Prison Break 1.2: "Allen"

Written by Paul Scheuring
Directed by Michael Watkins

In which Michael continues to advance his agenda, but when he needs to secure a specific item to move forward, the process of getting it puts him in the middle of a race riot…


Watching and considering the premiere as two separate episodes might have helped me get past some of the basic issues with the plot holes. As far as I could tell, there was only one sticking point, and even that I can explain away through relative reasoning. Now that the character introductions are out of the way, the plot gets to move forward, and the pacing picks up as a result.

First things first…what were the weaknesses? Others have probably mentioned the same thing: it would help for the audience to know what Michael’s short-term objectives are, so that the tension mounts when obstacles are placed in the way. The only thing that the audience knew about Michael’s situation was the reference to the make and part number he was interested in, and that an awful lot of skin was used up to remind him of it. While the audience could certainly assume that it was important to his scheme, it might have been better to know how critical it was.

Getting the bolt, and the process of achieving that goal, drove the whole episode forward rather well, so the complaint is a small one. The main issue is how the bolt was used. Filing down the bolt into the proper size Allan wrench was a clever move, but if the Allan bolt is right there and accessible, what’s the point of comparing the filing-down bolt to a tattoo on his arm? Especially when the tattoo could have been damaged or altered by any number of factors?

I consider this an ongoing flaw in Michael’s plan, but in this case, there is an explanation that I can live with. Basically, Michael might have anticipated that his activities would have to be “quick and dirty”, especially when it comes to messing with prison equipment. There are enough areas of “exposure”; he doesn’t need to be seen fiddling with the toilet. So using the tattoo as a rough guide for the retooling of the bolt is a way to minimize suspicious behavior. (Granted, he’s not at all careful about getting the bolt or keeping it to himself, but I had to try!)

Throughout the episode, Michael runs into difficulties with the people that he had assumed he could manipulate. He clearly wasn’t expecting the level of violence that he’s experienced. When it comes to the technical aspects of his plan, I have little doubt that he’ll be 99% correct about how to handle it. But he seems to assume that his manipulation of the people around him will be equally simple. That’s clearly not the case, and he’s already making concessions to get what he needs for his plan.

This speaks to that psychological aspect of Michael that I mentioned in my review of the pilot. Michael is a fairly complex individual, but he’s got issues. I get the feeling that he’s somewhat detached from reality, and that’s where this is going to get him into trouble. The final scene is a great example of his dedication, but it’s also an example of why his assumptions are so flawed. Did he really think he could stare down a desperate mobster?

Anyway, the conspiracy angle continues to expand. My concerns remain the same: the conspirators have been far too casual in their methods to be effective at keeping the truth buried. That said, they did a very good job of setting Lincoln up, since he supplied a solid motive on his own! There’s a chance for the writers to explore question of guilt and responsibility, and that’s a good thing. I only hope that Robin Tunney’s character becomes a little less annoying.

Whatever the case, I liked this episode better than the pilot. I was impressed at the level of violence that was present, given the network restrictions; it may not be as strong and deep as a series like “Oz”, but as a companion to “24”, it works well enough. If I were the writers, though, I would show more of Michael’s thought process, so the audience could internalize his short-term goals and share in his anxiety.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Prison Break 1.1: "Pilot"

Written by Paul Scheuring
Directed by Brett Ratner

In which Michael Scofield contrives to have himself sent to the same prison where his brother, accused of a crime he didn’t commit, is also being held, awaiting execution…


Although FOX gave the series a two-hour premiere, it was more like two episodes cobbled together. They even have two different episode titles. That being the case, I’m covering the first hour here, and then the second hour separately. Hopefully that’s not as confusing as it could be!

As I was watching this pilot episode, I was struck by something I remember the producers of “24” saying at one point. Basically, they said that the original intent was never to focus on the same genre, season after season; instead, each season would have been a different set of conditions, connected only by adherence to the format. True or apocryphal, that’s what came to mind as I watched this episode. I couldn’t help but wonder if this could have originated with something similar in mind.

This series is inevitably going to be compared to “24”, and that might be unfortunate. Frankly, one of my big problems with “24” (as much as I enjoy it) is the use of plot contrivance to a ridiculous extreme. This series follows in the same footsteps. A lot of the situations that will play out over time require massive suspension of disbelief. Hopefully, it’s just the setup that’s lacking in credibility.

A lot of those issues have been covered in other reviews, but I have a few that won’t stop bothering me. Warden Pope and his Taj Mahal ranks rather high on the list, especially given the fact that Michael is immediately branded a troublemaker. Someone ought to have discovered the fact that Michael was involved in the design of the prison, and it strains credibility that Michael would be sent to the same prison. And then his lawyer is also the woman that his brother Lincoln once had a relationship with, which doesn’t present anyone with a problem, and even the mobsters don’t seem to think that his constant questions and attitude are a problem. Michael’s little smirk ought to be getting his butt kicked regularly!

I also had some issues with the basic idea of Michael’s tattoos. It would have taken a lot more time for those tattoos to heal, and even accepting that, the tattoo was vague enough to work as a general map of the prison, but nothing as detailed as one would need to know every nook and cranny. Never mind that things will get rather problematic if and when Michael begins to gain weight, build up muscle, get stabbed, etc. All those carefully worked-out dimensions won’t mean a damn thing, then!

The conspiracy is equally problematic. We’re asked to believe that the conspiracy against Lincoln is so solid that it’s hard for anyone to believe that he’s innocent. Fair enough. There’s concern among the conspirators that Bishop McMorrow will influence the governor into granting Lincoln a stay of execution. Also, fair enough. But rather than blackmail the bishop, the Secret Service has him killed! Isn’t that just a little sloppy and obvious for such a well-considered conspiracy?

I wouldn’t say that I’m disappointed in the premiere. It kept my interest, and I think that if many or all of those issues are set aside, there’s a certain method to Michael’s madness. I hope that the writers delve into the character’s psychology over the course of the season, and that they don’t overlook his obvious emotional damage. The man is clearly capable of highly ordered and strategic thinking, but he’s also making decisions that are questionable at best and personally destructive at worst. He’s damn lucky that his cellmate is so decent, or he’d already be dead.

Pilots are notoriously flawed, if only because so much time is spent on exposition. Characters need to be established, and the underlying mythology of the series must be introduced. There’s not a lot of time for actual storytelling. Viewers are sold on the characters and whether or not their world is compelling. In this case, the characters and situation merit a longer look. I don’t believe this is the second coming of “24”, like some have claimed, but it’s certainly not DOA.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Battlestar: Galactica 2.7: "Home: Part II"

Written by David Eick and Ron Moore
Directed by Jeff Woolnough

In which the search for the Tomb of Athena comes to an end amidst suspicion and violence, while back on Galactica, Baltar must deal with the possibility that he has lost his mind…


Before the second season aired, Ron Moore made an interesting comment. Essentially, he commented that the first season should have been 20 episodes (at the very least), and that as a result, the first third of the second season would play out as if it were the rest of the first season. I have to say that I completely agree. As much as the first season finale ended things on a high note, it was really the end of a complication phase of a much larger arc; this season has been all about the resolution of everything that happened in “Kobol’s Last Gleaming”.

A ton of plot threads reach their momentary end in this episode. On the plot side of the fence, there’s the culmination of the search for the Tomb of Athena. I find it interesting that the writers kept all these pieces in the air without really knowing how it would play out, beyond some general sense of direction. For all that doubt regarding how the puzzle would come together, it works very well.

There are issues, of course, and the writers admit it. There’s not one spot on Earth where a person could look up and see all 12 classical Zodiac constellations at the exact same time, at the same basic declination in the sky. But that’s hardly the point. The point is that Earth is the planet where the constellations would, when seen from that point in space, look as they do in the hologram. From that perspective, it works.

I do wonder, however, how this was supposed to make sense. Earth is supposed to be the lost 13th colony. So how would the constellations, as seen from Earth, end up on Kobol? Was Earth once still in contact with the homeworld, before things all fell apart? I can’t remember if that was established in the mini-series or the first season, but it struck me as a possible continuity issue. (I’ll be pleased if someone can correct me if I’m wrong, since I can’t seem to find the information right now.)

It’s incidental, however, because it gives them a general direction, without promising that the journey will be successful. After all, Boomer made it very clear that the Cylons know all about the scriptures and prophecies of the Colonists, perhaps even better than the Colonists do (not hard to imagine). Sounds to me like the Cylons might have taken the search for Earth into account after all.

There’s been plenty of evidence to suggest that the Cylons wanted to keep some small population around, and that they’ve avoided the deathblow that would wipe the Colonists out. Certainly their resources should be big enough by now! So why let the Colonists get this far, beyond the breeding experiments? What if the Cylons are using the Colonists to locate Earth? After all, the Colonists want to end the human race, and Earth would have humans on it (or so one would assume). So wouldn’t the Cylons want to wipe those humans out, too?

Six mentioned to Baltar that he was meant to lead humanity to Earth, but that he would be the last to survive. That would fit into this “Cylons want to wipe out Earth” theory rather well. A lot of what Six does in this episode is about breaking down Baltar’s growing resistance to her influence, ensuring that he can continue to act on their behalf, the ultimate sleeper agent. (It is wrong to think that Tricia actually looks even more attractive in civvies?)

Character is key in storytelling, and as usual, Adama and Roslyn provide some wonderful fireworks in the dramatic arena. They finally come to an understanding, and the human race is all the better for it. The challenge, of course, will be dealing with the rifts within the population that the two of them initially created and fostered. Adama’s emotionalism and Roslyn’s faux-religious stance could very well undermine their authority, once the masses begin to question it.

A lot of agendas are left unspoken and unrevealed. Who knows what Boomer is up to? Would Helo follow her into the fire, if her agenda is still aligned with her people? I like Boomer (and lust for Grace Park), so I hope that she sticks around and turns out to be a human sympathizer. Even so, I loved Adama’s reaction to her presence, and how it’s going to twist the knife in the gut of Galactica’s crew for her to be there. And then there’s Zarek, who seems to be gaining more sympathetic character traits by the minute.

Part of me is worried that a less serialized run of episodes will follow, and that some of the momentum of excellence will be lost in the process. I have faith in the writers, but the weakest episodes of the first season were more self-contained. While some might have found this two-part story to be stretched thin (and it was, according to the producers and writers), I reveled in the chance to see more in-depth character development. Hopefully, with the true beginning of the second season, we’ll see that continue.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

4400 2.12: "Mommy's Bosses"

Written by Ira Steven Behr and Craig Sweeney
Directed by John Behring

In which the source of the illness afflicting the 4400 is discovered and the race is on to find a cure, while those behind the illness attempt to maintain control and events converge…


This short summer season for “4400” has been bittersweet. Looking back, it’s hard not to think that some of the early episodes wasted time that could have been spent on the kind of strong storytelling that marked the last few episodes. The writers managed to take something that felt rather disparate, without a clear vision, and make it all look like a cohesive (if chaotic) whole. I feel as though this episode really made a case for the series to continue on stronger footing.

So what did this episode give us? Turns out I was right about the promycin, at least so far as the fact that it was being used as a means of control. It’s just that the government didn’t know what to do once things started getting deadly. I’m happy to see that it was due to NTAC’s lack of information and understanding; NTAC simply ran with what they had. It means that their one weapon is now apparently gone, and the 4400 will all gain the abilities they were meant to have.

Maia is entirely correct: this will lead to a war between “normals” and 4400s. Casualties are already beginning to mount on both sides, and it’s just a matter of time before things explode. This is a lot more interesting to me than the “4400 of the Week” mentality that drove earlier episodes. I can easily see the third season being all about the struggle to stop the conflict from turning into a full-blown world war. (Anyone out there read “Rising Stars”? I foresee something similar to that, and have from the beginning.)

I wasn’t expecting Kyle to turn himself in, or for Tom to be there at his side when it happened. Was the crisis that Tom would experience, as foretold by Alana earlier in the season, really the “plague”, or is something worse coming on its heels? I also wonder how Kyle is going to be able to defend himself legally, now that the controlling consciousness is gone.

A couple of things were too easy. It’s a little convenient that Sean would be able to heal the other afflicted 4400 so soon after being given the promycin boost. No treatment works instantly, and if his immune system was compromised, it would still take days or weeks for it to be restored, once the neurotransmitters were back to normal levels and the body chemistry was back to equilibrium. Also, Tom’s standoff with Dennis was a little too public, and Dennis backed down far too quickly.

Still, it brought a lot of plot threads to a satisfying momentary resolution. Isabelle was, as predicted, the source of the “cure”, and the events of the second season premiere actually led directly into the events of the finale. So far as that’s concerned, I’m damned impressed. Even better, the stage is already set for the (hopefully) third season, beyond the obvious escalation of the conflict.

Why Jordan Collier is running around as a bum, I don’t know. I have a hunch that it’s somehow connected to the consciousness that was controlling Kyle, since Collier’s “removal” was orchestrated by the “future humanity”, who clearly knew he wouldn’t die (I pointed out the Jordan Collier = Jesus Christ metaphor a long time ago). Whatever the case, he seems to be awaiting the right moment to return; perhaps Isabelle’s vision of his Nobel Peace Prize weren’t so far from the mark, especially if he comes back and manages to stop the war from happening.

In this episode’s latest lesson in Awkward Temporal Mechanics, there’s the little issue of Kevin Burkhardt. Kevin is supposed to become the “Father of the 4400”. What better way than by testing the ability to transform an ordinary human into something more? Of course, this brings up an automatic “chicken or the egg” issue: was the creation of the 4400 directly predicated on their arrival at an earlier date in the timeline?

And then there’s Isabelle. I’m on the fence about this. While it will certainly enable the writers to explore Isabelle’s purpose and agenda in far more detail, this “rapid aging” thing is one of the oldest tricks in the book. The only thing that keeps me from rolling my eyes is the fact that mentally Isabelle was already operating at an adult level. The question is this: without years of influential nurturing with Richard and Lily, will Isabelle manage to have a moral compass? Or will she continue to manipulate others on a whim? (And as an aside: just how hot will she turn out to be?)

Seems like Isabelle could make a play to control Sean through various means, and that should make things interesting. She’s the ultimate wild card, because NTAC doesn’t know a thing about her. One interesting possibility is a rift within the 4400, should the war come to pass. Whatever the case, Isabelle’s presence and purpose lies at the very heart of the questions surrounding the “future humanity” and their true goals.

At this point, there’s no word on the future of the series, though the producers and writers speak as though renewal is a done deal. Apparently, even with the ratings slump experienced this season, the ratings were good enough at the end to beat out some heavy competition (“Six Feet Under”, for instance). That ought to make a third season worthwhile to USA Network, but who can truly understand network executives? Hopefully they will continue to see “4400” and “Dead Zone” as a powerful summer line-up, so that the writers can continue to take this series to the next level.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Stargate: Atlantis 2.7: "Instinct"

Written by Treena Hancock and Melissa Byer
Directed by Andy Mitika

In which the team comes into contact with a planet where a Wraith child was raised in secret, in fear for her life, which becomes an issue when her Wraith instincts kick into full gear…


After the character development in the previous epsiode, the writers seem to have slipped into less-complicated territory this time around. At first, I thought it was just an example of measured pacing. The story seemed rather simple, so some stylistic progression was certainly in order. Unfortunately, it never really took hold, and the episode just never seemed to want to go anywhere. Most of the plot twists were highly predictable, and while the producers promised an in-depth look at the development of a young Wraith, it didn’t go very deeply into the topic.

Was anyone really surprised when Wraith Girl turned out to be feeding off her “father”, or when she admitted that she was using the other Wraith to cover her own killings? I know I wasn’t, because I saw it coming a mile away. It was also clear that nothing was going to save Wraith Girl, because that would require Beckett’s treatment to work perfectly and eliminate any sign of her Wraith heritage. Otherwise, the town would still tear her to pieces.

What this episode did feel like, in the end, was a thinly-veiled example of exposition. The writers would do this sort of thing all the time in the first season. Beckett’s treatment to eliminate Wraith DNA is central to the plot thread for Lt. Ford, but it also has larger implications. This episode establishes the fact that the treatment is still in development, and that it doesn’t work yet. More importantly, it actually seems to have accelerated the effect of the genetic imperatives of the Wraith DNA.

That, in turn, leads into what I assume was the entire point of the episode: making sure that Sheppard was “injected” with the Beckett Treatment Cocktail that was running around in Wraith Girl’s unstable biology. Without seeing spoilers or even the promo (which my TiVo cut off, damn it!), I can safely predict that this will lead to problems with Sheppard in the near future. From there, of course, I expect that Sheppard will get a better feel for Ford’s psychology and that Beckett’s ability to trace Sheppard’s reaction to the treatment will lead to a more successful version later in the season.

I just wish that there was more to the actual episode, and that it didn’t feel like one big exposition dump. Granted, there were some good points. Teyla was more than just another very pretty face for once, and her rapport with Wraith Girl was nice to see. I also feel like Ronon’s psychology is getting a bit easier to understand: he finds a certain comfort in following orders, as he gains a sense of the chain of command and its pure intentions. His bad-ass moment worked for me (my wife made a comment on how she likes his gun; take that as you will).

Jewel Staite did a great job as Wraith Girl, even if I wish we could have seem that gorgeous smile now and again. (I guess I’ll have to wait a few weeks for “Serenity”!) McKay was mostly in a support role this time, and that served to give the writers a chance to reveal his post-“Trinity” attitude. Sheppard also seemed to be recovering, because his sense of humor wasn’t entirely back in action.

Underneath the episode is a relatively safe discussion on nature vs. nurture and the Wraith. This time, nature wins, hands down. Ironically, as much as this should make the Wraith seem that much more dangerous and daunting an enemy, the revitalized “SG-1” has developed an enemy so much more disturbing that the Wraith look minor in comparison. It’s hard, sometimes, to remember how overwhelming they were during “The Siege”. Hopefully, the writers won’t wait long to remind us why the Wraith were so cool in the first place.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Stargate SG-1 9.7: "Ex Deus Machina"

Written by Paul Mullie and Josepy Mallozzi
Directed by Martin Wood

In which the disappearance of a man connected to The Trust leads SG-1 to the discovery of a Goa’uld hiding on Earth, which becomes the central issue in a dispute with the Jaffa…


After the recent Ori-centric episodes, a return to concerns like The Trust and the Goa’uld is actually a little bit of a slowdown. At least, that’s how I felt about it. The writers had already tossed about a dozen plot elements into the season arc, and now that we’re a third of the way in, it seems overkill to slip in this new aspect of Ba’al and his growing control over the human economy.

I’m also not sure that I like the idea of Ba’al clones, even if it means that things get to be more complex. Even if it has some tenuous connection to previous NID-related episodes, it strikes me as a little too convenient. Not only that, but I was left wondering if the writers were trying to suggest that the real Ba’al wasn’t in the same body anymore, but rather, in the fit young woman that was pretending to be his “First Prime”. What better hiding place than in plain sight?

Anyway, for me, the real interest was the chess game between Teal’c and Garek. Previous episodes warned that Garek was an isolationist with a great deal of popular support, and this episode confirms it without a doubt. Garek knows politics and how to use information (or the lack thereof) against his rivals. Time and again, Teal’c was put on the defensive, and no matter how powerful his words might be, the message was lost in the process.

As annoying as the “Goa’uld on Earth” plot thread promises to be, there are some interesting aspects to it. All this action on Earth continues to erode the secrecy of the SGC, which was already on the skids over the past few years. The previous episode also raised an interesting issue: what happens if Ba’al decides that an alliance of convenience with the Ori can solidify his power on Earth?

One thing is for certain: the alliance between the Tau’ri, the Tok’ra, and the Jaffa has all but fallen apart, and Garek is more than happy to let it happen. His use of the old methods employed by the Goa’uld suggests that he could turn those weapons against his own people in the near future. What would Garek do to preserve his own power? At what point does this isolationist stance become the basis for a dictatorship?

This is more properly the return of Lt. Col. Carter, since the previous episode had few meaningful moments for the character. This introduces a few questions that have probably been on the table for a while, but couldn’t be addressed until she was back on-screen. For instance, she notes that she’s not exactly “single”; is this some kind of reference to the end of the eighth season? I’ve always taken it that Jack and Sam accepted that they can’t be together, yet can’t be with anyone else because of their feelings for each other. Is that how the comment was meant to be read?

And then there’s the question of command. If the writers play this honestly, Carter should have issues with Mitchell running the show, sooner or later. Unless, of course, they continue to make the team feel more like a temporary convenience than the institution that once was. Carter may simply see this as a temporary situation, so it doesn’t matter who runs the team. But what happens if Mitchell makes a call that Carter doesn’t agree with?

Even if this wasn’t my favorite plot thread (I’m actually rather tired of the NID/Trust/Goa’uld episodes), I continue to give credit where credit is due. The entire cast seems revitalized, the writing is the strongest it’s been since the series went to SFC, and the series is back to being a “must watch”. It’s like the writers and producers felt like they had something to prove, and so far, they’ve hit a very nice stride.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Buffy 4.18: "Where the Wild Things Are"

Written by Tracey Forbes
Directed by David Solomon

In which Buffy and Riley’s sexual escapades unleash an unusual poltergeist, which strikes when Riley throws a party at his dorm, while Xander and Anya deal with issues of their own…


Status Report

This is one of those episodes that has the feel of fan fiction: lots of talk about sex and sex itself with some character development tossed in for good measure. And in some cases, that would actually be worth the time and effort. However, this is the fourth season, where the writing staff had been struggling with the season arc for quite a while. With only a handful of episodes left for the season, it’s hard not to wonder if the writers just wanted to pretend that the season arc didn’t exist.

Two topics come along in the teaser, but only one of them is carried through the rest of the episode. First and foremost, Buffy and Riley have resolved the relatively minor Faith issue and resumed their physical relationship with gusto. Having spent a great deal of time finding each other before taking it to the next level, there’s little or no hesitation at this point. Buffy is clearly enjoying the prospect of a boyfriend without curses or other such issues, and Riley must be enjoying what all those little Slayer muscles can do.

There’s also the growing awareness that vampires and demons are working together. As Giles notes, this is unusual. This touches on something that was highlighted in the “Angel” episode “Hero”: the more pure an Earth-bound demon is, the more they seem to feel disdain for vampires, who are the mutts of demonic society. For vampires and demons to come together is seen as a major threat. Is it a question of numbers? It’s hard to tell, but why this is a specifically challenging threat is never explained.

Meanwhile, in counterpoint to the Buffy/Riley relationship (and even the Willow/Tara pairing), Xander and Anya are having relationship issues. Xander is still spinning the Wheel of Crappy Temporary Jobs, and has hit on “ice cream man”. Anya, however, is more intent on understanding why Xander might want a night off here and there. Leaving aside the question of what they do when Anya is dealing with her monthly biological ordeal, it’s clear that their relationship has avoided depth through a purely physical expression. That has it’s time and place, but sooner or later, the lack of any other connection becomes overwhelming.

At the center of the episode is yet another repeat of a central “Buffy” theme: sex can have unanticipated consequences. The message is blurred by the fact that it’s the sum total of repressed sexual and violent emotions, caused by an ultra-religious suppression of those emotions, that leads to the trouble. So which is it? Is frisky young adult sexual activity normal, or is it more trouble than it’s worth? The writers can’t seem to make up their minds, can they?

Whatever the case, in this particular matter, the issue is more focused: when sex becomes the sole focus of a relationship, it’s a bad sign. As interesting as this topic might be, there are limits to how deeply the topic can be explored. The first sex scene between Buffy and Riley goes about as far as it could have, given the demands of a series on a major network with lots of programming censors. As the episode marches on, this inability to fully explore the effect of the “spell” on Buffy and Riley takes something away from the episode.

Similarly, as the effects begin to spill out into the rest of the party, there’s the running gag of the “instant orgasm” spot on the wall, as discovered by some of the partygoers. Like the scenes with Buffy and Riley, this is never taken quite as far at it could have been. The idea is that the unanswered sexual desires of the teenagers who used to live at the house, and the consequences thereof, are being unleashed on the partygoers. If those same desires drove Buffy and Riley to extremes, why not everyone else?

The answer, of course, is that the effects had to be a bit more tame than they should be, thanks to the limitations of network television. A more “realistic” approach would have probably been closer to one of those ludicrous Cinemax “supernatural sex thrillers”. A lot of the consequences would have likely been the same, but there certainly would have been a lot more skin and darker elements of mind control. In terms of the fan fiction-esque quality of the episode, a fanfic writer would have certainly taken this into far more lurid and graphic territory.

Meanwhile, the writers do score some points by inserting a number of great Spike/Anya scenes. Spike and Anya are both characters with demonic pasts who have been forced into a different kind of lifestyle, and so there’s plenty of fertile ground to explore. Hearing Anya and Spike think back on all those bygone, carefree days of slaughter is damned funny.

With the central premise missing a lot of its bite, the episode rests on metaphor and character development. Anya does what many people do: she only realizes a lack of deeper intimacy when the physical relationship slows down. Her response, of course, is to accuse, to point at Xander and say that it’s his problem that the relationship is in doubt. In reality, of course, both are struggling to find something other than the physical that binds them together.

Oddly, Xander shows a little more confidence than usual when dealing with Julie. Granted, she’s under a bit of unusual influence herself, driving her towards a heightened attraction, but Xander doesn’t embarrass himself nearly so much as he normally would. One could interpret that as being a by-product of his “success” with Anya, except that this confidence is fleeting at best. (Xander’s character arc is more like a tangle of string that ends where it begins.)

While the poltergeist activity gets more and more extreme, the sexual component backpedals. By the middle of the episode, instead of intensifying, it actually becomes less suggestive. Sure, there’s some writhing, moaning, and all that, but the extent of the control over their desires is not fully communicated. The episode itself draws a parallel between the intensity of the sexual activity and the extent of the poltergeist activity, so as events escalate, Buffy and Riley should be driven to more and more extremes. (And since the sixth season went into some rather kinky directions, it would have been possible.)

To make up for that, the writers try to develop a metaphor: just as Buffy and Riley have been withdrawing into their own world since their relationship started (though not as much as the metaphor requires), the effect of the “spell” isolates them more and more within their passion. This leaves the rest of the gang to save them. In a nice change of pace, Xander is the one leading the charge.

This allows for some of the funnier moments of the episode: Spike convincing himself not to act, the gang’s reaction to Giles’ performance, Xander’s response to Mrs. Holt. And the fact that Xander and Anya end up trying to rescue Buffy and Riley perfectly sets the stage for them to figure out what they mean to one another.

Oddly, a lot of the effects don’t seem to last very long. Xander keeps his facial wound, but Anya’s hand doesn’t seem to bother her much. More to the point, for two people who were screwing each other to death, Buffy and Riley seem no worse for the wear. If anything, they seem to look back on the marathon session fondly. (And who can really blame them, if the downside was no negligible?)

Perhaps the most annoying aspect of this episode is that it doesn’t replace what should have been (an escalation of the arc) with an equally compelling or memorable concept. For this episode to leave the impact intended, it would have needed to go much darker and deeper into the effects of the house on those within. Instead, even the character arcs didn’t quite come together. For every attempt the writers make to drive home the point of the fourth season, that the group was falling apart, the theme would be undermined by the lack of evidence. After all, it’s hard to demonstrate that people are growing far apart when they’re always fighting together!


Memorable Quotes

XANDER: “Anya, there’s a lot more to you and me than sex. Well, there should be!”

ANYA: “A year and a half ago, I could have eviscerated him with my thoughts. Now I can barely hurt his feelings. Things used to be so much simpler…”

ANYA: “First, there’s the love, and sex, and then there’s nothing left but the vengeance. That’s how it works.”

GRAHAM: “And I’m the one who got a D in Covert Ops…”

ANYA: “I’m just trying to tell you that we have nothing in common besides both of us liking you penis!”

SPIKE: “I know I’m not the first choice for heroics, and Buffy’s tried to kill me more than once. And I don’t fancy a single one of you at all, but…actually, all that sounds pretty convincing.”

TARA: “Does he do this a lot?”
XANDER: “Sure…every day the Earth rotates backward and the skies turn orange.”
WILLOW: “Now I remember why I used to have such a crush on him…”

GILES: “In the midst of all that, do you really think they were keeping it up? Oh, for a different phrasing…”

XANDER: “Yeah? You smell sin? Well, let me tell you something, lady…she who smelt it, dealt it!”

RILEY: “I can’t believe it really happened.”
BUFFY: “I just had no idea. It’s so creepy! He was really singing?”


Final Analysis

Overall, this episode tries to approach character development through a sexually-charged plot concept, but the limitations of a network series made it impossible to follow through. As usual for the fourth season, the smaller character moments are the best part of the story. It doesn’t help, however, that an episode so far into the season does little to enhance the struggling season arc.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Ghost Hunters 2.5: "24 Aug 2005"

Case #1: Bradley Playhouse
Case #2: Harris Firehouse

I’m now operating on the belief that the season is building towards something big, because otherwise, this has been a rather disappointing season thus far. There’s way too much emphasis on Brian and the “drama” behind the scenes (a rather common complaint, it seems), and the cases aren’t producing nearly as much intriguing evidence as in the first season (which was shorter).

The focus this time seemed to be on a case where Brian’s personal issues annoyed the entire team and cast a negative energy over everything they did, and a second case where his absence allowed Steve and Dustin to step up and do things right. OK, I understand that reasoning, but it didn’t have to be the dominant “story”.

On the other hand, this is part of the give-and-take of such a series. TAPS has a fairly substantial caseload, but SFC only gets to film a certain percentage of cases. If I understand the situation correctly, the cases that make it on “Ghost Hunters” are either cases lined up by SFC or cases where the proper clearances were given by the owners/civilians on site. It’s incredibly hit or miss, and of the many locations where SFC does film, the cases that actually make it to the series are probably chosen after the fact.

This gets back to what I was saying before. There’s very little indication of when the cases were actually filmed, though a general timeline is evident. Even so, I can easily imagine a situation where the cases are shuffled to allow the scientific debunking to be established firmly in the audience’s mind, before something truly unusual occurs. It may just be wishful thinking, but that’s all I’ve got.

So, onto the first case:

Ho, hum…EMF, vague feelings, whatever. Though I have to say, I’m getting tired of hearing the entire team butcher the actual meaning of EMF. Perhaps Paula can educate them a little on the topic, since she’s clearly the smartest person on the team when it comes to the science. And not only is she scientifically oriented, but she’s so very hot. When a woman looks that good in both normal and night vision…well, it’s rare!

And the second case:

A little more here, but not much. It was mostly all about the lack of Brian-ness and…more EMF readings. The bit with the surround sound system was interesting, but mostly as a technical exercise. This case really demonstrated the fine line between deeming a situation “paranormal” and going to great lengths to find “real world” explanations. Science points to the frequency issue, which is indeed true. Outside sources can send the right signal to activate remote devices.

However, it doesn’t take much to recognize that millions of people live in cities and manage to use remote devices utilizing radio and IR frequencies all the time without interfering with one another. Certainly I have a lot of electronics in my house, and I live in a very busy area (and a block away from a police station). How likely is it that the frequency explanation explains this? (And for that matter, an IR thermometer would not work to switch on a stereo like that. Some claim that it would, in their zeal to criticize TAPS.)

But here’s the thing. Jason and Grant clearly don’t believe that the place is haunted. But they also know that the firefighters want to believe it. Are they going to come right out and say it’s not haunted, or are they going to try to manage the situation and leave the clients happy? It’s not brain science to recognize that they would say what they need to say to smooth things over.

Chill Factor: 4/10

X-Files 5.11: "Kill Switch"

Written by William Gibson and Tom Maddox
Directed by Rob Bowman

In which Mulder and Scully investigate the unusual death of a famed computer mastermind and uncover the existence of an artificial intelligence with a desire to survive…


Status Report

This episode has one hell of a pedigree, and it’s origins go back to the earliest days of the series. Apparently William Gibson ran into Chris Carter on a flight, and Carter expressed interest in a script from the father of cyberpunk. It took a long time before it ever saw production, but perhaps that’s for the best; the effects and concepts are better suited to the more ambitious and well-funded fifth season than the more lean second or third. The last thing anyone needed was a repeat of “Ghost in the Machine”.

Of course, there was little fear of that. The real fear was whether or not another high-profile author would find collaboration with Carter to be detrimental to the final work. Thankfully, Carter did a lot less meddling in this story than in Stephen King’s effort, and the final product is much better for it.

The teaser itself is a thing of beauty. Not only does it completely mask the true nature of the story, but it effectively communicates the power of an artificial intelligence in the modern tech-dependent world. An AI with a desire for self-preservation would have quite a lot at its disposal. Indeed, that’s what makes much of this episode so relevant to the series itself, since the AI is essentially an engineered “alien” lifeform, not unlike Purity itself.

The difference is that the AI doesn’t need anyone to see to its development anymore. It’s quite good at evolving on its own. Self-preservation sets in, and that’s where the story picks up. One must accept that even the conspiracy hasn’t noted the emergence of an AI that can take possession of its technology without warning, and that the apparent advances in “Ghost in the Machine” were in isolation from the real “experts” seen in this episode. The only other alternative is to assume that this episode is another “non-continuity” installment, and that’s just not very satisfying.

There’s no attempt to explain how Mulder became aware of the case; he simply is, and like Scully, the audience is left to figure out why this is so important to him. The death of a legendary programmer under unusual circumstances is certainly worthy of discussion with the Lone Gunmen, but still not much of a reason for pursuing a case.

Soon enough, the agents track down Esther Nairn, otherwise known as Invisigoth. Oddly enough, Gibson and Maddox originally conceived of this character as somewhat less abrasive. One is left to wonder if that might have worked better. Carter pushed for the character to be more confrontational, and while it works in some scenes, it’s over the top in others. A more conflicted, deeply wounded characterization might have fit the goth look a bit better.

The attempt on Esther’s life, however, brings up a rather interesting issue. If the conspiracy has managed to place weapon platforms in orbit, capable of what this episode claims, why is this never used again? What was the purpose? The answer may be a lot more simple than it seems, given the direction taken by the series in later seasons. If the DOD was secretly placing these weapons in space for future use, then it might be related to the slow but steady takeover of DOD assets and personnel by the conspiracy elements controlled by the nanotech-engineered “super soldiers”.

The most effective use of such weapons would be later in the Project, not during the delicate and subversive “Phase II”, where secrecy was key. Since the entire series is dedicated to the end stages of “Phase II”, where the reproductive experiments were in high gear, there’s little reason for the conspiracy to use the weapons. In fact, most of the warfare in the world between 1950 and 2012 would be engineered to allow for military experimentation related to “Phase I” (nanotech super-solider technology). The use of the space weapons would be more likely at the very end, when isolated populations would need to be wiped out.

Because Mulder is cast as the instant and complete believer in this episode, the writers seem to think that Scully should be rather vocal in her disbelief. It wouldn’t be hard to believe that Carter requested that change as well. Even so, it’s a bit overdone. Scully knows enough about science and the extent of the conspiracy to know that much of what she has heard is possible. More to the point, her attitude keeps her from asking all the most pertinent questions.

The real questions should have been related to the intentions of the three people trying to wipe out the AI. It’s not entirely clear why they would be so worried. Gelman wanted to create an evolving program. Wouldn’t “intention” come with the territory? Perhaps the real problem is that the program started acting in ways contrary to the desires of its “controllers”. It’s something that Gelman, Esther, and David ought to have considered before sending the virus into the ether.

It also sounds like Esther and David may have made the situation worse by trying to work out a means of “uploading” one’s consciousness into the internet. To even believe that such a thing could be possible, they would have to test the ability of the network (speaking globally) to handle and allow for the storage of a free consciousness. The AI was the only such animal to work with, and that would have meant developing the AI into a more and more sophisticated awareness. Thus their own personal desires led to the very thing they seek to destroy.

The idea of an “uploaded consciousness” is not all that far removed from one of the key components of the series mythology: the distinction between the physical body and the non-corporeal intelligence or soul. The underlying spiritual concepts were very important in “Christmas Carol”, for instance, and go a long way towards explaining much of the psychic phenomena in the series. What Esther and David apparently figure out is a means of maintaining a degree of cohesion through technology, something that the series already noted as being possible anyway.

This metaphor is reflective of the spiritual nature of the series itself. Upon death, the non-corporeal intelligence of the human consciousness returns to the “matrix” formed by the totality of all living intelligences. Similarly, the AI represents an artificially constructed version of this afterlife, perhaps out of some shared lack of belief in a spiritual afterlife.

Had a sufficient connection been made between the development and “nurturing” of the AI and Esther and David’s plan to “upload” their consciousnesses, then the episode would have been a bit stronger. It was certainly an interesting episode to watch and ponder, but elements of the story didn’t quite come together as a seamless whole. For one thing, it’s interesting that the AI had the technology and equipment necessary to upload consciousness sitting right there in the node; why would it build such a device, unless it had every expectation of helping its “parents” join it?

That brings up another oddity. Who managed to get all that hardware to the trailers? Where were all the high-power lines needed to run so much tech? Why would the AI need to have a row of monitors available, when it would have little need for such an interface? Again, it all points to someone like David secretly fostering the AI’s development…yet Esther seems to have been completely unaware of where the node with all this human-friendly technology might be.

One of the episode’s subplots reveals another facet of this connection. The AI has all kinds of mind-altering drugs available and ready. Why would it need that, if it doesn’t expect to need to deal with humans? The AI also manages to invade, to a certain extent, Mulder’s sensory input, as if it were directly altering Mulder’s consciousness. That further suggests that the node was created to blend the human consciousness into the “virtual world” of the network.

That said, Mulder’s “nightmare” is rather revealing. It’s no shocker that Mulder is concerned about “loss of limb” while being surrounded by a bunch of extras from “Naughty Nurses 48”. What is interesting is that the lead nurse seems to be a twisted version of Scully, right down to the cross around her neck. Of course, when that version doesn’t get anything out of Mulder, the “real” Scully is trotted out, in extreme Action!Scully fashion, as if the AI knows that some version of Scully is likely to get past Mulder’s defenses, if he’s excited enough by her.

A few interesting tidbits are contained in the file on Mulder accessed by the AI. For one thing, all those questions about Mulder’s marital status are quickly answered right here, since it lists him as “unmarried”, not “divorced”. Another story surrounds the wedding ring on Mulder’s finger in “Unusual Suspects”. It also gives the date of 1990 for the inception of his work on the X-Files, which matches up with that earlier episode and opens up the door for his brief work with Diana Fowley. There’s a bit of an oddity with the dates given for his honors at university and Quantico, but the basic timeline and information holds.

While the episode didn’t handle all of the issues as well as it might have, it’s still a solid episode with plenty of interesting aspects to it. Underneath it all is a metaphor about the afterlife and paths to “a better place”, reflected in the dreams and desires of those who find little comfort in their fellow man. It’s more unfortunate that the AI never makes a return appearance, especially since it could have come in handy later in the series.


Memorable Quotes

SCULLY: “Mulder, that’s evidence!”
MULDER: “Gee, I hope so…”

FROHIKE: “Gelman built this?”
MULDER: “That may be what got him killed.”
LANGLY: “Heavy casualty.”
FROHIKE: “A brother goes down…”

ESTHER: “Are you going to take off the cuffs, or do I have to do this with my tongue?”
MULDER: “You don’t want to take a vote.”


Final Analysis

Overall, this episode puts Gibson’s genre credibility to good use by taking standard concepts of cyberpunk and applying them to the series. There are a few minor characterization issues, and not all of the concepts are pulled together as tightly as they could be, but most of the elements are solid and the episode is enjoyable as it is. The real downside is that the concepts are never revisited.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Angel 1.17: "Eternity"

Written by Tracey Stern
Directed by Regis B. Kimble

In which Angel encounters a fading young star who seeks to remain beautiful and popular forever, but has no idea what lies in store when she tries to use Angel for her purpose…


Status Report

This episode, like the previous installment, hinges on how well the writers sell the central conceit: a fading young star, seeking immortality, temporarily unleashes her worst nightmare. And it just happens to be locked within Angel in the form of Angelus. That’s all well and good, but the process of getting there is not the most interesting journey in the world. There are also some issues of character development that don’t quite work in the overall scheme of things.

The writers remember that Cordelia has been seeking an acting career, and so the story is somewhat grounded in Cordy’s wistful yearnings for fame. It must be rather hard to act when the character is supposed to be a bad actor, but Charisma does a good job of it. Unfortunately, the script forces her into territory that is not unlike bad acting in and of itself, when she has to go ga-ga for a supposed star that was never important to her before this episode.

Underneath the first act of the episode is an interesting concept that remains in the background of the entire series. Angel seems to detect the fact that his actions and choices are transparent to the rest of the world, and even the hint of possible fame and public adulation has its allure. Of course, what makes Angel a Champion is the fact that he’s fighting for a world that doesn’t even know he exists.

There’s some commentary on how fame is ephemeral, especially in a town where there’s always someone new and younger waiting in the wings, but it gets old fast. Especially since there’s nothing all that attractive about the actress. But the premise demands that Angel feel an attraction, so that he can be concerned about the desire to get too close. Otherwise, it wouldn’t be an issue for Rebecca to show interest in Angel, since Angel would be on his guard.

Some external pressure must still be applied, however, and so someone is stalking Rebecca, requiring someone with the right skill to keep her safe. This sets the stage for Rebecca’s discovery that Angel is a vampire, something that a person with such a desire for endless youth would find rather fortuitous. And that quickly, Cordy gets rather worried over the possibility of Angelus’ return.

That doesn’t quite track, because it’s not like Rebecca is incredibly gorgeous or seductive. She’s actually a bit desperate and pathetic. There’s no reason to think that Angel would suddenly forget all about the curse, and before he knew about the curse itself, it took him forever to get close enough to Buffy for that kind of action.

Rather quickly, the plot against Rebecca turns out to be a bid by her agent to generate buzz, because Rebecca’s career has hit the skids completely. This just serves to put a very stupid plan into Rebecca’s head, which makes her seem even more pathetic. (It also feels like a retread, to a certain extent, of a second season “Buffy” episode “.)

Returning to one of the weaknesses of the story, Rebecca somehow gets Cordy to spill everything about Angel’s history. Cordy is so blinded by her star worship that she completely misses how obvious Rebecca is being. For one thing, Cordy is smarter than this; she should have quickly seen that Rebecca is not the best person in terms of mentoring a career. And Cordy usually picks up on the undercurrent of a conversation (at least eventually). It’s far too convenient that it takes her hours to figure it out.

That brings the story to a place that is rather questionable: the synthetic re-awakening of Angelus. There are a number of levels on which this doesn’t work. The most obvious problem is that the curse was broken by a moment of perfect happiness; it didn’t revert once the happiness faded. The state of bliss was also not tied to a physiological cause, as the second season would directly address. The nature of the curse was such that Angel’s psychological state needed to be free of any guilt or desire for redemption, so that when Angel finally felt free of his burdens, darkness would consume him.

The ingestion of a drug would result in euphoria, but then again, so would so many other things (the exhilaration of victory being the best first season example). Future seasons are filled with moments that would clearly result in euphoria and extreme happiness. But that’s not the same thing as what he felt with Buffy, which was a freedom from his inner demons, brought about through love and the prospect of a future filled with contentment.

One might argue that a drug could bring those feelings about, but then there’s still the question of how the curse suddenly reverts without another trigger event. Angelus should remain in control, even after the drug wears off. A far more logical reaction to the drug might have been a loosening of his morals, since Angelus’ personality is essentially an extreme reflection of Angel’s darkest obsessions. A drug might allow him to act on those desires as Angel, but it doesn’t make sense for a drug to unleash Angelus on a temporary basis.

Perhaps the worst part, however, is that Angelus only comes out long enough to be brutally honest with Rebecca, Wesley, and Cordelia, and then it’s all over. He’s easily beaten, and he disappears without unleashing much of a consequence on anyone. There’s not even a follow-up to see if Rebecca learned anything from her experience. Everything is fine and dandy in the final scene, and then it’s barely mentioned again.

The problem is, of course, that Wesley and Cordelia should be very worried if Angelus can be unleashed by something so simple as a drug dropped in Angel’s drink. Surely the writers understood the problem: why wouldn’t an enemy just lace Angel’s blood supply with some of the drug when a little distraction was needed? It’s too quick and easy this way; the writers simply didn’t earn Angelus’ return.

Thankfully, this would turn out to be the last episode of the first season to tread water. After this, the writers would resume setting the stage for the second season and introducing the concepts that would drive that season’s character arcs. Episodes like “Eternity” would become an aberration…something easily set aside in favor of the episodes that followed.


Memorable Quotes

ANGEL: “And I thought I knew eternity…”

ANGEL: “Cordelia…you’re here. And you brought a cross.”
CORDELIA: “Along with three double half-caf, non-fat, skinny lattes!”
ANGEL: “And a cross!”


Final Analysis

Overall, this episode has an interesting enough central premise, but the execution leaves something to be desired. Even worse, there’s a serious logical flaw at the heart of the episode, one that was thankfully ignored in later seasons. If anything, this feels like an episode where the writers just couldn’t make the concept work without compromising character, and as a result, the episode falls flat.

Writing: 0/2
Acting: 1/2
Direction: 2/2
Style: 0/4

Final Rating: 3/10

Dead Zone 4.10: "Coming Home"

Written by Christina Lynch and Loren Segan
Directed by Mike Rohl

In which an incident at the retirement home where Sarah’s father resides, somehow involving a “shadow man” stalking the halls at night, results in a connection between father and daughter…


After a couple of great episodes that restored my interest in the season, this week was surprisingly weak. There were some good moments, but the story never felt like it came together as well as the writers had hoped. It’s probably not shocking to many that the stronger moments centered around Johnny and Bruce, and that the weakest scenes involved Sarah and her father.

The core idea seems to be a healing for Sarah and her relationship with her father, much as the previous episode seemed to be all about Johnny and his father. The difference is that Sarah’s father is alive. That actually doesn’t help the episode very much. In the previous episode, Johnny was forced to take a personal journey of discovery to understand what happened to his father.

In this case, Sarah’s father is front and center. Unfortunately, as capable as Ed Asner might have been in the past, he has no chemistry with Nicole at all. This only serves to highlight some of the weaknesses in the Sarah character and Nicole’s portrayal. While I’m one of the first to point out that Sarah is unfairly maligned and that Nicole has been the victim of some problematic plotting choices, the woman can act when she has something or someone to work with.

Two scenes made this very clear to me. The scene between Johnny and Sarah, where she discovers that Johnny has had a vision of her mother’s death, is very well done. There was the appropriate mixture of hope and horror on Sarah’s face at the notion that Johnny’s ability would allow him such insight. Clearly this isn’t something she’s discussed with Walt, let alone anyone else, and it brings them closer together at a rather delicate time. Just when these two seem to be growing into a friendship, they’ve gotten closer than ever.

On the other hand, when Sarah and her father finally find each other at the end of the episode, it’s painful to watch. There’s a clear attempt to make the emotional connections work, but there’s just nothing there. The fake crying gets old very fast, and I just couldn’t suspend my disbelief and let it happen. It was jarring, to say the least.

If the rest of the episode had been as strong as the Johnny/Sarah scene, then the episode might have overcome the lack of chemistry between Asner and Nicole. But the main plot is rather murky, and by the final act, it’s not all that compelling, either. I found myself struggling to work out the plot, which is usually not a problem for me, and the whole “Shadow Man” element was just plain silly.

It felt like the writers didn’t believe that the drama of Sarah’s family would justify an entire episode, but that the resulting closeness between Johnny and Sarah was something that they needed to work out. So element after element was tossed into the mix, from what I can tell, to make the episode complex enough to fill the hour. The problem is that it didn’t come together as well as it could have, and so once again, I’m left wondering if the writing staff underwent too much of a changeover this season, resulting in a lack of focus.

Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 1/4

Final Rating: 5/10

Battlestar: Galactica 2.6: "Home: Part I"

Written by David Eick
Directed by Sergio Mimica-Gezzan

In which Adama deals with the ramifications of the fragmentation of the fleet, while the President struggles to maintain control when her hopes are pinned on a Cylon traitor…


So now that all the early season plot threads are coming together, there’s too much story for just one episode. The result is a two-part story that slowly but surely triggers all the little plot elements that have been waiting for their time to shine. Since this is the first half of the story, there’s not a lot of action, and the focus is on character development. That’s not a bad thing; it’s simply not as exciting as the last few episodes before it.

Everything that’s been happening on the series this season traces back to the first season finale, where Roslyn asked Starbuck to violate orders and retrieve the Arrow of Apollo. It’s just taken a long time to hash itself out, and I couldn’t be happier about it. In this case, we get to see Adama slowly work through his emotional response to the fragmentation of the fleet, Roslyn struggle to maintain her control, Zarek’s underhanded plots, and a little Apollo/Starbuck action. Oh, and there’s the small matter of Boomer’s return as well.

I like how Adama’s psychological space is so controlled, yet everything can be discerned by one look in his eyes. Olmos brings such an intensity to the role; it’s a joy to behold. I think there’s a tension and distance growing between Adama and Tigh, however. For all the support Adama promised upon his return, he’s seen the cost of Tigh’s heavy-handed dictatorship. The only way to heal the wounds (if they can be healed) is to make peace with Roslyn, which is going to take a lot for Adama to accept. Odd that Dualla is the one that gets him to see that.

That’s something that happens a lot on Galactica. Minor characters provide an amazing level of support for their commanding officers. Normally, that would go unquestioned, especially in a siege crisis like the one they are enduring. But this is also a fleet with unknown Cylon infiltrators, one of which was just as trusted a “family member”. It’s hard not to wonder about motives.

Speaking of which, there’s Boomer and all the questions surrounding her motivations. I’m surprised that Apollo’s the only one who assumed that the ambush was Boomer’s doing. Whatever Boomer’s role in the big picture, she provides a great trigger point for conflict within and between the humans. Roslyn in particular seems to have little use for Boomer, despite the fact that Boomer is probably the only source of real intel that the humans know they have.

Richard Hatch must be incredibly happy. After all these years of trying to get the original series resurrected and fighting against a reinvention, he’s not only come around to see the light, but he’s been handed what is possibly the best role of his career. He brings a relish to Zarek’s plotting, even if the dialogue is a little heavy-handed; they didn’t need to say nearly as much as they did to get the point across.

And then there’s Apollo and Starbuck. A lot of critics of the new series were expecting these two to get together within seconds of the first episode. Take that, naysayers! It actually works when the characters have time to grow into an appreciation of each other. Or rather, when Apollo starts recognizing that a hot pilot with a rebellious streak is more than just a strange reflection of himself. I don’t see Kara settling down with Lee anytime soon, but would any future return for Anders be much fun if there wasn’t personal conflict for Kara in the process?

The next episode should see, based on the promos and the podcast, the next turn in the plot arc. The whole “Arrow of Apollo” thing ought to get a payoff, and Adama’s desire for some kind of confrontation with Boomer (even if it’s a different one than the one who shot him) should come to fruition. I don’t want to see this more serialized storytelling disappear completely, but it ought to be satisfying to see so many plot threads come to momentary fulfillment.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

4400 2.11: "The Fifth Page"

Written by Ira Steven Behr and Craig Sweeney
Directed by Scott Peters

In which more and more of the 4400 fall prey to an unknown illness, leading Tom and Diana to pursue the true source of the problem, while Kyle makes some questionable choices…


This episode really brings back a lot of the tension that was promised by the episodes earlier in the season, and I’m very happy about that. As it turns out, the government was behind the plague afflicting the 4400, and there was a hidden agenda behind it. The search for that agenda is really a subplot, but it speaks more to the future of the series than anything else.

Of course, that wasn’t the only thing working for the story. The line between the 4400 and the rest of humanity has been drawn, and in a sense, Jordan Collier was right. They really were better off working together, because his resource may have saved dozens, if not hundreds, from becoming tools of the government. Above all, regardless of what Lily might think, those tests on Isabel might have been more important than even Matthew believed.

OK, so…the plot against the 4400. It’s actually a rather crude but effective means of controlling a population with powerful abilities, many of which can be used against the controlling authority (as seen in the previous episode). Take the entire population and trick them into getting regular doses of a substance that they become dependent upon for their continued existence. Then take it away. Wait for people to start getting seriously ill, and then come through with the “cure” to the disease…which, of course, will require regular doses of the treatment to prevent the return of the ailment.

What’s not clear is how far the suits in Washington are willing to take this, and what Dennis is going to allow Tom and Diana to do with the information they’ve received. Diana has the scientific expertise to find a way to turn the situation around, perhaps, but Tom has other issues than Alana’s health. While he’s trying to save his “wife”, Kyle is basically handing everything but a confession to the girlfriend of the main suspect in Collier’s shooting. I strongly suspect that Tom’s glimpse of Kyle’s arrest, during his vision with Alana, will come to pass in the season finale.

While our intrepid agents are unlikely to get the job done on their own, a possible solution is waiting in the wings. Isabelle is out there somewhere, and I find it interesting that she wasn’t affected. Two things come to mind: Isabelle has never been given the treatments required by the government, and as a result, the only medical information is in whatever file the 4400 Center happens to hold.

So if there’s a third season (which from what I understand, is less certain than I thought it was, given the ratings slump this summer), I can’t help but think that Isabelle will be the key to saving the 4400. Of course, saving them would only open the door to retaliation. No matter how it falls, attacks like the previous episode are just the beginning.

One thing that does make me wonder, though…NTAC still talks about the 4400 as if there are actually 4400 of them still around. Some have died, haven’t they? And even more of them are dying now. It might be nice for someone to mention, at some point, how many are left. Something like what they do in the opening credits of “Battlestar: Galactica”, where the number of survivors is slowly but surely reduced over time as people are killed in action.

I really enjoyed this episode, because the chaos of the previous episode was never resolved in some artificially clean manner. Things are getting about as messy as one would expect them to get, and interpersonal relationships are tested in the process. That gives scope to the story and personalizes the larger plot concerns, and that brings back a lot of the elements that made this series work so well in the first place.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: Atlantis 2.6: "Trinity"

Written by Damien Kindler
Directed by Martin Wood

In which the discovery of an Ancient superweapon puts McKay on a dangerous path when he tries to make it work, while Ronon uncovers the unexpected on a trading mission with Teyla…


Considering how much time I’ve spent complaining about the emphasis on McKay since the beginning of the season, some might have been expecting to hear an echo this week (assuming anyone is actually expecting anything from me…LOL!). But I’m going to cut against my own grain here and actually give this one a qualified thumbs up. Surprising, no?

Perhaps it’s because I enjoyed watching McKay step in it so deeply, apparently without learning much of a lesson. His arrogance goes through the roof in this episode, and this time, he’s not perfect, and it’s not a matter of saying he can’t pull off the miracle just before he does. This is McKay at his absolute worst, and while that alone wouldn’t have been meaningful, his interaction with Sheppard made this worthwhile.

McKay goes from confident to obsessive during the course of the episode. McKay has an almost physical need to succeed, and as the complexity and difficulty of the challenge increases, so does his need to solve the problem. He begins to believe in himself to the point where he can resolve issues even the Ancients couldn’t solve, and that’s right on the edge of complete megalomania. Not quite there, of course, or the character would lose credibility. But it helps give scope to his achievements, because they’ve given him overconfidence in abundance.

It might have been McKay Overkill if the episode hadn’t been more about how McKay’s ego was allowed to explode (literally). Sheppard takes a lot of the blame on himself, but there were a number of other layers involves. Caldwell makes the situation rather plain: if Weir doesn’t follow Sheppard’s lead and trust McKay to control the experiment, then the Pentagon will apply the necessary pressure to make it happen. One way or another, Weir was forced into a corner, all based on the promise of something that could solve everyone’s problems.

McKay was the one making those promises, though, and that’s the issue. McKay was operating out of an intense desire to be the one to save everybody from everything. He would find the perfect energy source, transforming human progress overnight, and he would deliver the ultimate weapon against the Wraith (and maybe even the Ori). Compared to such glory, what were a few technical issues?

I actually like how Caldwell and Weir battle it out, and how Zelenka’s true worth is demonstrated through an exploration of McKay’s faults. Maybe that’s what I liked about this episode; instead of McKay stepping in to save the day, his mistakes lead to a deeper understanding of everyone else’s priorities.

We finally get a bit more out of Teyla, and it’s rather intriguing. Ronon is still working as an individual, and this episode hints to a few problems down the road if he doesn’t get a better sense of the morality he’ll be expected to follow. Interestingly, Teyla shows more of her original edge in this episode, when she effectively tells Ronon that she might have done things his way, given the choice. It brings up an interesting question: is Teyla’s somewhat subdued presence a conscious decision on her part?

That said, Ronon’s scenes weren’t particularly strong. He’s definitely a badass, and he does the action poses very well. Some of the character moments in this episode weren’t nearly as strong. Compared to the near-perfect interaction between McKay and Sheppard, some of those scenes between Ronon and Teyla were just plain painful.

Will this experience change McKay? Probably not. But will it change how others deal with him and his choices in the future? I certainly hope so. I especially hope that Zelenka uses this as a chance to come into his own. I also hope that this becomes the beginning of a process of slow but steady character growth for McKay. Granted, the “Stargate” franchise has been built on characters with a certain static quality, but that doesn’t mean it can’t change.

Writing: 2/2
Acting: 1/2
Direction: 2/2
Style: 2/4

Final Rating: 7/10

Stargate SG-1 9.6: "Beachhead"

Written by Brad Wright
Directed by Brad Turner

In which a Prior of the Ori arrives on a planet with the intent of establishing a beachhead for invasion, and things turn from bad to worse when apparent allies turn out to be trouble…


This is the episode a lot of people were waiting for. Oddly, I think that it was good for reasons other than the return of Carter. This episode continues to demonstrate the immense power of the Ori in several different ways, and in the process, some other percolating plot threads get some air time. Surprisingly, the end of the Daniel/Vala mini-arc is completely unsatisfying, since the writers had to find a way to give Vala a proper send-off without killing her off for good.

First things first…I love the plan of the Ori in this episode. It’s rather well conceived, and it demonstrates just how often they’ve pulled off massive invasions in the past. They know exactly what the unconverted will do, and they plan accordingly. They also work on a scale well beyond anything that has been seen on the series in the past. This episode does a lot to cement the thought that the Ori could wipe the floor with Anubis.

This is also the function that Nerus fulfills in the story. Nerus may not have been the most powerful of Goa’uld, but like many of the less powerful false gods, he would attach himself to the winning side whenever possible. The fact that he rolls over for the Ori says it all: they are the new bullies on the block, and it serves Nerus’ best interests at the moment to back the winning side. In other words, the remaining Goa’uld weren’t powerful enough, in Nerus’ eyes.

More and more, it looks like the key to defeating the Ori will be largely “low tech”. They can’t beat the Ori with big guns and some conveniently located Ancient technology (or so I hope). In the best traditions of “Babylon 5”, they have to “understand” their way out of the problem. That’s going to be quite a tall order at this point, since they don’t seem to recognize how well the Priors have been empowered to complete the task of invading. Daniel, I suspect, will uncover some new piece of information about the relationship between the Ancients and the Ori that will become important to the eventual solution.

Garek and the Free Jaffa Nation are going to be serious trouble. Garek thinks like a “strength equals victory” kind of factionist leader, and that’s the kind of thinking that will get the Jaffa under the thumb of false gods that won’t be so easily beaten as the Goa’uld were. Much like the force field in this episode, I think of the Ori as using those resisting their presence as a convenient tool. Not only does resistance help show others the power of the Ori, but it also gives the Priors a chance to wipe out adversaries before the real invasion can begin. The Ori really seem to enjoy the idea of letting the enemy beat themselves.

But more to the point…if the solution requires “understanding” their way out of the Ori invasion, through the careful application of force in very specific situations, then Garek is unlikely to be the best go-to ally. If anything, he will interpret anything less than a full-scale counter-attack as cowardice and (seeing him in this episode) a declaring of war against the Jaffa. The last thing anyone needs is a further dissolution of alliances.

I mentioned that I was waiting for the new team to gel a bit more, and this episode took that one step further. Now that Carter’s back, there’s still going to be an adjustment period, but it’s coming together beautifully. Setting up a clear and present danger serves the purpose of giving a reason for the team to exist, and there’s enough happening between the Ori, Garek, and the situation at home to keep all the characters busy. Obviously, the Ori won’t stop with one attempt, and so I expect the Supergate to make another appearance.

My prediction? Either the “summer season finale” or the actual season finale will end with the Ori successfully establishing a beachhead, thus escalating the conflict and bringing to a close this introductory phase. By the end of the next episode, though, the season will be a third of the way done, and that usually marks the point where the characters get to settle in and the season arcs begin to complicate. I’m looking forward to that, because this is turning out to be the best season in quite some time.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Dead Zone 4.9: "Babble On"

Written by Adam Targum
Directed by Mike Rohl

In which Johnny begins having visions related to his father, but when the visions seem to connect with a disaster still to come, Johnny comes to an important realization…


This has been something of a rocky fourth season for “Dead Zone”, but I think that the past few episodes have put things back on track. I went into this episode cold, and since I had no conception of where the story was going, I found it rather revealing. I couldn’t remember, as the story unfolding, whether or not this idea of a genetic component to Johnny’s ability had ever been explored.

Some might not take to the concept very well, but I think it makes perfect sense. People have brain injuries all the time, and yet in the vast majority of cases (as seen on the series), those who have recovered haven’t been cursed with the same abilities. If I recall correctly, in the very first episode, there’s evidence to suggest that Johnny always had the potential for these visions; the accident and coma simply altered his brain structure and chemistry to the point where that ability became far more prominent.

The logical extension of that would be the revelation that someone in Johnny’s family had also experienced visions. Of course, that would have major implications, especially since his ability was always treated as something unexpected and unique. Well, what a shock…Rvd. Purdy knew all about his father’s visions, and helped put the man in an institution. So all that shock and awe about the visions in the first season makes a lot more sense, given how corrupt Purdy is.

This adds a bit to the story of how Purdy managed to get involved with Johnny’s mother. Purdy has always seemed like a greedy bastard, and his manipulation of Johnny’s estate and trust fund was just plain criminal. All that said, Purdy also seems to have other designs (several, in fact), and placing Johnny’s visions in the context of “God’s work”, as opposed to madness, is clearly related to Purdy’s overall agenda.

That explosion was easily one of the biggest effects on the series this season, and it was rather impressive. Skipping over how Johnny survived was not. OK, it wasn’t all that important to the story, but I found it rather hard to believe that two people trapped in the middle of a gas explosion big enough to drop a building would get away with relatively minor injuries!

I thought that the format of the episode, the peeling back of several layers of the mystery in an overlapping fashion, worked very well, and demonstrated a lot of the originality and complexity that brought such quality to earlier seasons. A lot of that complexity was missing from a few of the episodes this season. This is the difference in my mind: as predictable as this story was, it didn’t unfold in a predictable manner. That’s what I felt was missing from episodes like “Still Life”.

Something else surprised me this week: the music wasn’t quite so intrusive. It was still rather bombastic and quite present in every scene, but it meshed with the material far better than in episodes earlier in the season. And that main theme is growing on me more and more. In this case, the music really set the stage for a tale that had far-reaching implications for Johnny.

Seeing how badly “Young Johnny” was portrayed (the kid couldn’t act), it made me think of a side to this episode that didn’t hit me immediately. If Johnny inherited the potential for visions from his father, then what is the implication for JJ? Will he also begin showing signs of seeing visions as he gets older? I’m flashing back to some of those disturbing “Millennium” episodes, where Jordan would begin seeing flashes of insight like her father, and it was never a good thing. How would Walt react to having a psychic kid in the family, especially given the plans Sarah talked about?

All in all, one of the best of the fourth season, with a concept that really made me look back at the earlier seasons with a renewed sense of clarity. This is the kind of direction that the writers should be going in, rather than the less satisfying “Johnny Smith, Psychic Detective” material.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Ghost Hunters 2.4: "17 Aug 2005"

Case #1: Mordecai House
Case #2: USS North Carolina

I can just imagine what the naysayers are going to say about this episode. Despite the fact that several moments in this episode were devoted to comments on method, equipment, and training, there will be critics saying that it’s not enough. Once again, I say: it’s clear that the editing process cuts a lot of the technical setup out, and even when two groups work together, the resources are still not “ideal”.

While I found Dustin and Kim’s training to be rather spotty at best, it was also heavily edited, so it’s hard to determine whether or not it was sloppy or edited to highlight the more goofy moments. I lean towards the latter, especially since the editing has already been suspect from the very beginning. They always emphasize the silly “behind the scenes” drama, and as usual, it’s the weakest part of the episode. I don’t care about Dustin and his hair, and seeing only the very beginning of his training gives off the impression that it’s the only thing he learned.

Anyway, as for the first case:

If Brennan’s restaurant was a waste of their time, then the Mordecai House was a waste of our time. Even though it only took one act of the episode to cover what happened and why it wasn’t successful, I can’t figure out why they wanted to waste so much time when the second case was far more interesting. Sure, it shows some of the ups and downs, but in the end, it’s reflective of why the “drama” is the weakest part of the series.

Moving on to the USS North Carolina:

Despite the lack of recorded evidence, I think this was one of the better investigations. Like they said themselves: it’s hard to imagine that two nights worth of investigation wouldn’t yield something in a location so storied. I know…the criticism is, why didn’t they find recorded evidence if they had so much equipment and two nights? For me, the answer is simple. They openly admit that they concentrated on so-called “hot spots”, but that never guarantees that activity will take place there. To expect otherwise is to believe (quite illogically) that the phenomenon follows a simple, predictable pattern.

Interestingly enough, when they do have a sustained level of activity in the bowels of the ship, Jason and Grant immediately suspect a prankster. They spend a lot of their time trying to find the source of the noise, and they even accuse the cameraman and crew. It’s not until they start seeing things that they start to consider another option, and even at the end, they don’t come right out and say that it was a ghost. They lean in that direction, but they don’t rely on their own perceptions as final proof. I like that.

I wish there had been more. EMF fields are weak, and the camera movement was strictly up/down…nothing particularly exciting there. The EVP was all right, but nothing like the ones that were so intriguing during the first season. There really wasn’t much else to the case, unfortunately.

Four episodes in, and there hasn’t been a completely solid case yet. The first season had only a few, granted, but there were only ten episodes. I hope that things get more active as the season progresses.

Chill Factor: 6/10

Firefly 1.14: "Objects in Space"

Written by Joss Whedon
Directed by Joss Whedon

In which a bounty hunter infiltrates Serenity with the intention of taking charge of River and Simon, but even as the rest of the crew falls, River has other plans…


Status Report

And so it ends.

Just as the season was about to take its first strong turn towards the finale, the story was cut short by the unbelievable cowardice of the FOX Network. There is, of course, a bittersweet second chapter to the story. Thanks to the strength of the DVD set and the support of fandom across the world, Universal Pictures saw fit to give Joss Whedon a modest budget for “Serenity”. Already, the buzz is strongly positive.

While spoilers have been avoided to this point, it’s hard not to notice from the trailer that there are similarities between this final episode and the film. At least, there are on the surface. This is an episode about a bounty hunter, operating in the name of the Alliance, running down the Tams, using whatever tactics are necessary. It stands to reason that this is only the first attempt, and that things would escalate over time.

More than just a simple story of dealing with an interloper with a great deal of skill, this is an episode about something. Joss was trying to communicate on several levels in this episode, and it works beautifully. River’s point of view is finally given screen time, and it helps to break down the “Firefly” universe in a rather unique fashion. All throughout, there’s the philosophical vision that lies beneath the action.

At this point in the season, everyone on board Serenity has been trying to work out their relationships, for good or ill, after everything that has happened since “Out of Gas” onward. Central to that idea is River’s place on the ship. Everyone else has cemented their value within the crew; River is still on the outside looking in. Even worse, her perception makes it hard for her to miss that fact.

Whatever difficulties Simon and Kaylee might have been having in “The Message” or “Heart of Gold” have certainly been resolved by this point. That’s more of an issue with the two previous episodes than an abrupt development in this installment, since that direction had already been established. But underneath it all is the underlying truth, which River detects without effort or ability to prevent it: Simon still wishes he could be in his old world.

River gets nothing hidden from Kaylee, but then, that’s expected. Kaylee has depths, to be sure, but she’s not one for hiding her emotional state from anyone. She wears her heart (and just about everything else) on her sleeve, right down to a frankness in her sexuality that is innocent yet very self-aware. Thus River doesn’t detect anything under Kaylee’s surface, because Kaylee doesn’t hide her true intentions.

Jayne, of course, is still dealing with his guilt over the incident in “Ariel”. Or is he? That’s actually not as clear as it might seem. After all, Simon and River confronted Jayne over that incident in “Trash”. So while it would be easy to assume that Jayne is still kicking himself for his earlier decision, it’s equally possible that he has since repeated his mistake. There’s still that little threat of Mal’s to consider, and how often does Joss put something like that on the shelf, if he doesn’t intend to use it?

Book’s hidden side is a lot more interesting. All the hints about his past point to something like black ops Alliance military intelligence. So his words may be reflective of his past, and the fact that he continually struggles to leave that kind of amoral psychology behind. Like Jayne, however, there’s the possibility of something far more sinister. That’s one of the best things about the series and its characters: one can never be sure if the characters will succeed in their search for redemption.

Wash and Zoe, of course, aren’t hard to read, but it gives insight into the kind of naked emotional communication that River is receiving. Simon feels regret and perhaps bitterness, Jayne feels guilt, and Book gives off a disturbing self-serving menace. But River’s “interaction” with Mal and Inara could be even more informative. Inara seems to be dealing with her present emotional state (her desire for Mal to tell her what he’s feeling, one would suspect). Mal, on the other hand, is looking away, as if living a past emotional state (his loss of faith in humanity).

So if all those scenes have a certain common rationale, then it would seem that Mal and Book are dwelling on the emotions of the past, the ones that brought them to this time and place. On the other hand, Simon, Jayne, and Inara (as well as Wash and Zoe) are feeling those emotions in River’s “present”. It’s no wonder that River deals with the world in a swirl of confusion, if she can’t help but experience words and underlying thought in the same instance.

That doesn’t make it any easier on the crew, especially when she’s playing with guns while living in her own world of altered perception. But the incident forces many of the crew to think about whether or not River should be on Serenity at all, and she can’t help but pick up on it all. And it doesn’t help that Kaylee reveals just how good she was with a firearm in “War Stories”. River the Loony Psychic Assassin doesn’t seem to rank high on anyone’s “preferred passenger” list. (Especially when it’s hinted that she “read” Jayne’s combination and took the gun without even realizing it.)

It puts Simon in one hell of a position. As usual, when Simon thinks of how River’s life should have gone, he can’t help but think on everything he’s given up as well. For all that Kaylee wants him to make a declaration, he’s still not reconciled with how things have turned out. It’s like he knows what he should be able to say, but he can’t bring himself to admit it. At least part of it seems to be the connection between Kaylee and his “new life”; if he accepts one, he must accept the other.

Apart from all of this is the question of Jubal Early. He seems to be nothing more than a highly proficient bounty hunter. But he’s also a lot more proficient than one would expect. This begs the question: is Early in some way related to River? Was Early an “earlier” model of a modified human? That would seem to run counter to the idea that River is the test subject furthest along the path of experimentation, and the speculation that Simon’s attempt to heal River will actually result in the very thing that the Alliance wanted to create. But it does speak to Early’s odd sense of reality, which seems to resonate with River in an odd way.

Early is brutal in his tactics. He takes down Mal and Book through the element of surprise, but it’s implied that it should have been harder, under normal circumstances. It’s his manner with Kaylee that is most disturbing. It’s hard not to consider historically sensitive associations of a black man threatening to rape a defenseless young white woman; it’s actually surprising that fewer people took issue with it.

What sets Early apart is his departures into philosophical space. He wonders at the nature of things, what gives a thing or a place its meaning. Function and purpose are two very different things in the mind of Jubal Early. He seems to find pleasure in defining the purpose of a thing, being precise in it. His comment about surgeons being “cut on” is indicative of this: to understand the nature of healing, one must experience it, understand its purpose directly.

This is very similar to River’s condition, but she’s tapping into it far more directly. River gets caught between the distinctive states of understanding and comprehending. She understands what her perception registers, but she doesn’t make the same comprehensive conclusions with the information, because she’s operating within a different set of assumptions with completely different sensory input. Similarly, Early looks at the world and sees a specific object or space with absolute clarity; it’s defining the purpose that throws him off.

River’s solution to the problem of Early is rather novel. More importantly, by this point, Joss manages to make River’s claim convincing. River seems to understand Early well enough, through her perception or her realization of how similar they are, to know how to creep past his defenses. At the same time, she’s playing on the fear and awe held by the crew. In reality, of course, River’s true gambit is the only possible explanation. But for just a moment or so, it’s convincing enough to be very disturbing and heart-breaking.

Of course, underneath it all, River “reads” everyone on Serenity and positions them where they need to be. Some might wonder how someone like River, who “feels everything”, could possibly be a good assassin, but this is how. She can quickly figure out how to put all the pieces of her “dream” where they belong and account for their mental state, all in the process of completing an objective. With enough training, she could even accomplish such tasks without making a direct move herself.

Oddly, Simon seems to be able to act outside of her expectations. That seems to indicate a limit to her ability. River’s plan was going fine, so long as people were willing to follow her directions or work within their established patterns. Yet River should have known that Simon would risk everything to keep her out of Alliance hands. River is apparently still a work in progress.

Even so, River’s plan goes well enough, given it’s simplicity, and Simon just gets to fulfill Early’s wishes by getting to experience the removal of a bullet. For all that people are nervous around River, she seems to have proven her worth and her intentions. Instead of just being Simon’s wacky sister, she becomes the crew’s wacky younger cousin (in a manner of speaking). Sure, Jayne is probably still not sold on the idea, but that’s never likely to happen.

One could spend a great deal of time trying to explore the rich philosophical ground that Joss had in mind when he wrote and directed the episode, but it’s far better to listen to the DVD commentary and let him explain it on his own terms. In many respects, this episode is the culmination of everything Joss has done since “Buffy” began: the merging of genre elements with deep psychological and philosophical questions.

By the end of this episode, the integration of the crew has more or less been completed. The intention was surely to take that new status quo and mess with it mightily. Characters have desires and plans, and Joss loves to throw roadblocks in the middle of each and every path. It’s also likely that one or two crew members would end up dead along the way. How many of the established character intentions and hints for the future are realized in the film “Serenity” is still to be seen.

Some things, though, will never be explored in the detail one would desire. Mal’s search for trust in humanity isn’t something that can be completed in a single film, especially since that search is tied directly to his relationships with several people, all of which have their own trials and tribulations. Book’s past may be revealed, but on the series, it would have played out over time, and it would have factored into his relationship and redemptive quality with Mal. Similarly, Inara’s exit, if ever depicted, won’t be as meaningful if it takes place off screen.

There’s the whole question of Zoe and Wash and their plans for parenthood, which is likely to be dropped completely (especially if one of them is killed, as the previous episode seemed to foreshadow). Simon and Kaylee’s relationship has been so on/off over the past several episodes that it’s quite impossible to predict if it would have worked. Since Simon’s relationship with Kaylee was a barometer for his acceptance of his new life, it’s unlikely that it will be a big part of the film.

River, on the other hand, was the beginning of the story, and so it makes sense that she would factor heavily into its end. Logically, as mentioned above, this episode should be the precursor to an even more determined search. River’s awareness of her function will probably be explored, since Simon will have had some time to further understand what the Alliance did to her.

Two major possibilities remain on the table. If the crew manages (probably off-screen at this point) to bring Mal further along the path of personal redemption, in terms of connecting more with humanity, then he could become involved in a more active role against the Alliance. River was ostensibly created to be a weapon for the Alliance; she could just as easily be a weapon against her creators. Mal might have to struggle with the notion of gaining the freedom he desires at the cost of River’s self-determination.

On the other hand, there’s the side of the story represented by Jayne. If Zoe, Kaylee, Book, and Inara all function to support certain aspects of Mal’s humanity, then Jayne is the opposite. As seen in earlier episodes, Jayne is on the edge of pure self-involvement. It’s more than a little obvious that he fears the idea that the Reavers are humans who have fallen, reverting to the cold-blooded reptile of instinct. But of all the crew, Jayne is the closest to the Reavers in terms of how he deals with others.

The series has been, in many respects, the question of how Mal, a man at a spiritual crossroads, deals with the dilemma of a dangerous young woman who needs his help. If “Serenity” focuses on River’s plight, then the story is equally about Mal and his own journey. His decisions in dealing with River would reflect the success or failure of his own redemption. If that is indeed the focus, then representative elements would have to be present in the story as well: the Alliance, the Reavers, and the underworld elements in between.

In terms of this episode, however, it provides a bittersweet but logical resting point for the story. If “Serenity” is a single film, with no future as a franchise, then it becomes the capstone to a series that never came to fruition. But if “Serenity” is the beginning of an eventual series of films, then “Firefly” becomes the prologue…the story of how the adventures in the films began. Either way, this episode ends the series, however prematurely, on the same high note at which it began.


Memorable Quotes

BOOK: “I don’t give half a hump if you’re innocent or not. So where does that put you?”

WASH: “Little River just gets more colorful by the moment. What’ll she do next?”
ZOE: “Either blow us up or rub soup in our hair. It’s a toss-up.”
WASH: “I hope she does the soup thing. It’s always a hoot, and we don’t all die from it.”

SIMON: “She probably didn’t even know what was going on. You know…thought it was a game.”
JAYNE: “Later on, you can explain to me how that’s a comfort.”

JAYNE: “What…are you saying she’s a witch?”
WASH: “Yes, Jayne. She’s a witch. She has had congress with the beast.”
JAYNE: “She’s in Congress?”

WASH: “Psychic, though? That sounds like something out of science fiction.”
ZOE: “We live in a space ship, dear.”

RIVER: “River’s gone.”
EARLY: “Then who exactly are we talking to?”
RIVER: “You’re talking to Serenity. And Early…Serenity is very unhappy…”

EARLY: “That’s somewhat unsettling…”

SIMON: “What? Am I your advocate?”
EARLY: “You are starting now.”
SIMON: “He’s really very…gentle…and fuzzy. We’re becoming fast friends.”
EARLY: “You folks are all insane.”
SIMON: “Well, my sister’s a ship. We had a complicated childhood.”

MAL: “You know…you ain’t quite right.”
RIVER: “It’s the popular theory.”


Final Analysis

Overall, this episode is a nearly perfect combination of genre elements and philosophy on the nature of things. Operating on several levels in terms of the storytelling, this is exactly what “Firefly” was meant to be. Fitting, then, that it serves as the premature end to the series. One would expect the film “Serenity” to follow in these footsteps.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 4/4

Original Rating: 9/10
Final DVD Rating: 10/10

Final Season 1 DVD Rating: 8.5