Supernatural 1.17: "Hell House"

Written by Trey Callaway
Directed by Chris Long

In which the Brothers Winchester investigate the apparent death of a young woman in a “haunted house”, and discover that the situation is more complicated than they expected…


I’m not sure if it was adjustment to the new night, or my mental state due to a bad sinus cold, but this episode didn’t really do it for me. Even the banter between the Brothers Winchester didn’t really strike me as particularly substantial. I like the fact that they can relax enough around each other to pull pranks, but since I prefer the more conflicted psychology between Sam and Dean, I wasn’t as interested in the wacky.

I also wasn’t particularly fond of the idea of mocking “ghost hunters”. I will be the first to admit that there are a lot of people running around out there with no clue what they’re doing when it comes to investigating unusual phenomena. Many probably look and act the way the characters in this episode did. That’s all well and good, except that I got the distinct feeling that the writers were portraying all paranormal investigators as geeks without a clue.

From a personal perspective, I happen to listen to a few podcasts with established paranormal investigators and I’m quite the fan of “Ghost Hunters”, which is a show based on the investigations carried out by TAPS, a group with strong credentials and integrity. So the point is that many of the jokes fell flat for me, which in turn made it hard to get into the spirit of the episode.

I completely admit that this is a personal issue, and I’m not so subjective that I can’t see the good aspects of the episode. I liked the idea of a phenomena that was driven by collective belief, something which could tie into the overall mythology in some interesting ways. It puts a new spin on how the writers have been treating urban legends thus far. Instead of revealing the true phenomena behind all the legends, this episode presents the empowerment of an entity through the collective “urban legend” generated in absence of any particular trigger.

The implication is that the entity troubling the Winchesters may not be what it appears. It’s easy to assume that the entity existed independently of the Winchesters prior to killing Mary, but is that necessarily the case? If the Winchesters didn’t have a history of interaction with the paranormal prior to that incident, was there something that they did, completely without realizing it, that brought the entity into viability?

That’s what I like about this series: it started out as a relatively simple premise, and in short order, the mythology has expanded to cover some unexpected territory. And it resists the urge to slip into self-parody too quickly, which would hurt the series tremendously this early in its existence. Even “X-Files” waited until the third season to poke fun at itself directly; it works far better if the self-awareness is kept within controlled limits. This episode is more light-hearted, and in ways I didn’t really enjoy, so I hope the focus returns to something more thrilling in the next episode.

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

Final Rating: 6/10

Ghost Hunters 2.15: "29 Mar 2006"

Case #1: Waverly Hill Sanatorium

It’s been quite a while since “Ghost Hunters” had a new episode, so I was looking forward to this since the date was announced. And it didn’t disappoint! I usually prefer it when they investigate houses or buildings currently in use, since there’s less chance of unusual light and shadow effects or acoustic tricks, but there’s also a certain allure to the big, abandoned buildings like this one.

I also liked the fact that this was an episode devoted to one particular case. Granted, a lot of time was spent rehashing the ground rules for TAPS and the personal histories of the main players, since this was something of a premiere in the middle of a season, but there was a lot of investigation footage, which is always welcome.

A few of the moments were cringe-worthy. I’ve never been particularly happy with Brian; he just rubs me the wrong way sometimes, at least in terms of how his footage is cut for the episodes. On top of that, it felt like the moment when he and Tango were running was staged for effect, as if to play on Brian’s past history, and I find the staged conversations to be a bit annoying.

One other interesting topic: “shadow people”. Believe it or not, I don’t question that. And I don’t question it because I’ve come across this phenomenon myself. In my case, I was with a group of three other people and every single one of us saw the exact same thing. We must have spent hours investigating that space to figure out what it might have been, but that experience was something that fed my early interests in “paranormal” activity and the concept of non-corporeal intelligence. The explanation given in the episode is actually quite logical, even if it is a bit short and general.

Anyway, on to the case:

The best evidence, in my mind, was the thermal footage. I agree that it looks unusual, but I’m not so convinced that it wasn’t an animal. That’s one big building, and large dogs could run around without being heard or even seen in the dark. They never showed the thermal image of Grant standing in the spot where the image was recorded, so it was impossible to make a good comparison.

I’m also not sure about the strange object that went wafting across the hallway in the camera footage. To me, it looks like a patch of old paint whipping off the wall and out of camera focus. The condition of the walls alone should make that a primary possibility. I understand why it looks unusual, but my first reaction wasn’t “paranormal” by any means.

Most of the other evidence was personal experience. Now, some will inevitably claim that the personal experiences are evidence of fakery or “manufactured drama” or some such nonsense. I’ve been following TAPS outside of “Ghost Hunters” long enough to know that Steve, Jason, and Grant wouldn’t play that game.

I honestly believe that they were communicating what they thought they saw and what they thought the probable source was. Even the most seasoned individuals are going to react to the conditions of the environment. Running around a building like that in the dark, especially with little ambient noise to serve as distraction, will mess with your head. So it’s very possible that Steve thought he saw something, even if it wasn’t there, and it slipped past his defenses. I doubt anyone would be immune to such assumptions in a place like that!

Chill Factor: 8/10

Lost 2.17: "Lockdown"

Written by Damon Lindelof and Carlton Cuse
Directed by Stephen Williams

In which the hatch goes into an unexpected lockdown, trapping Locke and Henry together with little time to get to the computer by other means, while Jack and Sawyer match wits…


Status Report

As expected, this episode represented a turn towards the final leg of the season arc, as a great deal of information seems to have come together by the end. There are still a thousand questions that remain answered, but the writers have paid off the patience of many by providing some information that should factor into the season finale.

It’s not at all clear why the blast doors in the hatch would drop at this particular time, though it’s possible to speculate based on the evidence. Michael’s comment about the blast doors is clear evidence that this moment has been coming for quite a while, since the writers planted the seed very early in the arc. The intersection of the blast doors dropping and the arrival of the supply drop seems to be a little too coincidental, especially on the heels of Henry’s question about how old the food is in the previous episode.

So there’s two simple ways to interpret this. One interpretation would be that the announcement was meant as a warning that there was a supply drop coming and that the blast doors would come down to prevent contact with the outside world. But that doesn’t quite match what Desmond described. Another possibility is that the blast doors were routinely tested, and that the announcement was meant to remind the hatch inhabitants to reset the timer and get behind the doors. While the hatch inhabitants were safely in the hatch, unable to leave, the supply drop could take place for the Dharma personnel on the island. This is supported by the note on the map which reads “PRD every 6-8 months”, which probably refers to Parachuted Ration Drop. (Ignoring, for the moment, the idiocy of having vent lines open to other rooms if the blast doors have dropped!)

Of course, there are plenty of other ways to explain what happened, but one thing is strongly suggested: the blast doors have probably dropped several times before, giving someone the time and opportunity to hide that map where it couldn’t be found. It may not have been Desmond (who claimed to have been trapped in the hatch by himself for quite some time), but it seems written from the point of view of someone trying to understand what’s happening on the island.

The alternative is that the map was planted there. If the Others triggered the blast doors in an attempt to capitalize on the Henry’s presence there, since he definitely seems to be one of them, then Locke could have been meant to see that map. The Others could have been watching Sayid, Ana, and Charlie, and could have taken measures to advance their agenda by playing on Locke’s psychological issues.

At any rate, the map suggests that the general shape of the island is rather similar to the octagonal symbol used by the Dharma Initiative, which in and of itself underscores the theory that the entire island was converted into a massive playground for Hanso’s little endgame. At least three of the six stations are identified, as well as at least four “CV” installations. What “CV” might stand for is anybody’s guess.

The four identified stations do, in fact, match the hieroglyphics that appeared when the countdown dropped to zero, and there are lines connecting all many of the six “outer” stations, which adds credence to the theory that the stations are connected somehow. The possible locations of the two other stations are indicated. The map could include rivers, but there are also indications of tunnels in the area of the island that hasn’t been pinned down.

Why would that be the case? The simple explanation is that the “security system” is active on that side of the island, preventing exploration. The question is: does that also correspond to the area of the island controlled by the Others? That would suggest that the “security system” is keeping the JackLocke tribe from discovering the active Dharma sites. On the other hand, Ana seemed to suggest that the very center of the island was the stronghold of the Others, which would suggest that the big circle at the center of the map was the active communal Dharma facility referenced in “Orientation”.

The notes in conjunction with the “CV” notations translate to “Here Be Dragons”, which could indicate that the “CV” sites are actually the origination points of the “security system”. The repeated references to Cerberus (protector of the gateway to hell) are also very suggestive. Part of the problem is that the location of certain established places in the series (the drug plane, Black Rock, Danielle’s redoubt, etc.) aren’t indicated clearly on the map, for obvious reasons. There’s also no sense of scale, though one could assume that the drawing is not to scale and that the stations are perhaps a mile apart.

There’s a reference to experiments on polar bears using extreme climate change and gene therapy, which suggests that the polar bears were brought there by Dharma. The alleged incident is referenced as the “AH/MDG incident of 1985”, which definitely refers to Alvar Hanso. Is “MDG” a reference to one of the fields of study initiated by Hanso to “further the evolution of the human race”?

One could go on and on with an analysis of the map, and there’s little doubt that it will come up again and again on fansites around the internet. The real question is not what the map means, but what it represents. If Locke has been waiting for a revelation, some sign meant for him to discover, like the shaman imploring his gods to deliver a message, then how will he react to this experience? Will he tell Jack and the rest of the prominent tribe members about the map, or will he keep this to himself in some kind of power play?

While Locke doesn’t look like he’ll be going anywhere for a while on his own, he could enlist a few other people with a vested interest in discovering the purpose of the island. If he remains true to form, he could set out to discover the facility at the center of the island on his own. One would hope that he would at least consult Sayid on the information that was stolen from Danielle, to see if those maps could be correlated to the map he saw on the blast doors. And of course, there’s the question of how much of the information Locke was able to retain. (It’s a lot easier to work out details on a screencap, with plenty of time to spare, than it would have been for Locke at that angle and for such a short period of time.)

It’s also quite interesting to watch the slow switch in Locke’s attitude towards Henry, counterpoint to Jack’s own shifting perspective. Locke started out as very suspicious of Henry, but by the end of this episode, he was ready to trust Henry at his word, all because Henry didn’t abandon him. (Yes, on top of his delusions of “destiny”, Locke has serious abandonment issues. Locke’s a seething cauldron of psychological chaos.)

Jack now has every reason to think that Henry is another plant by the Others, which puts him in an interesting position. Last time Jack encountered the Others, Zeke had a gun to Kate’s head; now, Jack has one of the Others at gunpoint. The difference is that Henry has Locke over a barrel, and he’s also very good at messing with people. (One would think, looking back on the whole series, that Locke is particularly vulnerable to psychological manipulation.)

Locke’s flashback helped to fill in a few gaps in his story, linking his life in “Walkabout” to the rest of his history, without giving up the one piece of information that would really make the fans happy. Frankly, it’s better that way. This wasn’t the episode to drop that particular bomb, even if the writers really built the episode in a way that suggested it might be relevant. But now it’s clear why Locke wasn’t with Helen, and reveals how far he had fallen to build up the fantasy that he could have his life back.

Though the flashback dealt with his abandonment issues, so often self-imposed, there were other nuggets spread throughout that part of the story. For one thing, Sayid’s lost love Nadia is alive and well, and living on her own, at least four years prior to the crash of Oceanic 815. Oceanic was in operation, which makes absolute sense given their connections to Dharma.

An interesting possibility arises, given the behavior of Locke’s father since his introduction in the first season. Is it possible that Locke’s father is, in fact, the read Sawyer? What would happen if “Sawyer” were to discover that? One thing the producers promised was that the connections between the survivors would slowly unfold, even if they didn’t impact the main story, and that is happening more and more. All of it continues to suggest that these individuals were chosen by Dharma to be on Oceanic 815 specifically because of their connected histories.

Obviously, Locke and the map aren’t the only items of interest in the episode. There’s the rather calm battle of wits between Jack and Sawyer. Jack manages to outwit and outplay his opponent, which should lead to some interesting jockeying later down the road. Sawyer was well on his way to becoming the merchant prince of the island, right down to the scoundrel personality, and now he’s lost control of an important asset to Jack. How will he respond to the fact that Jack has effectively demonstrated his power over him?

One small problem with the episode is Kate. She seems awfully chummy with Sawyer, given how he used her so terribly only a few days earlier. More than that, she’s back to her flirting ways with Jack. Kate is easily the least defined and least interesting characters right now, with no discernable motivations of her own. The writers need to remedy that quickly.

The rest of the characters are sidelined somewhat by the intense focus on the hatch, which would normally be a bad sign. In this case, the writers used the tension surrounding Locke and his status, past and “present”, to keep the episode gripping. There really was a sense that Locke could be a victim, betrayed by Henry in his moment of need, and the fact that it didn’t happen, leaving Locke to be manipulated even more, carries the momentum into the next episode. Things are really beginning to take shape for the end of the season, and if they do this right, the writers could make everyone forget the bumps along the way.


Final Analysis

Overall, this episode dropped quite a bit of information into the audience’s lap, as if tempting the viewers to dig further and discover everything to be gleaned. Even more interesting is the circumstance and reason for the related events, which should prove a compelling turn into the final leg of the season arc. Tensions are rising on the island, and it won’t be long before it all comes to a head.

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

Final Rating: 8/10

(Season 2 Average: 7.3)

24 5.15: "Day 5: 9PM - 10PM"

Written by David Ehrman
Directed by Jon Cassar

In which Jack struggles with his own response when Audrey needs to be interrogated, while Chloe tries to deal with the takeover by DHS and Agent Pierce searches for Wayne Palmer…


Status Report

Illness and the lack of an official summary on the FOX site (thanks, slackers!) prevents a long analysis of this particular episode. Then again, given the fact that this continues to cover the transitional period required to trigger the next big plot twist (coming, as usual, within the next couple episodes), there’s not a lot to talk about. Most of the plots proceed as one would expect, with the only surprise being the confrontation at the natural gas facility, which took place a bit earlier than one might have predicted.

The big moment in this episode is the interrogation of Audrey by Jack, which was staged in a way that suggested something massive and meaningful. The interrogation itself had its intense moments, especially when the line between objectivity and subjectivity became a lot less defined, but too much emphasis was placed on Jack’s apparent reaction to Audrey’s fling with Walt Cummings.

It was also a bit too obvious that Audrey was being framed. To the writers’ credit, they ensured that Jack and Bill both found the notion absurd, given her activities to preserve the investigation throughout the day, but it was also used as a justification for Karen’s pre-emption of Bill’s authority. Karen definitely dislikes Jack and his approach to things, which only adds to the tension.

That said, Karen and Miles both bring up some interesting points about Jack’s past and the fact that his judgment is clouded when personal emotions get in the way. Karen could have given Jack a much longer laundry list of reasons why his involvement in the interrogation was a bad idea. Of course, that doesn’t automatically mean that Karen’s decision to torture Audrey was particularly justified, since as Jack pointed out, being wrong could have some harsh consequences.

It might be possible that Karen’s decision to torture Audrey could lead to leverage for CTU’s return of operational control. Assuming that Secretary of Defense Heller is not implicated in the conspiracy (and that’s still an open question), Jack and Bill could easily present a case based on their success and Karen’s unwarranted heavy-handed approach. The writers will obviously place Jack in a position to go “rogue” for a few hours until something happens to put CTU back in the saddle, but there’s no reason to think that it would be permanently under DHS control.

This being a transitional episode for the most part, there are the usual annoying subplots. Agent Pierce deserves more face time, and Wayne Palmer could use a plot thread to redeem his character in the eyes of many, but why cut corners and make things look ridiculous in the process? It doesn’t make sense for Wayne to arm himself by presumably taking out one of the assassins on his tail, and no one believes that he was hurt so badly that he won’t achieve something of value in the next episode.

Henderson’s involvement in the hit on Wayne is interesting, especially in conjunction with the fact that Vice President Hal was alerted to Wayne’s presence at the checkpoint in the previous episode. The writers either think they are being clever and subtle with the connections here, or things are not as clear-cut as they appear. Still, it seems a bit odd that Henderson would have such authority and ability to act without someone very high in the chain of command.

Far more annoying, however, was the subplot involving the tech with severe psychological issues. (Frankly, her name didn’t stick, but it really isn’t necessary!) As clever as it might be to build on the audience’s hatred of Miles by painting him as a sexual harasser, only to turn it around by making Little Miss Psycho the one with the problem, it’s about as annoying and needless a subplot as the plot thread with Chloe and Chase’s baby in the third season. (Though, it must be said, Chloe’s dressing-down of Miles was the highlight of the episode!)

The final act was a nice action set piece, designed to eliminate the nerve gas threat just in time for the “complication” phase of the season to end in the next episode. There’s little doubt that Jack will survive, but there’s every reason to believe that Bierko will as well. After all, he and Henderson need to point Jack and his allies in the right direction towards the real threat within the government. Henderson could do that alone, but Julian Sands is just too much fun to lose at this point.


Final Analysis

Overall, this episode was another transitional piece, though it ends with a nice chunk of plot progression. Getting to that point, however, gives the writers a bit too much room for subplots that could and should have been avoided. The producers promised a deeper look into Jack’s emotional scars this season, and they continue to deliver on that promise, but they should focus on a more substantial impact going into the final stretch.

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

Final Rating: 6/10

Season Average (as of 5.15): 6.8

Prison Break 1.15: "By the Skin and the Teeth"

Written by Nick Santora
Directed by Fred Gerber

In which a last-minute delay in Lincoln’s execution gives Michael a chance to execute one of his less-attractive contingency plans, but not everything works out as planned…


The previous episode was a great re-introduction to the series, and as expected, it marked the beginning of the arc that would stretch throughout the rest of the season. It also avoided a number of the plot contrivances that had been the status quo for the series since the pilot. “Prison Break” is the spawn of “24”, in terms of demanding suspension of disbelief, but when there’s clearly a gameplan in place, it’s a lot easier to forgive.

As expected, the execution was delayed, which effectively means that the rest of the season will defer to Michael’s contingency plans. Since the previous episode was all about removing the likely possibilities for delay in Lincoln’s execution, one would expect that the rest of the season would be about removing the likely possibilities for Michael’s success. Not only does that help escalate the tension, it also pushes Michael to the breaking point.

Michael’s psychology doesn’t really allow him to contemplate failure, which is one way to explain away his ability to sear off a section of his back without screaming his head off. Frankly, I can’t believe that the guard didn’t notice he was there or hear his whimpering, even over the noise, but that’s not the most ridiculous plot twist.

The worst plot hole concerns the reaction to Michael’s injury. There’s no way that his explanation would hold water, especially under the intense scrutiny that Bellick has him under lately. I can buy the fact that Sara wouldn’t report the chunk of prison guard uniform in Michael’s burnt flesh, but why wouldn’t a guard notice the odd fact that a prisoner is mysteriously burned at the same time that his uniform gets a big hole burned into it?

What it does, however, is throw a major roadblock into Michael’s latest plan, which was proceeding rather nicely, despite several minor issues along the way. Sucre has shown himself to be a strong source of support for Michael, and this episode demonstrates that very well. For that matter, the entire team is doing their best to keep things on track while Michael works out the next step. The question is: how long can that last?

The writers also throw another interesting angle into the plot: the apparent intervention by Lincoln and Michael’s father. Why he would wait until the last moment to slip that information under a judge’s door is hard to understand, but there’s plenty of time for explanations between now and the end of the season. I have to wonder what else he has up his sleeve, especially since the exhumation didn’t work out as intended. But that’s the point, isn’t it? They’ve got me more than a little curious to see how it will all work out, warts and all.

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

Final Rating: 7/10

West Wing 7.15: "Welcome to Wherever You Are"

Written by Josh Singer
Directed by (Unavailable)

In which the Santos campaign struggles against exhaustion through the final days of the campaign, while Toby is confronted with an ultimatum regarding his national security leak…


I wasn’t expecting Toby’s plot thread to return in any meaningful way, but once it was clear that it was coming up in a big way in this episode, I couldn’t argue with the logic. After all, this is still a transitional point in the story, and the writers were still reeling from the death of John Spenser. Unless I have the dates wrong, this is the first episode written after John’s death, and there seems to be a purposeful focus on everything else but Leo.

This isn’t the kind of episode that electrifies the audience. There’s a lot of talk about the election and how things might turn out, a lot of strategizing, but there’s precious little talk about where the polls are going overall or indications of how the election might turn out. It’s more about the frantic pace of the final days of a presidential campaign and the toll it takes on everyone involved in the process.

In that respect, it does a damn good job. Everyone in the Santos campaign looked exhausted beyond belief, and I really liked how Santos was portrayed. His good-boy image became more and more embattled with every new press conference and scheduling challenge. That little meeting with Nancy became the symbol for every single source of frustration, and when he finally exploded, it felt completely genuine and justified.

More importantly, Josh finally looked like the potential Chief of Staff that the writers always wanted him to appear to be. When Santos had his mini-meltdown, it was Josh that took the reins and focused his candidate on the big picture. I’ve been very critical of Josh and how he’s handled things, but it’s easy to forget that he’s a novice, despite all those years under Leo. But damn, if he didn’t step up to the plate in the final hours!

Speaking of Santos, I was happy that the situation in Asia was referenced so directly. That was something missing from the previous episode, I thought. Santos reacts about as strongly as I would have expected, and it just made me wish that the episode had also covered the Vinick campaign in as much detail.

Of course, that time was devoted to Toby’s realization that he’s going to jail, more likely than not, and what that will mean to his family. I was expecting that, and so it was a real treat to see Toby at his self-righteous best. I wasn’t particularly convinced that his way of avoiding a political nightmare should have worked as well as it did, but since Toby has always been a great mouthpiece for the writers, I couldn’t complain too loudly.

This is still a transitional episode, since everyone’s waiting for the next two episodes to begin the final stretch, so there’s nothing particularly distinctive about it. I love the chaotic atmosphere, but I can see how some would find it annoying. I’m just impressed by the fact that the cast took the raw emotions following John’s death and used it to give credibility to their exhaustion. Even under the circumstances, no one in this production is coasting through to the end.

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

Final Rating: 7/10

7 Day Forecast: 24 Mar 2006

Now reading:

Buffy: The Gatekeeper Trilogy III: Sons of Entropy by Christopher Golden and Nancy Holder

64/317...I always take early Buffyverse books with a grain of salt, much like "Babylon 5" books, because they have odd continuity errors as a result of being written while the seasons were still unfolding. This one has all kinds of problems fitting into the third season, but taken out of that context, it's a good romp with excellent characterization. Golden and Holder are two of the best Buffyverse writers out there.


Now playing:

Lord of the Rings: The Third Age - about 81%...trudging through Minas Tirith...it's very tough!
Final Fantasy X-2 - about 71%...I'm right before the big concert in Chapter 4!
Final Fantasy V - about 5%...Old School! Brenna's fascinated by the 2D graphics!
Kingdom Hearts - about 8% done...kinda on hold for now

The one good thing about playing the relatively kid-friendly games is that I have convinced Brenna to read the text boxes with dialogue. It gets her into the story, which gives her more reason to tackle the words she doesn't know. See? Games can be educational!

7 Day Forecast (through 31 Mar 2006):

3/27: West Wing 7.15: "Welcome to Wherever You Are"
3/28: Prison Break 1.15: "By the Skin and the Teeth"
3/28: 24 5.15: "Day 5: 9PM - 10PM"
3/29: X-Files 6.2: "Drive"
3/30: Lost 2.15: "Lockdown"
3/30: Ghost Hunters 2.15: "30 Mar 2006"
3/31: Smallville 5.16: "Hypnotic"
3/31: Supernatural 1.17: "Hell House"

Angel 2.1: "Judgment"

Written by Joss Whedon and David Greenwalt
Directed by Michael Lange

In which Angel makes a critical mistake while attempting to save a young pregnant woman, leading to a fight to the death and some soul-searching about his recent motivations…


Status Report

At the end of the first season, “Angel” was at a crossroads. The episodic nature of the first season had proven less than satisfying, and it was clear that the second season would shift back into the format that worked best for “Buffy”: relatively self-contained episodes with an overarching theme. It was a question of where to go with that theme.

The seeds had been planted in the first season, beginning with “Five by Five” and the idea that Angel was struggling against his darker impulses in a struggle for redemption. Previous to this point in the series, that darkness was primarily associated with Angelus, the demon within. But that opened up a question that was related to the theme running through the concurrent season of “Buffy”: where does the demon start and the human begin?

To explore this concept properly, Angel needed to fall into morally questionable territory without reverting to Angelus. Angel needed to reveal the darkness within himself, the side of his human personality that feeds Angelus. This fits into the overall theory that the vampires in the Buffyverse take the darkest personality traits within the human victim and amplify them, thus playing on the metaphor that Angel represents.

But something must trigger the fall, and this episode is meant to provide the beginning of that process. Lorne (here referred to as simply “The Host”) says as much in his conversation with Angel. Angel began to focus too much on the possibility of getting that reward at the end of the fight. It was more about rushing the process than living the process. As a result, he was left open to assumptions about why he should be doing what he has been doing.

In a more broad perspective, this is the trouble that Angel encounters through the rest of the series. Angel is never quite sure whether or not his actions are the “right” ones. He has to make choices and hope that they take him down the right path. Every time he starts thinking about his apparent destiny or his personal desires, the mission is compromised. Those who understand that fact use it against him, time after time.

In this episode, Angel discovers how easy it can be to step off the path. It prepares the audience for the fact that Wolfram and Hart will purposefully manipulate Angel off the path throughout the course of the season, and how he responds to that manipulation. That said, it suffers from the same issues that plague most Mutant Enemy season premieres. A great deal of time is spent dealing with the ramifications of the previous season finale while setting up the philosophical character arcs for the coming season. This combination usually leaves the episode light on actual plot.

Starting the episode with Lorne is a bit of a kick in the pants, another way of evolving the original concept from the pilot into the version explored in the second season. Everyone has evolved in a certain sense: Cordy is better at the acting, Wesley has a lot more confidence (even if the skills are still developing), Angel is taking it to the bad guys with a quip and a bit of flair. Yet the methodical desire to identify and eliminate evil has done little to resolve Angel’s lack of connection to the world around him, which was at the heart of his problem.

The episode’s only reference to Darla, resurrected in the first season finale, comes early on, a reminder of the fact that Angel’s troubles are only beginning. This is important, because the writers remind the audience of what the threat is and then methodically demonstrate Angel’s primary weakness. It sets the stage for the rest of the season.

It’s rather telling that Wesley is the one who discovered Caritas and Lorne as a resource. One wouldn’t expect Cordy to be the one to uncover a demon sanctuary, but it’s easy to forget that Wesley was considered a threat in the demon world before he crossed paths with Angel. For all his bumbling and seeming innocence, he has a great deal of potential, and this is one area in which it continues to be realized.

Merl is a rather annoying yet necessary minor character, adding some layers to the concept of “demons” and what they are all about. Merl isn’t evil so much as self-interested, which doesn’t make him particular different than a lot of humans down of their luck. This is in contrast to the early Buffyverse assertion that demons are by nature evil to the core, adding the growing sense that the Watchers and human historians don’t know as much as they think.

Lorne is initially a clever way to add a semi-regular connection to the Powers That Be when Cordy’s visions aren’t enough to service the plot arc demands. Tying him to a karaoke bar is another example of Joss genius. It’s damned funny, but also has the benefit of making sense. Music does allow for the general baring of souls, as seen later in “Once More, With Feeling”, so why not capitalize on it?

Of course, this leads into Angel’s mistake. In the rush of working towards his redemption, Angel has been letting the corners get cut in the process, making assumptions to expedite his own reward. Instead of looking into the situation and understanding what his role might be, thus helping others while helping himself, he lets his own self-interest get in the way of the mission.

Angel struggles to regain a sense of control over the situation, which provides the perfect opportunity to bring Gunn back into the fold. At this point, Gunn retains much of his street edge with a hint of death-wish, and in retrospect, it’s amazing how his relationship to Angel and the rest of the team changes him. In a sense, this is another example of Angel acting without consideration of the consequences. It’s hinted throughout the rest of the series that Gunn’s crusade for street-kid survival suffers without his leadership.

Another interesting concept is introduced in this episode: what if Angel’s desire to help is in contradiction to the desires of the potential victim? This becomes a key philosophical concept in Angel’s arc with respect to Darla; Darla doesn’t want to be saved, yet Angel insists. That insistence, from a certain point of view, sets him up for a fall when his desires are confounded. The question becomes: when does the desire to protect and save humanity turn into something less than benevolent?

The initial meeting between Wesley, Cordy, and Gunn is one of the best moments of the episode. Gunn’s initial episodes touched on some social and racial themes that were eventually set aside, so this becomes a chance to show how Angel is not the only one dealing with assumptions and prejudices. It also gives Gunn a chance to display his particular brand of humor.

Since the woman at the center of the episode becomes Angel’s responsibility, at least in his own mind, her desire to be left alone forces him to seek other means. And of course, that means Angel must sing for Lorne. His rendition of “Mandy” is perhaps one of the most hilarious and painful moments in the series. (His dancing in the first season comes to mind as a comparison.) Lorne all but warns Angel that his motivations are questionable, yet it’s also suggested that he’s supposed to work it out on his own.

The actual resolution of the episode in the final act is a bit of a disappointment. As fun as it is to see a joust taking place in the middle of Los Angeles, with traffic in the background, it’s still not very exciting. It’s also a little annoying that the baby in this episode never came into the series. It reveals the fact that this entire situation is contrived to introduce the philosophical character elements and little else.

In that respect, the very end of the episode touches on how Angel’s character arc is likely to resolve itself. Angel set Faith on the path towards redemption, so it makes sense that Angel would keep in touch with Faith to keep his own head straight. Angel takes a dark turn throughout the second season, and he will need to find his footing with his humanity to get back into the light. That is effectively the entire point of Angel’s journey: to have the chance to walk in the light, Angel must battle through the worst of the darkness, within and without.


Memorable Quotes

ATTENDANT: “That guy has horns!”
ANGEL: “Steriods…not good for you.”

ANGEL: “You got your steam, you got your sauna, you got fresh towels…I mean, how bad could it be?”
CORDY: “You shower with a lot of men.”
ANGEL: “I’ll always be a loner.”

CORDY: “Oh, Lord, will no one shut me up?”

WOMAN: “You sure seem to bleed a lot.”
ANGEL: “It’s part of the job…”


Final Analysis

Overall, this episode is a typical Mutant Enemy season premiere: long on establishment of character themes for the coming season, but short on introduction of plot arc elements. As usual, that leaves the episode somewhat detached from the rest of the season arc, especially in terms of the final act. It’s not nearly as deep or powerful as the best episodes of the second season would be, but it’s also not as bad as some of the “Buffy” season premieres.

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

Final Rating: 6/10

Lost 2.16: "The Whole Truth"

Written by Christina Kim and Elizabeth Sarnoff
Directed by Karen Gaviola

In which Sun makes a discovery that could change her relationship with Jin in a fundamental way, while Locke enlists Ana Lucia’s help in getting the truth out of the prisoner in the hatch…


Status Report

Considering just how many reruns were inserted into the schedule this winter, combined with the revelations of the previous episode, it’s not hard to predict that the transitional nature of this installment will garner criticism from the fans. It’s all about setting up the next episode, where a number of plot threads promise to come together, and taking the time to explore one of the more popular couples on the show in the time provided.

The marriage between Jin and Sun has evolved into one of the more unique and interesting relationships on the series, overcoming the problems that usually come along when massive amounts of subtitles flit across the screen of the general audience. The fact is that Jin and Sun are unusual characters, especially on a series with such mainstream popularity. Their relationship comes across as very genuine. (Of course, these are general statements based on comments noted since the beginning of the series; mileage may vary.)

Some will inevitably consider this episode a retread, covering established ground, but this does begin to fill in details in the background of both characters. It makes sense that Jin would want to be a father and that complications would ensue, and if Sun is telling the whole truth (and there’s room for plenty of doubt), this is the first time in a while that the island’s apparent ability to bring about miracles has surfaced.

It’s good to know that Jin hasn’t turned into the perfect husband. There was the “honeymoon” reunion period, but after a few days (and nights), it makes sense that the old issues would begin to resurface. It’s hard to remember that very little time has passed since Jin’s return, and as such, it’s very significant that he’s made the choice to make things better with Sun instead of dwelling on the past. Daniel Dae Kim brings an embattled dignity to the character of Jin, which neatly compliments caged beauty Sun.

Of course, the writers will presumably avoid the usual pitfalls of the “baby plot” by keeping the current pace of the timeline consistent. Under those circumstances, the baby wouldn’t be born until somewhere in the eighth season! The real question is what this might mean for the Others. The way the episode was structured, it was easy to anticipate that Sun would be abducted at the end, which made the lack of such a plot twist all the better.

In a sense, the Jin/Sun plot thread (and the related material for Rose and Bernard) allows the tension between Jack and Locke to deepen more naturally. Their conflict has only been building over the space of about two weeks in “island time”, so it would be a bit jarring for it to come to a head too quickly, regardless of the scheduling complaints.

Locke’s character arc in the second season has been a lot less active than in the first. He’s still seeking meaning in recent events, and much of his anger with Jack is transference. He’s far more angry at the “island” for not delivering on the promise that the hatch represented. He felt that the hatch would explain his destiny (given how he still refers to it as “my hatch”), and it has kept its secrets well. It is not unlike a primitive priest who cannot understand the meaning of the temple he has taken as his own.

Jack is an easy target for that anger because Locke supported his leadership role with the understanding that Jack was playing a role appointed in his destined purpose. But Jack continues to defy Locke’s faith-based interpretations. The whole warrior chieftain/shaman relationship is gaining momentum, and as one would expect, both “leaders” are becoming more focused on winning the philosophical battle with each other than actually seeing to the best interests of the tribe.

Locke did, however, have a good idea, even if his motivations were questionable. Ana has to have a purpose beyond planning for an army to fight the Others, and there’s the unfinished business with Sayid. Sayid also needed an opportunity to follow-up on his lingering anger after his interrogation of Henry Gale, and so putting them together was a brilliant move.

Sayid finally makes the observation that should have come to mind much earlier: there’s evidence that Shannon’s death was contrived by the Others. It could just be Sayid railing against the capriciousness of nature, but the evidence is there for something more sinister. It also gives him a way to forgive Ana, who is in dire need of a relatively friendly face on the island. If Sayid can come to peace with Ana, then it would allow some of the other survivors to do the same.

Sayid’s attitude about Henry should also serve as a great excuse to bring up all the possible conspiracy theories about the man and his story. It’s entirely possible for all the evidence to support Henry’s story, even if he is one of the “Others”, based on how far-reaching Dharma seems to be in light of the previous episode. If the Others can pretend to be survivors themselves, they can contrive to insert another agent under mysterious circumstances.

For that reason alone, Henry is representative of the island itself, which is why his place in the current plot thread is such a wise move. It’s entirely possible that everything about Henry is part of some plan, some larger purpose that has sinister implications for the survivors. It’s also entirely possible that his story is completely true and accurate with no implications to the survivors at all. That parallels the difference in interpretation between Locke and Jack regarding the phenomena on the island and the island itself.

Some of the most compelling scenes in this episode involved Henry, especially at the very end. Regardless of whether or not his story is true, he has a keen insight and has been using it to mess with Locke and Jack since he arrived. He asks a lot of the questions that the audience might be asking: why haven’t they tried to figure out what the hatch is for, how old is the stuff in the hatch, etc. It’s exactly what the survivors have avoided since opening the hatch in the first place.

This exposes another metaphor: are the characters avoiding the most obvious questions about the hatch because they don’t really want to deal with the consequences and responsibility of the knowledge? In turn, they are also avoiding what it would force them to admit or consider regarding their own philosophies and psychological issues.

The episode still manages to spend a little bit of time with other characters, though not as much as might be desired. Sawyer is involved because he’s become the master of the Island Barter System, which is a great way to evolve his role on the series, and Kate continues to be a confidante for Sun, which is a nice link to the first season. Charlie, on the other hand, continues his darker turn, with a more biting side to his self-deprecating humor. Hurley, unfortunately, has become the center of jokes about eating more than one’s share, which could and should be brought to a conclusion as soon as humanly possible.

As with most transitional episodes, the lack of a major plot twist could be perceived as a lack of progress. Even the possibility of a miracle birth isn’t quite enough to overcome the fact that this is more of a lead-in to larger events. That doesn’t make this a bad episode, but it does keep it from being more than the average solid episode of “Lost”. Then again, after the struggles in the beginning of the season, that’s more than enough.


Final Analysis

Overall, this episode is clearly a transitional step, setting the stage for more significant events in the next installment. The writers take the time afforded by this move to introduce another element with multiple levels of possible interpretation, but one that fits rather nicely into events past and “present”. Another good solid episode to round out the “complication” phase of the season.

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

Final Rating: 7/10

(Season 2 Average: 7.3)

24 5.14: "Day 5: 8PM - 9PM"

Written by (Unavailable)
Directed by Brad Turner

In which Jack follows a lead on Bierko and the next terrorist attack, butting heads with foreign intelligence and other agencies in the process, while the Vice President asserts more control…


Status Report

The reaction to the previous episode was heated, to say the least. Many who disliked the plot holes in the episode, especially the contrivances of Tony’s final scene, found themselves the target of fierce dissent. In that respect, the “plot twist” achieved its purpose by keeping the fans in a frenzy over each and every twist and turn in the breakneck plot.

Of course, considering how the season arcs are usually constructed, the next big moment is expected around episodes 16-17, so the writers are still dealing with the transitional period between the mid-season plot twist. Unfortunately, this is also the stretch of every season that suffers from the lack of advance preparation, since the writers need to keep things complicated while tracking time.

Perhaps the most questionable aspect of the episode is the very first scene. For all that Tony’s death was ripping Jack apart at the end of the previous installment, he seems rather calm and collected in the opening seconds of this episode. This sometimes happens when two writing teams are working on two episodes that come right after the other; scene continuity won’t always work out as it should. The problem is the abrupt and almost impersonal reaction to Tony’s death. It really doesn’t come up in any meaningful way, apart from the urgency that was already well established.

Henderson’s escape is also a bit sketchy. The writers seem to want it both ways. Chloe manages to get the information off the chip, thus making Henderson somewhat obsolete as a source, but they want Henderson to be available for use later in the season. It’s just a little annoying for him to be extraneous so swiftly.

Logan, as anticipated, lets Vice President Hal “Bob” Gardner continue running the show, declaring martial law for reasons that barely make sense under the circumstances. Considering where this plot thread goes by the end of the hour, Martha is completely correct in her concerns about Hal.

Karen Hayes and her lackey Miles strut into CTU with an agenda: let the CTU survivors work until the nerve gas crisis is over, and then assume full control. This makes no sense whatsoever. If the intention is to make up for the fact that CTU has been decimated, why wait until after the crisis to take control? Assume temporary control and then reassign personnel when things calm down!

Of course, this all assumes that Karen and Miles are on the up and up. The fact that they seem to have a relationship with Hal suggests some questionable motives. Even so, Miles wins the “Least Compassionate Civil Servant” Award for his callous attitude over the losses at CTU. This is the kind of person who deserves to watch people he cares about die horribly, not Chloe!

Distrust of Hal is supported by the contact between Agent Pierce and Wayne Palmer, who apparently found whatever David really uncovered. Clearly, it wasn’t just information regarding Walt Cummings. Since it was never explained what David Palmer knew that made him a target, it’s easy enough to switch expectations and guess that it has something to do with an American conspiracy to aid and utilize Bierko to undermine Logan.

One of the weaker aspects of the episode is the introduction of the latest link in the chain, Collette Stenger and her German spy pet Stoller. For an intelligence agent, Stoller has a bad habit of coming right out with the questions about her business. It’s not hard to figure out why he’s so conflicted, though, especially when she’s pulling on the calf boots! But she’s not particularly compelling, even when she tries to act tough and detached.

Stoller’s explanation for non-compliance makes a certain amount of sense, and the inter-agency conflicts bring to mind all the reasons for the US-Russian accord at the beginning of the season. Jack’s offer, however, seems a bit extreme, even if he has another plan in mind. It seems like something dumped into this minor plot turn to keep things interesting, presaging that Jack will continue as he deems necessary regardless of the issues at CTU-HQ. And never mind that Jack never has the time to rig the chip he has in possession, so how does that work out logically?

Chloe’s little move with Miles is actually pretty funny, because she doesn’t even try to be subtle. It’s not hard to figure out how she’s caught in the end, even if there’s nothing particular to tip Miles off to the use of the keycard, but it’s fun to watch her get a moment of revenge for his earlier behavior! The fact that she’s quickly discovered and confronted also helps to generate a bit of well-established tension. Buchanan started the season by being a little too forgiving at times, and that’s exactly what Karen uses to make her own case.

Jack’s reaction to Karen and her protests, however valid, are absolutely priceless and vintage Jack Bauer. And while it’s hard to figure out how Jack pulled it off, the Mission: Impossible riff was particularly effective. Given his history, there’s every reason to believe that Jack would torture Collette, but he seems to be more willing to play with immunity deals than brutalizing a woman, which is a very good thing.

The immunity deal comes through a bit too quickly, but it’s not a major issue. It’s far more interesting to watch Karen eat crow, even if she still has all the authority she needs to take control regardless of what Jack does. Far more troubling is the attack on Wayne, which seems a bit too over-the-top for its intended purpose. If Hal wanted Wayne out of the picture (and there’s plenty of evidence for that), it could have been more subtle.

The final twist feels like classic misdirection. Audrey’s actions earlier in the season don’t track if she was in on the terrorism. It’s far more likely that someone in the DoD with her authorization codes and access put her in the line of fire. Hopefully Jack will consider the fact that he was framed less than a day earlier in much the same way. One could easily speculate on the who and why, but it’s probably enough to conclude that it’s related to Hal Gardner’s activities.

Transitional episodes are a lot more difficult to pull off, but sometimes, they do help the writers buckle down and think about where they’re going. There’s a reason why the final third of each season is usually a return to form: there’s time to figure out where the story is going after the next big twist while the story marks out time for a few episodes with the usual positioning. Thus episodes like this get the job done, but that’s just about it.


Final Analysis

Overall, this episode is definitely transitional in nature, fulfilling its function without too many plotting issues. It’s always fun to watch Jack deal with people who won’t get with his program, and this episode is full of such examples. The plot threads are more functional than thrilling, but sometimes, that’s exactly what the situation requires.

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

Final Rating: 7/10

Season Average (as of 5.14): 6.9

Prison Break 1.14: "The Rat"

Written by Matt Olmstead
Directed by Kevin Hooks

In which Michael and Veronica scramble for allies as their plans to keep Lincoln out of the electric chair fall apart, leaving Lincoln to come to terms with his fate…


It’s been all but forever since this series was on the air, so there are those who might be disappointed by the fact that this is one of the least “active” episodes of the season. But from a more reasonable perspective, this is the perfect way to come out of the hiatus. It gives everyone in the audience a chance to reinvest in the characters and remember the context from the first 13 episodes.

As it happens, new shows are typically only given an initial 13 episode order, so the networks can evaluate progress and determine if they want to throw more money into the game. For instance, the first season of “24” was written in two distinct periods of time, and one can tell the difference between the first 13 episodes (very tightly written) and nearly everything that came afterward (amnesia, anyone?).

So this episode was conceived after the first 13 episodes were constructed as a definite story arc, meant to come together at the point where the initial prison break was foiled. The story needs to generate momentum again, despite the high-energy lead coming out of the previous episode. Focusing on character tensions, thus reminding the audience of the stakes and the connections established, makes perfect sense.

The arguments for a stay of execution provided a quick and dirty overview of the conspiracy to date. Absence must indeed make the heart grow fonder, because I wasn’t nearly as annoyed with Veronica this time around. I still think she’s less effective than the producers must believe, but when she’s not annoying, it makes the show more anjoyable.

I really like how Michael panics in this episode. I forgot how much he holds inside, so there are scenes where his emotions are barely contained beneath the surface and it’s all captured behind his eyes. It’s also fun to watch the Escape Squad react to the fact that the plan failed. It’s going to be a long road to the end of the season, when a break is most likely to take place, so the “politics” of the situation should have plenty of time to complicate.

I liked the fact that the easy answers were slowly and methodically removed from the board. Even Michael’s gambit with the rat failed, largely because of the other rat in his midst. One thing doesn’t quite make sense, however. If Bellick really thought that Michael could get a rat into the electrical box for the chair, wouldn’t that be enough for him to inspect the cell and its surroundings more closely? Or did Bellick simply assume that Michael was getting help?

Ending the episode before the anticipated execution, with no solution to the problem in sight, was a good way to ramp up the tension again without resorting to shock value. All the tension was related to the situation, mapped out in advance, and how the characters dealt with that situation, consistent with their previously established motivations and personalities. And the episode worked all the better for it. It’s a strength that a more established series on the same night might want to consider.

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

Final Rating: 8/10

X-Files 6.1: "The Beginning"

Written by Chris Carter
Directed by Kim Manners

In which Mulder and Scully deal with the destruction of the X-Files and their adventure in the Antarctic, which is complicated when their reassignment to the department is questioned…


Status Report

At the beginning of the sixth season, the series and franchise were in a delicate position. The feature film “Fight the Future” answered a number of questions about the series mythology, but the producers and writing staff couldn’t make the assumption that the television audience had seen the film. Thus the series had to recap the major plot points of the film while justifying its own existence by wrapping up the plot threads originated in “The End”, which were generally ignored by the film. It was hardly a simple task.

There were also considerations related to the cast and production. During the fifth season, there were difficulties in bringing David Duchovny back to the series following the film. As part of the deal cut to keep him on the show, the production was moved from Vancouver to Los Angeles. This resulted in a significant change to the tone and appearance of the series as a whole, something which has been cited by some fans as one of the death knells of the series.

Additionally, this episode introduces a notion that was never fully realized until Duchovny’s decision to leave the series at the end of the seventh season: new agents working on the X-Files. As originally conceived, the characters created to take over the X-Files were supposed to be involved on a much more significant basis. The fact that this did not happen left the changes introduced in the sixth season toothless at best.

As with most of the mythology episodes, previous interpretations regarding the goals and policies of the conspiracy and Cancer Man pertain directly to the interpretation of the current episode. Therefore, the speculation and interpretation outlined in previous reviews are assumed to be familiar to the reader. In particular, the summary of the mythology provided and given in the review for “Fight the Future” factors into the interpretation of this episode.

Since the sixth season premiere needed to incorporate the key elements of the film into the series as if they had happened “off screen”, assuming that the audience was jumping in from the fifth season without any knowledge of the film at all, the entire episode feels like a bit of a retread. The writers do what they can to expand on concepts from the film with new connections to the series’ mythology minutia, since that was impossible in “Fight the Future”, but in some ways it feels like wrapping up the same gift in shiny paper.

Considering how much of the lethal Purity was recovered in Blackwood County in the film, it makes sense that the material would need to be tested. What doesn’t make sense, especially considering the fact that the Syndicate and Cancer Man both took great pains in the film to preserve deniability, is the idea of analyzing that version of Purity in such a hot part of the country. They know that everything related to Purity thrives on heat!

Tying the analysis to Roush Technologies is a nice link to the organization referenced in “Redux”, which was clearly a front for conspiracy activities. It’s never explained how one of the researchers at Roush came to be infected by Purity, but considering that it can get through just about anything (including containment suits, as seen in “Tunguska”), it’s not a major issue. More questionable is the idea that the Syndicate wouldn’t have this research and personnel under heavy security while the threat was analyzed and contained.

The first real problem of the episode, however, comes with the lack of follow-through for one of the better ideas in “The End”. Destroying the X-Files and forcing the investigations to take place through deeper inquiry into unusual circumstances could have been the perfect reboot to the series as a whole. Add to that the opportunity to assign new agents to the task, who would presumably investigate such occurrences with a more conventional eye, would provide Mulder and Scully with a very different dynamic.

Unfortunately, the writers decided to have the direct burning of the X-Files reversed through a means of recovering the documentation. Thus the whole idea of eliminating the X-Files is rendered moot. The question becomes, instead, who gets to recover the files and continue trying to solve the cases. As far as that goes, the idea was quite interesting and should have worked. It’s just that the writers didn’t fully commit to the idea of a series with a larger ensemble.

For all that, the OPR Committee meeting does a nice job of tying the end of the film to the events of the episode. It’s all rehashing and recapping, a way to deliver exposition with the least bit of damage, but it’s done in a way that actually moves the story forward at the same time. The more ridiculous aspects of the mythology in “Fight the Future” are outlined, which serves to explain what the film covered and, for those confused by the film, how it was all supposed to work.

Unfortunately, this leads into what many would consider a betrayal of one of the film’s strongest themes. Mulder and Scully were supposed to be reinvested in the crusade and each other, yet in the very next instance, Scully is backing off of the firm position she presented in the final OPR scene of “Fight the Future”.

There is a certain point to that exercise. Many of the events in the film were designed as if it were the end of a saga, not a middle chapter. The series had to continue with something less definitive. So Scully’s data, which admittedly didn’t prove very much in the film, turns out to be less than revelatory when push comes to shove.

The episode also tackles the aftermath of Cancer Man’s resurgence of authority over the direction of the Syndicate’s activities. With the Well-Manicured Man out of the picture, Cancer Man’s desire to control events is given scope and opportunity. As in earlier seasons, he chooses to let the Syndicate believe that he serves their purpose. As such, when another incident threatens to reveal the conspiracy in the wake of the virulent Purity’s “discovery”, he places himself in a position to control events.

Cancer Man is obviously behind the decision to keep Mulder and Scully off the X-Files, especially since Spender and Fowley (both Cancer Man lackeys, to one degree or another) are the agents assigned to the file recovery. Mulder, of course, sees it as a betrayal by Fowley, and in fact, that’s exactly what it is. As known from subsequent episodes, though it was hardly a surprise, Diana was brought back to manipulate Mulder into thinking that he might have an ally against Spender, when Diana is just there to ensure that Mulder is managed from another angle.

While Mulder is managed and prodded in the direction that Cancer Man wants him to go, especially in terms of how far he’ll sidestep his own morality, he decides to use Gibson as a “Purity Detector”. By this point, a few months after “The End”, Cancer Man has had enough time to discover the genetic evidence linking Gibson to Purity and the inactive portions of the human genome.

This particular detail is very important to the mythology, since it lends a great deal of support to the idea that Purity is an extension of human genetic engineering efforts under the conspiracy’s watch. There is also the indication that a certain part of Gibson’s brain is structurally different from the normal human brain, thanks to the activation of his abilities. This becomes the foundation for the ideas that drive the mythology in the sixth and seventh season finales.

What Gibson knows, however, speaks to unspoken motivations. Mulder and Scully investigate the scene of the latest “alien” emergence and debate interpretations (with Scully slipping back into the usual “denial as coping mechanism” stance), just as Cancer Man brings Gibson to the scene. Gibson is aware that Mulder and Scully are inside, and so he must also be aware that Cancer Man has designs against the agents. Gibson makes the conscious choice to protect Mulder and Scully from Cancer Man.

As someone with partial abilities of a “sentinel”, those with the abilities similar to those engineered into the human genome by the “angelics” for the purpose of creating William, Gibson is both vitally important and terribly dangerous to Cancer Man’s endgame. Cancer Man wants to bring someone like Gibson about, but he is continually unable to allow events to unfold as they must. This desire to force the leap to someone like William becomes the impetus for his decisions through the next two seasons.

The Mulder and Scully scenes continue with the process of bringing forward elements of “Fight the Future” so they can inform the series, while also serving the purpose of softening their shared purpose from the end of the film. As a result, when Scully repeats everything that Mulder said to her in the film, it’s a bit annoying and feels intrusive. Scully is right: Mulder did, in fact, tell her that her science kept him honest. But in this case, Scully is forced into a position where her science represents dishonesty, since the development to the character from the film is all but removed.

The plot takes a turn for the worse when the gestated entity somehow manages to get itself into a nuclear power facility without being detected, despite having to cross 60 miles of desert in the process. In today’s world, just thinking about that kind of lax security is ludicrous enough. Also impossible to dismiss is the idea that the entity would then manage to hide in the facility after an apparent murder has taken place.

Mulder clearly recognizes, based on Diana’s explanation for what happened to Homer, that she’s compromised. This is an important point, because if his allegiances to Scully were cemented in the film, his judgment regarding Diana shouldn’t be clouded by past collusion. In this scene, it’s not hard to recognize that Mulder feels betrayed. That only makes the rest of the episode harder to reconcile.

Getting Gibson in the agents’ hands is important. Part of Cancer Man’s goal is to push Mulder (and if possible, Scully) into a position where he must begin making decisions as he would. Gibson is not just a victim of the conspiracy, but also an asset that could, in the wrong hands, be exploited. Initially, at least, Scully treats Gibson in a way that reminds the audience of her interaction with Emily. She feels a need to protect him and take care of him.

Gibson is also there to point out that Scully is once again living in denial. Mulder, on the other hand, has been pushed into exactly the kind of position that Cancer Man desires. His concern for Gibson is overwhelmed by his desire to use the boy for his own devices. Scully agrees that Gibson is important to Mulder’s future, but she also recognizes that Gibson must be treated like a person, not an object.

Once Diana reappears in the plot, however, things just get more inconsistent with the film. One could interpret Mulder’s decision to leave Gibson with Scully and go to the nuclear facility as another example of how Cancer Man’s manipulation is working. After all, driving Mulder and Scully apart was one of the goals, if only so far as to keep them from working as efficiently as they could. But the actual scenes make it look as though Mulder trusts Diana, almost blindly, and that doesn’t match scenes earlier in the episode.

It’s a given that Diana was ordered to place Mulder in this compromised position. At the same time, why would the “angelics”, the spiritual forces aiding and planning for the defeat of Purity, allow Gibson to suffer as he does? It may be as simple as testing Mulder and Scully to determine if they are ready for the next step. Gibson takes Scully to task for seeing him as an object, “a very special lab rat”, instead of just a victim, and he’s absolutely right for doing so.

Mulder has some convenient lapses in memory, especially when it comes to touching what could be something alien and related to the virus that nearly killed Scully. He can’t be aware of his immunity (thanks to “Tunguska”), and he can’t know that the retrovirus that nearly killed him in “Endgame” was present, either. So what kind of idiot uses his bare hands to grab something that is definitely related to something he knows to be lethal?

Of course, Mulder gets to see something, but not the actual entity, and Diana turns on him in a second. Even after Diana’s report (as Cancer Man intended) forces OPR to reassign Mulder and Scully under Kersh (as Cancer Man Intended), he still somehow manages to defend Diana’s actions. This is clearly an example of a character acting in deference to plot demands, rather than in a manner consistent with recent character development. The Mulder in “Fight the Future” would never overlook Diana’s betrayal in such a blasé manner.

The scene between Cancer Man and Spender reinforces what is already quite obvious: Cancer Man has used the events of recent months, going back to “The End”, to take control over the “investigation” of the X-Files. His explanations to Spender are, of course, not entirely true, since it’s meant to persuade Spender of a certain truth. At the same time, Cancer Man is trying to break Mulder’s spirit, at least so far as it will convince Mulder that the only way to win is to join him.

Mulder’s “choice” is in direct conflict with his words and deeds in the film, and for that reason alone, the episode reveals how the writers struggled with the concept of how to generate drama in the post-“Fight the Future” seasons. There’s no reason why Mulder has to be so aggressive, and no reason why Scully can’t just get to the point. After all, she has the scientific evidence that he was looking for, something that Diana couldn’t provide. Why not start with that and then question Diana’s intentions?

The genetic evidence provides the important link between Gibson’s “sentinel” abilities, Purity’s genetic origins, and the fact that the seeds for both are present in normal human DNA. It paints a fairly obvious picture: one has the potential, one has realized potential, and one has an artificial perversion of that potential.

Whatever the case, there’s probably a reason why Gibson wasn’t killed by the entity. There’s evidence that Gibson was holding back in terms of the extent of his abilities, and if the entity was connected to the malevolent spiritual forces behind the consciousness of Purity, it would have recognized that Gibson was stronger than he seemed. After all, how else would Gibson have known how to track the entity over such a massive distance?

So it stands to reason that Gibson was aware of what was happening, able to heal on his own relatively well (he doesn’t have prominent scars in the eighth season, after all), and he’s not frightened of the entity. Thus he is probably immune to Purity (as all “sentinels” would be), and waiting around to gather information on the development of the host bodies for Purity. This information would, presumably, be important for Mulder and his allies after the series finale.

In terms of the development of the entity, this answers some questions about the goal of “Colonization”. Phase III of the conspiracy is all about using the biologically developed drones, the result of Phase II, to create a new race of host bodies for the “currently” non-corporeal intelligence that is Purity. Since the Purity recovered in Blackwood County and researched by Roush is the Purity that was supposed to be used during “Colonization”, it is representative of the process that would have taken place if William was never born.

The initial stage of development involves the savage form in “Fight the Future”, which then sheds its skin when it’s ready to move into its base form, the Colonist. The Colonist, as later revealed, is the base form for the shape-shifters. This makes complete sense, given that the biological nanotech used to create the shape-shifting clones was specifically designed to lead into the biological changes that would lead to the birth of the drones.

There’s little doubt that this episode was hampered by several plot requirements. Not only did it have to cover the material of the film while relying only on the fifth season finale as a predecessor, but it had to set the stage for “Two Fathers”/”One Son” and “Biogenesis”. There’s little time left for the episode to shine on its own. Add to that the production challenges presented by a new crew and production location, and it’s a shock that this episode works at all. As it stands, it is a flawed beginning to a season that would struggle to find a consistent direction.

One of the biggest problems is the use of Spender and Fowley as adversaries for Mulder and Scully. Both characters were designed for specific plot purposes, and as such, they don’t have distinct and compelling personalities of their own. One never truly believes that Mulder and Scully will remain off the X-Files, and the writers never utilize Spender or Diana as if they were to be taken seriously.

As the season marches along, of course, it becomes a lot more evident that the writers have fallen into a rut with Mulder and Scully. Even David and Gillian seem less than inspired as time marches on, which is even more evident in the seventh season. Considering how the eighth season was enlivened (and perhaps even saved) by the introduction of John Doggett, a full-fledged character with actual motivations and personality, wouldn’t it have been better to introduce characters like Doggett and Reyes in place of the extremely limited Spender and Fowley? If the series shifted to a more ensemble format, it could have prevented a number of the creative issues over the next two seasons.


Memorable Quotes

AD #1: “I see your renowned arrogance has been left quite intact.”

AD #1: “You’re here to justify your reassignment to the X-Files with little more than a rattletrap account of high adventure in the Antarctic.”
AD #2: “Not to mention some very questionable travel expenses…”

SKINNER: “When will you accept that no amount of pressure or reason will bring to heel a conspiracy whose members walk these halls with absolute impunity?”

MULDER: “Diana, back on your feet. I guess that’s the only way you could stab me in the back…”

MULDER: “I hope you know what you’re doing, Diana. I hope you know whose errand you’re running.”
DIANA: “I think I do.”

SCULLY: “You’re a very special boy, Gibson. You know that yourself.”
GIBSON: “I’m a very special lab rat.”

CANCER MAN: “You can kill a man, but you can’t kill what he stands for. Not unless you first break his spirit. That’s a beautiful thing to see.”

SCULLY: “I don’t doubt what you saw, Mulder. I don’t doubt you. I’m willing to believe, but not in a lie, and not in the opposite of what I can prove. It comes down to a matter of trust. I guess it always has.”
MULDER: “You asking me to make a choice?”
SCULLY: “I’m asking you to trust my judgment. To trust me.”


Final Analysis

Overall, this episode is the unfortunate victim of several writing and production challenges, many of which were nearly impossible to overcome. While the idea of new agents assigned to the X-Files was quite good, it was never realized to the extent that it should have been. Add to that the need to recap far too many plot points from the film, and this becomes one of the weakest season premieres of the series.

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

Final Rating: 5/10

West Wing 7.14: "Two Weeks Out"

Written by (Unavailable)
Directed by (Unavailable)

In which Vinick must deal with an aggressive new campaign consultant as Santos continues to position himself for a victory, as a potential silver bullet against Santos falls into his lap…


This had the feel of a transitional episode, especially since the previous installment started the turn towards the series finale. Usually, when there’s a season arc to be considered (and the election makes this a valid topic of discussion), the arc is broken into three basic acts: introduction, complication, resolution. The first shift is usually around episodes 6-8, which essentially places the debate episode in the right position. The “complication” phase usually peaks around the middle of the season, say episodes 10-12, which corresponds to the nuclear incident and its massive effect on the story arc.

So it’s expected that the next big turn will be coming in episodes 15-17, though it may be slightly delayed due to the fact that John Spencer’s death is being dealt with on-screen. All indications are that the election itself will hit at the right time, making this a transitional period where the complications continue to mount.

In this case, I was impressed by the fact that the possibility of scandal was addressed in a fairly even-handed fashion. It would have been easy, given the slant of the series in the early days, to paint the possibility of a Santos scandal in a way that admonished those seeking to tie personal issues to political ramifications. However, Vinick made the point that many Clinton detractors try to make through the noise: the problem is not the terms of the scandal, but the effect on the ability to govern.

I was expecting a relatively benign explanation for Santos’ problem, just as I was expecting Vinick to deal with the issue behind closed doors. What I found refreshing was the lack of resolution. Vinick and Santos make good adversaries because they are fundamentally good people with divergent philosophies on life. Vinick’s main issue with Santos is how he has decided to handle a threat to the integrity of the presidency, and he’s not wrong. He has good reason to be disappointed in his opponent, and it’s fascinating to watch these two in a room on a personal level.

Vinick could have come across as a villain, but he resisted the temptation to win based on scandal over substance. The episode provides two different paths for Vinick, with both on the table for the audience. Does he rest on the merits of his marathon press conference, where he restored much of his credibility with the public, or does he pull an October Surprise? Sure, it’s TV political drama trumping reality, but it leaves Vinick as a man with solid ethics. It ensures that the audience sees both men as viable if flawed presidents, which is something rare in recent American history.

It’s great to see Toby giving Josh advice in the home stretch, and it will be interesting to see if that proves to mend fences going into the finale. It was a little annoying for the whole war situation to be dealt with off-screen, but since it played into Vinick’s moral stance, this can be forgiven. I wouldn’t say that this was as good an episode as the previous installment, but it was still solid.

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

Final Rating: 7/10

7 Day Forecast: 17 Mar 2006

Now reading:

This Day All Gods Die by Stephen Donaldson
Star Trek: Voyager: String Theory III: Evolution by Heather Jarman

106/398...This trilogy hasn't been nearly as interesting as the editors and authors apparently thought it would be, but it's entertaining enough to be moving along at a reasonable pace. And Jarman is particularly good with detail and alien cultures, so it's not a bad read by any means. It's just about as exciting as most "Voyager" books, though I keep hoping...


Now playing:

Lord of the Rings: The Third Age - about 59%...still in Osgiliath...it's very tough!
Final Fantasy X-2 - about 66%...Brenna asked for it, she got it!
Kingdom Hearts - about 8% done...kinda on hold for now


7 Day Forecast (through 24 Mar 2006):

3/19: X-Files 6.1: "The Beginning"
3/20: West Wing 7.14: "Two Weeks Out
3/21: Prison Break 1.14: "The Rat"
3/21: 24 5.14: "Day 5: 8PM - 9PM"
3/22: Angel 2.1: "Judgment"
3/23: Lost 2.14: "The Whole Truth"
3/24: X-Files 6.2: "Drive"

Invasion 1.17: "The Key"

Written by Michael Alaimo and Michael Foley
Directed by Bryan Spicer

In which Russell and Dave track down Szura’s location and set out on a scouting mission, while Christina takes Mariel hostage to discover what kind of offspring she’s carrying…


I actually felt like this episode slipped on the pacing a little. It wasn’t as atmospheric and menacing as the previous episode had been, but on the whole, it delivered the goods. There was the usual metaphor within the troubled extended family, the discussion on survival of the fittest, plot progression, and even a twist at the end.

The only thing I didn’t really like was the subplot at the school, even though I recognize what it was meant to achieve. I guess cavorting with the naked hybrid a while back wasn’t enough to overcome Jesse’s natural (and completely justified) concerns about the whole inter-species cooperation thing. Jesse looks to be gearing up as an anti-hybrid soldier, if I read the signs right, but I can’t tell if that’s supposed to factor into the end of the season or serve as a potential plot thread for the (hopefully) second season.

I’ve always liked Christina as a character, to the point where I was beginning to feel terrible about the fact that she was probably going to die. It didn’t happen the way I expected, which is probably for everyone’s benefit. Did we need to see Christina’s torso explode, killing her in the process? No, we didn’t, so the writers found a way to let it happen while achieving another purpose with her death. We get to see how focused Szura is on the survival of the hybrid species, which is better communicated in that moment than any amount of exposition.

All that said, Christina’s experience brings up a disturbing point. The male hybrids seem to be a bit too aggressive with the male dominance, and it makes one wonder if Szura knew that the pregnancy would likely be terminal for Christina. It doesn’t sound like he cares about women overly much. It also makes it sound like the hybrids are a means of reproduction for the “aliens”, with the human victims being the cost of survival. Of course, we haven’t seen the final product yet, so it could be something completely different, like the next stage in the “alien” evolution.

I continue to love the interplay between Russell and Underlay. I was initially under the impression that Russell would be the main character, but the series has evolved so that the entire world of “Invasion” is guided by those two characters and their struggles within and without. They act as two magnetic poles: equal and opposite, yet undeniably linked. To be honest, however, Underlay makes it all come together for me.

Larkin’s purpose in the story is now a bit more clear. Russell, through Larkin, has something that Underlay will never have, because Mariel refuses to become the kind of victim that Christina obviously was. Mariel already feels as though choices were made for her (and they were), and she refuses to go along with Underlay’s desire for children. Thus Russell, for all his humanity, has something in Larkin that Underlay will not have in Mariel. That sets up another layer of tension in the narrative.

It’s a little hard to imagine that the hybrids missed the sound of the loud engine used by Russell and Dave, but since they didn’t leave the unidentified key yet, there’s still time to correct that plot contrivance. The important part is that the strengths of the episode more than compensated for the minor issues along the way.

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

Final Rating: 8/10

Medium 2.17: "Lucky in Love"

Written by Robert Doherty
Directed by David Jones

In which Allison has a dream where her brother is involved in a fatal bank robbery, which complicates things when he comes calling with a new girlfriend with a mysterious past…


To be honest, I didn’t remember Allison’s brother at all. A lot of time has passed since the first season, and there’s a lot of other material worthy of attention. So it completely slipped my mind that Lucky had abilities, making it a lot more surprising when Leah turned out to be the spirit of a grafter betrayed by her partners.

I’m not sure that Lucky is as interesting as the writers seem to think he is, but I was struck by the idea of someone not as bright or generally driven as Allison dealing with the effects of the family gift. Allison herself didn’t work it out until late in the proceedings, which makes it completely believable that Lucky wouldn’t recognize the signals.

My only concern is that the production wasn’t consistent in showing her as being dead. In some scenes, it’s clear in retrospect that she was being ignored by everyone but Lucky, especially when people are looking right at her and not reacting. It gave me the impression that she was in on another scam, pulling Lucky into another bank robbery. Unfortunately, in other scenes, she was being touched and touching things, which is still possible but breaks the illusion somewhat.

Maybe I was focusing more on what was happening between Allison and her brother, but I didn’t notice as many good scenes between Allison and Joe and the rest of the family. Everything was about Lucky’s personal situation, and it just wasn’t as interesting. As attractive as I found Leah (she of the oddly compelling accent and strange eyebrows), her chemistry with Lucky was lacking in a lot of key moments.

One thing I did enjoy quite a bit was the severity of Lucky’s predicament. The writers did a great job of demonstrating how determined he could be, despite the fact that he was getting beat half to death in the process. He really was acting like a man in love, willing to die for someone worth protecting, and there was a certain lug-headed dignity to it.

The episode itself was well done, and it certainly managed to surprise me along the way, so it’s not as if this was a particularly weak installment. It just wasn’t something that I would look forward to seeing again, which is not something that I usually experience when it comes to episodes of “Medium”.

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

Final Rating: 6/10

24 5.13: "Day 5: 7PM - 8PM"

Written by (Unavailable)
Directed by (Unavailable)

In which the survivors of the nerve gas attack on CTU must race against time to stay alive, requiring additional sacrifice in the process, while Logan struggles to retain control…


Status Report

One recurring topic when reviewing “24” is commentary on the writing process itself. The writers and producers proudly note that they work out the initial plot elements for the first few episodes, now essentially the opening week’s worth of material, and then improvise from there with only a general idea of where the season arc should go.

To be fair, most shows operate on a similar basis. The writers have a basic structure in mind, usually breaking a season into thirds, and as the season progresses, plot elements and character arcs clarify and gel in unexpected ways, leading to changes and revisions to the plan. Shows like “Battlestar: Galactica” and “Lost” excel at taking the basic blueprint for a season arc and adjusting it to capitalize on what works and what doesn’t.

The difference is that “24”, by its narrative conceit, cannot jump around in time and setting to cover the process and make it relatively seamless. The story has to hang together by some logic, since one episode must lead directly into the next, all while being consistent with previous installments. Much of the time, this struggle results in episodes bereft of layered meaning yet capable of the intended purpose. Sometimes, however, in the attempt to provide shock and awe, the writers betray their lack of vision.

It’s unfortunate, because for 59 minutes or so, this was an interesting and unusual episode. “24” rarely spends the majority of an episode focusing on a handful of characters in a single location, so this was a diverting change in perspective. And given the situation at the end of the previous episode, it made sense for the action to be relatively confined to the “safe zones”, surrounded by the bodies of their co-workers outside.

The setup is relatively simple. The emergency response teams, diverted to the hospital in an earlier episode, are now too far to clear out the CTU building in a timely manner. That makes it very difficult to continue with the interrogation of Henderson, which is the initial source of angst. Jack has only two options for continuing the counter-terrorism work: hack Henderson’s chip and get Henderson to talk.

Unfortunately, Chloe is a mess, which just gives Barry, Kim’s incredibly disturbing psychologist (and possible lover, to make thing worse), a chance to show off his technique. It seems to work, if only because Chloe decides it’s ridiculous and annoying and the only way to stop it is to just get back to her job. Whatever the case, it serves the purpose of annoying the hell out of Jack.

As predicted, once Tony realizes that Henderson is trapped in the same room, violence ensues. This scene is actually quite reasonable, since Tony has only recently learned of Michelle’s death and has plenty of reason to want Henderson dead. The fact that he backs off, at least provisionally, would have logically led to the conclusion that he would be involved in the subsequent interrogation. However, this does not happen.

Trouble arrives in the form of Karen Hayes, a high-ranking Homeland Security official who seems to have the favor of Vice President Hal. In a logical (if aggressive) move, Hal realizes that CTU is no longer a viable organization for the current investigation, but they also have the most recent intel. With Hal also pushing for martial law in Los Angeles, it’s clear that Hal had a plan in place, waiting for an opportunity. The question is why he would have a plan in place, and how that plays into Martha’s fear that Hal wants to take control.

It doesn’t take long for Barry to demonstrate his ignorance by pointing out the flaws in Jack’s crisis management style. Kim makes a point of the fact that Barry helped her through some dark moments, and while it’s not enough to make the haters stop bashing her character, it’s enough to point out all the things that Jack must be held accountable for. Whatever else is true, Kim has every right to feel and act the way she does.

Before the episode can stay completely logical, however, the plot goes into territory that defies even the strongest suspension of disbelief. Apparently, the nerve gas is suspended in a corrosive agent that is eating through the partition seals. Fair enough, but in a matter of moment, Chloe has a gauge (in pretty graphics) detailing to what percentage the seals are broken down. Thus sparks a plan that shouldn’t work in a million years.

For one thing, it’s very hard to believe that the containment zone reaches into the crawlspace and storage areas behind and above the conference room. The door out of the storage room is not sealed, which means that the gas such have been able to reach right into that storage room, into the crawlspace, and probably into the conference room itself. But taking gas dynamics out of the equation, things just get worse.

Buying, for a moment, that Jack could survive simply by holding his breath (ignoring, for instance, the soft tissue of the eyes, ears, and nose as vulnerable points for injection), he doesn’t create an airlock. As soon as he opens the door, the storage room fills with nerve gas. He fails to find a way to vent it out, and so he must return to the storage room. Somehow, with no explanation at all, the storage room is vented of nerve gas (complete with a gauge on Chloe’s computer, measuring something with no detection device!) and Jack survives. It makes no sense whatsoever, especially in light of what happens next.

Lynn (and an unfortunate red-shirt) are the only ones close enough to get to the room and turn off the program, thus allowing the air to be vented from within the conference room. All well and good, except Lynn is informed that the holding room can’t be airlocked, thus there is no way for Lynn to survive. It’s all about the self-sacrifice and a heroic end to an annoying character.

Here’s the problem. What’s the difference between the storage room and the holding room? If the conference room (and thus, the storage room) were under positive pressure, which is the only viable means of explaining how the storage room was vented after exposure, the whole problem is moot and they can wait it out. The gas shouldn’t be able to enter a room under sufficient positive pressure. If not, even if the holding room and storage room were otherwise difference, why couldn’t Lynn and the red-shirt make a break for the storage room once the program was disabled?

That said, Lynn’s death scene was quite a piece of work, especially since he got to watch the red-shirt (who rightfully pointed out that Lynn is the one responsible for everyone getting killed) die horribly first. Sean Astin did a great job in that scene, and it reminded the audience that Edgar died in exactly that manner. It almost made up for the ludicrous business about airlocks.

Logan is a horrible president, but as noted in previous reviews, there is a certain Shakespearean bent to the portrayal. He’s completely unlikable, and yet it’s easy to relate to the situation. He’s a man completely out of his depth, and he lets that come out around Martha. It’s something that seems to be overlooked; Logan, as a weak man in the presidency, gives the drama added depth.

While things go bad at CTU HQ and Hayes plans out the takeover of CTU with her favorite lackey Miles, Bierko prepares for the next wave of attacks. Curiously, Bierko now wants to use all the remaining canisters on the next target, which doesn’t seem to mesh with his previous intentions. At least he fulfills the “24” villain obligation of getting a highly sexual woman, Collette, involved in the plot. It’s not Mandy, but it will do for now!

This is the point where the episode goes from challenging suspension of disbelief to violating all sensible expectations. Henderson is said to be in a coma. Tony takes the upper hand, and is about to inject the traitor with a lethal chemical. Just as Tony struggles with his own conscience, Henderson wakes up, stabs Tony with the lethal injection, and runs off with little coordination trouble. Jack arrives just in time to embrace his friend in his dying moments.

Setting aside the extreme disapproval with the misapplication of the silent countdown from this episode to the previous episode, this is just plain bad writing. Why bother letting Tony survive in the first place? He remains unconscious for hours on end, wakes up just in time to know who killed Michelle, only to die before really getting to do more than issue a couple of threats at gunpoint. Even if the point was to space out the deaths so the losses would affect Jack more often, there’s no reason why Tony had to die in such a meaningless and non-heroic manner. It’s a complete waste, especially since the two previous seasons provided a more logical and consistent opportunity to give the man a proper exit.

All of which betrays the desire to shock the audience with the unexpected, even if it makes no sense in the process. Instead of surviving long enough to go out in a meaningful way, Tony is transformed from a character with motivations to a pawn to be sacrificed to maintain a level of mindless tension and shock value. It’s the perfect example of what happens when the writers don’t trust their own ability to make events consistently interesting.

The sad thing is that this episode could have been simply a good mindless source of entertainment without the senseless appeal to the cheap seats. Cut out the last minute or so, knock Tony to the ground instead of killing him, and the script doesn’t suffer at all. Unless there is an unlikely resuscitation in the next episode, this season has suffered a major blow to its credibility.


Final Analysis

Overall, this episode could have been memorable for stretching the willful suspension of disbelief of its audience, but some of the events strayed into territory that goes far beyond poor plotting choices. The cast and director are hardly to blame, as they made the best of a bad situation, but this is the kind of episode that will be referenced as among the least favorite for a sizable majority of fans.

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

Final Rating: 4/10

Season Average (as of 5.13): 6.9