Medium 2.10: "The Reckoning"

Written by Moira Kirkland
Directed by Aaron Lipstadt

In which Allison dreams about a car crash and a woman with a serious haunting problem, while Ariel has a daunting vision of her own, all of which prompt Joe to offer his own solutions…


I’m sure by now that my comments are beginning to sound redundant, but I have to point to the consistency of the writers rather than my own lack of imagination! If they weren’t putting the same solid elements into every episode, damn it, then I wouldn’t be praising the same things, over and over again!

The mystery was an interesting take on a haunting, with a nice undertone of hostility along the way. But as usual, I didn’t see that as the primary focus of the episode. It was, instead, a way to explore the shift in Joe’s focus since the beginning of the series. Right from the beginning, we see how things have changed. Joe has gone from countering Allison’s ability with rationality to helping Allison approach her response to visions with rationality.

Perhaps predictably, this doesn’t necessarily go over any better with Allison, which gets back to that “intuition vs. logic” thing that was highlighted during “Judge, Jury, Executioner”. Joe is an engineer, and more importantly, a man. Men, and especially engineers, tend to be “problem solvers”. Present a problem, and the engineer will immediately propose a solution to said problem.

That doesn’t just apply to Allison’s vision; it also applies to Ariel’s vision. Joe gets the information and wants to act on it. It gets into his head and becomes a problem to solve. As a male engineer with a near-psychotic need to analyze everything to death (hence, the reviews), I completely understand and sympathize with Joe and his point of view.

But I also recognize the source of Allison’s reaction. Inevitably, people who are not compulsive problem-solvers don’t necessarily take kindly to someone coming along and laying out the rational response. This is especially true if that person is used to approaching problems from a more intuitive perspective. Sure, Allison and Ariel discuss their problems (more or less), but that doesn’t automatically mean they want somebody to step in and hand them an action plan.

I enjoyed this episode because Joe’s solution to approach things proactively is no better than Allison’s decision to approach things reactively. Ariel’s side of the story also added another layer of complication to the whole concept. It’s bad enough dealing with Allison’s gift; Ariel is far too young to deal with the depth of suffering that the gift mandates. It’s a great reminder that Allison and Joe have more than just the usual growing pains to look forward to.

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

Final Rating: 8/10

Prison Break 1.13: "End of the Tunnel"

Written by Paul Scheuring
Directed by Sanford Bookstaver

In which the day before the execution arrives, and Michael must attempt to overcome several challenges to implement his plan, while Veronica tries to get a stay on the execution…


There has been much talk and knashing of teeth over this whole “fall finale” business, and to a certain extent, I have to agree. Fox designed this schedule as if it expected “Prison Break” to fail, despite the fact that it was one of the most anticipated series of the season. Once again, it is impossible to understand the thought process of the typical Fox executive. It’s going to be a long, long wait until March (and where do they intend to put the series then?).

On the other hand, I must admit, this cliffhanger is one hell of a great place to pause and reflect, especially since the escape plan hits snag that is best described as catastrophic. I guess Michael never heard of Murphy’s Law, hmm? Though, as usual, things only happen at the perfect or worst time on this series. None of the personnel notice the holes in walls, but they jump right on the drain that sounds a little “off”!

One of the best aspects of the episode had to be Michael’s slow but steady nervous breakdown. The man is seriously close to something ugly, especially since it’s beginning to dawn on him that failure means the death of his brother and several more years in prison with the likes of T-Bag and Bellick. That would be enough to drive any man crazy, but considering the time and effort he put into the plan, having everything fall apart at the end might just overcome his sanity.

So Abruzzi is dead (complete with rumors of trouble with the actor), Lincoln is down to his final days, and halfway through the escape, the plan hits a major snag. Never mind the fact that a lot of people have heard enough to wonder about the PI crew; how are they going to avoid the fact that they are stuck in that room with a guard seconds away and T-Bag throwing down at the worst possible moment? Good stuff, all around.

Even the Veronica-centric plot threads were full of the goodness, even if they were largely predictably. Sure, we all knew that Veronica would have her source killed and the information stolen at the last moment, thus undermining her credibility with the press, but it still made for fun prime time viewing. And it was interesting to see how Veronica’s efforts actually threatened to derail Michael’s escape plan.

In terms of the typical season arc structure, this episode is pretty close to the end of the “complication” phase. Usually that comes around episode 14-16. The writers took the escape plan far enough that backtracking will be hard to justify, so the question is: will Michael be forced to abandon his escape plan and develop something on the fly? Or will the escape actually continue forward and culminate in the next episode or two? There’s still a lot of ground to cover in the first season (9 episodes, at least), so it really could go in any direction.

One thing that I really love about this series is the pre-planning. The man running the show has mapped out the series for at least the first two seasons, and he clearly has a broad concept of where he wants to go from there. In the meantime, the key is to have fun without over-thinking it. Contrast this with “24”, which has the same “mindless” entertainment value, but often hits the skids when the writers don’t know where to jump next. This series is an example of how consistently entertaining this kind of series can be when the writers know where they’re going and can focus on making it as exciting as possible. And that’s why it will be a long wait until March.

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

Final Rating: 8/10

Lost 2.8: "Collision"

Written by Leonard Dick and Javier Grillo-Marxuach
Directed by Stephen Williams

In which Ana holds Sayid hostage in the wake of her accidental shooting of Shannon, and as her allies abandon her, Jack and the others get a rude awakening about the raft and their lives…


Status Report

Just when it seems like the introductory phase of the season is over, the writers tack on another episode worth of angst and delay to the process. Granted, they have plenty of time to work with, and some important conflicts are raised during the episode, but the time has come to trigger those conflicts in earnest.

Airing this episode just prior to the holiday (Thanksgiving in the US) may not have been the best idea, if only because the ratings suggest that many people were on the road or otherwise unable to catch the episode. (Some speculate that the focus on Ana Lucia was the cause for the dip in ratings, but that just betrays a complete lack of understanding when it comes to ratings. If it was a response to creative choices, then it was a response to the previous episode!)

The structure of the episode seems designed for two purposes: to give Ana and Sayid something in common, for the purposes of delaying the confrontation that must inevitably occur between them, and to highlight the differences between the two tribes. A lot of fans are missing the entire point of Ana’s less-than-positive introduction over the past several episodes: she’s not supposed to be liked. This is a character at a serious low point, a person struggling with a steady but unending loss of control.

The writers intentionally didn’t show Ana before her shooting incident, because it’s far more interesting to see the process of change that is clearly coming over the course of the season. Much like Jin and Sawyer, Ana starts out as a villain, someone to hate. The fact that she was a cop who lost her child during a shooting incident doesn’t change that. What it does do is establish why she assumed that Sayid would try to kill her.

Ana’s history suggests a form of tunnel vision: Ana no longer has perspective to see past her own emotional issues. She can’t imagine anyone understanding her point of view, and so she can’t trust anyone else to see to her best interests. Nor can she imagine anyone in a similar situation making a different set of choices. She killed the man who killed her baby, so in turn, she can’t understand why Sayid wouldn’t kill her for killing Shannon.

The fact is, he might have done so, if he hadn’t been forced to think things through and consider a more civilized response. That doesn’t mean that the rest of the JackLocke Tribe is going to be so willing to set aside vengeance and hatred. Certainly Jack is going to have issues! That ought to be interesting to watch, considering that Jack is likely to take the pragmatic approach and treat her like a wolf among the fold.

On the other hand, Ana is primed for a redemptive character arc. The writers have covered the downward spiral: loss of child, vengeance killing, plane crash, etc. It all culminates in what could be seen as a form of attempted suicide when she gives Sayid the chance to kill her. If Sayid wasn’t a man with his own demons, she might have gotten her wish. So now, where does she go from here?

Locke might have a few ideas about that, but he might have his own issues to deal with, now that his role as “shaman” involves competition. Eko seems to be cast in the same mold as Shepherd Book from “Firefly”: a man who understands violence but has turned to God for a new way of life. In that sense, he probably would champion the moral precepts of an ideal Christianity, which would not fit very well with Locke’s more naturalistic faith.

For example, Eko’s choices seem to be more aligned with doing the right thing for those in need, not what would be best for Eko. It speaks to a certain religious archetype: the spiritual leader who lives for the welfare of his people, not as a pseudo-avatar for his deity. Locke, on the other hand, has a belief system that revolves almost entirely around his own sense of destiny. He assigns meaning to events based on what he needs them to signify. It’s a very self-serving brand of spiritualism.

As the writers mentioned in the podcast for this episode (another reason for the delay of this review), the trick was to get the survivors from the raft and the new characters into the world of the JackLocke Tribe without resorting to an endless series of exposition dumps. This is where Ana’s breakdown comes in handy: people are running around far too much to ask questions. This also allows the characters to make split-second decisions that represent changes in the status quo.

Jack and Kate begin the episode playing golf, which couldn’t be a more perfect example of how much better they’ve had it over the AnaLucia Tribe. Sure, they’ve dealt with tragedy and there’s been hardship, but overall, the JackLocke Tribe has had it easy. Imagine Ana’s reaction to the apparent comforts of the caves, the hatch, and a set of golf clubs. In comparison, the JackLocke Tribe has been living at a resort with crappy service. There’s even a tent set aside for romantic getaways now!

But then Eko comes along with Sawyer over his shoulders, and things get complicated. Suddenly Jack is forced to choose between being the leader/doctor and being Kate’s potential love interest. The writers reiterate in the podcast what has been readily apparent since the very beginning: Jack and Sawyer embody two sides of Kate’s ideal man, and she doesn’t know what to do about that. Jack doesn’t either, which clearly doesn’t help his mood.

Even so, when it comes to dealing with Ana and the apparent hostage situation, Jack’s first response is to get armed. Contrast this with the Jack seen in the first season; Jack used to be a lot more concerned about using a gun. Indeed, this is an interesting plot point. Previously, there was a limited ability to enact easy violence; now, it’s all too easy. There’s every reason to believe that use of the weapons will become an issue if Jack’s leadership is threatened by future incursions by the Others.

There were a few drawbacks. The same plot structure that kept the episode from becoming an endless exposition dump also prevented the writers from delving too deeply into the less prominent characters. As much as the writers needed to get Kate back into the plot, now that Sawyer has returned, her initial favorable attitude with Jack doesn’t quite track with her attitude from “Orientation”. After all, only a few days have passed on the island; shouldn’t she still be angry with him?

Yes, there are some nice reunions (Jin/Sun and Rose/Bernard), and now that all the players are on the same side of the island, the focus should return, but there wasn’t much time for the smaller character beats this time around. That takes something away from the episode, and since the focus remains on one of the new characters, there’s the inevitable feeling that the existing characters are being ignored to a certain extent.

At the same time, it’s hard to imagine how that could have been avoided. The season is only eight episodes old, and nearly half of that material was the premiere itself. There hasn’t been much time, given the established pacing, to flesh out the story. So much time needed to be spent on the other side of the island, and that left little for the existing cast, beyond establishing the conflicts within the tribe as a result of the first season finale. So the problem was really living with the consequences of the decision to introduce the other side of the island and the new tribe.

That doesn’t mean that time has been wasted. It just means that the writers should use the next phase of the season arc to focus on the fundamentals and return some depth to the story. The emotional resonance between Ana and Sayid was a good start. If the promos are to be believed, the next episode will bring Kate and her emotional issues back into the forefront, which should force many of the conflicts on the table to escalate. Placing Ana into a more organic role within the existing tribe, in terms of her issues, should also help the audience see her as less of an intrusion.


Final Analysis

Overall, this episode might finally represent the end of the introductory phase of the season arc, since the two tribes are now reunited and the conflicts for the rest of the season are effectively established. While some might find it annoying to have another episode with such a strong focus on Ana Lucia, her character’s descent should serve to place conflicts in context and keep things fresh. What the series needs, however, is a return to the layered storytelling that made it unique.

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

Final Rating: 7/10

Medium 2.9: "Still Life"

Written by Craig Sweeny
Directed by Robert Duncan McNeill

In which Allison has visions related to an artist and the murder of a woman, which lead to problems for Devalos, while Joe gets an offer that he may have to refuse…


I was a bit wary about this episode, because I really don’t like it when a gimmick overshadows the point of the story. It’s something that many shows struggle with during sweeps, when networks push producers to one-up the competition. That’s exactly what this episode sounded like, but thankfully, the 3-D effect was little more than window-dressing. (We didn’t wear the glasses, so the 3-D was somewhat lost on us.)

While the case itself was very much in the forefront, that mystery was not very hard to work out. Once all the clues were on the table, the motive was fairly obvious. If this were an inferior series, that would have stolen some of the power from the episode. But there were two aspects that made this a little more interesting than the conventional crime drama.

Devalos and his political concerns add another layer to Allison’s input. Now it’s not simply a matter of giving law enforcement an edge. It’s a matter of giving Devalos just enough direction to make the case on the evidence, and how getting the time and latitude to make that happen can be harder than pinning down the meaning of a vision.

More substantial was the exploration of Joe’s career path and how Allison’s ability factored into his decision. As an engineer with career often in mind, I can sympathize with Joe and his father’s reasons for interfering. As it stands, Joe’s schedule could become a lot less flexible, should he get his boss’ position, but it’s nothing compared to the demands he would have encountered.

The writers could have spent more time on the gimmick, but instead, they focused several scenes on Joe and his emotional roller-coaster. He manages to hold a lot back, but he was clearly trying to decide whether to follow his instincts and dreams or follow Allison’s vision. The fact that the information came from his father couldn’t have been comforting. As usual, his part in the story is a highlight for me.

As an aside: some ask why I’ve been “easier” on “Medium” than I was on the most recent episodes of “Dead Zone”, despite a number of similarities. Here’s the difference, for my point of view. “Dead Zone” started with a number of similar elements: Johnny had many personal connections and situations to work out while also solving mysteries brought forward by his abilities. But more recent episodes have not maintained the same level of personal impact, and his interaction with law enforcement doesn’t have the same level of complexity.

It remains to be seen if those issues will continue to plague “Dead Zone” (and admittedly, those are just my feelings on the subject, under much debate). But the writers of “Medium” should continue to develop the world around Allison and maintain the depth of storytelling. The complexities of her professional and family worlds are the heart and soul of the series.

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

Final Rating: 7/10

Invasion 1.9: "The Dredge"

Written by Reed Steiner and Jill Blotevogel
Directed by Michael Nankin

In which the discovery of a contaminated pond leads Russell to a violent decision, which prompts Larkin to investigate his past, while Mariel finds an unlikely ally in her search for answers…


A lot of people are searching for answers in this episode, and characters are given depth in terms of how they answer those questions. I found that each moment of truth became more and more compelling. Quite against my expectations, despite my relative lack of enthusiasm, I found myself enjoying this installment. Now that the characters are established and the lines are blurring, the complexity is beginning to emerge.

I really liked the focus on Dave. The fact is, Dave serves as something of a voice for the audience. He makes the same kind of assumptions based on “evidence” that he either works out for himself or discovers, and he seems to be more right than wrong. In essence, he’s doing exactly what Larkin seems to think she’s doing, but with far more success. At least, that was the case until this episode: now he’s stepped directly into the firing line.

He may think that the Pod People are buying his act, but why wouldn’t they be equally interested in how much he’s uncovered and who else knows? He’s letting his enthusiasm overcome his judgment, which seems in line with what has been revealed about him thus far. But if the goal of the “aliens” is not malevolent, if there is a deeper purpose to it all, perhaps they would find value in his perspective. He certainly seems to be helping Mariel.

Mariel, of course, is the other side of the equation. She seems to be a lot more conflicted than the other Pod People, and she wants to find answers outside of their little prayer circle. At first, her association with Dave seemed forced, but as the episode wore on, it actually began to make sense. They are the only people who really have no reason to expect anything from each other within the family dynamic.

Russell’s past, in relation to current events, will likely play a role in future plot progression. If Underlay begins to see Russell as a threat to whatever is happening, he could use Russell’s indiscretion against him. In fact, that probably would have happened, if Underlay didn’t think that throwing Mariel off the trail was more important. Underlay’s denial is going to get him into serious trouble, especially with his wife, because sense of purpose has clearly been a source of confidence. Without that assurance, how will he react?

The overall mystery deepens. Just what did the alligator eat? Was it one of the “aliens”, or was it a Pod Person? Was it something else entirely? Perhaps there is a by-product of the Pod process which results in the chemical breakdown. Or is the acidity related to the “alien” biology, ala the “Alien” films? Whatever the case, this discovery is sure to play a major role in the next few episodes.

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

Final Rating: 8/10

Supernatural 1.10: "Asylum"

Written by Richard Hatem
Directed by Guy Bee

In which the Winchesters investigate an asylum linked to a haunting and a recent murder/suicide, and when they are trapped in the building, resentments come to the surface…


One vice I have (beyond being a genre television junkie) is paranormal subject matter, even if I can see right through it. And by this I mean the current foray into “ghost hunting” shows. They range from the more professional fare of “Ghost Hunters” to the absolute farce of “Most Haunted”. There’s a certain degree of entertainment to be had, to be sure, and part of that is the inherent creepiness of an abandoned building with questionable history.

The writers clearly borrow from that source material in this episode, especially in terms of production design. I have no idea if this was filmed in an actual abandoned building with that level of disrepair, or if this was one rather impressive set design, but the atmosphere was perfect for the premise. Having seen plenty of footage of abandoned asylums and what not over the past few years, I thought the episode looked genuine and that helped tremendously.

As the season progresses, the dynamic between Dean and Sam becomes stronger, and the actors are growing in those roles by leaps and bounds. One element of the series that I can’t stress enough is the complex and realistic depiction of two brothers with differing philosophies. Dean is the kind of son that wants to become his father in nearly every respect, and Sam is the prodigal son who wants to determine his own destiny. There are layers and layers to that conflict, most of which defy generalization, and that’s the heart and soul of the series.

It’s that conflict that drives the episode. Without it, it’s a fairly standard concept: haunted house with a deadly reputation, frequently by stupid teenagers looking for a thrill, finally gets investigated. Hilarity ensues. It plays out in the by-the-book fashion in more than a few scenes, right down to Dean lecturing Kat about learning from horror films while ignoring the most basic of signs of activity.

This is one area where the writers sometimes stumble. Dean and Sam are supposed to be experts on dealing with the paranormal, based on years of experience and instruction. Most of the time, they actually sound like they know what they’re doing. So why would they act so surprised and clueless when their flashlights suddenly don’t work…a time-honored sign that a theoretical entity is drawing energy?

The writers also take the easy (if logical) road of having Dean and Sam caught between protecting stupid teens and themselves. Dean and Sam rattle off a dozen reasons not to be alone in the asylum, and yet they split up anyway. Gavin and Kat were largely to blame. As annoying as they were, I must admit, they reminded me of myself and my friends in high school, rushing where angels fear to tread just to see what would happen. (And yes, that included “ghost hunting”, though not at all scientifically!)

Had that been the extent of it, the episode might have been a nice, atmospheric tale with too many clichés. But this was not about the haunting itself. It was about Sam’s resentment, and the vast amount of anger he transfers from his father to Dean, all because Dean tries to be just like their father. The writers have done one hell of a job of exploring all the negative emotions that the brothers try to keep back, establishing them consistently enough that those emotions will seem authentic when they are finally unleashed.

Which, I believe, is the point of having John contact them at this stage of the game. The writers have made it clear that Sam and Dean still see this as a temporary arrangement, especially on Sam’s part. In that respect, they are operating at an uncomfortable equilibrium. Adding the stressor of their father to the mix, even just phone contact, will push them out of balance. And ultimately, Sam and Dean must conclude that they need to keep working together. The process of getting to that point has taken another big step in another solid episode.

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

Final Rating: 8/10

Prison Break 1.12: "Odd Man Out"

In which tension mounts within the Escape Squad as the deadline looms and someone must be dropped from the plan, while Michael makes the final preparations for the break…


I’m not even sure where to begin with this episode. It had me completely entertained throughout the entire hour. Whatever reservations I might have had regarding suspension of disbelief have been sufficiently addressed. If something can go wrong, it will, and people can make impulsive, fatal decisions. Three characters make bad choices in this episode, and those choices will no doubt resonate through the rest of the season.

I found it fascinating that Abruzzi would have such an abrupt change of heart, and though it was a little convenient in terms of timing, it worked on a certain level. When he nearly broke down at the news about T-Bag’s nephew, it was completely believable. I am endlessly appreciative for how well the writers have manipulated the audience into cheering on a bunch of convicts, and how much they made me like Abruzzi.

However, his decision to forgive T-Bag and give him a chance to do the right thing was incredibly ill-advised. I was actually expecting what happened, which was part of the power of the scene. You knew what was coming, but it still had to play out. Of course, in a perfect world, the two of them would have taken each other out, but the tension now should really go off the scale. After all, Abruzzi was critical to Michael’s plan.

The second very bad decision was made by that incredibly annoying new inmate, whose name I can’t remember. Any deal made with Bellick is a bad deal. I’m not sure where they’re going with Bellick now, especially since there’s only one episode until the deadline for Lincoln, but he’s definitely gunning for Michael and he could easily uncover the plot at the last minute. The new guy is just begging to be killed!

The third very bad decision, of course, is Lincoln’s decision to hit the guard. Sure, the circumstances gave him few options, but there had to be a better way! And it had to come, of course, on the heels of so much drama and intrigue to figure out who would be the odd man out. Michael must be ready for some violence at this point.

I would also say that the Secret Service agent made a mistake by jumping onto Veronica’s Save Lincoln campaign, but I wonder if that will, in fact, lead to a stay of Lincoln’s execution so that the escape plot will be postponed until the end of the season. I suppose we’ll just have to see what happens with the next episode.

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

Final Rating: 8/10

Smallville 5.8: "Solitude"

Written by Todd Slavkin and Darren Swimmer
Directed by Paul Shapiro

In which Martha becomes infected by a Kryptonian attack, and Clark becomes convinced that Jor-El was the source and that Professor Fine holds the cure to the disease…


Better late than never! A rather nasty cold took me out over the weekend, so I didn’t get to see this episode until last night. This was a nasty way to tease Clark over the fact that someone close to him is going to die, but that’s not where the main criticism lies. It has more to do with subtlety, or rather, the lack thereof.

Before I go on, I will say that I enjoyed the episode for what it was. It had some emotional depth, the usual intrigue over who knows what about whom, and a nice battle between Clark and Fine. I thought the various hints about Lois and her future with the Daily Planet were fun, if a little obvious, and I can’t help but enjoy the fact that elements of “Superman II” are still going strong. Sure, it was revised for this series, but it’s still fun, especially since I’m not even close to being a purist.

At the same time, I like it when motivations are somewhat less than obvious. My main problem with this episode is how quickly it lays everything out on the table. One thing I liked about Fine thus far was his lack of obvious menace. The writers made it clear that he was connected to the two “Disciples of Zod” (or whatever they were called), and this episode follows up on that. However, I wonder if it might have been more interesting to leave both Jor-El and Zod, as well as their supporters, equally questionable in their practices.

One thing that I’ve always liked about “Smallville” was the hint that Jor-El wasn’t quite so benevolent as the popular impression of him has become. I never remembered Jor-El as anything more than the doomed monarch of Krypton (again, not a DC fan, don’t know the comic version well at all). This series made his goals far more ominous, especially in terms of how Kal-El was supposed to reign over humanity. His actions thus far have always been murky yet reliably self-interested, and that plays directly into Fine’s hands.

It might have been better to let Zod remain an attractive alternative to Jor-El. Imagine the possibility of Fine as a philosophical messenger for Zod, trying to convince Clark to join Zod through relative morality. It would have been an interesting three-fold path for Clark: the “Boy Scout” morality of the Kents vs. the two sides of the Kryptonian struggle, both of which would vie for Clark’s support.

Such a conflict would have forced Clark to find his own sense of morality and purpose, rather than simply echoing what the Kents have taught him. After all, in the end, Clark must stand apart from humanity as its advocate. Thus Clark must decide, as a Kryptonian, why that is the right choice. The Kents show him the best aspects of humanity, but they cannot teach him how to apply his legacy to his future. Clark must decide that through exclusion.

So while I enjoyed the smackdown well enough, I was somewhat disappointed in the fact that Zod’s point of view became something so clearly defined as destructive and evil. It does nothing to clarify Jor-El’s point of view, and frankly, what little we did hear still doesn’t sound sufficiently different from Zod’s philosophy.

As for the rest of the episode, Chloe got into that facility far too easily, and she also seems to be working out how everything fits together a little too well. Again, it’s a bad sign that she’s towards the top of the “slated to die” list. I still think it could be Jonathan, since his death has been presaged forever, but the writers are laying it on extra thick.

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

Final Rating: 8/10

Invasion 1.8: "The Cradle"

Written by Julie Siege
Directed by Ernest Dickerson

In which the discovery of a baby abandoned by its mother leads Mariel and Underlay to disturbing discoveries about the changes within the community since the hurricane…


I’ve been complaining about the pacing for this series for quite some time, so I was pleasantly surprised by this episode. It didn’t move the story forward too far, but a lot was covered and it was handled well. Suddenly there are new levels to the complexity of the story, and while this is still an unusual exploration of dysfunctional family dynamics, it’s no longer just that.

I was under the impression that Underlay was aware of what was happening, since he was the first (or so we are led to believe) to be changed. Now it makes a little more sense. This is very much like “Invasion of the Body Snatchers”, in that the people changed are not quite who or what they think they are. The original person is dead, but the copy runs around with limited understanding of their own nature.

The result is actually quite interesting: Underlay has been running around, sure that this is all for the better, as if his body was super-charged. Now he knows the truth, that he’s been dead for years and he’s really something else, an “alien” with his memories and personality. More than that, he’s completely unaware that the other “aliens” have more or less awareness of their true nature.

So the end of the episode is not just a lie to Mariel, but a lie to himself. He’s in serious denial, and he may even think that he can remain in charge. It’s going to be a lot harder for him to do that, though, because Mariel clearly has a lot less understanding of her new nature than, say, Christina.

Speaking of Christina…what a creepy character! I’ve always been on the fence with Elisabeth Moss. On the one hand, she has a very sexy line delivery, but she also has a very down-to-earth look. In that respect, she’s similar to Kari. Elisabeth did a great job in this role; it was unnerving to see Zoey Bartlet like that!

I think we’re supposed to assume that the skeleton found in the pilot was, in fact, Underlay himself. That would make sense in terms of the wedding ring found with the bones, though it could still be Underlay’s first wife. A bigger question surrounds the role of the military. Are they trying to contain exposure and prevent the “invasion”? If so, why would Underlay be working with them? Why would Underlay show Larkin the military activity in the first place?

Even the family-oriented scenes were more energetic than usual. Russell’s incredibly stupid mistake with Larkin was appropriately cringe-worthy, and Mariel’s concerns about her emotional state was well communicated. I hope that the season continues along this same vein in the future, because if the writers can make it this interesting every week, I might stop asking myself why I’m still watching the show.

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

Final Rating: 8/10

Alias 5.7: "Fait Accompli"

Written by Andi Bushell
Directed by Unavailable

In which Sloane’s betrayal of Gordon Dean leads to a plan to capture the criminal, but when an apparent cure for Nadia surfaces, Sloane’s choices force a race against time…


Status Report

This episode highlights what could be the reason for such general dissatisfaction with the fifth season. It’s not simply that Garner’s pregnancy threw off the plot progression, or that the killing of Michael Vaughn disrupted the cast chemistry. It’s not just the introduction of so many new characters. It’s the enforced lack of continuity depth.

Several scenes in this episode were directly related to the past history of the series, and that gave the episode a bit more gravitas. The teaser was a nice blend of the “new order” and Sydney’s past life, reminding the audience of how much Sydney’s world has changed. It really is impossible for Sydney to look back at the past few years and consider the full breadth of changes to her life. Her pregnancy is just a small part of that.

This is the end of the introductory phase of the season, and so it makes sense that the writers would try to blend past history into the arc again. At this point, the network support is incredibly lacking, so why not try to give the fans more of what they need? Prophet Five needs to be connected to something more than this season’s premiere, and in a sense, this episode accomplishes that goal.

Connections to the past are most important in terms of Sloane and his shifting alliances. As usual, his plot thread is hampered by the inability to delve into his Rambaldi obsession and how that relates to Sydney and Jack. Sloane does think of them as family, and family is the one thing most important to him now. Hence his decisions: his choices are directly related to whether or not he believes that Nadia can be cured.

The fact that Prophet Five had a temporary cure for Nadia, and possibly something more, lends credence to the running theory that Prophet Five is an evolution of the previous Rambaldi mythology. The fact that connections to governments were uncovered supports this theory. Since the beginning, there was interest in government circles regarding the Rambaldi legacy, and it would make sense that those dedicated to combating Sloane’s endgame over the years would eventually, at least in part, become obsessed themselves.

Of course, there are drawbacks. Those who have considered “Alias” to be a knock-off of “X-Files” will certainly jump on this as another retread, especially with the implication that Sydney and her child are tied to the goals of Prophet Five. This probably ties back to the events of “Full Disclosure” in the third season and the whole Rambaldi “second coming” concept. Perhaps in the wake of the fourth season, those interested in controlling the Rambaldi endgame within government decided to step up their efforts.

But the question is: does the series really need a global intelligence conspiracy? Isn’t it enough to have endless iterations of Irina’s organization? The odd thing is, those former elements of Irina’s organization, then passed on to Yelena’s organization, now seem to be aligned with Prophet Five’s efforts. So is it that the foreign intelligence agencies are actually involved in this conspiracy, or is this more of the “coming full circle” concept? After all, the Alliance of 12 was largely comprised of organizations posing as black-ops divisions of actual intelligence agencies; this would simply be a logical extension of the same logic, with moles in the intelligence agencies themselves.

Another question would be: does Prophet Five have to be related to Rambaldi? No, it doesn’t, but would it make sense otherwise? Nadia was exposed to something Rambaldi created (perverted by Yelena into a weapon), and it was related to genetic alteration. Prophet Five is promoting the work of someone from Rambaldi’s time, who worked on genetic alteration. Who else but Rambaldi would have developed a cure for a condition that his own work could potentially cause?

While the nature and goals of Prophet Five are beginning to get interesting (finally!), it wouldn’t matter if the new characters weren’t coming together. Rachel continues to develop on a realistic learning curve, and this episode gives Rene and Tom more screen time. More importantly, this episode corrected one of the major issues with the season thus far: the horrible character of Gordon Dean. Replacing him with Amy Acker’s Peyton is a great idea. Acker knows how to toss off those menacing yet captivating glares, and she can communicate menace without much dialogue, which would certainly help to keep the cheesy language to a minimum.

Even if some elements are overly familiar at this point, this episode feels more like the better episodes of the fourth season than an attempt to keep the series alive at all costs. More connections to past history would be helpful, and there’s reason to believe that this will continue into the future as the series nears its extended winter hiatus.


Final Analysis

Overall, this episode is one of the better episodes of the season. Rather than relying entirely on retroactive continuity changes, this episode blends past history with the current changes to the status quo. Some events improve on areas that were lacking in previous episodes, and while Sloane’s history is still kept far too vague, his plot thread finally gains momentum. Hopefully this represents a turn for the better.

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

Final Rating: 7/10

(Season 5 Average: 6.4)

Lost 2.7: "The Other 48 Days"

Written by Damon Lindelof and Carlton Cuse
Directed by Eric Laneuville

In which the harrowing first 48 days on the island for the survivors from the tail section are detailed, including their struggle against the Others and how Ana Lucia got so angry…


Status Report

It’s never easy to break format, especially when a series is incredibly popular and the audience has become comfortable with familiar patterns. It’s also hard to break format when a number of people feel that the season thus far has been faltering. This episode doesn’t completely correct that impression, but it does give hope that the first several episodes were just a clunky set-up period that will finally give way to something more substantial.

This represents the end of the “introduction” phase of the season. As the writing staff has indicated in their various communications over the summer hiatus, the season has been blocked out in three acts, as is typical for an arc-driven show, which were then parsed out into the individual episode beats. During the first season, this process was a bit more seamless, which may be one of the disappointments thus far.

But like similar genre offerings in the recent past, like the works of Joss Whedon, it’s not uncommon for the first several episodes of a season to be a rough transition period. After all, the beginning of a season, especially for a season-arc-driven series, must address the fallout from the end of the previous arc and sow the seeds for the current arc. Even the best writing staff can struggle with this challenge, and when there are shake-ups in the staff as well, the situation gets more complicated.

If the first season was all about establishing relationships and conflicts, then this season is about introducing elements that challenge and pressure those relationships in unexpected ways. The island and the Dharma Initiative concept represent one source of external pressure: the effect of an unknown and unpredictable agency. Similarly, the arrival of the AnaLucia Tribe promises to undermine basic assumptions made by the JackLocke Tribe members.

That being the case, it would have been easy to simply pick up where the previous episode left off, exploring the consequences of Shannon’s death and Ana Lucia’s role in it. But there’s also value in understanding what the AnaLucia Tribe went through and how their internal dynamics evolved. The small number of survivors makes it easy enough to cover in one episode, while the circumstances reveal some tantalizing details about the Others.

In a way, this episode presents a rather compelling argument for why the pacing is not too slow. There were several moments where it would have been nice to have more time to explore dynamics within the AnaLucia Tribe. The one-episode outline of their 48-day ordeal necessarily focused on their interaction with the Others. It answered some questions, but the audience didn’t really have time to get to know anyone other than Ana Lucia in more detail.

It wouldn’t be surprising if Ana turned out to be in law enforcement in her previous life, perhaps undercover. She starts out with an edge, but immediately after the crash, she still has a softer side. She takes on responsibility without being asked, and she’s used to taking charge. Is that her nature, or something that the crash brought out in her? If she feels like she has more right to authority, her reaction to the fragmented leadership in the JackLocke Tribe ought to be damned funny.

But she might also have experience with the military, based on her reaction to the Others. Interestingly enough, the Others don’t necessarily kill those they steal away. That seems to be dependent on their goals. They have a particular rationale: they infiltrate, choose specific victims, and then abduct them. Those left behind seem to be left to their own devices or discarded if they are a threat.

So what are the goals? It’s still hard to speculate, but the decision to take children and certain adults could be related to the idea of conditioning. The Others are strong and have adapted remarkably to the conditions on the island. More than that, the Army knife suggests that they are, in fact, the remnants of the Dharma Initiative personnel from circa 1980. (The previous episode more or less set the crash in the 2001-2002 timeframe, based on the release date of the Dave Matthews Band single that Shannon was listening to early in the episode.)

Who is being studied? Are they taking the children to protect them while they conduct deadly experiments on the remaining adults? Or are the children part of another project? It’s interesting to note that the symbol on the walls of the Dharma warehouse used by the AnaLucia Tribe was different from the one in the “orientation” film. That suggests a different purpose for that building, and therefore, more than one project in progress. (Yet both installations had “Quarantine” emblazoned on the inside of the access doors!) One disturbing possibility is that the AnaLucia Tribe was meant to find that warehouse and those supplies.

As for the members of the AnaLucia Tribe, few questions were answered. The writers did a great job of keeping the identity of the “Other” in their midst an open secret, since the information was right there from the beginning. It seems that Libby is not, in fact, one of the Others, though this is far from certain and could still be a twist later in the season.

Minister Eko cuts an imposing figure on the landscape, to be sure, but his silence was less than informative. His comments about “40 days” were intriguing, since they play into Biblical concepts, but it’s unclear what the implication might have been. As a religious man, will Eko lean towards Locke’s point of view? Or will he serve to expose the weaknesses in Locke’s self-important philosophy?

Ana is clearly meant to challenge Jack and his support system, and it doesn’t help that Sayid is now ready to kill her. If Eko comes into conflict with Locke over interpretations of the island’s meaning, it could take the exploration of faith vs. reason into new and intriguing territory. Libby, on the other hand, is perfectly designed to expose and challenge the walls that the JackLocke Trobe members have erected during the first season. Bernard, one would think, is there to re-unite with Rose and thus act as a contrast, as someone desiring a mutual respect and cooperation.

There are a couple of things that didn’t quite work as well as they could have. For one thing, it always sounded like the AnaLucia Tribe went through much worse. In general, that is communicated, but it’s a question of degrees. Yes, the JackLocke Tribe has had it easy in comparison, but it’s not like the AnaLucia Tribe was fighting for their lives day after day. Ana was just as responsible for creating the siege mentality that made life on that side of the island such a living hell.

The gimmick of an “extended” episode was also a bit annoying. For one thing, to extend the episode, they dumped a long promo for “Invasion” at the typical end of the hour. The final act, thus postponed into the next hour, was little more than a snapshot clip show of events already depicted. It did bring the story to the same end point, but wouldn’t it have been better to make the “extended” content more than a stunt to raise ratings for “Invasion”?

This is also the second time that an episode was used to bring a separate set of characters to the same endpoint as the previous episode. While this is not the retread that “Adrift” felt like, this is a storytelling format that has run its course. Now that the stage is set, the writers should be able to focus less on getting the story where they want it to go and more on the conflicts that were already on the table.


Final Analysis

Overall, this episode is an interesting look at what happened to the other survivors of Oceanic 815, but devoting a single episode to the story doesn’t give the writers time to do the topic justice. More clues about the Others are revealed, but this is mostly about getting done with the introductory phase of the season once and for all.

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

Final Rating: 7/10

Medium 2.8: "Too Close to Call"

Written by Rene Echevarria
Directed by Steve Robman

In which Allison has a dream regarding a crippling blow to Devalos’ re-election campaign, but when she tries to take proactive measures, the situation gets out of her control…


This series seldom fails to deliver, and this is another strong episode. I was expecting the whole re-election question to stretch out a bit longer, but the writers must not have wanted to introduce long-term arcs. That’s usually something I prefer, but in this case, it may not be necessary yet. There’s still quite a bit of character work that can be done independently of an arc structure.

A good chunk of this episode was another look at the Allison/Joe dynamic, which is easily my favorite aspect of the series. I really liked the way that Joe stood up for his marriage; there wasn’t even a vague hint of extra-curricular temptation. As usual, his method of shutting down a potential problem was rational and complete. In fact, it’s increasingly clear that his emotions are reserved largely for his family, and even then, he tries to balance out Allison’s more unusual point of view.

On the other side of the equation, I once again found Allison’s point of view hard to accept. This episode reminds us that Allison knows far more about Joe and his activities than he could ever know about hers. In a lot of ways, it’s beyond unfair, and it brings up a personal example of what the episode highlights: how Allison’s visions are, in essence, a massive invasion of privacy.

Under the best of circumstances, even if things turn out well, Allison and her work with the DA could be perceived as a violation of civil rights. It’s come up before, but for all that Allison can prevent situations from getting out of control or crimes from being unsolved, her visions aren’t nearly clear enough to justify some actions. This episode is a perfect example: someone almost gets killed because of an ill-considered, pre-emptive action, and one that was not legally advisable.

Does Allison’s ability constitute an abuse of power? Or more correctly, when does the response to one of her visions constitute such an abuse? Allison points out that she can stray into “Minority Report” territory rather quickly, and sometimes, she can act a bit too proactively. From her point of view, can she just let something happen, just because she can’t prove her conclusions with solid evidence? Can she fail to act? Maybe not, but from an outside point of view, where does she draw the line?

All of these concepts are mixed well with the murder mystery at hand, and as usual, the pieces all come together in unexpected ways. One thing, however, is rather perplexing. Perhaps it happens more than I realize, but this episode seemed to be overflowing with product placements. Two movie references, a comment about TV Guide...it was more than a little fishy. It wasn’t as bad as some “Alias” episodes, but it was still pretty bad. Thankfully the episode itself overshadowed that annoyance.

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

Final Rating: 8/10

Supernatural 1.9: "Home"

Written by Eric Kripke
Directed by Ken Girotti

In which the brothers, following a premonition by Sam, return to their childhood home and deal with a malevolent haunting which may or may not be connected to their nemesis…


This episode was billed as the “biggest event of the year” in the promos, which is actually rather amusing. After all, few people beyond the faithful would have any concept of why this episode is important to the series. This is probably one of those rare instances where an arc episode is less effective than a simple stand-alone tale, if only because the stand-alone episodes have less pressure to deliver.

I’ve said it before and I’ll say it again: I prefer long-term and seasonal arcs because of the depth of character development that they provide. A more episodic approach does not prevent that kind of exploration, but as seen on a series like “X-Files”, it can lead to inconsistent character portrayals as characters act in accordance with specific episode demands, not long-term consistency.

This series has been better than most at finding a happy medium between the extremes, and this episode has a lot of disturbing moments just from the perspective of a haunting. Tying it to the overall season arc is perhaps a bit extraneous. Like the previous episode, the return home works best in terms of the insight to the characters. Dean shows a remarkable vulnerability, and Sam is even more driven than usual.

The brotherly dynamic is really coming through. Dean deals with the world superficially and hides his vulnerability and lack of real mature growth behind a mask of expressive bravado. Sam seems to connect with people on a more substantial and empathetic level, but he tries to hide the source of that empathy behind a mask of stoicism. While Dean is more approachable as a result, the writers are doing a good job of giving Sam equal personality.

As strong as Missouri was as a character, the “family” connections were probably the weakest aspect of the episode. It was too easy to guess that Mary was still in the house, for instance, and that was one of the weaker moments. The point of the episode seemed twofold: to show that their father is still hunting down the entity that started it all, and to show that Sam’s abilities are becoming more prevalent.

If I have any sense of where this is going, I expect that this hunt for the entity will culminate with the end of the season, probably coinciding with a reunion between father and sons. I have no idea how that would turn out, but that probably means one or two more “arc” episodes between now and the end of the season. In this case, I’m only with that, because the stand-alone cases give the writers a chance to flesh out the brothers and their psychology, which has become a surprising source of depth for the series.

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

Final Rating: 8/10

Prison Break 1.11: "And Then There Were 7"

Written by Unavailable
Directed by Jesus Trevino

In which Michael’s wife comes calling to deliver something for the escape plan, which tips off Bellick, while a last-minute addition to the team creates a problem for Michael…


Another episode, another thrill ride. I don’t know why I bother mentioning that fact anymore, because it’s almost a defining quality for the series at this point. The further into the season we get, the less I worry over suspension of disbelief. If the show was terrible, it might be another story, but this is highly entertaining with strong characterization.

(Incidentally, I’m having my basement waterproofed and I was home sick all day on the day this premiered, so I was treated to the sound of people breaking through concrete for hours on end. Consequently I found this episode to be somewhat satisfying, in an odd sort of way. But that could be the cold medication talking.)

As usual, things get a little crazy with Michael’s plan. OK, he was a bit naïve to think that his watch of gold would remain among his possessions, but the writers made up for that by making the thief the most idiotic man on the payroll. Here’s a clue: if you’re going to steal from the inmates, don’t flaunt it on the grounds!

Hello, Holly! Don’t know about the hair, but I’ve always found Michael’s wife of convenience to be intriguing from a purely biographical context. And now that she’s been involved in the plot, so does Sara, which ought to complicate the situation in several unfortunate ways. I had assumed that Sara would help Michael outside of prison, given her philosophy, but now that might not be the case.

I really like the interaction between Michael and Sara, and not just because Sara is a hot redhead. When Sara puts Michael off, it’s painful. You want things to work out, even under these insane conditions. Similarly, you want the Escape Squad to make it, even though that would mean convicts running in the streets. The writers manage to push the audience into supporting some odd notions, and I have to give them credit for it.

I’m also impressed by the fact that I actually enjoyed the whole Veronica plot thread. OK, it had a lot to do with them being tortured, but what’s not to love about that? Too bad Mr. CIA/NSA/Whatever was so easily thwarted. That didn’t seem right to me, but I like how our bumbling Secret Service agents took advantage of the situation!

So now the Escape Squad is too big (no kidding!), and at least one person has to go before the big break-out. It should be fun to see it all shake out, especially now that Bellick has a damn good reason to watch Michael and his cohorts very carefully. I can’t tell who might be the likely castoff, but it probably comes down to whichever character has less to do with Michael’s success after the break.

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

Final Rating: 8/10

Smallville 5.7: "Splinter"

Written by Steven S. DeKnight
Directed by James Marshall

In which Clark becomes infected by silver Kryptonite, which has the unfortunate side effect of making him intensely paranoid, all to the benefit of another Kryptonian in his midst…


After three less than inspiring epsiodes, the writers finally return to more substantial storytelling ground. Nothing that happens in this episode is particularly original, but it’s still a lot of fun to watch Clark go into Ultra Oliver Stone mode. More importantly, Professor Fine gets to put his Kryptonian origins on his sleeve and bring the apparent arc for the fifth season into sharper focus.

As usual, the first 6-7 episodes are the “introduction” phase of the arc, and the transition into “complication” begins here. I take the past several episodes within that context, and try not to worry over the course of the rest of the season. It should be more like this episode, if I have any sense of where the story is going. In other words, we ought to see a more direct exploration of Clark’s choice between taking control of humanity or serving as humanity’s champion.

We all know where it’s supposed to go, and nothing in this episode suggests otherwise. I actually hope against hope that the situation will be more nuanced; wouldn’t be great if Fine wasn’t quite the villain that everyone anticipates? It’s entirely possible for him to operate within the same morally grey areas as Lex, only on the Kryptonian side of the equation.

As it is, Clark gets to realize that being paranoid doesn’t mean that someone isn’t hiding the truth or out to get you. And for that matter, Lex has clearly been trying to get his hooks into Lana for years. One has to wonder how many of the paranoid delusions were fed by Clark’s secret fears, based on what his subconscious keeps telling him and he keeps ignoring.

The usual things were a lot of fun: Marsters did a great job with the role of Professor Fine (he seems more and more comfortable with every new episode), Lex and his use of Lana has some interesting possibilities, and Chloe’s revelation that she knows about Clark ought to shake things up. I’m a little worried about that whole “I’d die before giving up your secret” thing, because I still think it’s blatant foreshadowing.

Speaking of Chloe, I wanted to clarify a couple statements. I mentioned that the producers seem to want to have it both ways with Chloe. Often, she is portrayed as very conservative with her appearance. Yet quite often, she has a mow-cut top with cleavage prominently displayed. This is an episode with plenty of examples. Not that this is bad at all, but it’s a little odd for an outfit to be designed specifically to highlight Chloe’s chest if she’s supposed to be the conservative one!

Anyway, what else is there to say? I love how easy it is to figure out that Fine is behind the whole situation, and how the writers let the audience just go along for the ride as the truth is revealed. There were a few missed opportunities along the way, since I was waiting for more continuity references throughout, but there’s enough to keep me happy. In fact, that’s probably the best way to summarize my take on the episode.

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

Final Rating: 8/10

An Update...and a Decision

I've wanted to post a general update for quite a while now, because a few things have changed in the world of Entil. While they are essentially good things, they could also have a number of short and long-term effects on my current activities.

First, a quick scheduling update:

On Monday, Entil's Man-Lodge (aka, the Basement of Occasional Flooding) will be getting some serious waterproofing. Despite giving myself three weekends to clear everything out, some things had to wait (washer/dryer, etc.). As a result, I won't be doing much writing this weekend if preparations come down to the wire.

OK, so on to the rest.

****
Back in May, my previous manager left the company. She was the one who supported me in my campaign for a promotion, and also the one who threw weight behind my policy suggestions. In essence, she encouraged me to go from being just an engineer to someone on more of a management track.

Shortly after she left, a new manager was assigned. He was very good, but he also needed help to understand what was happening. We knew that two major audits were coming in the near future, and someone had to be able to take charge, someone with a depth of knowledge about the department and our work to date. Also, he was interested in transforming our efforts, which had been very specifically devoted to certain "milestone" projects, to a more stream-lined ongoing "maintenance" mode. This was an opportunity to have a strong voice in how we would move forward, and I took that opportunity. In a very short time, I became, in essence, the one setting the agenda for the department.

In September, with very little warning, on the eve of our first audit, he was "temporarily" reassigned to a special project off-site. By all expectations, he will be gone until Spring 2006, if not longer. He has no contact with us at all, and because of the timing, there has been no effort to replace him. Instead, the Director asked me and a colleague, who I have been mentoring for about a year, to lead the team in our manager's absence.

The last several weeks have been very busy, but I've been able to keep my head above water. We came through the audit with flying colors, and it's not inaccurate to say that it was my work over the past year that placed us in a position where that could happen. And the Director and his bosses/colleagues are all aware of that. As time has passed, it has become increasingly obvious that more and more managerial responsibility will be coming my way (even if, technically, I cannot and would not be placed in the actual position).

From a "job security" point of view, this has been a very good thing. I've been able to get direct support for initiatives that I've been wanting in place for months, and for the most part, my colleagues have happily accepted my increasing authority. Even if it doesn't last or events overcome my ability to deal with them, I can't help but come out a winner, because I'm taking on responsibility well beyond my current position and standing up to the pressure. In other words, it's going to be one hell of a resume booster.

****

So...bottom line...what does this mean?

Well, I've been keeping up with the reviews for the most part, even though more shows have made it through the gauntlet than I had been anticipating/hoping! The fact is, if I keep them short, it's not hard to do...it takes me very little time to rattle on like that (I've typed this much of this post in 10 minutes, for example). I might start skipping here and there...I want to establish a schedule for myself, and if I don't review something on time and don't have an empty slot, it'll just get skipped. That way, if work demands more time...well, you get the idea.

But there is one huge impact that I have to make a decision about, and that's finishing "Morituri". I hate the fact that it has taken me so long to get even this far into the story, because it's the last one, and I don't like leaving things incomplete. But the fact remains that there's a lot left to be written and not nearly enough time to spend writing. In fact, so much time has passed since the last scene I wrote that I felt the need to begin an outline. I was working off the outline I've had in my head for years, but details are beginning to slip, and if I'm going to get anything done, I need to pound out the gameplan.

At the same time, I don't want to give false hope. I have thought about this over the past several weeks, and I have to be honest with myself. I will not be getting more time to write. I need to decide what to do with the time I do have. Do I continue working on this fanfic, already years in the making, for a series with diminishing fan base? Or do I devote more time and effort to the novel that I've been putting off for far too long?

So.

I want to give anyone who has been waiting for the end of the story some sense of closure. That much, I can promise. Whatever else happens, I can accomplish that much. And if getting to that point sparks a creative surge that gets me moving quickly again, then who knows? But I am no longer promising that "Morituri" will be completed in the detail and depth that I had originally intended.

What I can also promise: if "Morituri" does meet a premature end, it will be because I will be working on an original work. And yes, I fully intend to share and solicit feedback. I am excited about the prospect of putting effort into that task, and so I hope I can count on a little help from my friends!

That's all for now. More on "Morituri" and the path forward soon. And for the record, Kristen Bell is incredibly hot, and thanks to Joss, I love me some Veronica Mars. I like her even better in the "Reefer Madness" outfit (and y'all now which one I'm talking about!).

Until next time...

X-Files 5.15: "Travelers"

Written by John Shiban and Frank Spotnitz
Directed by William Graham

In which Mulder, early in his career with the Bureau, investigates a case where the suspect mentioned his name at a murder scene, leading him to possible revelations about his father…


Status Report

This is a difficult episode, if only because it does not fit within the continuity of the fifth season and continues to tease the audience with the possibility of a very different Mulder, pre-X-Files. More than that, it is clearly a stop-gap solution to one of the ongoing problems with the fifth season in general: time and attention had to be devoted to the feature film, which meant cast absences at inconvenient times.

In this case, Gillian Anderson was not available, and David Duchonvy had only limited ability to jump between tasks. The result is an episode that is meant, on some level, to be a self-contained examination of Bill Mulder’s early years in the conspiracy. In that sense, it paints a picture of a man with a conscience, forced by events to allow horrible things to happen in the name of a project that eventually broke him.

There are certain elements that work very well. For instance, it makes perfect sense that the conspiracy would initially use the anti-Communism fervor of the late 1940s and 1950s as a smokescreen for its activities. The nature of the experiments is in keeping with the basic timeline of the conspiracy itself. That early in the process, according to previous episodes, the conspiracy was focusing on physical alteration and rudimentary genetic manipulation.

It’s unlikely that the creature grafted into Skur was alien in origin, given the nature of the mythology, but it was something discovered or created by the scientists of Project: Paper Clip. Why the conspiracy would think that such a modification would be useful in the battle against Purity is another question, and one that does not have a satisfactory answer.

By framing the events of this episode as a recollection, the writers attempt something that is only partially accomplished. In essence, the events of this episode are not necessarily “true”. Some elements are likely to have taken place as described, but motivations are entirely open to interpretation, since they are seen through the eyes of someone quite disillusioned by events of the past.

As such, some things may be accurate: how the X-Files were created, the use of the Red Scare to cover up conspiracy initiatives, Mulder’s involvement as a reluctant member of that conspiracy. Yet it doesn’t agree nearly enough with the established continuity, in that Bill Mulder never would have betrayed the conspiracy so early in the game. Nor would he have let something so dangerous run free simply on principle.

There’s also the small matter of Mulder’s wedding ring, once again circa 1990 (pre-Fowley), not to mention the smoking habit. Speculation would suggest, as mentioned here and there in earlier episodes, that Mulder was once a very different man. Mulder was never married, so what’s the story of the ring? Perhaps the smoking is a clue.

By 1990, Bill Mulder would have been a bitter man with little love for children that weren’t his to begin with (and he would have known that), an estranged wife, and dreams that his “son” would do everything he never had the courage to do. But clearly, Fox Mulder was not getting along with his father, possibly because of the separation. Was that ring Bill’s wedding ring, worn by Mulder as a reminder? Was the smoking a hint that Mulder was trying to be his father, a man he really didn’t know?

These questions are just a small indication of the continuity mess created by this episode. For instance, if Mulder had heard about his father’s involvement in the Skur experiments as early as 1952, then why would he be so shocked to discover the truth about his father in previous episodes? Or did Mulder not believe Dales, thinking his father incapable of such a choice? And what about the hint that Bill Mulder had a family in 1952, when that was far too early in the timeline?

Most, if not all, of the continuity issues can be attributed to the “point of view” theory, but others are too far outside the basic framework of the mythology to ignore. It almost helps to consider this entire episode as a stand-alone exercise outside of the main continuity. This approach is not as satisfying, but it does work within a particular interpretation of the series itself.

One could almost look at the series as a collection of tales about Mulder, Scully, and those helping them during a very important time in human history. Perhaps it comes from a time not far in the future, soon after Colonization is thwarted, for instance. This could simply be another apocryphal tale of Mulder’s early adventures, a retelling of a recounting. Again, this is not the most satisfying way to dismiss continuity concerns, since it is not an on-screen conceit of the series, but it does allow for more leeway.

Another drawback of the episode is the use (or lack of use) of Darrin McGavin. It’s impossible to escape the relevant history: Chris Carter was strongly influenced by his memories of “Kolchak: The Night Stalker”, which starred Darrin McGavin, and so this was like coming full circle. (That has taken a much more well-publicized turn in 2005 with the arrival of ‘Night Stalker”, a new incarnation created by “X-Files” alumni Frank Spotnitz.) Surely there was a better use of the actor and his character!

The fact remains that many of these concerns are related to the expectations created by the continuity of the series as a whole. They don’t necessarily pertain to the episode as a stand-alone concept. While it doesn’t make sense for Skur to murmur the name “Mulder” so many years after his “escape”, just about everything else is an interesting idea with a neatly stylized execution. There are some intriguing moments throughout that work very well on their own. It’s simply the intersection with continuity that becomes an issue.

In the end, “Travelers” is an episode that was created to serve the purposes of limited cast availability, and while there were still some interesting elements that came out of that need, it wasn’t something that was necessary to the season arc or the development of the series as a whole. It highlights the central flaw of the series itself: the loose structure of the series, with little to no conception of an overall scope, made it far too easy to contradict details that the audience was compelled to consider.


Memorable Quotes

I got nothin’.


Final Analysis

Overall, this episode is an odd divergence from the normal series format, prompted by the production schedule for the feature film. The writers have a difficult time remaining within continuity, and the conceit used to smooth that over highlights some poor writing choices. Acceptable as a stand-alone episode, it simply doesn’t fit within the overall scope of the series, and that makes it hard to judge objectively.

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

Final Rating: 5/10

Invasion 1.7: "Fish Story"

Written by Juan Carlos Coto and Michael Alaimo
Directed by Rod Holcomb

In which Larkin manages to survive her car accident, but as Russell and Dave lead the search to find her, she ends up in the hands of a fisherman with a very different agenda…


Just when I thought the series was gaining momentum, we get an episode that seems to take its sweet time a little too sweetly. Actually, I don’t think there was much sweetness and light in this episode at all. Underlay got to show how devious he can really be, using Larkin’s accident as a means of information control, with only a little concern over the fate of her child. Oddly, he seems very concerned with her particular survival.

So the goal was to eliminate the threat against Larkin from the military while also giving her information that will satisfy her curiosity in a convincing manner. I’m not sure Underlay will get what he’s looking for, because Larkin doesn’t seem like someone who would be so easily swayed. Sooner or later, she would begin wondering why the military would be interested in glowing squid!

Meanwhile, the intrigue begins to escalate in terms of the human drama. I had wondered about the breakdown of Russell and Mariel’s marriage, given how strongly Jesse felt about it in the pilot, and now we have an answer. Mariel is rather deeply in denial if she thinks getting together with Underlay while still married was somehow not casually connected to the break-up. It may not have been a direct cause, but the psychological/emotional state that led her to that choice was most certainly a factor.

While I was impressed at the level of Larkin’s suffering, especially that horrific incident with the dead man in the hatchback, the episode itself didn’t cover much in terms of plot or even character development. I don’t see Jesse becoming less bitter any time soon, especially since he has serious abandonment issues and that will only be reinforced as more and more people are “possessed”.

The writers have now demonstrated on several occasions that Underlay has something in mind for Larkin, so it’s time for them to start dishing out something new. This episode’s events could have been cut down to two acts without much being lost in translation, and it would have left room for more tension. The fact that Larkin wasn’t going to die (let’s say the odds were clearly very low) made the situation a lot less tense.

Considering that her ordeal made the baby’s survival rather absurd, it wouldn’t be an overstatement to say that the writers seem to be treading water. A measured pace doesn’t have to lack intensity. “Lost” doesn’t move forward in its timeline any faster than “Invasion”, but this far into the season, there had already been some important plot developments. This series is relying a lot more on the family drama aspects, and right now, it’s simply not getting the job done.

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

Final Rating: 5/10

Alias 5.6: "Solo"

Written by Jeffrey Bell
Directed by Jeffrey Bell

In which Sydney’s delicate condition forces Rachel to do in the field on a solo mission, which serves as a trial by fire when Dean sends Peyton to eliminate Rachel as a threat…


Status Report

The process of shifting Sydney out of the field and into a mentorship role takes a huge leap in this episode, which means that the success of the tale was resting heavily on the lovely shoulders of Rachel Gibson and her solo efforts. Thankfully, as her awkward phase ends, her relevance as a character gains momentum. This is good, because it’s about time for the “introduction” phase of the season arc to be over so the story can move forward.

It certainly doesn’t hurt that she was a former model with a famously chameleon-like beauty; she’s quite suited to this world, from a physical perspective. But this is a role that requires a strong range, especially when it comes to portraying a convincing vulnerability, and Rachel Nichols is surprisingly good at it. There’s little doubt that Rachel (the character) is far from comfortable on her own in the field, and it’s clear whenever she pushes down that doubt to get the job done.

To get the obvious out of the way first, Rachel was incredibly hot as Ramandy (Ha!), and not just because of the slutty low-cut dress. When she poured on the heat, she threw some glances at the camera that practically set the world on fire. Like Sydney before her, she understands that she has loads of sex appeal and how to use it. As her development as a field agent progresses, she ought to have more to fall back on.

Amy Acker was also surprisingly gorgeous in this episode, which may not come as a huge surprise. After all, she was also a model and noted for her hotness, but in a very girlish way. In several scenes (particularly her first scene in the episode), Amy looked more mature and substantial in her beauty. The wetsuit didn’t hurt, but when she’s not tossing out terribly melodramatic lines, she is far better at the role of Peyton than one might have predicted.

The writers are still bashing the audience over the head with the analogies; they should have treated the audience to figure out on their own that Sydney was shifting into a Vaughn-like role with Rachel. (And if that vague hint about Rachel’s preferences earlier in the season comes to be true, that could be far more disturbing than it already is!) In a sense, Peyton is like the new Anna: Rachel’s nemesis in the organization that is directly opposed to Rachel’s organization.

That shift is very interesting, and Rachel is likely to win over many fans once they recognize the necessity of the character, but the treatment of the story has certain problems. The writers have a good enough “Alias” story in place, but the dialogue is particularly worrisome, and some scenes are just a bit too direct.

For instance, Gordon Dean acts like he should be a villain in a bad James Bond film. He’s way over the top in how he deals with Sloane, which doesn’t make sense. Yes, he has an advantage, but this is Sloane; messing with him is typically a bad idea, or is Dean completely unaware of what happened to Lindsey in the third season? What makes it even worse is that Sloane is doing what Dean wants, only on his own terms. From Dean’s point of view, why push Sloane so hard? Does Dean want Sloane to turn around and betray him?

Sloane’s character thread this season is far from satisfying, which is hard to understand. His position should be compelling, and work as something of a counterpoint to Rachel’s experience. Both are conflicted in their loyalties. The problem is the portrayal of the enemy; in this case, Dean is not strong enough a character to generate a serious threat. Peyton is better as a lethal fame fatale, but even her dialogue tends towards the unfortunately ham-fisted quality of Dean’s scenery-chewing.

While Rachel gets a lot of attention in this episode (from the writers and the audience), the other two new characters are somewhat less served. Thomas Grace throws out some good snide comments here and there, but his character doesn’t have much definition beyond filling the Noah Hicks role of solid, experienced partner. And Rene is little more than the “unofficial and questionable ally”, though the previous episode was promising for the future.

Despite the dialogue issues, this was still a good advancement for the season, if only because it gets the characters closer to the “complication” phase of the arc. What the writers really need to do is simple: make the enemy compelling enough for the audience to care. Yes, they killed Vaughn, but a good chunk of the audience blames someone other than the villain for that, so it’s not working on an objective level. Making the enemy more substantial would do much to mitigate the feeling that “Alias” has run out of things to say.


Final Analysis

Overall, this episode had a lot going for it, but some poor dialogue choices and an increasingly over-the-top villain took away from the quality. Rachel Nichols continues to be a stunning addition to the cast, but the other two new characters are struggling to remain relevant. Sloane’s character thread could also use some work.

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

Final Rating: 6/10

(Season 5 Average: 6.3)

Medium 2.7: "Judge, Jury, Executioner"

Written by Bruce Miller
Directed by Peter Werner

In which Joe is assigned to the jury for a murder trial, and his impressions of the evidence run counter to Allison’s visions, causing them both to run into issues of disclosure…


As usual, the writers manage to find a new spin on the series’ formula. In this case, the question is posed: what if Joe were placed in a position where his judgment was compared to Allison’s visions? Would Joe’s logical approach to a situation, given the bare facts of a case, match up with Allison’s intuition? I love how this episode underscores the rather interesting polar opposites at play.

Joe takes things from a pragmatic point of view in his profession (as many engineers do), and so his approach to a murder case would logically follow the same premise. His sense of fairness and relatively even keel (necessary for life with Allison) didn’t do much to get him off a jury, but they did make him a good and reasonable juror.

Of course, Allison doesn’t operate in the logical world, because she often feels compelled to act on little or no solid information. She has “evidence” that cannot be found in any other way, and her impressions are open to interpretation in the most extreme manner imaginable. Inevitably, once her visions and dreams are explained, they turn out to trump Joe’s logical approach.

The teaser was, in keeping with many previous installments, disturbing on several levels. I thought it was a strong way to add mystery and tension to the episode, which was otherwise not the most exciting case. The truth about the murder was relatively easy to work out, but that simplicity allowed for more exploration of the logic/intuition dichotomy.

It was also great to see Devalos in action again, so soon after his last appearance in the courtroom. I wouldn’t want the series to slide into that kind of specific format each and every episode, but it does allow for a wider scope and it keeps the focus on Allison from becoming stale. There’s also a rough arc in place for Devalos’ re-election bid, which is a nice touch.

I would also like to see this logic/intuition exploration come up again in future episodes. While this is essentially what happens on a regular basis, it was really driven home in this episode and I enjoyed how that added some layers to the narrative. Done incorrectly, it could devolve into a Mulder/Scully dynamic, but I trust the writers of this series to make it more organic, given their strong track record thus far.

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

Final Rating: 7/10

Lost 2.6: "Abandoned"

Written by Elizabeth Sarnoff
Directed by Adam Davidson

In which Shannon has another vision of Walt, which sends her on an unfortunate quest when Sayid doesn’t believe her, and things go from bad to worse for Sawyer and his new friends…


Status Report

One of the more unfortunate aspects of promotion, in terms of episodes of a popular series, is the management of expectation. Events that would be shocking and effective as a storytelling tool under normal circumstances can be undercut considerably by the decision to hype them up and generate buzz. In this case, the death of a main character was tossed out as a promotional tool, and as a result, it was very hard for the material to live up to expectations.

At the heart of the episode is a tragic tale. On the one side is a young woman with massive emotional and self-confidence issues, despite all her obvious beauty, searching for a means to validate her own worth. On the other, an embattled leader, unable to see past her own need to survive and keep her people alive. When the two intersect at the worst of moments, the results are deadly.

All of which would make perfect sense and work on a number of levels, if the audience hadn’t been propped up to expect something far more substantial. In keeping with all of the episodes since “Orientation”, this is a relatively small but powerful story. Shannon was initially one of the least-loved characters, and it has been hit or miss for her ever since that point. Many saw her as the “rich bitch” character, when the reality was far less alluring.

The reality appears to be far more tragic. Shannon was a bit spoiled by her father, but that didn’t justify how she was misused by Boone’s mother. It paints a picture that places Shannon in a more sympathetic light. Whenever she seems to get what she needs, what she really desires for that sense of validation, it gets ripped out from under her. And every time, it seems like it’s out of a lack of faith in her, which feeds the self-doubt even more.

Thus, to a certain extent, it makes sense that she would die moments after finding someone who can believe in her so completely. Sayid represented everything she wanted, and so she must consequently lose everything. Granted, getting killed is a bit harsh, but it works thematically. It also works to reinforce the negative aspects of Sayid’s personality. Once again, he has lost someone he loved, and it probably won’t matter that the Others seemed to manipulate it into happening.

What was the purpose of Walt’s “presence”? Without the vision of Walt, Shannon would never have gone on her quest for validation, and she wouldn’t have been in the wrong place at the wrong time. Did Walt try to warn her not to look for him? Why was she seeing Walt in the first place? Does Vincent have something to do with it?

The real question comes with the final vision. Was Walt really there, or was it some manipulation by the Others? If Walt was trying to save Shannon by warning her to stay quiet, then it would make sense, but why not try to stop her before that? Or were the Others baiting her, hoping for the advantage that the shooting would give them, thanks to the confusion? There are a lot of questions, but the structure makes it seem as though Shannon was destined to die at that moment, either through terrible timing or outside manipulation.

Speaking of the Others, their goals are rather mystifying. So they steal people, kill some, keep others. They seem to be focusing on children, which makes sense from several perspectives: long-term survival, behavior conditioning studies, effect of the island on developing minds. They also seem to be a lot smarter than “animals”, despite what Ana might think.

For one thing, it may be that Libby might be one of the Others, and that like Ethan before her, she served the function of identifying subjects to be stolen or otherwise killed. She seemed rather interested in the welfare of the members of the JackLocke tribe and getting them back to their own camp, and she was also the last one to be near Cindy prior to her abduction. It’s just a slice of supposition at this point, but it could add depth to what has been, otherwise, a bit too straightforward.

While the immediate impact on Shannon is quite obvious, the real question is how this will affect those at the scene: Sayid, Michael, and Ana. Ana will be lucky to walk away alive, because Sayid is not pretty when the better angels of his nature are overcome with rage. Michael looked sickened, as if he somehow thought he might be responsible. Whatever the case, the two tribes are probably not going to get along for a while.

In terms of the other characters, many of them were absent again, which as usual, made the success of the episode more dependent on the main plot threads. Beyond Shannon/Sayid and Sawyer’s rapid decline, the only plot thread of note was the tension between Claire and Charlie and Locke’s part in it.

Claire brings up an interesting point. Just what is her relationship to Charlie? They are strangers, for all intent purposes, and while he feels a great deal of responsibility towards Claire (through attraction and the Ethan incident), Charlie has no reason to claim anything when it comes to Claire and Aaron. She has every right to be wondering why his criticism is something she should endure.

Of course, that is likely to play into Charlie’s growing temptation to return to his heroin addiction. If Claire puts him at arm’s length in a bid for independence, he’s not likely to take that rejection well. He sees Claire as a symbol of his redemption a bit too strongly for that. It also wouldn’t help to have Locke stepping into his “husband” role, since he would be less likely to accept Locke’s advice if he saw him as “competition”.

From Locke’s point of view, he might seem to be helping Claire without an agenda, but he has always been a little too interested in Aaron and the meaning of the child’s existence. If he learns more about Claire and her background, he’s only going to be more intrigued. The fact remains that Claire could use the guidance, and nearly everyone else seems intimidated by Charlie’s involvement.

Thus far in the season, so close to the end of the “introduction” phase of the season arc, not much has happened. This is one of the more active episodes, thankfully, but there still seems to be a lack of depth, which is slightly disappointing. Sure, this episode had some actual sex, and Shannon looked damn fine with wild bedroom hair, but the structure was still too simple. The writers seem to be struggling with all the changes brought about by the season premiere. There’s plenty of time to turn things around, however, so panic hasn’t set in just yet.


Final Analysis

Overall, this episode had a nice enough structure, and this will be remembered by many for the events of its final minutes, but there is still a distinct lack of depth that leaves one wondering when the complexities will return to the character arcs. The overly revealing promos certainly didn’t help. This episode still feels like a lot of set-up for the rest of the season, which is a trend that will hopefully end soon. Even so, it’s good to see a previously unsympathetic character get a moment to shine.

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

Final Rating: 7/10

Supernatural 1.8: "Bugs"

Written by Rachel Nave and Bill Coakley
Directed by Kim Manners

In which Sam and Dean investigate the mysterious death of a man working on a new housing development, and come up against a Native American curse and millions of friends…


If there’s one thing that never fails to leave me with that creeped-out feeling, it’s swarming bugs. I seldom have nightmares (scary things rarely scare me), but I’ll admit, swarming bugs would qualify. It’s that sense that there’s nothing you can do but pray for survival, because there’s no way to fight back. So this was an episode that I wasn’t particularly looking forward to, if you know what I mean.

This was more about character than the bug invasion itself, which is the preference, from my point of view. The bugs were actually incidental to the main thrust of the episode, which might explain why the resolution of the bug invasion was somewhat lacking. That had to be the fastest midnight-to-dawn transition ever seen. Also, I find it hard to imagine that the spiritual bug swarm, which had previously run amok during daylight hours, would simply disappear with sunlight. Killing humans on the land seemed more to the point of the actual curse, despite the time limit.

Anyway, that didn’t bother me so much, because I was too busy enjoying the tension between Sam and Dean. Previous episodes focused on Dean’s bitterness with Sam and the idea that Sam left the family behind. Sam has never hidden his feelings about their father and his very different personal philosophy, but now the writers have shown us how that colors his impressions of family in general.

Dean does a great job of clamping down on his resentments, even if he uses that negative energy in less than perfect pursuits. Dean runs deep, however, as his handling of Sam’s emotional state demonstrates. If Sam’s point of view has been covered rather well, we’ve seldom gotten to hear their father’s side of the equation. Either Dean has a twisted perspective on how things went down before Sam left home, or Sam is a bit too good at holding on to bitterness and anger.

I’d vote for something in between, since Dean tends to romanticize the whole “hunting” to compensate for the lack of much else in his life. Sure, Dean believes in what he’s doing, but one gets the sense that much of his life is distraction. Distraction, in this case, from the fact that he didn’t have what Sam had: the potential for something more. Dean had to focus on his family, so when Sam didn’t, it was a betrayal.

This episode did stray from the typical format in the sense that the primary guest character was not a nubile young woman with an eye for one of the brothers. Sure, there was the realtor, but she was a minor aspect of the overall episode, almost like a token attempt to stick with the style of the series. While the series could do with occasional episodes like this without the eye candy, I personally think that it’s part of the style and concept, and it does much to establish and reinforce Dean’s escapist psychology.

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

Final Rating: 7/10