he’s trying to win over his estranged son. Malcolm is in no way amused by Martin's antics and is profiling him from the millisecond he enters the room. Martin asks him to take a seat, relax (stay a while). Malcolm isn’t interested in that. He huffs and takes another deep breath, essentially saying “Let’s get to it. I’ve no intention of staying.”
- After the initial main theme, this scene is also set to no score. It allows for the tiny echoes of their voices to bounce off the walls of the cement and brick cell. The effect is that this cell still feels empty, void even, despite Martin having five-star accommodations for someone who’s killed at least 23 women.
32:33 - small note - Martin’s tether is black is in this scene. In every scene after it is white. I suspect because it’s difficult for the viewer to see it on that fancy Persian rug of his.
34:36 - Malcolm profiles his father’s fear that once Martin helps, he will leave and never come back. Bright immediately bargains his mental well being for help solving a case. The first of so many times we will see him put himself in harm's way in the name of helping/saving someone. In 112 “Internal Affairs” we learn the reason behind this behavior when Malcolm confesses: it’s a form of guilt from not figuring out his own father sooner. He feels responsible in part for those his father murdered, and now he will always consider the victims and helping them before his own safety.
34:59 - As Martin approaches Malcolm to pick which of the patients is the copycat, Malcolm breaks eye contact with him and looks down afraid. I would love to know if this was a direction in the script or just an acting choice by Tom Payne. Either way it shows us that Martin still has the power in their relationship, despite Malcolm’s intelligence and fronting.
36:06 - The most underrated line in the pilot, in my humble opinion. When referencing the surprise appearance of his mother at a location where they’re working, Malcolm tells Dani “Maybe you should draw your gun.” The prospect of confronting his mother about working with the NYPD is far more terrifying to Bright than confronting a serial killer who’s copying his own father. Just delightful writing.
39:26 - Malcolm admits to Carter, and more importantly Dani, that he is the surgeon’s son. As he does, the Malcolm/Martin theme returns in the form of a slow piano ballad. It matches Malcolm's confession. He’s not scared of Martin in this scene. He’s confessing that he’s actually afraid of himself. Thus, the music is less frightening and more dramatic. The strings build because Malcolm is legitimately willing to sacrifice himself for Claire and Dani. It’s the first time we hear from Malcolm himself that he bears a great deal of guilt for the crimes he didn’t even commit. He feels that (as a 10 year old for Pete’s sake) he didn’t do enough and could have stopped his father earlier. Therefore, he should suffer as well. He is literally willing to let go and die for the victims that aren’t even his. The music follows the intensity of the revelation and Malcolm’s decision to allow himself to be sacrificed. There’s a great article in which Tom talks about filming this scene and how it was unexpectedly raw to have Malcolm admit that The Surgeon is his father (Tom Payne Season 1 Assignment X).
40:44 - Malcolm literally collapses to his knees after Gil takes down Carter. He was a second away from sacrificing his life, that realization takes a toll. Dani is furious with him. She tries to get him to admit that he wouldn’t let Carter kill him and his answer: “OIf course not. That’d be crazy” is clearly BS.
40:47 - Only the second actual soundtrack song: “Dawn, The Front” by Talos. BRILLIANT selection for the scene to come. Another piano centric song, with deep bass beats (similar to the Malcolm/Martin theme honestly, but also vastly different). The melody is melancholy and sounds full of pain. There are very few actual lyrics to this song:
-
- Blind your silence white
- We reach when it's reachless
- And doe eyed, and keep the creaking night
- So close that it's seething
- That’s it. The rest is all a slow and powerful crescendo of music that flows seamlessly with the scenes the viewers are shown: JT and Dani questioning Gil’s sanity for bringing in Bright, the explanation of the child Bright turning in his father and saving Gils life. It’s moving in a way that many shows just can’t replicate. Frisson. All the frisson.
- Then, we see the juxtaposition of Gil offering the candy as a thank you to young Malcolm and Malcolm still using candy as a balm for when he's in pain. That one gesture from Gil has stuck with Malcolm as a soothing mechanism (more to come in the form of lollipops galore). It also shows that Gil has had a lasting impression on Malcolm. We’ve heard that they’ve known each other for 20 years, but now we are seeing that this relationship is deeper than just friends or acquaintances.
43:38 Malcolm accuses Martin of orchestrating the entire Carter copycat scenario in an effort to get Malcolm to return to him. As soon as we see Martin processing that accusation, PS Jaws theme makes another appearance. Martin always has an ulterior motive. Don’t ever forget that.
44:25 - The Malcolm/Martin theme returns in its original rendition, when Martin knows he’s hooked Malcolm. Despite Bright saying “goodbye”, Martin knows he’s intrigued his son, that he’s teased Malcolm’s professional desire to learn and understand the killer mind better than anyone. And we now know Malcolm will absolutely toss his own mental health aside like it’s nothing in the name of solving a case. As Malcolm walks away and tries to front that this is the last time they will see each other, the stress ball returns and Martin again says “My boy”. He knows it’s not the last time he will see Malcolm.
So there we have it! The first of a season's worth of deep dives that I can't wait to continue. Let me know your thoughts in the comments!