West Wing 7.6: "The Al Smith Dinner"

Written by Eli Attie
Directed by Lesli Linka Glatter

In which an attack ad against Santos by an independent religious conservative group sends both campaigns into damage control, while the White House deals with fallout over Toby...


A funny thing happened this week. Despite the fact that the previous episode, in all its strong storytelling, reminded me of how much has changed and how bright and idealistic everyone used to be, I found myself really engrossed in the interplay between the Santos and Vinick campaigns. So it occurred to me: the series is taking the audience through the same process of any election where strong emotions rule the day.

I’m thinking back to the end of the Clinton administration. There were a ton of people who had been devoted to Clinton and his legacy, to the point of propping up his apparent victories and downplaying his defeats. Many of them saw Gore as a poor substitute and Bush as even less appealing. They wanted things to be the way they used to be. They didn’t want to move on, and they were angry and bitter over the fact that the administration and man they believed in had seen his second term gone to shambles.

OK, the metaphor isn’t perfect, but I think the point is clear. A lot of other people moved on to support Gore or Bush, and a lot of people turned their attention away from the Clinton administration towards the election drama. Granted, neither Gore nor Bush were remotely as charismatic and appealing as Santos and Vinick, but the same process is taking place.

Three plot threads run through this episode, and they reflect this ongoing process of change. I found the Santos and Vinick campaign threads and their interplay to be a lot more compelling than the sinking ship of the Bartlet administration. And I realized that this is the theme of the “introduction” phase of the season. It’s about getting the audience through that process, recognizing that Bartlet’s administration couldn’t possibly go out on top. It just doesn’t work that way.

I wouldn’t say that this episode is on par with the previous installment, if only because “Here Today” had the benefit of deeply-rooted history. The campaign plot threads are always chaotic, and people come in and out of the story from episode to episode. If something terrible were to go down with Louise, would it have the same impact as Toby’s dismissal? Of course not.

But it makes sense that the season hits an important point in the story, ending the first act of the season, with the live debate episode. The season thus far has been about a Santos campaign in stagnation. Something has to happen to shake things up, and the seeds are being planted in this episode. Where Vinick looked unbeatable coming into this episode, things are far less certain now. It should make for one hell of a fun episode.

As for the topic at hand in this episode, I liked the fact that the two candidates held personal positions that were in strong opposition to the platform stance of their respective parties. I found the intercession of interest groups and their money on the main campaigns to be intriguing, even if it was simplified for easy digestion. How these roadblocks are overcome, presumably on both sides, will be quite entertaining to see.

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

Final Rating: 7/10

Night Stalker 1.5: "Malum"

Written by Kay Foster and Adam Armus
Directed by Deran Sarafian

In which Kolchak’s investigation of the bizarre death of an elementary school principal reveals possible signs of child abuse, but when more deaths follow, the truth is something far worse…


As a rule, I find holiday-themed episodes to be hazardous. Too often, they rely on the mystique of the holiday to generate the emotional response to the events at hand. For instance, the typical Halloween episode takes the spookiness and “evil” and runs with it. It takes a good writer, like Joss Whedon, to make a Halloween episode mean something in the long run. Otherwise, it’s often silly. (And don’t even get me started about Christmas episodes!)

What I like about this episode is how the Halloween connection is entirely incidental. It really has nothing to do with the story. Instead, it’s a disturbing tale of demonic possession that takes a long time to unfold. Framing it as an investigation, with Kolchak at the heart of it as a possible suspect, makes it even more interesting. I’ve been saying for a long time that Kolchak’s methods should be getting him into a lot more legal trouble, and in this case, that’s exactly where the story goes.

I was also pleased that Justin’s murderous activities weren’t directly shown. Seeing a kid standing there, making things happen, would have taken away some of the tension. The key in this episode was that the horror was in the clear communication of intention. Someone intended to kill, again and again, and it really didn’t matter how it was being done. It was all about the whys and the wherefores.

I really like how Justin’s plan and its ultimate goal, as well as the end of his reign of terror, are revealed over time through the slow consideration of its consequences. The Detective was trying to understand intentions, because he needed to know why people made decisions to make his case. And as “X-Files” demonstrated rather well, psychological horror is usually a lot more affecting than some random monster.

This episode also avoided one of the nitpicks I’ve had in the past. Kolchak does a lot of investigation and sometimes pushes his role a bit over the line he shouldn’t cross. That’s why the Detective can point fingers at him. But he doesn’t get so close to the source of the danger that he himself becomes an easy target. He’s always on the periphery of events, which is preferable in cases where there’s little or no personal impact.

I’m really not sure what else I can say about this one. I think this was the best episode of the season thus far. By the end, I wasn’t sure how the story would finally end. I was actually beginning to wonder if the demon inside Justin had jumped into the Detective somehow, since it looked like he was trying to eliminate anyone who knew the truth about Justin. But that’s not a sign of a sloppy ending, but rather, an example of how such a disturbing concept can get one thinking.

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

Final Rating: 8/10

Invasion 1.6: "The Hunt"

Written by Shaun Cassidy and Becky Hartman Edwards
Directed by Lawrence Trilling

In which Derek realizes that he has a strong attraction to Mariel, which sets him against Underlay in a big way, while Russell goes on a fishing expedition and discovers something chilling…


I was under the impression that the previous episode would really take the series to the next level, because some of the motivations have been laid bare. In this case, the follow-up is all about how the “possessed” deal with their new obsession with how good water feels and how much their hormones are reacting. At least, that seems to be the case with the teenage pod-people.

Derek becomes quite the horn dog after his experience, and he thinks that Kira is a good mark. For her part, she has the same urges, but he’s looking for another pod-person, and Mariel certainly fits the bill. Sometimes I can’t tell if she’s as attractive as she’s clearly meant to be, but she was quite the hottie in this episode.

So the “possessed” can definitely breathe underwater, they feel a lot more comfortable in the waters anyway, and they apparently give off some kind of pheromones. Hence the reason why Mommy smells different now. That makes sense, given that their blood chemistry has also been altered significantly. This brings up an interesting point: what would happen if one of the “possessed” and a normal human were to have sexual relations? Just how violent is the chemical incompatibility?

This brings up another point I’ve been wondering about. Larkin is practically begging to get “possessed” at this rate, the way she runs around where angels fear to tread, and now it looks as if she’s in serious danger. So the question is: how would that possession and the subsequent changes to the blood chemistry and hormones affect a pregnant woman? Would the placental barrier keep the fetus from being changed? Or would the change be different, like a hybrid state?

Meanwhile, right on time, Russell discovers one big portion of the truth about the strange changes taking place in his family, among others, and how these glowing “fish” are connected. That bit with the tracking device was wonderfully foreshadowed in the teaser (good plot structure!) and really piled on the tension.

Despite the slow pacing, the writers really seem to be hitting their stride, now that the introductory phase is all but over and the meat of the tale has begun. The season pick-up, at least, gives the story time to evolve and tighten up a bit. The real question is whether or not the writers can develop a strong enough arc to justify more than one season.

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

Final Rating: 7/10

Alias 5.5: "Out of the Box"

Written by Jesse Alexander
Directed by Jay Torres

In which Sydney discovers that Renee is hiding something, but when she discovers what is being hidden, the discovery reveals more about Prophet 5 than she expects…


Status Report

So much for the theory that the man in the box was Vaughn! The writers are tossing out some surprises along with the usual retreads, and that’s a good thing. In a season where plot twists and character returns are all over the press, taking away much of the suspense, it’s good to know that some mysteries endure.

This episode certainly complicates “Prophet 5”, and also gives that movement a little more history. So along with the 30+ year project, which happens to coincide with the whole Rambaldi plot without actually mentioning it at all, there’s something that happened 20 years earlier involving a rather disturbing version of the oft-used doubling technology. There’s a mad doctor running around using these prophetic genetic experiment guides to either transplant brains, or perhaps even worse, replace one person with another from the inside.

Beyond the obvious resonance with this season’s “Invasion”, there are some intriguing possibilities. The writers have already used doubling technology to physically change a person’s appearance and, even worse, convince someone that they were, in fact, Arvin Sloane. The logical progression is the complete takeover of one person by another from within.

Where does this impact the plot as it stands? Two possibilities come to mind. Both are related to the larger mythology, which of course means Rambaldi. The history of the Rambaldi endgame has always been tied to his immortality and eventual return, the “second coming” suggested in “Full Disclosure” during the third season. (If this is a five-season series, as it seems to be, consider how that episode sits squarely at the mid-point of the series arc.)

Dr. DeSantis’ technology, on the face of it, seems designed to take one person’s personality or intelligence and transfer it, through genetic re-engineering, to a new body. The connection to the Rambaldi endgame should be obvious. Everything that Sloane did within that context was designed to pacify the mass population. Presumably, some enlightened soul was supposed to come along and rule the sheep. Who better than Rambaldi himself, like a New Age immortal Pharaoh?

So, back to the two possibilities. The Rambaldi serum from the early third season, used by Alison Doran to survive being shot up and nearly killed, could have been used to restore Vaughn. He could then be the unwilling new test subject for DeSantis. Take the tissue sample of Rambaldi from the third season as well, mix it up with some of the other devices and plot elements over the years, and it’s not hard to imagine that Vaughn comes back as someone other than himself!

But therein lies the second possibility. Not every element of the original Rambaldi prophecy has come to pass, and it was already revealed in the third season that Sydney was supposed to be the genetic mother of a reborn Rambaldi. Could Sydney’s child become a target in this endgame as well, directly or indirectly?

This is all assuming that Rambaldi and his grand design will ever be referenced or advanced again, which is not necessarily the case. However, it’s hard not to believe that the writers are trying to dance around the network mandates and still tell the same story they intended. Even if the old plot elements are never referenced directly, there’s no reason to believe that this season’s arc isn’t connected to the past, especially given how important Sloane seems to be for Gordon Dean and his plans.

Speaking of Sloane, his actions in this episode were somewhat disappointing. Sloane is always fun when he’s stomping on every possible moral consideration with relish, but it’s far better when his manipulations and schemes are subtle. As much as the scenes in this episode were enjoyable, the old Sloane would have been reinstated using far more subtle means.

Rachel’s slow but steady introduction to field work takes another step in this episode. She seems a lot more confident playing support for Dixon than she would have been in the previous episode, and while it might have been better to take it slowly with Rachel, getting her into action quickly is probably a practical solution to Garner’s growing immobility. Besides, Rachel is a hottie, so they should take advantage of that!

Thomas Grace is still something of a cipher, so the writers should try to focus on him in the future. He has a past, obviously, and it’s shady at best. That ought to be explored, and if it means less “Sydney as Mommy” time in future episodes, all the better. There also seems to be something brewing with Dixon. Clearly, Sloane’s return to APO is going to be interesting, because Jack has been letting his guard down this season, and that’s never a good sign.

Renee isn’t quite the interesting character that the writers seem to think she is, but now that the new characters are getting fleshed out more, the effect isn’t so worrisome. Once upon a time, Sydney’s diminished presence felt like the kiss of death, but time is proving that to be partly incorrect. How well things progress will depend greatly upon the skill of the writing staff.


Final Analysis

Overall, this episode maintains the quality of the previous episode, all while managing to incorporate the new characters into the overall plot structure more than ever. Sloane’s character thread should make things a bit more complex again, and the plot has an interesting possible connection to Rambaldi. Is it possible that “Alias” is back on track again?

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

Final Rating: 7/10

(Season 5 Average: 6..4)

Medium 2.6: "Too Close to Call"

In which Allison has a dream about a shooting at the DA’s office, which is somehow related to a high profile case that the DA must win, while Joe learns something disturbing about his work…


I’m very happy with this season so far, even if it hasn’t paved much new ground. Most of the same stressors are in place, the same conflicts, but there’s a sense that the scope of the concept hasn’t been fully realized yet. For instance, we haven’t seen Allison put up against another psychic before, which involves a different level of anxiety. Nor has Joe’s job really been much of an issue.

The writers blend the two main aspects of Allison’s life together in a neatly complex tapestry on a weekly basis, and the surprise is that it continually feels fresh. We’ve heard Joe complain about the bills before, yet it doesn’t seem at all repetitive in this context. Perhaps that’s just me, but it felt very true to life, especially in the current economy.

So Joe’s boss, the Engineer of the Gods, who was also an evil Mayor bent on demonic dominion in a past genre life, doesn’t have a problem with their chips going into happy little missiles. This is all the man needs…another reason to go insane! I have to say, though, that he’s hardly the first engineer in the world to discover that his practical solutions were being used for military gain. In fact, given his job and the kind of work he does, he ought to have suspected it a long time ago.

Allison’s side of the story had its high points, especially when she was listening to the heckling spirit at the reading. And I loved the smackdown in the final act, when her boss got to play psychic and deliver the gut punch to Mr. Assistant Turncoat. I’m not sure about that FPS thing, but it was a gimmick used to introduce the story, and those typically add some unique commentary on Allison’s mental filters, so I give it the benefit of the doubt.

The one thing that was a little over the top for me was the prosecutor’s exaggerated style. Those lengthy pauses, designed to make Davalos look sloppy and weak, were a touch too theatrical. I’m not sure that a real judge would allow those antics, or that a real jury wouldn’t see right through it. But for the purposes of the story, it led to a wonderful final act that felt immensely satisfying!

I also felt the whole “false alarm” business was over the top, and combined with the antics in the courtroom, it seemed to take the whole question of Davalos’ credibility going into an election a bit too flippantly. Ultimately, Allison and Joe depend upon her work to keep them afloat and keep her relatively sane. Without the DA’s support, they wouldn’t have any of that. That could be an interesting subplot for the future.

For all that, this series is still delivering everything that I enjoyed in the first season, and this episode is a good example of a series becoming very comfortable in its own skin.

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

Final Rating: 7/10

Supernatural 1.7: "Hook Man"

Written by John Shiban
Directed by David Jackson

In which Sam and Dean run across an apparent strike by the Hook Man, but when they begin researching the experiences of a young woman, they find an unexpected origin…


I’ll be honest. When I saw the promo for the Hook Man, I was a bit skeptical. I’ve never really taken to that legend, and it felt like an early grab for ratings, given how often it’s been used as a theme over the years. But it didn’t take long for the concept to win me over, because it wasn’t treated like something above and beyond the norm for the Winchester brothers. Instead of a stunt episode, this was a solidly dark tale.

Normally, the hot women on this show are little more than skinny eye candy. Even Amy Acker was tossed out for show, with very little character to work with (leaving aside commentary on her acting). Jane McGregor, on the other hand, blew me away. Her role still wasn’t overly complex, but since her psychology was at the center of the story, Lori and her interaction with Sam was critical to the episode’s success. I’ve never seen this actress before, but I was impressed at how quickly she could turn on the hotness.

Speaking of Sam, I wasn’t nearly as disappointed in his character as I have been in the past. I don’t know what the difference was, exactly, but I found him to be a bit more fleshed out in this episode. I think part of it was his interaction with Lori. He was clearly attracted, but also all too aware of his own personal history. It worked for me, even if it wasn’t the strongest character development in the world.

Oddly, Dean was probably less interesting in this episode than in any previous installment, which is probably due to the focus on Sam. In the previous episode, I noticed that Dean was carrying the episode, despite the focus on Sam and his past history. This time, Sam managed to carry the story forward, and Dean punctuated the story with his personality. Like I said before, I was a little surprised by that.

The Hook Man effects were fairly well done, especially for television, and I really liked how the legend was translated into the world of “Supernatural”. It’s that intersection of regional “history” with the accumulated legendarium that is so appealing. While some might feel that it demystifies the legend, it serves as a simple hook (no pun intended) into the central premise of the series’ mythology: all legends and stories have an origin.

This episode was also laced with lots of continuity nods: the constant references to Sam’s college experience, Dean’s lack thereof, the search for their father, etc. It gave an episode with plenty of stand-alone elements a certain serial mystique. While I usually go for serialized storytelling, this series is working its style well enough to overcome that. This episode is another good example of why.

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

Final Rating: 8/10

Night Stalker 1.4: "Burning Man"

Written by Noah Baylin
Directed by Tony Wharmby

In which the apparent return of a serial killer who used a biological agent to burn victims alive pits Kolchak and Perri against a senior reporter, who doesn’t believe that the killer still lives…


I’m still not sure where I stand with this series. Every time I think I have a sense of where it’s going and how it’s going to progress, it comes along with an episode filled with predictability and precious little else. It also made me think about the central premise of the series and one of its more obvious flaws. That’s not something a struggling series should be doing.

Let me start with my thoughts on the premise. It occurred to me, during the final act, that Kolchak is an investigative crime reporter. That means that he’s good with the investigating, but in just about every other situation, he’s out of his element. This is not a particularly problematic character trait until he finds himself in the kind of situation that, say, law enforcement credentials (backup) and paraphernalia (a weapon or two) would facilitate.

As Kolchak is facing down the man with the instantly deadly biological agent, it struck me that Kolchak should be a dead man. He’s facing down a maniac with no reason to hold back. Instead of drawing his conclusions and tipping off the authorities after walking out the door with a false grin, he stands there and forces Mr. Psychotic to admit his complicity. That’s just not a good idea.

Now, I could buy it if Kolchak had some kind of established death wish. But that’s not where the character has been doing, exactly. He’s more in the “Mulder” mode, with a crusade that keeps him going and prevents him from having a death wish. Uncovering the truth is his mission, but that doesn’t necessarily translate into standing in the same room as the serial killer with no means of personal protection and forcing a confession.

My point is that Kolchak is a reporter, not an FBI agent, and the writers sometimes slip into the comfortable realm of “X-Files” plotting. This episode is filled with it. Substitute the co-workers at the Beacon with Skinner and some pompous agent, and suddenly this is a first season “X-Files” episode. And a fairly mediocre one, too, which is part of the problem. Perri even makes a passable “Scully” figure (and she’s hot!).

I’m also not impressed with Kolchak’s ability to work out psychology, which he really needs to understand in his line of work. I pegged Mr. Psychotic as the real killer about five seconds after Kolchak and Perri dropped off the file. The writers really telegraphed that one, and the structure didn’t suggest that such was the intent. It made Kolchak look very stupid, because Mr. Psychotic was practically handing him the truth for most of the episode.

So the end result is that Kolchak once again proves to his allies that there is more to the story than the consensual reality of the latest press release. And Kolchak recognizes something of Mr. Psychotic in himself. This happens every episode, so I think the point has been made. Kolchak could have fallen into darkness, we get that. Now show us why he didn’t, and in the process, don’t put him in the kind of position that a crime reporter shouldn’t survive.

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

Final Rating: 6/10

Prison Break 1.8: "The Old Head"

In which Michael’s plan hits a snag when his blueprint turns out to be a but outdated, while the conspiracy takes things a step further by trying to kill or capture Lincoln’s family and allies…


After a short break for the evil that is Major League Baseball, the series returns with a big ol’ jump into the complication phase of the season arc. Actually, I consider this more of a transition between the end of the introduction and the meat of the story, because this really brings the full “escape team” together, if one counts our friend with the dead cat.

Michael is faced with a number of curve balls in this episode, and he’s forced to make concessions that he normally wouldn’t. Perhaps the most impressive thing is that he manages to deal with people a little bit better than his past activity would suggest. The only time he really stumbles is with Sara, which is understandable. Even Mr. Westmoreland doesn’t really throw him off.

The beginning of the episode presented the real issue: Michael is just over the halfway point in his very short window of time. At this point, I can’t see how he’ll make it. Sure, the plan is moving along quickly, but he’s still operating on luck. Just having T-Bag around is a huge liability. I still don’t understand how that big hole in the wall will remain undiscovered for days on end, and after the riot, things are back to status quo way too fast.

But this series is full of plot conveniences, because the story is only meant to hang together long enough for the momentum to remain constant. And this episode certainly keeps the story moving forward. Actually, one has to wonder if the network wanted to save money by cutting back on guest stars. Talk about cleaning house!

Captain Bellick is thankfully just as frustrated, because just as he seems to get all the power to abuse that he could possibly want, he ends up getting blamed for the fire in the break room. Never mind how crappy it must be to have a break room in the middle of a storage shed! But I can’t help but laugh every time the jerk finds himself under the 8-ball again.

Meanwhile, we have LJ running around with a picture of one of the Secret Service agents on his phone (leave it to a government employee to have no clue about technology), but no support system. Veronica is in the middle of the woods, “off the grid”, with someone who still doesn’t seem to be who he says he is. And there’s only 17 days until Lincoln’s execution. No pressure!

As usual, I see flaws here and there. Sara isn’t stupid, so why hasn’t she figured out how Michael knew about the crawlspace and the prison layout? In this case, her attraction to Michael might be getting in the way, but I still would hope that she would be smarter than that. Is she trying not to believe what she must suspect? I feel like this was an ill-conceived plot thread.

I’m also not sure how the Escape Squad is going to work fast enough to make that “on-ramp”. After all, they should be making some progress on the job they were assigned to do. I assume that will be covered in the next episode, but still, I was hoping that the plan would be a little more fleshed out by now. But then again, this is “Prison Break”, and as I already said, I have to shut down the higher brain functions and enjoy.

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

Final Rating: 8/10

West Wing 7.5: "Here Today"

Written by Peter Noah
Directed by Alex Graves

In which Toby faces the consequences of his confession, which ultimately forces Bartlet to make a difficult decision, while Josh begins to realize that the campaign needs a change…


I’ve said a number of times that the leak investigation and Toby’s complicity make sense in terms of the character and the larger theme of the series itself. In essence, this is not just a matter of Bartlet’s slow but inevitable decline from power; it’s also the decline of anyone left to man the ship with him. These are the twilight days of the Bartlet administration, only months away from the end, and things are falling apart. Instead of leaving office with the world a better place and an heir apparent ready to win the election, Bartlet looks to end his second term with scandal and world war.

Some might find it a stretch, but I like to think that Ellie’s very small part in the episode is a symptom of the larger problem faced by the administration. Bartlet is losing his control over nearly everything in his life, not just his health and his legacy. Ellie has always been her own woman, but in earlier years, Bartlet would have had some words. Perhaps he was just being conciliatory, but a lot of the fire seems lost.

Of course, this episode is more about Toby and how his character’s defining traits more or less presaged such an end. Indeed, that’s what I’ve been saying for a few episodes now, and it was repeated more than once in this episode. Toby has always been an idealist with a healthy dose of arrogance, and eventually, it was going to come back to bite him. This is that time, and while it’s sad to see it happen so late in the game, when so much else is stagnating, it would have been too easy to let him go out quietly.

Frankly, anyone who thought that Bartlet should have treated Toby better is letting sentimentality overrule reason and character consistency. Bartlet has been more than patient with Toby over the years, even when Toby has crossed the line in a thousand ways. A less flawed man might have actually learned something about limits, but Toby never did. Bartlet is like the father who must, despite his fervent wishes otherwise, cut loose his son with harshness if there is to ever be a lesson learned.

What struck me last night, as I was watching the episode with typical enjoyment, was how mournful this season really is. I understand that some people were expecting the possibility of a continuance next season, but everything about the series says that this is the end. Every scene in the White House is drenched in darkness (it has been steadily getting worse, I think, or it just seems so). I’m left with such a sense of impending loss and a recognition that it has been coming for quite some time, and it adds a layer of emotional resonance to the story.

Turning for a moment to the campaign trail, things are looking more and more problematic for Josh. He really needs to sit down with Leo and look back at the Bartlet for America campaign and see where things have gone wrong. Josh has never seemed like the best campaign manager in the world, but he really has hit his limit and it shows. Vinick keeps handing him openings, and nothing gets done. I’m sure that Santos will bounce back in the big debate or soon thereafter, but it’s painful watching the campaign founder.

I won’t say I was quite as taken with this episode as the previous installment, but that was largely due to the treatment of the teaser and first act. I didn’t really get into the story until after that, which was probably just a subjective reaction. By the end, I was definitely hooked, and I felt the ending was very strong. The debate over old and new will no doubt wage on.

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

Final Rating: 8/10

Threshold 1.7: "The Order"

Written by Anne McGrail
Directed by Norberto Barba

In which Caffrey must hunt down the source of a leak, which also brings trouble in the form of a meddling Senator, while the rest of the Red Team hunts down another source of the signal…


At this point, the series should be moving out of the introductory phase and into the complication phase, at least from the point of view of the typical season arc structure. That being the case, the question is whether or not this episode, in relation to the series to date, presents a compelling enough story to justify the faith of its audience.

I look at a series like “Invasion” and admit, despite my issue with the pacing, that the story is going somewhere. There’s a structure to the story and a few themes are actually emerging that could be fun to watch. While “Supernatural” is far more episodic, the characters are intriguing and there’s a sense of highly consistent style and approach. “Threshold” is still trying to find itself”: the characters are strong, but the storytelling is all over the map.

The past few episodes are a good example. In “Shock”, the Red Team and Threshold struggled to get the kind of broad-based support that they should be getting without much question. “Pulse”, the previous episode, turned right around and presented Threshold as an operation with vast discretionary powers and abundant resources. This episode jumps right back into the precarious waters of “Shock”, and it’s not a good thing.

In a way, however, this issue of funding and political support, however tiresome, pushes the characters into roles that are a bit more appropriate. It’s still not perfect, but it’s getting there. Caffrey should be the one behind the scenes, directing the activities and dealing with the larger issues. It should be a struggle for her to keep it all together, and people should be questioning her decisions to ensure that her personal issues don’t get in the way. I just didn’t like how it was tied to frustrating budget questions. (Sorry, but I get enough of that in the real world!)

This forced the other team members to take on more responsibility in the field and figure out their internal dynamic. I liked that a lot. In particular, it’s fun to see a bunch of science geeks with little or no field experience trying to work out the kinks. This episode’s central mystery was a nice bit of misdirection, and it even had some intriguing implications. If they had determined that the fish and other marine life were being infected, it really would have been the end of it all. As it is, it’s hard to imagine how marine life wasn’t infected, given how the rest of the episode progressed.

Beyond the cute intern, who got a swift and unfortunate lesson in sleeping around, there was that mutated cat. I must say, the first time it was on-screen, my wife and I just about laughed ourselves silly. That was some terrible effects work! But it begs the question: why wouldn’t marine life, even very tiny marine animals and plant life, become infected in the ocean below the original signal?

Anyhow, I really didn’t care about the team member that died, because quite frankly, I had no idea she was even part of the team. That’s not a good sign. This episode was supposed to have resonance with the audience, because we were clearly supposed to care. Instead, it just happened. Caffrey, who was supposed to be worried about Senate intervention, manages to order a Senator’s plane shot down with little or no consequence. It’s all a sign of inconsistent storytelling, and that’s not a great sign.

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

Final Rating: 6/10

Smallville 5.4: "Aqua"

Written by Todd Slavkin and Darren Swimmer
Directed by Paul Shapiro

In which Clark and Lois have an encounter with a super-powered man who derives his power from the water and has an anti-Lex agenda, as does one of Clark’s new professors…


I’m sure that a lot of DC fans were practically dripping with anticipation at the thought of Aquaman coming to “Smallville” for a visit, but since I knew very little about the character, I wasn’t all that thrilled. And the episode itself did nothing to draw in those with little interest in the fanboy aspect of the premise. The plot itself was a real stretch, as if the writers had no idea how to justify Aquaman’s visit beyond a completely contrived situation.

OK, so I’ll admit, seeing Lois and Lana in skimpy swimwear was a plus (why not for Chloe, damn it?), and they made Erika look about as hot as she ever has, but this was all about playing up the future hero. A hero which, in this case, was woefully miscast. I have little doubt that the female fans were able to appreciate the lunkhead, but the actor could barely deliver his lines.

Also annoying were all the needless puns about water, fish, and worst of all, the absolutely needless reference to the eventual JLA. It’s hard to enjoy an episode that is so desperately groan-worthy. Even the scenes with Lex were way over the top, with very little subtlety, which has always been one of the more interesting hallmarks of the character.

Far more interesting were the scenes with Professor Fine. James Marsters is practically a genre icon at this point, thanks to his portrayal of Spike on “Buffy” and “Angel”, so for a moment or two, it’s hard to get past that and pay attention to what he brings to this character. In that respect, this is probably the best episode for his introduction. It gave everyone, including Marsters, a chance to find the right dynamic for the character.

I like the fact that Fine begins as something of a sympathetic character, a mentor for Clark. I have no idea if that’s where the character began in the comics, but given where Lex is finally going, it helps Clark see the transition and a resource for uncovering the sins of LuthorCorp. Add Jor-El’s possession of Lionel to the mix, and Clark has plenty of potential to become Lex’s primary adversary.

Fine will eventually become a problem himself, of course, which ought to blend into the season arc rather well. The question will be where the series goes from here. Assuming that this episode was atypical of the season (and I hope it was), then the ratings should hold and the network should have every reason to bring the show back next season. I just hope Aquaman stays far away from Smallville if it does.

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

Final Rating: 4/10

Invasion 1.5: "Unnatural Selection"

Written by Shuan Cassidy and Michael Burns
Directed by Thomas Schlamme

In which an old friend of Russell’s is killed by Underlay in a suspicious incident, and when Russell begins conducting his own investigation, he discovers more than he bargained for…


This is another episode that doesn’t really go anywhere for most of its running time, but at least the final act or so brings the story a little further along. In terms of the overall narrative, the battle lines are being drawn between Underlay and Russell rather distinctly, which may or may not be the best thing for the story. In between stands Mariel, who has already shown signs of being on the fence between the two men.

That core triangle is where the key dramatic conflict lies, and that’s where this episode is largely centered. Underlay is firmly behind whatever process is taking place, because his own previous survival (and apparent “possession”) leads him to believe that it’s all for the benefit of those who become hosts. Russell, on the other hand, represents those who resist this process. Or at least, he’s being prepared for that role, since at the moment, he’s still not sure what it is he’s resisting.

I imagine that the purpose of this episode was to show how Russell is becoming more and more aware of the lines being drawn by Underlay. Underlay has been making his decisions based on the preservation and benefit of those “possessed”. Of course, Underlay refers to them as the “survivors”, which might be a reference to the fact that some encounters with the “aliens” don’t end well.

But Russell finally begins learning from the events since the pilot, which is something I was waiting (impatiently) for. He takes measures, even in ignorance, to keep Rose away from the water and to keep Jesse from being directly involved in his personal investigation. Slowly but surely, he’s pulling together the start of a resistance. If I have any sense of where this story is going, that proto-movement should really gel right around episode 6 or 7.

So I try and look at these first few episodes on the assumption that this is the introduction phase of the season arc: it’s all about getting to know the characters and the basic conflicts. I’m just not sure that the writers have framed the early stages of the story in the most interesting way. I get the premise, and I get the style used to provide it scope, but it’s not the most fascinating introduction in the world. Until the final act, I wasn’t feeling this episode.

One problem has been the inconsistent portrayal of Larkin. Not just in terms of the character herself, but rather, in terms of how others react to her. Clearly she should have a reputation for pushing the buttons of authority and getting into things she shouldn’t. But she’s dealing with a sheriff with a secret agenda and the military. She seems to get treated with kid gloves by both. Underlay, at least, had some hope that he could control Larkin, but I’m not at all impressed by the military security in this episode. (Yes, I realize Larkin was ultimately followed, but she never should have been able to see anything in the first place.)

The goal is apparently to have Larkin discover information useful to Russell, with the efforts to keep her quiet being another reason for Russell to pursue the truth. At least, that’s how I interpret it. Meanwhile, Mariel is the window into Underlay’s agenda, but this episode seems to suggest that he doesn’t quite know what’s happening either. I imagine that the extended family will become pawns in the battle between Underlay and Russell.

At least the network is giving the series a chance to make its case. The series gained a full season pickup this week, based on the fact that it’s performed better than any other series in the same hour for something like five years. Surely the “Lost” lead-in is a huge factor, but that wouldn’t matter if the series had completely tanked. Hopefully the hint of a growing momentum for the story will actually come to fruition.

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

Final Rating: 7/10

Alias 5.4: "Mockingbird"

Written by Drew Goddard
Directed by Frederick E.O. Toye

In which the search for Dean forces APO to place Rachel back in the field, which also serves to place Sydney in jeopardy, while Sloane must face the consequences of his recent actions…


Status Report

While there’s plenty of reason to complain about the awkward transition from the Sydney/Vaughn-centric material of the fourth season to this season’s shift to new characters, this episode is probably the best episode of the series yet. It’s still not perfect, and the new characters aren’t quite coming together as well as one might like, but there’s a clear process taking place.

Rachel is a lot more naïve about the business and her current situation than Sydney was in the first season, and that can be a little annoying. She can get a little hysterical, and while the actress pulls it off, it’s not the most flattering introduction to a character in the world. When the writers are trying so hard to get the audience to care about Rachel, they could do some things to make her a bit more sympathetic.

That said, this episode is about gaining the first hint of confidence, as Sydney slips more and more into the Vaughn-esque role. Speaking of Sydney, this episode is a good example of why her time as an active agent is going to come to a rapid close. It was very hard to rationalize her presence on a field mission while so obviously pregnant (and therefore, to an extent, more vulnerable than ever). She needs to step back and push Tom and Rachel into the forefront.

The problem with that, of course, is Rachel’s lack of training. Tom, however, can help with that by working with her in the field, not unlike how Noah Hicks must have helped Sydney get her bearing. That would fit into the parallels with Sydney’s life, in many ways completing the cycle of her experience. And there’s a good support system in place with Jack as the director and Dixon also in the field. It could work, but the writers need to get the story there organically.

This episode does a good enough job of that, though it relies on a few gimmicks and conveniences to do so. Skipping over the whole rescue at the end was either required for time or a huge writing mistake. That was hardly the only example of one. Sydney takes a lot of time to advise Rachel to stay in character while rummaging through the crime scene, yet both of them act like anything but their alias while on the scene.

So what did work? Dean is becoming a very interesting villain, and while his goals are still murky at best, he fits the bill as a post-Yelena Rambaldi fanatic trying to get something out of the situation that still hasn’t been fully resolved after the fourth season finale. This is, of course, assuming that the whole “Prophet 5” document is an indirect reference to Rambaldi.

But why else would Dean want to spring Sloane and get him involved, if he didn’t have some goal related to Rambaldi and the prospect of a cure for Nadia? It’s doubtful that Sloane would stay away from something related to Rambaldi yet again, especially since he would have the chance to do things right this time. After all, he was following the Rambaldi blueprint for more than 30 years. Why would he be compelled to change now?

While he claims redemption, having infiltrated Yelena’s organization to disrupt her plans, it’s important to remember that Yelena was definitely not following the Rambaldi endgame. Yelena perverted Rambaldi’s plans to her own ends, which is why Sloane wanted to stop her in the first place. Under no circumstances can it be claimed that the Rambaldi endgame is over and done with.

Of course, part of the problem with this episode (like all the episodes since the premiere) is the obvious attempt to leave Rambaldi out of the equation. There were about a hundred reasons to bring Sloane’s obsession with Rambaldi into his hearing, and the writers were clearly jumping through massive hoops to remain Rambaldi-free. By now, the network should realize that the invocation of the Rambaldi name is hardly a factor in the series’ success, and there’s really no reason to water things down by not bringing up the central piece of the series’ mythology.

A couple of other things are notable for this episode, which despite some of the nitpicks, was at least on par with the quality of the third and fourth seasons (which remain underrated). The first is largely for the men of the audience (and those with similar taste): just how hot is Rachel Nichols? Sure, she was a model before getting into the acting thing, but she is one highly attractive young woman. And that camera angle in the trunk was giving the audience quite the bird’s eye view, considering how low cut that top was! Oh, for the moment she starts getting into Sydney’s old wardrobe!

The ratings are also a matter of concern. As anyone with half a brain could have predicted, the series is getting crushed by the competition. A lot of industry insiders are talking about the series as if it were already dead, and that’s a real shame. The network is largely to blame, especially since they gave the series an early renewal last season and then botched its return this fall in nearly every way.

This season’s episodes have been cursed with the scent of decay, because too many outside issues were dragging on its premiere, it probably came back too quickly, and it’s on the wrong night to fit well within the schedule. It was bad enough when the series moved into the post-“Lost” slot. This new slot is just plain evil. The only benefit of the current situation is that the writers have plenty of warning to plot out the season finale as an end to the series as a whole. Unless, of course, the network delivers the ultimate betrayal and cancels the series before it gets a chance to end.


Final Analysis

Overall, this episode is another step in the right direction, though there are still some pieces that need to come together. The writers are still stumbling over the mandate to not mention Rambaldi, perhaps more than ever before, but it’s clear where the story arc is going and why things need to take time to get there. It would be better if the new characters were a little more sympathetic, but that could come with time.

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

Final Rating: 7/10

Ghost Hunters 2.13: "19 Oct 2005"

Case #1: Crescent Hotel
Case #2: Dr. Ellis’ House

I haven’t commented at all on the ratings this season, because that information hasn’t been easy to find. Also, it’s hard to correlate data when two seasons run for different periods at different times of the year. I also didn’t want to get depressed at the effect “Lost” would have, since even I TiVo “Ghost Hunters” under these circumstances.

Well, now the genie is out of the bottle, and the ratings are available. I have to say, I’m impressed! It’s impressive to think that “Ghost Hunters” is getting ratings, at least for the “season finale”, that approach “Battlestar: Galactica” numbers. This show deserves to be a success, and by gaining viewers against “Lost”, I think it clearly has succeeded.

So we’re getting a Halloween Special at the end of the month and 9 more episodes starting in January 2006. Excellent! That’s a grand total of 23 second season episodes, which is more than the typical one-hour drama gets these days. Another sign of success! Now would be the perfect time for SFC to take a good, long look at their approach to the series.

What would I like to see? Less of the goofy effects and more of the investigation. It wouldn’t kill them to focus on one investigation per episode, or in lieu of that, cover three investigations across two episodes of time, like the first season. Less of the manufactured drama, which was ramped up this season. Oh, and the more Paula Donovan, the better!

Since this was the apparent season finale, they clearly saved the best for last. And I mean “saved”, because these investigations clearly took place earlier in the season, just after Dave joined and Steve took over the technical department. I can only imagine that the post-production process revealed that the subsequent investigations weren’t producing much, so the apparent apparition was saved until the presumed end.

First case:

Well, obviously, this is all about the apparent apparition. I know that there will be a million naysayers picking that one apart, but based on what was demonstrated and revealed, I can’t see how that’s a fake. Not only that, but the apparent apparition actually moves as if turning to look into the camera. It’s rather impressive as a whole, especially since they took quite a bit of time to debunk it and couldn’t.

Here’s the thing. This really brings the whole “real or fake” question to a head. Now, I’m sure someone is going to claim that this was digitally manipulated and the whole thing is a hoax, but as usual, I have to ask the logical question: why would they go through so much trouble and risk exposing themselves just to capture something on camera? Naysayers never consider that it’s much more work to fake something like this than it is to do it right. After all, if it were easy, it would probably look and sound a lot like the obvious fakery on “Most Haunted”, and there’s a clear difference.

Second case:

Now, this I find a bit harder to swallow. It’s not that I completely dismiss psychic phenomena; I just don’t buy what happened in the episode. The “far too specific” reading was anything but, at least on film, and that temperature gradient could have been explained by the heating system in the house itself. I do accept that Jason and Grant would have checked into that, but since it wasn’t shown (in favor of the more unusual explanation), I can’t make assumptions. Even so, it was very interesting as a starting point to a different realm of experimentation.

Despite my doubts regarding the medium, I have to say that this is probably the best episode they’ve ever had. Not only did they highlight their own attempts at debunking at all the right moments, they also managed to do something that is rarely done: they caught an apparition on film. What else is there to say?

Chill Factor: 10/10

Lost 2.5: "...and Found"

Written by Damon Lindelof and Carlton Cuse
Directed by Stephen Williams

In which Sun realizes that she has lost her wedding ring, which prompts her to remember how she met Jin, while Jin leads a search for Michael when his friend runs off to find Walt…


Status Report

Much like the previous episode, this installment provides an example of why “Adrift” was one of the less impressive episodes of the season/series. While this episode focuses on one of the less prominent characters and doesn’t tell a story far beyond the information already available from the first season, there’s much more happening in the background. There’s not much forward momentum, but there’s also no sense of rehashing the same ground.

The Jin/Sun episodes of the first season weren’t necessarily the best episodes, because they do demand a bit more from the audience. In this case, a bit of time and perspective works wonders. Jin and Sun began their journey on the island with very different goals in mind. Sun, in particular, had been coming off plans to flee her marriage.

This episode sees Sun in a very different position. It’s not the most surprising character development in the world, but it does define a progression in her character arc. She had a lot of issues with Jin at the beginning, just after the crash, but now she’s focusing on all the reasons she fell for him in the first place. It makes sense in terms of Jin and his choices, and it’s an interesting follow-up to Sun’s actions in “Born to Run”.

On the other side of the island, Jin is demonstrating the depth of his loyalty. He could just let Michael go find Walt and be done with it. He would certainly have a better chance of survival with those who understand the threat posed by the Others, if only in terms of numbers, by leaving Michael to his own devices. But Jin decides instead to put his life on the line to help Michael. This is in stark contrast to Jin’s relationship with Michael in “..In Translation”.

One might quibble over the fact that this character progression was obvious, but this is where the comparison with “Adrift” comes in. As noted for that episode, the issue was the lack of character development for Michael. In essence, that episode didn’t take Michael any further down an arc than any previous episode. This episode is different because it moves the characters forward, even if it’s an incremental step.

This is rare example of a “double flashback”, because the scenes from the past are seen from two different points of view. Sun’s memories are focused on her search, however reluctant, for a man she can love and who might appreciate her for who she is. It does highlight Sun’s innate beauty and the very different cultural mandates that dominate Korean society, but the point is largely to explain why Jin’s arrival in her life happened at just the right moment.

Jin’s story, on the other hand, is a commentary on class struggles, which were alluded to in “…In Translation” and fleshed out over time. Still, this is the most straightforward exploration of the topic. Giving Jin such a complicated background is a good thing, because it gives his character motivation. The parallel between Jin’s past and his present decision is also a bit less obvious than it could be.

The fact that Jin doesn’t speak English is still a challenge for the writers, but it gives Daniel Dae Kim the chance to display his acting skills. Jin’s intentions are never a question, and he manages to communicate with Eko rather well under the circumstances. As mentioned earlier, Jin wasn’t the most sympathetic character in the beginning, but his loyalty to his own “people” in this episode is quite clear.

Jin and Sun really dominate the episode, which isn’t the ideal situation, but it does make sense in light of the situation. The downside is that there’s very little exploration of the overall mysteries as a result. This is primarily a character-driven series, and that’s where the effort is typically directed, so that’s not as bad as it might be for a series like “Invasion” or “Threshold”. Still, it plays into the hands of those complaining that the forward momentum is far from apparent, since only 4 days have passed since the first season finale.

There is a slight bit of information about the Others, but it mostly confirms what has already been revealed. They seem to have a lot of experience in moving around the island without much of a trace, they have Walt, and they’ve been killing off the AnaLucia Tribe since the crash. Speaking of which, the AnaLucia Tribe also mention the unusual abilities of the Others, which suggests some kind of inhuman changes to the Others themselves. But that’s all indirect information that’s been on the table for a while.

From a character perspective, this doesn’t really add much. There are some good character moments here and there, but they are present in a largely supportive capacity. Jack gets a scene where he reveals, indirectly, that his marriage has been over for some time. Kate, after an episode with a lot of flirtation with Jack, demonstrates her regret for leaving things with Sawyer on such shaky ground. Hurley gets a wonderful scene about a dog. As usual, the Locke scene simply underscored his overall philosophy.

With things being so slow for the JackLocke Tribe, it makes sense that more time was devoted to the AnaLucia Tribe. Ana continues to be very abrasive, but now it makes a little more sense. She’s been filling Jack’s role as the leader of her tribe, but she’s been fighting a losing war against the Others. It certainly seems as if “survival of the fittest” has been her primary concern. If/when she runs into Jack and Locke, her reaction to their decision-making process ought to be interesting!

Libby and Bernard are still enigmas, but they are certainly less Draconian than Ana. Libby in particular seems to be a lot more sympathetic. Frankly, it would be interesting to see Libby after she has a chance to clean up; that outfit is far from flattering. But Libby could become important over time in terms of working out motivations.

Minister Eko is a very interesting character, falling somewhat between Ana and Libby on the compassion scale. He has a rough way of dealing with the survival aspect, but he recognizes what kind of person Jin must be, and acts accordingly. There’s still a sense that Eko has yet to reveal his true nature, in terms of his own motivations, but for now, he seems similar to Sayid in his bearing.

If there is a weakness in this episode, it’s the justification for why Michael wasn’t captured or killed by the Others. Supposedly Michael manages to sneak by in front of the Others, thus escaping attention. However, Michael is supposedly running around, screaming for Walt at the top of his lungs, and basically doing things that ought to make him easy to find. Michael’s part in the story doesn’t make much sense.

For whatever reason, the network has decided to postpone the next episode. This is not the ideal situation. For one thing, the season has started off rather slowly, but the ratings have been steadily climbing. Having this break, without a strong episode going in, could have a negative effect for those still unsure about sticking with the show. Then again, there’s probably little chance of a huge drop in ratings during the sweeps. After all, unlike “Desperate Housewives”, the critics are still solidly behind the series and there’s a strong positive buzz. Still, it’s going to be a long wait to see how the season moves forward.


Final Analysis

Overall, this episode doesn’t advance the overall story arc much, but it does represent an important stage in the character development for Jin and Sun. Much of the information in the episode is simply confirmation of what has been suggested in the past, which adds to the impression of a slow start to the season. This is not the most exciting episode, but it also avoids the retread problem that could have dragged it down.

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

Final Rating: 7/10

X-Files 5.14: "The Red and the Black"

Written by Chris Carter and Frank Spotnitz
Directed by Chris Carter

In which Scully’s experience at Ruskin Dam forces her and Mulder to reconsider their personal beliefs, while the Syndicate debates the implication of the Rebels and their stolen vaccine…


Status Report

Much like the first half of this mythology two-part story, the effectiveness of the story is hampered by the need to extend an arc in its final days beyond its intended life span. In this case, the story revolves strongly around the nature of the Faceless Rebels, the true identity of Jeffrey Spender, and the truth about what happened at Ruskin Dam. None of these items are particularly meaningful in terms of the mythology as envisioned during the third season and developed for “Fight the Future”, however, and as it would turn out, there was little conception as to how they would be used during the rest of the series’ run.

As with most of the mythology episodes, previous interpretations regarding the goals and policies of the conspiracy and Cancer Man pertain directly to the interpretation of the current episode. Therefore, the speculation and interpretation outlined in previous reviews are assumed to be familiar to the reader. In particular, the summary of the mythology given in the review for “Herrenvolk”, as well as the review for “Patient X”, is critical to the analysis of this episode.

Cancer Man’s letter in the teaser is clearly meant to suggest that he wants something of his son. Equally clear is the implication that the audience should assume the son in question is Mulder. The fact that it is Spender places the experiences of Jeffrey and Cassandra in a very different light, because once that connection is recognized, it’s clear that Jeffrey and Cassandra are remembering real experiences of abductions and tests, filtered through erasure of memory and “insertion” of false memories.

So why does Cancer Man want to restore his relationship with Spender now? The answer is likely related to the reports he has heard regarding Mulder. Cancer Man had staged Mulder in the position to be his main operative, the advocate of his plans. Mulder refused to play along, and so Cancer Man has to work through other channels. Spender is something of a “safety valve”; Cancer Man needs to position Spender to implement the tasks, one way or another, that Mulder will not.

Of course, the situation is somewhat more complex. Mulder has a role to play, and as seen in “Fight the Future”, that role is manipulated by Cancer Man through indirect means. That being the case, one must wonder why Spender is so important at this stage of the game. It comes down to manipulation of the Syndicate. Cancer Man had convinced the Syndicate that Mulder was useful as a source of easy disinformation; now, that’s no longer the case.

Mulder is useful, so long as his beliefs are not revived. There was little reason to get in Mulder’s way once he was no longer trying to fight his crusade. He was a non-entity as far as the Syndicate was concerned. Now, of course, that is changing again. With the Syndicate feeling threatened by the appearance of the Rebels, they cannot afford interference from Mulder and his investigation of the X-Files. Therefore, Mulder is most useful to Cancer Man outside of the scope of the X-Files. Spender is more useful in Mulder’s old role than Mulder, in terms of Cancer Man’s plans.

All of this is completely outside of the scope of the episode itself, which is why this episode’s explanations sound good until one begins to consider how it’s all supposed to fit together. Motivations that are assigned to characters and groups in this episode are somewhat vague and unsatisfying. Like so many mythology episodes, this is a chronicle of a journey through pieces of a much larger, far more complicated whole. Information is revealed through revelation of assumption.

The aftermath of Ruskin Dam is one of the strongest moments of the fifth season. The use of one of the more powerful musical themes created for the “Fight the Future” score, previewed in this episode as a subtle connective thread, is a masterstroke. No matter what else might be happening between them, Mulder needs Scully and the possibility of her death is almost unthinkable, especially on the heels of “Redux II”.

As already noted in “Patient X”, the Syndicate’s version of the vaccine against Purity is seen as ineffective. One could question why Marita is left comatose while Dmitri was not, but Marita’s situation is actually closer to the established continuity. Purity in “Tunguska”, from the same source, was not strong enough to do anything more than leave its host in a comatose state.

It’s rather interesting to see Spender coming after Mulder for his mother’s latest abduction. Whatever Mulder’s reputation, he’s already made it clear that he’s not involved and that he wanted nothing to do with Cassandra’s case. Spender goes from someone with a legitimate concern in the previous episode to a complete jerk here. But that kind of whiplash character “development” is in step with what the writers did with Mulder, so perhaps it’s all part of the same problem.

The conversation between the Well-Manicured Man and Krycek is a great example of a dialogue rife with assumption and hidden agendas. Krycek didn’t infect Dmitri to ensure that others would be infected. He did it because Cancer Man wanted the Syndicate to know that the Russian vaccine was effective and that required a test subject. Marita was an unfortunate victim of her own personal agenda. Since it all placed the Syndicate in the same position, it was worth it for Krycek to let the Well-Manicured Man continue to believe in his own assumptions.

As with so many scenes with crashing UFOs, it doesn’t make much sense. What would cause the UFO to crash? One could assume that it’s a by-product of the “war in heaven”, but that may not be the case. What if the Rebels, coming from some point about 20 years in the future, have not perfected the technology allowing it? Loss of control of the UFO could simply be part of the process, which only an augmented human like the “shifters” could survive. As it is, it’s a deadly prospect, and as of this episode, the conspiracy has its hands on Rebel technology. (That’s important in terms of how the conspiracy advances its own UFO tech.)

Mulder is correct in believing that the control chip in Scully’s neck is central to the overall conspiracy. Not only was it key to the conspiracy’s plan to prepare the populace for migration to “lighthouses” in 2012, but it was also key to the completion of Phase II (direct biological reproduction of “shifter” drones). The control chip is just a nanotech analogue of the organ in the back of the neck of every “shifter”.

But Scully now has reason to believe that her memories are the only source of reliable information, even if those memories are suspect. Mulder is right to question his own memories, since his own inability to pinpoint the events of his sister’s abduction strongly suggests memory implantation. But Scully is right to believe that her own recollection, if it can be found past the barriers of her own filters and the control chip’s influence, could give them both a sense of direction.

Taking a step back to the “bad assumption” topic, there’s the Syndicate meeting, during which many viewers were probably under the impression that a ton of information was finally revealed. But that’s simply not the case; only the assumptions of the Syndicate were revealed. They assume that the “facial scarring” is self-protection, but they overlook the fact that “shifters” wouldn’t need to do something so primitive, and that Purity can get through a containment suit, never mind rough stitching.

The allusion to “the weapons and the magic” speaks to the connections between Navaho folklore and the overall mythology itself, but it brings up another interesting point. Cancer Man speaks of “twin brothers” who bring the “weapons and magic” to their father to “eliminate the monsters of the world”. He says this to Spender, in the hopes of reconciliation. But who are the “twin brothers”?

One is led to believe that it must be Mulder and Spender, but Krycek is the one who fulfills Cancer Man’s bidding more completely in this episode. Mulder also slips into his appointed role. As the series itself would seem to suggest on many occasions, the “twin brothers” could, in fact, be Mulder and Krycek. (This would fit within the theory that Krycek, like Mulder and Spender, are products of Cancer Man’s personal mission to sire humanity’s “future savior”.)

At any rate, the Syndicate betrays their own ignorance. Even the Well-Manicured Man doesn’t seem to recognize that the Rebels are far from the best ally. Part of that is the simple fact that the Rebels have been hidden from them until now, so the obvious connections between the “clones” used by the Colonists/Purity and the Rebel “shifters” aren’t in mind. But they don’t have a clue about how they have been used. In many respects, in the struggle for control over humanity’s evolution, the Syndicate is powerless.

The heart of this episode is Scully’s hypnosis session. Beyond being perhaps the most orgasmic experience for Scully on the series until “all things”, it’s also one of the most revealing moments. Mulder is forced to recognize that much of his newfound belief is ephemeral; a lot of his bluster was his own attempt to convince himself.

But her memories also provide a sense of how the war between Purity and the Rebels has been waged. Purity’s weapons seem designed to set the Rebels on fire, which is the same basic method used to kill those with control chips. This suggests a common weakness. Besides being very cheap relative to other more obvious effects, the lights suggest a very focused burst of some form of energy, probably microwave or magnetic in nature.

Mulder knows better than to think that this is all “typical abduction lore”, but he’s fighting his own realization that a military conspiracy can’t explain everything that he’s seen and experienced. It simply took Scully’s experience to get him to understand that.

Within the Syndicate, the decision to cut Cancer Man out of the game is finally leading to a lack of clear leadership. The Well-Manicured Man always wanted to do things his way, but his desire to resist Purity is not shared by those too concerned with their own survival to see the big picture. Regardless, this is another example of the weakness of the Syndicate.

The conversation between Krycek and Mulder is not unlike the conversation between Krycek and the Well-Manicured Man. It’s about managing beliefs. Cancer Man needs Mulder to believe again, just when the Syndicate can’t afford it, thus making Mulder a more dangerous and effective tool. Krycek therefore frames the truth within the lie that Cancer Man has propagated since the beginning.

That scene also helps to explain some of the dynamics in “Fight the Future”. The implication is that the Well-Manicured Man wanted help to prevent the loss of the captured Rebel, and so he turned to Mulder. That sets a precedent for the Well-Manicured Man to turn to Mulder when he has disagreement with the Syndicate. Cancer Man, of course, can use that, so it works out for everyone. (This assumes that Krycek is in contact with Cancer Man, but as “The End” would indicate, that was clearly the case.)

All of this comes together in a scene which threatens to unravel the intelligence of the episode as a whole. The writers had to leave some things open to interpretation, because they weren’t sure how the whole Rebel plot thread would unfold. Unfortunately, they decided to stage the scene so that not one person can possibly figure out what happened. It’s definitely an example of Carter choosing a “cool” moment over clear storytelling.

Here’s how it seems to be. The Syndicate sent their own “bounty hunter”, the “shifter” working for them in “Talitha Cumi” and “Herrenvolk”, to eliminate the Rebel. That suggests that the Syndicate was aware, to some extent, of the similarity between the “shifters” on both sides. Regardless, Mulder is there to stop this, or so one would assume.

Things get far more complicated (and needlessly so) when the Rebels arrive themselves to save their cohort. All well and good, except Mulder starts shooting for no apparent reason. Who he’s shooting at is a complete mystery, and no matter how one interprets it, it’s a stupid move. Yet Mulder gets away without a scratch (and certainly no effect from the “shifter” retrovirus) and there’s no sign as to what happened. The implication is that the bounty hunter was killed by the Rebels, but there’s no reason to believe it.

The point is that this ending takes all the wonderful intrigue and character work earlier in the episode and nearly derails it with a cheap and unnecessary ending. Sure, there’s the interesting information about Spender and his parentage, and all the implications thereof, but that resolution to the Rebel and his fate is horrible. It’s as if the writers had no idea how to make the scene work, so they just tossed things together.

More to the point, this problematic ending is linked to elements introduced to the mythology that add nothing to the intended resolution of the arc, which comes with “Fight the Future”. The Rebels are a complication that could and should have been avoided. The writers obviously had no idea what to do with them or how they fit into the big picture. Sticking with the vaccine question and the “lighthouses” would have been better, and while the Rebels were attached to those concepts in this two-part story, there could have been other ways to handle it.


Memorable Quotes

SPENDER: “I heard about this office. Really is in the basement…”

SCULLY: “I appreciate your opinion, Agent Spender, but I don’t have a mother feeding me abduction stories.”
SPENDER: “You’ve got Agent Mulder, don’t you?”

KRYCEK: “You must be losing it, Mulder. I could beat you with one hand.”
MULDER: “Isn’t that how you like to beat yourself?”


Final Analysis

Overall, this episode is a satisfying enough resolution to the first half of the story, but the ending leaves much to be desired. Like the previous episode, the need to add to the mythology for the sake of future seasons got in the way of paving the way for the feature film, and much of the intrigue is hard to unveil without proper context. Even so, there are some great moments in the episode, and from a character perspective, this is an important step.

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

Final Rating: 7/10

Medium 2.5: "Sweet Dreams"

Written by Moira Kirkland
Directed by Aaron Lipstadt

In which Allison has a dream about a childhood friend who moved to California, and in the course of trying to find out what happened, a case involving sexual deviance comes into play…


After a few strong episodes with effective use of a compelling hook, this episode was hard to classify. Overall, the mystery was intriguing, and it gave some interesting insight into Allison and her past history. But there were a number of scenes that were incredibly long and visually flat, and that took something away from the impact of the episode as a whole.

During the first season, a similar thing would happen. Whenever the topic turned towards sexual predation, a common enough element to violent crime, the writers would slow things down and linger over the resulting dialogue. The problem is not taking the situation and topic seriously; it’s taking it so seriously that the pacing suffers.

In a couple of scenes, I found myself becoming a bit bored, because the conversations were going on and on and there wasn’t even a score to keep it interesting. It was two people for several minutes, back and forth. Sometimes, that kind of thing will work, especially if it’s an animated discussion or critical to the characters. But when the conversations unfold at a slow and measured pace, it’s all about the investment in the characters.

For myself, I can only say that the characters weren’t compelling enough to maintain the intensity. I found it difficult to get into the story. While I appreciated how the whole package was put together, especially in terms of how Allison’s personal matters intersected with the case at hand, it just didn’t grab me the way the past few episodes have.

The difficulty, then, is figuring out whether or not it was the writing or my subjective mood. That’s a tough call. I think the decision to have more than one long stretch of dialogue wasn’t the smartest move, but I can understand what the writers were aiming for. And it’s hard to delve into uncomfortable sexual predation topics without taking a detached approach (like “CSI” or “Law and Order”). Allison, by the very nature of her ability, cannot detach herself from the direct impact of such crimes, and that makes striking a balance that much harder.

There were two things I felt were missing from the episode. One of them is probably a problem with the promotion of the episode: I was looking forward to seeing Allison as a young woman, especially since they went to the trouble of finding an actress who looked a lot like a young Patricia and also an older version of the girls. That side of the episode was a very small piece of the puzzle, which is unfortunate. (Oh, and the actress was hot, so I wanted to see more!)

The family life was also minimized because of the complexity of the case and the long stretches of dialogue. I’ve said it before: that aspect of the series is my personal favorite, and so I’m less likely to enjoy an episode if that element is not present. There were still many things to like, but in terms of my own preferences, this wasn’t the best.

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

Final Rating: 6/10

Supernatural 1.6: "Skin"

Written by John Shiban
Directed by Robert Duncan McNeill

In which Sam visits an old friend from college with a personal problem, but when the brothers look into the situation, he and Dean find themselves face to face with a shapeshifter…


In my comments on earlier episodes, I mentioned that Dean was becoming a far more compelling character than Sam. After this episode, I still feel that this is the case. What’s more, I think the writers are beginning to recognize it. This is ostensibly Sam’s episode, delving into his world and his emotions. Yet what I took away from it was a better sense of Dean’s issue with Sam and his previous life.

Sam was the one who escaped, and for that reason alone, Sam should have a lot of internal conflict with his current situation. He thought he had escaped his past, and it came back to bite him. Intersections with his old life are almost impossible, because he has to lie to them, and there’s an inevitable barrier of deception.

Jared plays the character as someone trying to contain his broiling emotions behind a flat affect, which can work if there’s sufficient acting ability. Think of Edward Olmos on “Battlestar: Galactica” and how clearly he can communicate with just a minimal shift of facial expression. Jared doesn’t have that, and so what is meant to seem like an extreme bit of conflict doesn’t necessarily shine through. Contrast that to Jensen’s ability to convey an entire story with one smirk, and there’s a huge difference.

It wouldn’t be so obvious if there were several lead characters, but this is a two-man show. Jared and Jensen need to carry the story forward on a roughly equal basis. Unless, of course, the writers play Dean as the lead character and Sam as the “straight man”, which is where I think the scripts are slowly but surely going.

This is an example of where the exception proves the rule. Take the focus off Dean and place it on Sam’s world, and it’s just not as much fun. That’s why it was far more interesting to hear all the things that Dean felt about Sam, and why it would have been better to hear a lot more. One can feel for Dean and get a sense of how wounded he really is. Sam, for all that his world has turned upside down, doesn’t connect as quickly or easily with the audience at large.

This is another episode with a lot of similarities to old “X-Files” episodes. In this case, it’s a much darker take on the concept in “Small Potatoes”, right down to the shedding of skin on a regular basis. I found that less interesting as a result, but I did find the darker side rather intriguing. I always go for the more psychological aspect of a story, and in this case, the brutality of the skinwalker betrayed a deep psychological deformity.

Also interesting is this ongoing hint that many aspects of the “supernatural” involve a component of telepathic ability, or more broadly, memory appropriation. Not only that but there seems to be a sharing of information, perhaps indicative of a common source of memory or, more disturbing, a hierarchy dictating how to react should the Winchesters came calling. It doesn’t just make this episode more interesting by allowing Dean’s hidden issues come to light; it also adds flavor to the overall mythology.

While the direction was strong and the intent of the story was quite clear, I’m not sure that they took the concept far enough. Also, no matter how hot Sam’s friends might have been (or unusually thin), they simply aren’t compelling. Jess was never all that interesting, even with that costume in the pilot, and Mandy is equally bland. Then again, the women are almost always eye candy, so perhaps that’s not so important in the end.

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

Final Rating: 6/10

Smallville 5.3: "Hidden"

Written by Kelly Souders and Brian Peterson
Directed by Whitney Ransick

In which Clark, trying to stop a madman bent on destroying Smallville, is shot to death, prompting his resurrection and restoration by Jor-El, but the price is higher than Clark expects…


This is the kind of episode that I both love and hate. I love many of the scenes in terms of their own content and presentation. A lot of moments hit home exactly as the writers intended. But I hate some of the choices that were made in terms of the overall story. This is especially the case when it comes to Clark’s resurrection and the overall reaction to it.

So Smallville had its share of nuclear missile silos; I suppose that’s easy enough to accept, though one has to wonder how the rain of meteor rocks didn’t set one or two of the warheads off, given the effect of kryptonite on nearly everything else. Whatever the case, I suppose it was just a matter of time before some maniac decided to use those weapons against the mutated populace. Having that person be obsessed over Chloe (a natural enough phenomenon) gives the premise a little more heft.

It is one of the basic tenets of the series that Clark is ga-ga over Lana despite the fact that he acts as though he cares just as much for Chloe. It’s just that the stars go in his eyes when Lana’s around, because she’s been the focus of his obsession for years. Even so, his actions with Lana are complicated by the fact that she’s in the dark about his true nature, and Clark thinks that he’s protecting himself and Lana by not telling the truth. Whatever his reasons in the beginning, it’s definitely an issue now, though the writers have to jump through silly hoops to maintain it.

Chloe, on the other hand, knows all about Clark and his unique nature, and she still doesn’t turn her back on him. I’m not saying that Chloe is more worthy than Lana; as much as I prefer Chloe myself, I don’t hold anything against Lana, as I know others do. It’s simply that Clark isn’t looking at the big picture. He definitely doesn’t want to see Chloe hurt, and he basically puts his life on the line for her in this episode, so there’s something there, even if it’s love for a close friend. Chloe has no issues with his true nature and supports him in his decisions to save the world, and she’s put her life in the line to protect that secret.

Of course, drama is built on complication, and in this case, there’s more complication with Lana. Chloe isn’t shocked by Clark’s survival; Lana ought to be nearly catatonic at the whole situation. Instead she pulls the ultimate Scully and insists that Clark is normal despite the fact that he died right in front of her eyes and showed up without a scratch hours later. And of course, as one might have predicted, Clark has to accept that he’s not human and never will be, and that there is a price for turning his back on his legacy.

Speaking of which, this is where the story didn’t work for me. For one thing, Clark’s reversion to his former state occurs far too quickly. For this plot element to work best, it needed more time to establish itself. Making it such a short-term plot element betrays its true purpose: allowing the Clark/Lana relationship to culminate just long enough to make Clark’s restoration a major issue.

There’s also this issue of the consequence of Clark’s decision not to return to the Fortress of Solitude at the appointed time, which is coming back to haunt him. I like the idea of Lionel Luthor being the temporary “familiar” for Jor-El, since it allows Jor-El to be a more direct presence in Clark’s life. It also adds another thing to Lex’s list of possible grievances against Clark. But the whole “life for life” thing is a bit contrived.

So who would be the likely victim? My money is on Jonathan or Chloe. Jonathan would be the continuity-conscious favorite, because he must die at some point. But that wouldn’t be very shocking, given the past troubles in that regard, so would the writers retread? If it’s a question of shock value, or stabbing at the heart of Clark’s support system, then Chloe is a more dramatically satisfying victim.

Whatever the case, this was an episode with plenty of strong scenes that were, in my opinion, tied together with a rather weak context.

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

Final Rating: 7/10

Threshold 1.6: "Pulse"

Written by Mike Sussman
Directed by Bill Norton

In which Caffrey and the Red Team track down a DJ in Miami who mixed the bio-forming signal into dance music, but who might not be aware of what she’s doing or why…


I’ve been down on this series lately, largely because of my own impressions of where the concept would logically progress. Granted, that’s fairly arrogant, and it would be easy for me to say that it’s all a matter of preference and my own particular tastes. But then the writers dropped this episode into the schedule, and suddenly, they’re doing things the way I had hoped they would.

One thing I liked about the series from the beginning was the conflict between the needs of the Threshold Protocol and the individual rights of the team members and/or the general populace. In essence, I was under the impression that Threshold could pretty much do whatever they wanted, with impunity, to get the job done. Granted, there is a certain value in the inter-agency give and take that could happen instead, but the premise itself is geared towards abuse of power, not frustrations over lack of authority.

That’s why this episode is such a good example of what this series can and should accomplish, and why I think the writers are still trying to strike the right balance. In the previous episode, it was all they could do to get minimal support. In fact, in some instances, the back-up was woefully non-existent. This episode is in stark contrast: instead of having inter-agency issues, vast resources are at the fingertips of the Red Team, right down to a secret EMP bomb.

Using such an extreme measure against an entire city like Miami is the kind of thing that should be status quo for this series. The threat is that vast, after all, and they apparently have the authority to pose as agents of other government agencies without penalty. They can immediately and without penalty revoke individual civil rights. They can bring about public and private financial ruin at the drop of a dime, and they’ll get full support in doing so. That’s very different from the circumstances of the previous episode.

And logically, at least from my point of view, any agency with such responsibility would need that kind of authority to get the job done. Caffrey and the Red Team would take stock of a situation, determine the scope, and mobilize local, regional, and national resources to resolve the issue, and move on. In other words, as the contingency expert, Caffrey should be focusing on the big picture. She’s far too hands-on, and in this episode, at least, we get to see the consequences.

Karen wasn’t the most memorable or sympathetic character in the world, but it definitely put Caffrey in a particular bind. Caffrey wants to believe (and really needs to believe) that the alien bio-forming can be reversed. That’s important because if it’s not possible, the stakes are greatly magnified with every marginal success. If it’s all or nothing, then Threshold must take extreme measures early to prevent mass infection.

That’s the logic driving this episode, and that’s why I enjoyed it. The Red Team should be struggling, like Caffrey in this episode, with the knowledge that they need to do terrible and calamitous things in the name of saving humanity. Over time, it should weigh on them. Caffrey’s just the beginning, and over time, it should be interesting to see if she hardens her response to the point of being harsh with members of her team who haven’t gotten to that point.

I also like the idea of the alien signal being like a computer virus, to a certain extent, though it raises a rather interesting continuity question. If that’s the case, the signal probably should have been propagating before this point. Still, it could make sense that this is the first mass broadcast of the signal, which would explain why this is the first time the signal has imprinted itself everywhere.

We also now know that once the process of bio-forming begins in a biologically adult human, male or female, the process cannot be stopped. However, studying the process from inception to complete conversion is an important step in learning how to counter it. I see the Red Team coming to terms with the fact that the infected will be lab rats and little else, because they really don’t have a choice. If the writers stick with this kind of extreme circumstance, they could get into the character exploration more deeply, and that would be a good thing.

One last point. The reason why I think this “big picture” response is so critical is the nature of the series itself. The circumstances from episode to episode shift and change. Consequences seem to be left aside for the moment. For instance, the decision to drop the EMP bomb on Miami wasn’t the start of a long-term containment battle. It was done, the casualties were light, and the team moved on. If the series keeps that wide scope going, then the Red Team should also be dealing with a wide scope of authority and resources. Episodes like this are the perfect example.

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

Final Rating: 8/10

West Wing 7.4: "Mr. Frost"

Written by Alex Graves
Directed by Andrew Bernstein

In which the White House must face with an international crisis while also dealing with the investigation into the security leak, while Santos runs into a touchy subject on the campaign trail…


Before I even get into this episode, I wanted to say that this is the best episode of the season, from my point of view. As much as the action at the White House has become less and less interesting over the past season or so, there were a number of elements to this episode that brought back some wistful memories of days gone by. In short, this episode made it very clear that this is an administration, and very likely a series, in its waning months.

I’ll note that my conjecture about the leak was correct, but I take little pleasure in it. Toby used to be a character with a lot more to do, and his rapid decline in importance has been an interesting if saddening character arc. Toby was once defined by a strong desire to do the right thing, even when it’s foolhardy, and this feels like the last gasp of an idealist. This will not end well for Toby, and in a way, looking back, it’s hard to imagine how it could have been different. He’s just not someone who would slide into obscurity.

Unlike some of the recent episodes, this one was chock full of plot threads. There’s the breakdown of Bartlet’s Middle Eastern peace plan, which is another metaphor for his influence on the world. Bartlet was quite obviously searching for some place in the annals of history, beyond his censure and scandals, and he thought he had found it. Now, he’s up against an even larger force of history. Contrast this Bartlet to the man who strutted upon the stage in the first season, and the weariness and age are devastatingly apparent.

It’s an episode like this, similar and yet so very different from the early seasons, that makes me thankful that the series came this far. Sure, it would have been easy to end the series with the lighter, more energetic and idealistic administration that marked the Sorkin years. But the past few seasons have told the other side of the story. Even in the early seasons, there were darker times, moments when it was clear that the best days might never come again.

Inevitably there are those who would like to stay within the safe and comfortable confines of the first three or four seasons, when the heroes won the day with wit and endless energy and everything was full of promise. But like every administration, that cannot be forever, and there’s the need for a rightful heir.

I think Bartlet would, in other circumstances, find Santos’ answer about “intelligent design” to be a good and reasoned stance on a divisive topic. It also happens to fall squarely in line with my own stance on the subject. I happen to think that answers borne of belief in a given religion, whatever that religion might be, are best taught by the teachers of religion. Secular science is best taught within the secular realm. Overlap should be incidental. Santos framed it perfectly, and within that delicate structure of thought and reason was a reflection of the early Bartlet. Just a glimpse, but a reflection all the same.

Other moments added grace notes to the episode: Leo’s concerns about how being served might destroy the integrity of the Santos/McGarry campaign, the short bursts of a too-absent Charlie, the quirky “flirtation” from Annabeth, even the travails of CJ and her attempts to get some sleep. There wasn’t much dead space in this episode, which is a very good thing. More episodes like this would be much appreciated.

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

Final Rating: 8/10