Medium 2.22: "Twice Upon a Time"

Written by Rene Echevarria
Directed by Ronald Schwary


A lot has happened since the previous episode and my chance to see the season finale. Perhaps most obvious is the effect of the fall upfronts on the series and its scheduling. “Medium” will now be scheduled as a mid-season show, beginning in January 2007 (or earlier, if a new show tanks). Some have panicked about this, but the fact is, the season will still be 22 episodes and the mid-season “stigma” is no longer valid. After all, “24” is a mid-season show now, and its ratings have increased as a result.

In the case of “Medium”, the network has been less than attentive, so it’s hard to know what the effect will be. So far, the series has been able to weather the on/off scheduling pretty well, and one can only assume that starting in the mid-season would result in a more regular airing pattern. But since the series is not serialized in nature, the main benefit will be that the series will be on more regularly and it won’t be so easy to dismiss.

In terms of the season finale, I’m glad they focused on a more substantial dream world this time around, because the “twist” in the case was beyond predictable. OK, so the porn angle wasn’t something I saw coming, but the “twin” thing was pretty easy to figure out! The world of Alison’s vision, however, was a lot more interesting, especially in terms of where it brought her mentally.

Sooner or later, Alison’s role in the DA’s office will come out, and it’s just a matter of how and when. This episode picks up on a lot of Alison’s anxiety about that moment, which is a nice bit of insight. Her fears are rather justified, and I was left wondering whether or not that will motivate her to change her approach to things in the third season. She really came within hours of a horrific downslide for her family’s future; it might come down to taking ownership of how the news is broken to the world.

On a completely different note, I found it very interesting how this episode highlights Patricia’s natural beauty. There’s a real-world aspect to Allison (particularly her wardrobe) that seems more “real” in its inherent sexuality. Contrast that to the rising star version of Allison, where Patricia is all glammed up and looks hot in a completely different way. It was jarring, to say the least, but I found it extraordinary that the “perfect” version of Allison felt so wrong.

Now, it is time for a short farewell. As much as I enjoy this series, it is the series I feel the least desire to watch as soon as it airs and these are the reviews I get the least feedback on. As solid as the show is, it doesn’t have enough of the elements that usually compel me to watch attentively. As a result, I will no longer be writing reviews for “Medium”. Instead, I will cover “Medium” on the podcast that I recently started producing, “Dispatches from Tuzenor”.

Similarly, this is the part where I would usually launch into a discussion about the season as a whole. Instead, the “Medium” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”. That episode should be up after the weekend, so I invite anyone interested to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)

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

Final Rating: 8/10

(Season 2 Final Average: 7.1)

Lost 2.23: "Live Together, Die Alone"

Written by Damon Lindelof and Carlton Cuse
Directed by Jack Bender

In which Desmond’s return helps Locke take control of the hatch, allowing him to let the countdown expire, while Jack and Sayid launch a dangerous plan to take on the Others…


Status Report

As anticipated, this finale is less about providing comforting answers and more about shifting the focus and direction of events on the island. What answers were provided could be taken at face value, but there’s also the question of context. Whenever conclusions are drawn by a character on this show, one cannot ignore the force of their own assumptions and one of the central concepts of the series: the question of coincidence vs. fate.

What exactly does this episode reveal? The Swan station is, in fact, sitting on some kind of tapped electromagnetic energy. Energy which may or may not be stable, since prior to the arrival of the Dharma Initiative in 1980, it was probably right there on the island all along without causing a single problem. The Swan station was constructed on top of that and appears to have been used to build up the EM energy and regulate it.

The very existence of the failsafe, a device to unleash the harnessed energy and remove the Swan station from the equation completely, undermines any argument that the unusual EM fields were particularly dangerous in the first place. The implication of the orientation film was that an accident took place, requiring the systematic release of EM energy every 108 minutes. But that assumes that the built-up EM energy would release in an immediate EM pulse with a wide enough spectrum to wash out the sky in visible light.

Why build a failsafe that would wipe out the station if the station was the only thing “saving the world”? The answer is: it wouldn’t be built. Wiping out the regulation of the EM energy wouldn’t be an option. So the implication is fairly obvious: the existence of the EM energy, already useful for other Hanso/Dharma experiments, was used as a pretext for the psychological experiment being carried out in the Swan station.

Here’s the logic: set up a situation that will have an actual, discernable local effect. Make sure that effect is as disconcerting as possible. Then attach a system to regulate it, and build up the consequences of that task to massive proportions in the minds of those charged with the job. Study the effects. And what’s more, study the effects of studying the effects. (Does anyone really expect that the Pearl station wasn’t also under observation from another location? Like, say, the true headquarters of the Others?)

Consider for the moment the question of coincidence. Evidence shows that Desmond’s system failure took place at the exact same time that the plane crashed (proving that Desmond lied about how long he was alone). That suggests that the building EM effect caused the crash itself. There’s just one problem with that. The plane was already off course by 1000 miles before the EM effect would have been remotely evident. Also, any such effect, unless directed, would need to be strong enough to rip everything in that hatch apart if the effect was strong enough to tear the plane apart in mid-air.

So ultimately, the explanation for the plane crash doesn’t quite hold up. Kelvin chose that particular time to push Desmond’s buttons, and as a former spy with a record of psychological manipulation (given what he did with Sayid during the Persian Gulf Conflict), he knew that it would draw Desmond out of the hatch. Recall also that Kelvin was ready to mess with Desmond’s head by playing out the whole quarantine game. (Assuming, of course, that Kelvin’s actions weren’t the result of being exposed!)

Any action that would take the plane that far off-course would have taken place much earlier than the system failure. The passengers still appear to be on that plane because they were chosen to be on the plane. Desmond’s flashback makes it appear that his presence was equally manufactured. If one continues to believe that Libby might, in fact, be connected to some Hanso/Widmore/Dharma activity, it’s hard not to interpret his history as a massive manipulation.

Consider the theory: Desmond goes up against Widmore, who is potentially involved with Hanso and thus Dharma. Widmore warns him to stay out of his daughter’s life. Desmond doesn’t play along. First prison comes along, but that doesn’t stop Desmond. So what’s the next step? Send Libby (who’s dead husband was named Dave; sound familiar?) to offer him what he needs: a boat to sail around the world. Make sure Desmond is driven towards the island, one way or another (which explains why the damn boat always went back to the island, though compass use gets useless around strong EM fields!). Make sure Kelvin is there to convince Desmond that he needs to stay in the Swan station until a replacement arrives. Make sure that when he is left alone, the circumstances convince him that staying in the hatch is a very good idea.

If that argument is not enough to support the notion that the EM pulse wasn’t all it was cracked up to be, the other major plot thread provided ample evidence. So it turns out that Henry may be the local leader of the Others after all, which explains why they would make such an unusual deal to get him back. His cover-story appears to have been pre-prepared for just such a contingency, though one could also question how someone as clever as Henry would allow himself to be caught in one of Danielle’s traps.

On the one hand, there is now some small evidence that the Others didn’t expect the survivors of Oceanic 815 to be on the island and begin messing with the status quo. On the other hand, Henry knew an awful lot about specific individuals and how to manipulate them. He could simply be a great judge of character, but the implication given by the Others is fore-knowledge. They know information that they shouldn’t know (like Sawyer’s real name).

Touching on the events of the hatch again for a moment, it’s Henry’s non-reaction to the EM burst that most strongly suggests that it wasn’t a major issue. He might have been holding back, but would the rest of the Others have been so controlled, since they were less than perfect in holding back previously? It points back to comments made in the review for “The Hunting Party”: if the button and system were so important, why would the Others let the JackLocke Tribe control it?

In terms of the plot to use Michael, it certainly seems as if a goal was in mind. Either they were done with Walt, or the escape coordinates will lead them right to another facility run by the Others. Independent of that, they wanted Jack, Kate, and Sawyer for a reason, and it’s probably not because of the apparent love triangle! Are they now considered to be the leadership of the JackLocke tribe?

If so, there’s an interesting possibility. Kelvin kept referring to hostiles, which one could assume meant the Others. But is that necessarily the case? What if there’s another group that is the actual threat? The island is big enough, after all, and who knows what else was done on the island? It’s entirely possibly that the Others want to protect themselves, and the best way to do that now is convince the leadership of the JackLocke Tribe to forge an uneasy alliance.

One thing is for certain: the release of the EM pulse did not destroy the world. However, Penny Widmore knew that it could happen and knew that it was probably a sign of Desmond’s presence. The most logical explanation is that she knew what her father had contrived, but had no idea where the Dharma experiment was taking place. Now that she knows, a new element is introduced. (This is, after all, the first time a scene took place off the island in “present day”.)

It all boils down to a fairly complex but relatively straightforward timeline. Some of the stations appear to have been in use until recently, while others appear to have been out of use for quite some time. This suggests that the original Dharma Initiative project ended long before the plane crash, around 1987 (if the facilities like the Pearl weren’t meant to look unused). However, the facilities remained in use for experiments post-Dharma (and possibly for other purposes, like trapping Desmond).

The Others (the remnants of the original Dharma?) were running these post-Dharma activities with Walt and Claire/Aaron, for instance, and probably responsible for keeping Desmond under wraps. They were clearly evaluating the survivors of Oceanic 815 and there’s every reason to suspect that the survivors were purposefully selected as potential candidates in the post-Dharma experiments.

Taking all of that into account, the rest of the action and drama is specifically based on the psychologies of the characters. Nothing they conclude should be taken at face value. The fact that Desmond was ready to give up hope and kill himself, only to change his mind when Locke pounded on the hatch door, only means something to Desmond and Locke. (It’s the same for Eko and his interpretations during “?”.)

The drama between Desmond, Locke, and Eko highlights the battle between reason and faith. Reason states that all these events are masterminded by outside influence and any mystical or metaphysical meaning is entirely the delusion of those caught up in the situation. Faith demands that the subjective interpretations are merely personal revelation of the larger context of all these events, guided by some higher purpose (God, the island, etc.).

Locke is caught up in a self-deprecating version of reason. He doesn’t truly embrace the idea of coincidence; he needs to support it to oppose those who still have the faith he has lost. Desmond is on the fence, but in the face of extreme coincidence and his own personal experience, it doesn’t take much for him to turn back to faith. Eko is extreme in his faith, willing to kill or die to ensure that the expression of his faith is fulfilled. What’s interesting is that none of them truly embrace the idea of a purely rational interpretation of the Swan station and its function.

All three of them are at the epicenter of the EM burst, and since there was apparently an explosion involved, it’s not clear whether or not they survived. It’s certainly possible, since the pieces of the Swan station may have been tossed around by the EM fields rather than an actual explosion. Desmond doesn’t need to survive for the story, but both Locke and Eko are integral to the story.

As previously mentioned, it’s quite possible that Jack, Kate, and Sawyer are being held by the Others for the purposes of negotiation, not experimentation. Perhaps they believe that convincing those three to cooperate would effectively ensure the cooperation of the rest of the Oceanic 815 survivors. On the other hand, if they see those three as the current leaders, then how easy would it be to toss the survivors into chaos by killing them? Even so, their survival to this point suggests a more complex purpose than elimination.

Sayid, Jin, and Sun should be in good shape, and it’s interesting that the survivors now have a boat of their own. Watching Sayid expose the falsehood of the Others’ camp was a lot of fun, but the real oddity was the remnant of that statue with the four-toed foot. Talk about something that’s dropped into the story out of nowhere! It does suggest that this particular island was once important to ancient peoples as well, but it’s still a bit of a non-sequitor.

If Michael ever shows his face around camp again, he’s going to have a problem with Hurley. That’s the closest Hurley has ever been to unleashing a homicidal rage, even compared to his angry shot at Sawyer in “Dave”. The fact is, Jack, Kate, and Sawyer might have let him take a few shots. But Jack was right: the only course was to continue to play the situation out.

Charlie managed to get himself caught up in Eko’s scheme, but it’s hard to work out his motivations. For the most part, it seems to be a perverse desire to see Locke punished for perceived transgressions. Yet he also had little desire to see everyone get hurt or killed. It’s sweet that he got a kiss from the ever-gorgeous Claire at the end, but if anything, it feeds into his addictive personality.

But his survival brings up an interesting question. Intense EM fields can cause severe psychological and physiological problems, and Charlie isn’t quite acting right at the very end. For that matter, even if everyone is still reeling from the fact that so much has happened (much of it beyond their knowledge), there’s every possibility that the EM burst had a bad effect on them as well.

A few final minor points. The map itself is still not clearly explained, because Kelvin could have been lying about its origins and purpose. More to the point, it plays into the idea that Desmond was being convinced that there was a reason to stay in the Swan station. Similarly, a connection between the “monster”/Cerberus system and the Others may have been quietly established. Michael was leading the team into an area on the map (based on the orientation of the column of black smoke) that would have had Cerberus activity. Is the fact that the system didn’t activate related to the fact that the Others wanted Michael to bring people to that location?

This is the part where the season finale review would usually launch into a discussion about the season as a whole, but things will be done differently moving forward. The “Lost” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season. That episode should be up after the weekend, so anyone interested is invited to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)


Final Analysis

Overall, this episode was a mind-bender of a finale, and an episode that begged for closer inspection and deep consideration. Much like the first season finale, this is all about delivering a massive change to the status quo, and in that regard, it serves its purpose. There were actually answers this time around, even if they weren’t the answers expected or as interpreted, but as usual, there’s plenty of ground left to cover and explore.

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

Final Rating: 9/10

(Season 2 Final Average: 7.4)

Alias 5.17: "All the Time in the World"

Written by Jeff Pinkner and Drew Goddard
Directed by Tucker Gates

In which Sydney races against time to stop Sloane from achieving Rambaldi’s most powerful goal, with allies and enemies in jeopardy along the way…


Status Report

As soon as the word came down that the season was being severely shortened, it was clear that the storytelling would be compromised. It started once Vaughn’s mode of survival was changed so that the writers could simplify Irina’s motivations, ostensibly for the purposes of the season finale. Yet the episodes leading into the finale seemed to be designed to make things easier for this last stand, with plot elements glossed over to keep things moving.

Ultimately, with the series ending and opportunities for resolution quickly fading, the writers had to cover a few basic aspects to bring the mythology to a relatively solid conclusion. First, the Rambaldi endgame had to be clearly explained, right down to the purpose of every major artifact and how the whole shebang was supposed to work together. Not the little pieces that served as McGuffins from episode to episode, but the major pieces: the prophecy of “Page 47”, the device constructed at the end of the second season, the Mueller device and its applications in the fourth season, the Covenant’s goals for Sydney, and finally, the various references to Rambaldi’s resurrection and attempts to achieve immortality.

Second, the writers needed to cover the relationship between the various groups vying for control of Rambaldi’s legacy. Sloane’s history is hardly a question, and the links between the Covenant and Yelena were firmly established. However, Prophet Five was shown as a very powerful, long-term organization independent of Irina’s own faction. So how did all this fit together and explain the Rambaldi-related activities over the years? And how does the oft-mentioned Magnific Order of Rambaldi play into it all?

Third, in a related item, Sloane and Irina both needed to have their complex motivations clarified and placed into context. Sloane was the easy part; Irina’s motivations, however, have always been hard to pin down. The writers had to make sense of Irina’s goals and decisions, especially since many of them placed her in a positive light, despite her malevolent actions. This, above all else, might have been the greatest challenge.

Finally, there had to be some kind of closure for Sydney, a way to bring everything full circle. This has been her story from the beginning, and there had to be a sense that her trials were over, at least in terms of the people ruling over her life. This would logically include a resolution of her relationship with Vaughn and everyone else in her life.

The point is that it seems like a lot, but in reality, it’s the kind of wide scope that other shows have managed to handle. More importantly, previous episodes of “Alias” have managed to cover at least as much information and action in a single hour with barely a noticeable drop in quality. The trick is to package the massive amounts of exposition in a palatable presentation, and to ensure that the revelations are satisfying.

It is unfortunate, then, that the writers failed to address nearly every single area that the finale desperately needed to cover. More than that, elements were introduced that didn’t make much sense in terms of the big picture and appeared to be little more than transparent attempts at generating dramatic tension. All this, when this series could have ended in a manner far more appropriate to the complexity of the series as a whole.

Since Rambaldi was at the center of everything and the first item on the list, that’s the best place to start. To be fair, the Rambaldi endgame comes down to the right element: immortality. It’s where the mythology began in the first season, and in many respects, the rest of the complexity was tacked on from season to season. Whether or not that was the right decision, it was structured that way, and so the other aspects of the mythology should have been placed in context with the all-important immortality serum.

As an aside…why are so many people shocked by that plot point? It’s like the people who complained that the introduction of super-soldiers in the latter seasons of “X-Files” was a bad idea, even though the series’ mythology was bathed in super-soldiers through the first three seasons! Rambaldi and immortality were always entwined; remember “The Package”?

While the writers never explain it in the finale, it’s not hard to work out how everything was supposed to come together. Rambaldi generated an immortality serum, and he and his followers ensured that it would eventually be re-discovered in future generations, despite his impending execution. The plan was for the Chosen One to bring him back (ala “Full Disclosure”), use the serum from the Horizon/Circumference combination to render the new Rambaldi immortal, and use the serum from “The Telling” device to pacify the rest of the population, controlled by the effect of the Mueller device when they got out of line.

It all hangs together well enough, but the writers never address it. Not once do they attempt to bring five seasons of mythology into a cohesive whole. It’s left to the audience to work it out, with the resolution instead being a glass ball with red liquid in it. Contrast this to the visual elements at the end of the fourth season, which were far more impressive. How hard would it have been for Sloane to think back on the journey to this point, with quick flashbacks to earlier episodes, showing how it all fit together? For that matter, he could have explained it all to Nadia, as if justifying his faith to the part of his conscience that reviles his methods.

At least the goals of the Rambaldi mythology were addressed, even in a lackluster and minimized fashion. The second element that should have been covered was never even discussed. For all that Prophet Five was built up as a huge threat, they never meshed into the rest of the series very well. More to the point, “Maternal Instincts” brought up the fact that Irina still had her own organization and agenda, in contest with Prophet Five. Other than pointing out that Irina was allied with Sloane, those distinctions are never addressed, leaving all the Rambaldi-related terrorist organizations (and for that matter, the Magnific Order of Rambaldi) completely unexplained. What had become a tangled mess is left a tangled mess.

This leads into the main complaint: the fact that all shading for Irina’s character is completely abandoned. Sloane’s complexity had been more or less addressed over the course of the recent episodes. The writers could always point to the madness brought on by his Rambaldi obsessions. But Irina was given a far more mysterious and interesting set of motivations. The fourth season alone served to answer most of the questions and set up Irina as a fairly compelling persona. The end of the fourth season essentially answered the big questions about Irina’s comment that “truth takes time”.

All of that is tossed aside in this finale. Irina is reduced to a power-hungry fool, her love for Sydney an inconvenient plot tangle to be quickly and efficiently eliminated. Gone is the almost sympathetic character from the end of the fourth season, leaving Jack and Sydney with obvious affection. Gone is the mystery developed in the second season, where her alliances were clearly predicated on a larger goal, and one that was not necessarily evil. Even in “Maternal Instincts”, the implication was that her activities were more benign than those of Prophet Five. Why would the same woman who risked everything to stop Yelena from using a Rambaldi device to destroy the world turn around and help Sloane achieve a similar goal?

If it had been a choice between explaining Rambaldi or clarifying Irina’s motivations in a consistent fashion, it would have been far more preferable to focus on Irina. Oddly, the writers focused on neither. Instead, they focused on their combined plan to commit “global genocide”, which made no sense at all. Not once did anyone explain how two nuclear missiles would result in the destruction of humanity. Granted, it would effectively open the door for Sloane to fulfill that side of the Rambaldi vision, but the entire “end of the world” plot element didn’t work and seemed tacked on for those still hung up on the prophecy supposedly foretelling Sydney’s role in the end of the world (which it most emphatically did not!).

So, three out of four elements, thus far, were effectively botched, leaving only the fourth one as a possible saving grace. And in that respect, the finale fulfilled a nice thematic function. From the beginning, Sydney’s world was ruled by those seeking to complete Rambaldi’s vision and reap the rewards of his work. Since she was at the center of it all, it only makes sense that once the prophecy is fulfilled and death is conquered by at least one person (thus “rendering the greatest power unto utter desolation”), Sydney would have the chance to take control of her own destiny.

The flashbacks made for a nice touch, even if the time might have been better spent. Interestingly, the flashbacks are generally consistent with the “Alias” prequel novels, even if a few items are covered in a slightly different fashion. Given all the other continuity problems, it was a rare case of consistency. But it was good to see how Jack came upon the idea of putting her through the Project: Christmas regiment, and how her ability was inherent at the end of the day. Once Isabelle started showing the same aptitude, memories of Joss Whedon and the “Buffy” finale were easy to conjure.

It makes perfect sense that Sydney and Vaughn would hide away somewhere. One could quibble over the idea that they would remain in the CIA and carry out missions, running into old enemies as if they were old friends, but that does leave open future options for a film franchise. In terms of character arc, Sydney and Vaughn both get to a good place, despite all the loss.

Even if the plot missed the mark, there were some strong moments. Jack’s final scene with Sydney was the high mark of the story, and it probably left the entire audience an emotional wreck. Jack’s final scene with Sloane, and Sloane’s fate, were equally priceless. Unfortunately, these moments were few and far between. The final act was terrible, and there’s absolutely no reason why Sark should have survived, beyond the chance at pulling him into a future film.

In terms of the finale as an episode and a conclusion, it barely managed to bring the story to a close, and in the process, it effectively violated some of the best aspects of the previous seasons. More to the point, in many of the basic elements, it failed to provide closure or context. As a result, the series ends on something of a disappointing note, with much left unanswered and other aspects forever spoiled.

The blame, of course, must fall on the network. By imposing a ban on Rambaldi for most of the season, the writers were unable to stretch out the explanations over a longer period of time. More to the point, the writers had far less time to work out the final arc than anticipated. Because they had to spend time wrapping up the fifth season plot threads as well as the series’ mythology, it was nearly impossible to focus on the elements that were important.

This is the part where the series finale review would usually launch into a discussion about the season/series as a whole, but things will be done differently moving forward. The “Alias” post-mortem (so to speak) will be the main focus of an episode of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season. That episode should be up within the next few weeks, so anyone interested is invited to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)


Final Analysis

Overall, this episode was an imperfect season and series finale, failing to address several of the main concerns for “Alias” fans and barely delivering on the items that were covered. Some of the plot elements made no sense at all, given the context, and there’s at least one example of pure character assassination. Most of the blame falls on the network, but there’s still the feeling that the writers could have worked more magic.

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

Final Rating: 5/10

(Season 5 Final Average: 7.0)

Alias 5.16: "Reprisal"

Written by Monica Breen and Alison Schapker
Directed by Frederick Toye

In which Sloane makes his move to take control of the Rambaldi endgame out of the hands of Prophet Five, placing everyone Sydney holds dear in the line of fire…


Status Report

As usual, when “Alias” airs more than one episode in a given night, the two installments are blended together. This review, however, covers only the first hour of the finale; this preserves the format for those who will ultimately see this episode on its own in the DVD set or in syndication. Besides, it actually works better on its own, because it doesn’t fell like the network is rushing the series out the door when viewed at the proper pace!

As much as Prophet Five was an annoyance more than a boon, there is a nice symmetry with the first season and the original Alliance of 12. In a way, it could be argued that the Alliance was Sloane’s attempt to recreate this particular organization. Either way, Sydney and APO get to do something they never really could with the Alliance: identify and locate every single one of the P5 leadership.

It certainly moves the plot right along, which was a necessity under the circumstances. It doesn’t take a brain surgeon to realize that the real threat is likely to come from Sloane, and he’s been using P5 since he turned. This episode, then, is logically the mission to take down Prophet Five and force Sloane to make the final stretch on his own.

Like the previous episode, the initial scenes with Tom Grace and Rachel feel like a complete waste of time. And it certainly doesn’t help that the two of them have their little moment, since it’s the most predictable outcome imaginable. With so little time, what else were the writers go to accomplish? Thankfully, the moment is brief, and Rachel and Marshall are tossed into the main plot thread.

Leaving aside for a moment the faulty logic of messing with the hands of the man who holds the key to the Big Plan in his computer-savvy fingertips, the plot for the episode feels suspiciously like a delaying action. Why not jump right to the point of the matter? The answer is simple: there must be a situation during which Sloane’s actions on his own exact consequences, especially this close to the end.

With so little time, it’s great to see characters get some strong moments for themselves. Marshall shows a lot of backbone, and in a way, that’s a nice end for his character arc. Marshall is certainly not the same man from the first season, who never would have stood up to Sloane so completely as he does in this episode. And in a nice touch, Marshall’s defiance plays into Sloane’s own insecurities, channeling Nadia’s ghost as his conscience.

The codes tossed back and forth between Marshall and Rachel are a little obvious, and if there was more time to play out the plot threads, the writers probably wouldn’t have Sark be so blind. However, any such disappointments are quickly wiped clean by the realization that the writers pulled off a very clever twist. Tying this last key to Rambaldi’s plan to the most problematic aspect of the “Page 47” prophecy (the reference to Mt. Subasio), thus explaining why Sydney’s trip there in the first season didn’t violate Rambaldi’s prediction, is a stroke of genius.

As fake as the scenes on “Mt. Subasio” looked, it was a minor distraction from the fact that the endgame was finally being revealed. Given how many restrictions were placed on the mythology by the network, it was a moment few fans had any right to expect. The “exotic” location was old school Rambaldi to the core, as was Sloane’s masterful manipulation.

Sloane and Sydney have always had an odd relationship, and evoking Emily’s name was the perfect touch. Even if the end isn’t all it might have been, there’s still so much that works. What’s best is the slow but undeniable build towards Sloane’s apparent victory. The final act of this episode is about as close to the excellence of the first two seasons as one could expect under the restrictions.

Tom’s sacrifice was perhaps a bit too obvious, and it eliminates any chance that his Cardinal plot thread will have relevance to the Rambaldi endgame. And that renders the character and his inclusion in the fifth season all but worthless. Had the series continued, he would have effectively replaced Vaughn, but almost from the beginning, he had all the hallmarks of a character without a future or any lasting impact. Thomas Grace will go down as one of the true missteps (and missed opportunities) of the series.

By the end of the episode, the Prophet Five mishap is likewise cut down, leaving only the most potent and impressive element of that organization in its wake: Kelly Peyton. Peyton is the kind of character that could have thrived into future seasons, and it’s no surprise that Amy Acker played the role. After all, one of the most missed characters from the final season of “Angel” was Illyria. Acker’s beauty works for characters with deadly purpose.

With the end of this episode, the stage is set, and there’s only the final endgame.


Final Analysis

Overall, this episode continued to escalate the stakes, setting the stage for a potentially satisfying resolution in the series finale. The quick and dirty plotting is still evident, but at this point, it’s more a question of how well the story flows. In this case, it works very well, and while one glaring plot thread never pays off, the episode as a whole is quite good.

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

Final Rating: 8/10

(Season 5 Average: 7.1)

24 5.24: "Day 5: 6AM - 7AM"

Written by Robert Cochran
Directed by Jon Cassar

In which Jack and his allies engage in a risky gambit to force a confession out of the President regarding his complicity in the day’s terrorist attacks, but things don’t go as planned…


Status Report

The past few episodes had undone what the writers had accomplished since around midnight: establishing the final arc as the chess game between Jack and Logan. Even as that conflict draws to a close, the writers felt the need to toss in ridiculous plot elements that only served to muddy the waters. The question is this: did the writers manage to still end the season on a high note?

It doesn’t begin with a very complementary scene for Logan. Literally minutes after his wife offers a little “make-up sex”, they already have their clothes back on. If she wasn’t already pissed off, she certainly has reason now! It’s almost as unbelievable as Jack’s instant recovery from Tony’s death earlier in the day.

Thankfully, they return to one of the stronger elements: the relationship between Martha and Logan. She appeals to his sense of desired legacy, which was the driving motivation for Logan from the very beginning. Had the writers stuck with that idea throughout the season, it would have probably played out better. That said, it becomes a logical reason for Logan to believe what Martha tells him, setting the stage for the final confrontation.

For all that Logan committed horrible acts, Jack is completely out of line to confront the President on these terms. Logan touches on these ideas, but not quite enough. In many respects, Jack risks the validity of any action he takes or any confession rendered simply by the methods he employs.

Granted, the season was designed to place Jack in an emotionally compromised state. He has lost more than enough to send him over the edge, and he has personal reason to hate Logan. For a man who has come to terms with the idea of taking desperate and highly immoral action to achieve the goal of national security, how easy would it be to take this personal vendetta far beyond any concept of reasonable?

It’s an interesting place to take the season and the audience. Had it been consistently applied over the course of the final episodes, it might have been even more effective. As it is, the audience must quickly come to terms with the idea that their anti-hero has taken the President hostage. No matter how craven a man Logan might be, no matter how ruthless and scheming, he is still the President. Jack is on the edge of becoming an assassin.

So the question is, this early in the hour: can Jack’s actions be justified as necessary under the circumstances? Or have his actions to this point already crossed the line? When does the President’s legal and moral trespasses overshadow the protections afforded the office? And when do those crimes grant permission by some representative, self-appointed no less, to exact some form of justice? It’s a good source of tension for the rest of the episode, and one that should have been properly developed by writers with a sense of responsibility.

Logan understands Jack’s predicament. He understands that all he has to do is maintain his innocence and ensure that a record of Jack’s personal vendetta is available. In a nice touch, Jack begins providing a confession of his own, outlining the personal cost of Logan’s scheming, dating back to the end of the fourth season. (Of course, this also serves to remind the audience of the whole Chinese problem, because ultimately, that’s something that should be addressed.) Jack becomes all but unhinged, and before any confession can be made, it’s over, with a perfect record against Jack waiting at CTU.

It’s not the expected outcome, but in a way, that’s why it works. Who expected Logan to win even a momentary victory? It masks the obvious ploy. In a matter of minutes, Jack appears to be out of the picture and completely compromised, and Martha’s reaction appears completely unhinged. Yet at the same time, since Martha is the only one who gets under Logan’s skin, Logan responds more than he should. And though the recording device is rather predictable (replacing the original recording that was destroyed because the writers had no other means of generating tension), it did play out slowly and methodically, instead of being rushed, which is a nice touch.

Yet much remains unresolved, which makes it somewhat worrisome once the pleasant music starts to play. Jack has a special moment with Audrey, even though he should still be in custody and facing serious charges, regardless of Logan’s illegal actions. Before anyone can wonder about Logan’s allies and their oft-mentioned plans of dealing with Jack, things quickly go south. Why weren’t the writers particularly concerned with sticking with realism and having Jack remain in custody for what would probably be weeks, if not months? Because they needed him out in the open for this last little plot twist.

Other aspects take away from the resolution. For all that was built up in very short order regarding Chloe’s ex-husband, his role was completely unnecessary. Why ever bother, other than to create a false sense of tension (that didn’t even work)? And the less said about the sudden and inexplicable “romance” between Bill and Karen, the better. Still, the photo of Edgar and Chloe was a very nice touch.

All season long, Jack’s history with the Chinese was left unresolved, even though it was a glaring plot point. And as mentioned in earlier reviews, it was the obvious way for Logan to get Jack out of the picture. In this case, the question becomes: will Logan take full responsibility, leaving Jack to the Chinese and his oil magnate allies free and clear? And how will that play into the sixth season?

In retrospect, this is the best way for the Chinese to re-enter the story. For one, it creates the nice illusion of continuity, since the fifth season now serves as the bridge between the fourth and sixth seasons. When all is said and done, for all the plot conveniences and writing woes, it will probably look rather seamless once the series has run its course. And this ending gives the writers an interesting option: beginning the sixth season without Jack in the picture in the traditional sense. After all, who knows how the new administration will handle things in the post-Logan fallout, and the Chinese could use Jack as a bargaining chip for something far worse.

This is the part where the series finale review would usually launch into a discussion about the season as a whole, but things will be done differently moving forward. The “24” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season. That episode should be up after the weekend, so anyone interested is invited to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)


Final Analysis

Overall, this episode does a nice job of wrapping up the season arc, even if there are a number of implications tossed aside to facilitate the final plot twist. Despite an ending which pays of the patience of many in the audience, the episode tries to fill the character development gaps with new information that doesn’t quite track. In the end, the season ends in keeping with the series: with plenty of potential still on the table, hampered only by the poor planning of the writing staff.

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

Final Rating: 7/10

Season 5 Final Average: 7.0

24 5.23: "Day 5: 5AM - 6AM"

Written by Howard Gordon and Evan Katz
Directed by Jon Cassar

In which Jack must work with Henderson to stop Bierko from unleashing one final terrorist attack on the nation, while Martha begins gathering allies to help uncover Logan’s activities…


Status Report

It’s always tough when the series ends in a two-episode finale, because it can be difficult to keep the events separate in one’s mind. At least the producers resist the urge to present the episodes as one big episode, preferring to just air them back-to-back. For the purposes of the reviews, however, and the interests of ensuring that future DVD or TV airings will get distinct commentary, this covers only the penultimate episode of season 5.

The episode begins in the same unlikely point where the previous installment left off: with Bierko and his men in command of a Russian submarine, intent on using it to inflict massive casualties in protest of the peace accord signed in the season’s first few hours. Does it wrap things up a bit? Sure, but it also distracts from the massive plot holes used the force the story in this direction (like, say, the nerve gas being vented in a matter of minutes, allowing Bierko and his men to control the sub without masks, or exactly one friendly surviving!).

There is one good thing about the situation: Jack is still forced to work with Henderson. That has been one of the benefits of the recent episodes. The surviving friendly is a typical “24” red-shirt, used to make things easier for the writers. Time that would otherwise be wasted on getting into the submarine is circumvented by having the red-shirt provide an opening (though, of course, at personal cost). Rooney’s moral issues are an easy source of tension.

While the writers might have tossed in a needless distraction with Bierko’s escape and return to prominence, the real story (the game against Logan) continues in the background. Martha is exactly the right person to step into Jack’s place while he’s distracted, and her alliance with Agent Pierce is just plain fun. It would have been better if the writers had focused solely on the maneuvering between Jack’s allies and Logan’s allies, but that ship has sailed.

Submarines are particularly interesting (and challenging) for film purposes because of the unique style and layout. It’s not something that many civilians will ever see, and so it has a certain voyeuristic flavor to it. Filming in those cramped spaces is not quite as fun, however, and it’s impressive how well the production crew pulled it off. It’s not perfect, but considering the constraints of network television, this is quite good.

It’s a bit too easy for Rooney to draw away Bierko and the majority of his guards, leaving the control room exposed. And predictably, Henderson disarms the missiles and Jack kills Bierko with seconds to spare. Since Henderson had to work alone, they get to have another confrontation once Henderson sees an avenue of escape. Finally, there is a moment of emotional outlet for Jack, and it’s quite brutal (in a coldly satisfying way).

With Bierko and Henderson dealt with (in a way that spells trouble for Jack, thanks to Rooney, who already feels morally compromised), the plot returns back to where it should have remained: the chess game with Logan. And once again, a reason is contrived to place Jack in a position of limited resources. It’s still not clear why the writers needed to waste some much time with the attack on the sub, but one gets the sense that it was to buy time for themselves.

It would be too easy for Jack to be in immediate contact with Martha, Pierce, or Novick, but the fact remains that they are all allies. The moment when Novick realizes the truth is one that was postponed far too long. As Chief of Staff, he really dropped the ball. Happily, once Novick makes his choice, he takes decisive action and Jack makes contact. (And for those who love the idea of Martha and Pierce, there’s a nice little scene that actually manages not to go too far.)

Just when the episode and plot gets back on track, the writers trot out the most annoying and unnecessary plot contrivance yet: Chloe’s ex-husband. And sure enough, he happens to be in the building already, even though the place has been under intense security for hours after the nerve gas attack and there was no reason for him to be there. It’s the very definition of contrived and ridiculous, and another sign that the writers wrote themselves into a corner and grasped at every straw possible to get out of that hole.

By the end of the hour, the final confrontation between Jack and Logan is in the wings. Martha manages to play Logan, and damned if she isn’t great at it. For all his faults (and those tossed onto him by the writers, ruining his more noble frailty from the earlier episodes of the season), Logan loves his wife. She knows just how to get past his defenses. Others might be able to exert their influence through threats, but she owns his heart. (One gets the feeling it’s not the first time she feigned interest in her husband!).

Of course, this episode brings up a number of continuity issues. First and foremost, wasn’t Wayne Palmer going to see to his brother’s body? Whatever happened to Wayne? Considering how well served the character was by his return, it would have been better to see him involved at the end. Also, this business with Chloe’s ex-husband is ludicrous and smacks of a retcon tossed into the mix when writers try to substitute real character development with a quick “fix” where none is needed.


Final Analysis

Overall, this episode is much like the season as a whole. Just when it looks like things are back on track and moving in the right direction, the writers feel the need to toss in ridiculous and unnecessary “twists” to keep up the impression of complication. It’s hard not to notice that this is the direct result of improvisation, thus proving out that a lack of preparation can kill credibility.

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

Final Rating: 6/10

Season Average (as of 5.23): 7.0

Ghost Hunters 2.22: "17 May 2006"

Case #1: Stone Lion Inn
Case #2: Edgerly House


Am I the only one who feels like the second half of the season has been a lot more fruitful than the first half? Actually, I think they’ve had more happen in the “back nine” than in the rest of the series to date. It seems like they’ve managed to grab more EVPs, for instance, and there’s a lot more talk about “shadow people” than before. I guess statistics don’t lie, since a long drought was sure to give way to something before long!

I tend to be wary whenever the evidence seems to point to a specific interpretation, especially since that only really happens in the movies. So I was struck by the evidence collected in the first case. It really felt like it was too easy to make certain logical connections, which brought to mind how hard it must be to maintain objectivity. So many “pop culture” interpretations must leak in whenever the slightest evidence is uncovered.

This was a rare occasion where I read comments on an episode before seeing it, due to some scheduling and personal issues during the past week. The comments made it sound like Dustin really went into dome deep territory. Well, maybe he did, but it didn’t necessarily make it on-screen. I didn’t find it particularly insightful, especially since I would have assumed that the investigators had considered the implications of their work a long time ago.

On the other hand, if he was genuinely having this moment of revelation in his life, it does add another element of realism to the show. I always felt that Steve’s issues with spiders and heights were aspects that would never be written into a manufactured personality for a series like this. Brian’s confused and confusing issues, if manufactured, are sloppy and slapdash in comparison. It all adds up to a picture that strikes me as genuine.

Anyway, first case:

Like I said before, it feels like a relatively simple story is being told here. The two clear EVPs sound like a child’s voice, and the fact that it seemed to be leading Jason and Grant to that storage closet in the basement (“find me”) suggests that a child was buried there (or worse, died there). And that just feels a little too “Hollywood” to me. Perhaps that’s why Jason and Grant didn’t speak to possible interpretation; I also wonder if the editors cut the episode to suggest that interpretation.

Second case:

If TAPS was the fraud that critics claim, they never would have taken the time to point out the environmental factors at work in this case. Instead of jumping right into the paranormal, they pointed out several sources of altered mental states: chemical agents in the ventilation, a strong unshielded EMF source, and that incredibly dangerous black mold. I suppose some people just react to their own interpretation of what the show and organization is, rather than looking at what they do and how they do it.

Chill Factor: 7/10

2006 Upfronts: Part V (and wrap-up)

And finally, the X-Factor in the fall schedule and the one with the biggest questions: the CW network. There were actually very few surprises on my end; I didn’t expect “Invasion” to be picked up, based on cost, and everything else I wanted is there. I know the word is that many of my shows are “22 with the option of 13” in terms of renewal, but I’m optimistic! The following is the schedule released by the network on 18 May 2006:

THE CWs 2006-2007 PRIMETIME SCHEDULE
MONDAY
8:00-9:00 PM 7TH HEAVEN
9:00-10:00 PM RUNAWAY (New Series)
TUESDAY
8:00-9:00 PM GILMORE GIRLS
9:00-10:00 PM VERONICA MARS
WEDNESDAY
8:00-9:00 PM AMERICAS NEXT TOP MODEL
9:00-10:00 PM ONE TREE HILL
THURSDAY
8:00-9:00 PM SMALLVILLE
9:00-10:00 PM SUPERNATURAL
FRIDAY
8:00-10:00 PM FRIDAY NIGHT SMACKDOWN!
SUNDAY
7:00-7:30 PM EVERYBODY HATES CHRIS
7:30-8:00 PM ALL OF US
8:00-8:30 PM GIRLFRIENDS
8:30-9:00 PM THE GAME (New Series)
9:00-10:00 PM AMERICAS NEXT TOP MODEL (Encore Presentation)

MONDAYS

Like so many of the “24”-esque shows out there, “Runaway” sounds interesting, but I have no compelling desire to comment on it. And the beginning of the week is loaded with this type of show. I doubt I’ll be paying much attention to any of them.

TUESDAYS

“Veronica Mars” is part of my “record it and watch it in bulk” collection, but it might become appointment viewing, if I can get the other half more interested in it. No promises, people, but I could be compelled to discuss this in the podcast.

WEDNESDAYS

This is the night for “Lost”. CW holds no interest for me in this timeslot. But when “Beauty and the Geek” comes back in the early slot, it’s on my TiVo!

THURSDAYS

But it certainly has my attention this night! This is where the dual-tuner TiVo comes in handy. I’ll be capturing “Smallville” and “Supernatural” in the capsule reviews again this season (and happily so). Those complaining about “Supernatural” being up against “Grey’s Anatomy” should remember one thing: it was up against “The OC” and “CSI” of late and did just fine.

FRIDAYS/SATURDAYS/SUNDAYS

Needless to say, this adds nothing to my already barren list of network weekend fare!

So…here’s the wrap-up based on the CW upfronts: I’ll be following four shows to one degree or another. “Smallville” and “Supernatural” will get the capsule reviews, and “Veronica Mars” may get commentary on the podcast, if I get the chance to catch-up on the series in the meantime. That brings the grand total for 2006-2007 (including SFC shows) to 2 full written reviews, 9 capsule written reviews, and 3 podcast only:

FALL SCHEDULE

Full reviews:
Lost
24

Capsule reviews:
Stargate SG-1
Stargate Atlantis
Battlestar: Galactica
Ghost Hunters
Prison Break
Smallville
Supernatural
Studio 60 (new)
Heroes (new)


Podcast only:
Medium
Jericho (new)
Veronica Mars (“new”)

Believe it or not, that’s not as much as I started with last season. 3 series ended early last season (“Threshold”, “Night Stalker”, and “Reunion”). All in all, I was generating 3 full written reviews and 13 capsule reviews. Even accounting for the new shows, I’ll be down to 11 written reviews, most of which are capsule reviews. That’s a nice reduction (~33% less), especially since I reserve the right to move any show getting capsule reviews onto the podcast instead, if time becomes a factor.


***

So, as a final wrap-up of my response to the 2006 upfronts, here’s how the next year or so will be panning out. I can’t be more specific since SFC is notorious for messing with the schedule, but it’s going to be a good summer to establish a pattern between the written reviews and the podcasts:

SUMMER SCHEDULE

Capsule Reviews:
Stargate SG-1
Stargate Atlantis
4400
Dead Zone

Podcast only:
Assorted SFC fare, weekly round-ups, and some DVD-related commentary


FALL SCHEDULE

Full reviews:
Lost
24

Capsule reviews:
Stargate SG-1
Stargate Atlantis
Battlestar: Galactica
Ghost Hunters
Prison Break
Smallville
Supernatural
Studio 60 (new)
Heroes (new)


Podcast only:
Medium
Jericho (new)
Veronica Mars (“new”)
Assorted SFC and action-series fare and weekly round-ups

Invasion 1.22: "The Last Wave Goodbye"

Written by Shaun Cassidy and Charlie Craig
Directed by Lawrence Trilling


As everyone is now well aware, “Invasion” has been cancelled after one season. Frankly, I’m not surprised. It’s a bit of a miracle that it made it this far. Nearly every series that fell into the “Lost” formula this season found itself cancelled or barely renewed (“Supernatural” being the sole survivor). “Invasion” had the benefit of an entire season to tell a relatively complete story, and while there is much left unanswered (including the final cliffhanger), it’s possible to look back on the series as storytelling success.

In terms of the finale, the entire first act was insane and more than a little terrifying. After the previous episode, I mentioned that the circumstances were horrific, and that just carries over into this final hour. Appropriately, Dave (the one person who seemed closest to the truth all season long) is the one who makes the critical call to save the remaining humans in the town. Was someone in the military going along with the plan? Almost certainly, but this was an interesting way to bring a resolution.

The rest of the episode was fallout and potential setup. The fallout comes first. Szura finally gets it in the end, and it’s a sweet moment for Underlay. In fact, Underlay and Russell have been working together very well, which is a nice extension of the family metaphor. Once again, most fractured families manage to pull together when something external threatens the whole. But Underlay in particular was at the center of the episode, especially the action scenes, and that made me very happy.

Now, the setup. Clearly the fact that the surviving pregnant hybrids made it to the sea and were carried away would have been important. Russell’s constant warnings about the hybrids as a bridge species for something far more invasive was probably foreshadowing. And of course, the idea of Larkin as a hybrid, especially with the baby, brings up other issues of compatability. After all, a baby is essentially a parasitic organism; would that qualify as a reason to reject Larkin, or would the baby have been something unintended?

Unless the writers reveal the intentions on the impending DVD set, there will likely be no answers to the open questions. The second season would have been all about the offspring and the consequences. It could have quickly turned into a commentary on “us vs. them”, and the question of whether “the enemy of my enemy is my friend”. If something worse came along, would that have pushed the hybrids and humans into cooperation (turning, once again, to the family metaphor)?

In a way, that’s the only complaint that I have with this finale. The producers have been fighting a battle to keep the series on the air since early in the run, so the possibility of cancellation was always there. Why set up a cliffhanger at the end of the season, knowing that the fans would likely be left hanging? It’s not a sign of defeat, especially since writers should have the tools available to write a resolution that also points towards future exploration. The fact that they didn’t plan for it leaves the series with an unnecessary open ending.

This is the part where I would usually launch into a discussion about the season and series as a whole, but I’m doing things a little differently moving forward. The “Invasion” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season. That episode should be up after the weekend, so I invite anyone interested to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)

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

Final Rating: 9/10

(Series Final Average: 7.3)

2006 Upfronts: Part IV

Because FOX can’t do anything logically, this schedule is a mess, split in two phases. I’ll speak generally about the season, capturing both phases at once. The following is the schedule released by the network on 18 May 2006:

Following are the FOX primetime schedule for 2006-2007 and synopses of the new series:

FOX PRIMETIME SCHEDULE:
FALL 2006 (All Times ET/PT)
MONDAY
8:00-9:00 PM PRISON BREAK
9:00-10:00 PM VANISHED
TUESDAY
8:00-9:00 PM STANDOFF
9:00-10:00 PM HOUSE
WEDNESDAY
8:00-9:00 PM BONES
9:00-10:00 PM JUSTICE
THURSDAY
8:00-8:30 PM 'TIL DEATH
8:30-9:00 PM HAPPY HOUR
9:00-10:00 PM THE O.C.
FRIDAY
8:00-9:00 PM NANNY 911
9:00-10:00 PM TRADING SPOUSES: MEET YOUR NEW MOMMY
SATURDAY
8:00-8:30 PM COPS
8:30-9:00 PM COPS
9:00-10:00 PM AMERICA'S MOST WANTED: AMERICA STRIKES BACK
11:00 PM-MIDNIGHT MADtv
MIDNIGHT-12:30 AM TALK SHOW WITH SPIKE FERESTEN
SUNDAY
7:00-7:30 PM FOOTBALL OVERRUN (COMEDY ENCORES)
7:30-8:00 PM FOOTBALL OVERRUN (COMEDY ENCORES)
8:00-8:30 PM THE SIMPSONS
8:30-9:00 PM AMERICAN DAD
9:00-9:30 PM FAMILY GUY
9:30-10:00 PM THE WAR AT HOME

FOX PRIMETIME SCHEDULE:
BEGINNING JANUARY 2007(All Times ET/PT)
MONDAY
8:00-9:00 PM STANDOFF
9:00-10:00 PM 24
TUESDAY
8:00-9:00 PM AMERICAN IDOL Performance Show
9:00-10:00 PM HOUSE
WEDNESDAY
8:00-9:00 PM JUSTICE
9:00-9:30 PM AMERICAN IDOL Results Show
9:30-10:00 PM THE LOOP
THURSDAY
8:00-8:30 PM 'TIL DEATH
8:30-9:00 PM HAPPY HOUR
9:00-10:00 PM THE O.C.
FRIDAY
8:00-9:00 PM BONES
9:00-10:00 PM THE WEDDING ALBUM
SATURDAY
8:00-8:30 PM COPS
8:30-9:00 PM COPS
9:00-10:00 PM AMERICA'S MOST WANTED: AMERICA STRIKES BACK
11:00 PM-MIDNIGHT MADtv
MIDNIGHT-12:30 AM TALK SHOW WITH SPIKE FERESTEN
SUNDAY
7:00-7:30 PM COMEDY REPEATS
7:30-8:00 PM KING OF THE HILL
8:00-8:30 PM THE SIMPSONS
8:30-9:00 PM AMERICAN DAD
9:00-9:30 PM FAMILY GUY
9:30-10:00 PM THE WAR AT HOME

MONDAYS

In the fall, I’ll be covering “Prison Break”, definitely, with the capsule reviews. I’m mildly intrigued by “Vanished” and “Standoff”, much as I was intrigued by “Kidnapped”, but I don’t feel like adding more to an already busy schedule on Mondays. I may watch them and comment on it briefly here and there. “24” will continue to get the full treatment, of course. But what concerns me is that the new show is firmly entrenched in the schedule, leaving “Prison Break” once again in limbo after the fall. What are they thinking???

TUESDAYS

Well, the other half will TiVo “Americal Idol”, but this is still a big catch-up night for Monday shows.

WEDNESDAYS

“Justice” is another show that has an interesting cast but simply isn’t going to make the cut. It’s up against “Lost” early in the running, after all! And anyone else notice that FOX is dumping “Bones” in the Friday night death slot in the middle of the season?

THURSDAYS

Sorry, FOX. Thursdays belong to NBC and CW in my Neilsen household. One-season comedies and a fading fad are not even on my radar.

FRIDAYS/SATURDAYS/SUNDAYS

Like nearly every other network, these days are filler. Is it me, or is every network giving up on Fridays and Saturdays? Granted, SFC dominates my Friday night schedule more than even in the “Farscape” years, but I don’t see a thing worth watching on weekends besides football and Sunday nights…

So…for FOX, I’ll be following six shows to one degree or another, mostly to record and watch during off-sweeps periods. “24” will get the full treatment, “Prison Break” will get the capsule reviews, and everything else will get sporadic commentary on the podcast, if they survive or hold my interest that long. That brings the grand total for 2006-2007 (including SFC shows) to 2 full written reviews, 7 capsule written reviews, and 2 podcast only:

Full reviews:
Lost
24

Capsule reviews:
Stargate SG-1
Stargate Atlantis
Battlestar: Galactica
Ghost Hunters
Prison Break
Studio 60 (new)
Heroes (new)


Podcast only:
Medium
Jericho (new)

So no real changes out of FOX. They have some interesting but fleeting shows that will be unlikely to survive in the slots as presented, and everything else is very, very “safe”. Which brings us to the final network worth mentioning in the final upfront: CW, which carries a huge chunk of material worthy of attention. I’ll cover that shortly!

Alias 5.15: "No Hard Feelings"

Written by Unavailable
Directed by Tucker Gates

In which Sydney poses as Anna to uncover Prophet Five’s plans to achieve the final Rambaldi endgame, while Rachel discovers that Tom has been following his own agenda…


Status Report

The writers are definitely pacing out the final episodes in discernable chunks, trying desperately to get to a reasonable conclusion in the time allowed. As mentioned previously, the time restrictions are forcing a lot of plot contrivance and more than a little plot simplification. It is now rather apparent that a lot of questions are going to be glossed over in the process of getting to a conclusion.

Once again, this is not the fault of the writing staff. They have restrictions that are simply crushing. The parallels to the “Roswell” situation are striking: how does one wrap up both a season and a series in half the anticipated episodes? It’s nearly impossible, especially with the oft-damned restrictions on references to past mythology. The writers are fighting a lost battle, and the fact that it’s hanging together relatively well is a testament to their creativity.

This particular episode is hampered by the time taken to wrap up the plot threads for Tom and Rachel. Rachel gets the short shrift, because she was supposed to be taking the field in Sydney’s place, and the truncated episode order and need to wrap up the mythology meant that her character was suddenly disposable. This is a shame, because she had the look and the poise to fill Sydney’s vampish shoes, as seen in previous episodes this season.

Tom’s plot thread needs to connect with the rest of the Prophet 5/Rambaldi dots or the time spent on the death of his wife and that investigation will be a complete waste. It doesn’t help that Getty looks like he’s sleep-walking through his performance this time around. That entire sub-plot killed the pacing, and took away from what was otherwise a fairly good installment.

Ironically, the minor character of Kelly Peyton, new to the fifth season, has been integrated with the Rambaldi mythology far more effectively than any of the other new characters this season. Amy Acker continues to play the gorgeous and amoral Peyton with enough presence to match the inherent intensity of a Rambaldi-obsessed Sloane. This character will be missed, but at least she had some memorable screen time.

It might have been fun for Sydney to play Anna just a little bit longer, especially given her complicated relationship to Sloane. For all that they are enemies, she cannot deny that Sloane has always loved her as a daughter, if only because of her unique place in the Rambaldi world. One has to wonder: is Sydney’s role fulfilled?

If Sydney’s role as the Chosen One was to find “The Rose”, another man that Rambaldi apparently found a way to keep alive for hundreds of years, and get the secret vial of immortality serum (or so it is strongly hinted), then does this qualify as fulfillment of the “Page 47” prophecy? After all, to conquer death would be to “render the greatest power unto utter desolation”, wouldn’t it?

So if Sydney is bringing everything full circle, then there must be a connection between the contents of the vial and the Horizon. Could the contents of the vial, combined with the Horizon, restore Rambaldi to the world in some immortal form? Looking back at many of the other Rambaldi devices, they seemed designed to bring Rambaldi back into the world, pacify the human population, and give him the ability to destroy any resistance that might crop up.

The question is whether or not the Rambaldi plot threads of the past can be integrated into the final two hours in a way that doesn’t become an exposition dump and still feels like a conclusion to the story. It’s not hard to predict where it could go as an ending: Sydney manages to thwart the resurrection of Rambaldi through the destruction of his artifacts and the elimination of his primary followers, thus ending the cycle while still fulfilling prophecy.

That could work very well, and the pieces are all more or less in place. It’s now a matter of execution, which points back to the limited amount of time. How complex can they get with so little time and so many pieces left to weave together, even if it’s as simple a resolution as the one mentioned above? And just who is likely to survive in the process?

Ultimately, the only ones who need to survive are Sydney, Vaughn, and Isabelle. That would be Sydney’s reward for surviving the trials of the past several years. Sloane is likely to die, and it’s equally possible that Jack and Irina will also have to sacrifice themselves to stop him. Rachel and Tom are very easy targets, which means Peyton will probably die as well. Marshall should survive, if only because he’s got that family. Dixon should survive for the same reason.

Then again, do all those people need to go? After all, even if the main threat is resolved, there will inevitably be possible recurring crises in the future. Why eliminate the possibility of a future feature film by killing everyone off? The idea of seeing the various cast members pulled together for a relatively isolated threat in a big-budget film is a very tempting notion!

As noted previously, the pacing requires some plot contrivances. Setting aside the idea that Tom and Rachel could have a heart-to-heart while working under the hood of a car without alerting the guard standing just a few hundred feet away, the timeline for Sydney and Sark’s incarceration makes no sense. One does not get arrested and tossed into a maximum security prison in the space of a few hours! Yet the plot required the story to keep moving, so that’s how it went down.

These moments have been par for the course since the series came back off hiatus, and they will continue right until the end. Lingering plot threads will be resolved through vague comments in dialogue or complete dismissal. The only thing that the audience can hope for, at this point, is an entertaining ride that reminds them of the best days of the series’ run. So far, that’s what the writers have managed to achieve.


Final Analysis

Overall, this episode introduced one final piece of the Rambaldi puzzle, one that should hopefully point the mythology towards a final, consistent resolution. Some of the subplots were less impressive, but with so many elements to bring to completion, that is a necessary evil. The writers are doing what they can to keep the series on track to a strong ending, and that’s all the fans can ask at this point.

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

Final Rating: 7/10

(Season 5 Average: 7.0)

Lost 2.22: "Three Minutes"

Written by Edward Kitsis and Adam Horowitz
Directed by Unavailable

In which Michael gathers together an armed group to make an assault on the Others’ camp, but in the process, suspicions about his true motivations are raised…


Status Report

For some, the title will no doubt describe the actual progress of time in the episode, since this is essentially setting the stage for the finale. Not much happens, and while Michael’s flashback finally focuses on something other than the fact that his son was taken from him by his ex-wife, it covers ground that most fans had already assumed. Here and there, however, there were hints at new information.

The fact that only 13 days have passed since Michael went gunning for the Others is an indication of how much has happened in a relatively short period of time. If the episodes were airing in a regular schedule, the long-term storytelling approach probably wouldn’t seem so unnecessary. A lot has happened this season, and comparative to the first season, more has actually taken place. It’s just a matter of perspective.

After all, the first season had the benefit of primary revelations. Every character was new, and thus every character dynamic was new. A great deal of the first season was all about establishing relationships and conflicts. While new characters were introduced in the second season, thus far they have served the purpose of challenging existing roles and relationships among the original characters (at least, the ones that survived this long!).

With the overall plot arc driving events more than in the first season (for better or worse), episodes like this are a necessity. Season arcs require structure, and that structure leads to moments of transition and moments of revelation. Some moments are both, but when moments of revelation are on the way, there is the inevitable positioning that comes prior to that. This continues the process begun in “Two for the Road”, and while it is essentially transitional in nature, it packs an emotional punch.

Michael’s motivations are typically narrow, though the writers finally take that somewhere. Motivations can be rather plain and still interesting, so long as obstacles tossed in front of those motivations reveal hidden layers of the character in question. In this case, Michael’s focused desire to get Walt has revealed how far he will go, and it’s not pretty.

The writers don’t even try for sympathy; at least, not in the traditional way. Michael has killed for his goal, having made a terrible bargain with the current devils of the island. He knows that the Others can’t have anything good in mind for Jack, Kate, Sawyer, and Hurley. Yet all he wants is to get on that boat with Walt and get the hell off the island.

If the whole idea of Dharma as “study of human mentality under extreme pressure” holds any water, then Michael is unlikely to get Walt back. They seem to have chosen those four individuals for a specific reason, one that could factor into the goals of Dharma and the Hanso Foundation as a whole. Right now, the connective thread is not particularly obvious.

It was a little surprising that Sayid was the only one to figure out that something was seriously wrong with Michael. Michael was being just a tad too obvious about who needs to be in the 1st Island Division and who doesn’t, and military experience has nothing to do with it. Score one for Sawyer for having the most logical approach to the situation and telling Sayid about the raid.

As with so many things related to the Others, their goals and actions are hard to understand. Alex seems to understand her place in the group, and that certain actions are necessary, even if the methods disgust her. (And she’s cute, too!) The rest of the Others have a rather amoral approach to messing with the heads of anyone else they encounter. Michael was honest enough about what he saw, but how much of that was staged?

All the references to tests, as pertains to Walt and what the Others have been doing over the past few weeks on the island, are given credence by Walt’s reactions in the flashback. Nothing Dr. Klugh said to Michael can be taken as absolute truth, but Walt’s fear and terror seemed genuine. It was actually the most chilling moment of the episode. Whatever “greater good” the Others might be serving, they have no compunction when it comes to harming individuals to get there.

This was a good episode for touching on where the characters are and where they could be going. Jack is so driven by recent events and the desire to delivery payback unto the Others that he’s blinded to the fact that Michael is manipulating them. Sayid finally steps back into the story as the one person most likely to see through that manipulation. Sayid was sorely missed, so hopefully he will be more important in the third season.

Sawyer has been the victim of similar characterization issues, as if the writers felt the need to include him but couldn’t work out how that should happen. His tenure as “merchant prince” of the tribe has certainly degraded, which was one of the worrisome points of “The Long Con”. In essence, that episode was designed to give him edge again, yet many of the episodes since have squandered that edge. The fact that he has come to respect Jack enough to confide in him is a huge step in an interesting direction, especially since Jack seems to take it in stride.

Charlie was a bit more focused while he was working with Eko, but as usual, once Eko abruptly changed his mind about the church, Charlie made it all about his needs. Without Eko to obsessively follow, he has turned right back to Claire, using the pretext of helping the baby as a means of getting back on her good side. Charlie still hasn’t learned a thing about his obsessive side, even if he was willing to toss the heroin. It’s not about the drugs anymore.

Locke seems to turn a corner at the end of the episode, fulfilling Rose’s prediction that it wouldn’t take nearly as long for him to heal as it would in the “real” world. That act of shedding the splint was also neatly symbolic. Locke is now unfettered by doubts, and when Locke has a goal, it’s not necessarily a good thing. Especially since he and Eko are clearly on a collision course!

As anticipated, Libby’s death is pushing Hurley into a darker direction, which has its advantages. Being the funny and jolly character was fun for a while, but he needs something more to keep him from stagnating. Hurley’s particular madness has been generally self-destructive in the past, but now that he has something external to attack, his intentions and ability could mismatch enough to cause real harm to his remaining friends.

The appearance of the boat at the end of the episode could mean a number of things. It could be another small group “sent” to the island, much like the passengers of Oceanic 815. It could also be one of the Others or someone from Dharma. But in the interests of seasonal symmetry, it could also be Desmond, back from wherever he went for the past few weeks. If so, his arrival could trigger the anticipated revelations in the season finale.


Final Analysis

Overall, this episode was mostly setting the stage for the finale, much as all the episodes since “Two for the Road” have done. Many of the events are fairly predictable, but there are some minor revelations that keep the episode from losing momentum. Big changes are coming, and that sense of dread permeates this installment.

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

Final Rating: 7/10

(Season 2 Average: 7.4)

2006 Upfronts: Part III

Here’s the CBS fall schedule. Frankly, I wasn’t reviewing anything on this network anyway, so anything interesting was going to stand out. The real scheduling questions, for me, will be coming with FOX and CW tomorrow. The following is the schedule released by the network on 17 May 2006:

CBS TELEVISION NETWORK 2006-2007 PRIMETIME SCHEDULE (N=New, NT=New Time, all times ET/PT)
MONDAY
8:00-8:30 PM HOW I MET YOUR MOTHER (NT)
8:30-9:00 PM THE CLASS (N)
9:00-9:30 PM TWO AND A HALF MEN
9:30-10:00 PM THE NEW ADVENTURES OF OLD CHRISTINE
10:00-11:00 PM CSI: MIAMI
TUESDAY
8:00-9:00 PM NCIS
9:00-10:00 PM THE UNIT
10:00-11:00 PM SMITH (N)
WEDNESDAY
8:00-9:00 PM JERICHO (N)
9:00-10:00 PM CRIMINAL MINDS
10:00-11:00 PM CSI: NY
THURSDAY
8:00-9:00 PM SURVIVOR
9:00-10:00 PM CSI: CRIME SCENE INVESTIGATION
10:00-11:00 PM SHARK (N)
FRIDAY
8:00-9:00 PM GHOST WHISPERER
9:00-10:00 PM CLOSE TO HOME
10:00-11:00 PM NUMB3RS
SATURDAY
8:00-9:00 PM CRIMETIME SATURDAY
9:00-10:00 PM CRIMETIME SATURDAY
10:00-11:00 PM 48 HOURS: MYSTERY
SUNDAY
7:00-8:00 PM 60 MINUTES
8:00-9:00 PM THE AMAZING RACE (NT)
9:00-10:00 PM COLD CASE (NT)
10:00-11:00 PM WITHOUT A TRACE (NT)

MONDAYS

We enjoy “How I Met Your Mother”, if only because a saucy Alyson Hannigan is a joy to behold, and the cast is excellent. Mondays remain a FOX/NBC bastion for me, though…this is pure TiVo fare. “The Class” might be something worth a look as well.

TUESDAYS

“NCIS” and “The Unit” are guilty TiVo pleasures. I like to accumulate several episodes at a time and just enjoy the chance to watch something with character that doesn’t beg for in-depth discussion. I’ve been a faithful “NCIS” fan, ever since seeing a pre-premiere pic of Abby, my brainy goth dreamgirl, and “The Unit” has Robert Patrick. Good brain candy!

WEDNESDAYS

“Jericho” has promise, and since Tuesdays are my post-Monday catch-up night for the reviewed shows, something needs to mesh with “Lost”. This might be something I cover, and if I do, it will be podcast only, since I doubt it will last very long. Everything else is easy to dismiss.

THURSDAYS

“Survivor” is a guilty pleasure for the other half, but I stay as far away from “CSI” as I can get.

FRIDAYS/SATURDAYS/SUNDAYS

“Close to Home” is TiVo fare for the other half. I actually like having “The Amazing Race” on Sundays, because like “West Wing” this past season, it fit a nice post-weekend niche in our viewing schedule.

So…for CBS, I’ll be following six shows to one degree or another, mostly to record and watch during off-sweeps periods, of which one will get commentary on the podcast, if it survives. That brings the grand total for 2006-2007 (including SFC shows) to 1 full written review, 6 capsule written reviews, and 2 podcast only:

Full reviews:
Lost

Capsule reviews:
Stargate SG-1
Stargate Atlantis
Battlestar: Galactica
Ghost Hunters
Studio 60 (new)
Heroes (new)

Podcast only:
Medium
Jericho (new)

So with the loss of “Alias”, “Invasion”, and “West Wing”, I’m still covering less than this past season. But there are the two big guns (FOX and CW) that comprise a large block of my time, so we’ll see how it pans out!

2006 Upfronts: Part II

As bad as NBC’s fall schedule looked, I think ABC’s is worse. I knew “Alias” was gone a long time ago, but I was shocked to discover that “Invasion” was gone as well. And that series had really stepped up to the plate! Considering that none of the new shows are particularly noteworthy, it looks like the contribution to my review slate from ABC will be rather small. The following is the schedule released by the network on 16 May 2006:

ABC's complete 22-hour fall primetime schedule is as follows (all times listed are Eastern, with new shows in bold):
DAY TIME SERIES
MONDAY:
8:00 p.m. "Wife Swap"
9:00 p.m. "The Bachelor"/"Supernanny"
10:00 p.m. "What About Brian"
TUESDAY:
8:00 p.m. "Dancing with the Stars" (new night)/"Set for the Rest of Your Life" (new alternative series)
9:00 p.m. "Let's Rob..." (new comedy series)
9:30 p.m. "Help Me Help You" (new comedy series)
10:00 p.m. "Boston Legal"
WEDNESDAY:
8:00 p.m."Dancing with the Stars" (new night)/"George Lopez"/"According to Jim" (new night)
9:00 p.m. "Lost"
10:00 p.m. "The Nine" (new drama series)
THURSDAY:
8:00 p.m. "Big Day" (new comedy series)
8:30 p.m. "Notes from the Underbelly" (new comedy series)
9:00 p.m. "Grey's Anatomy" (new night and time)
10:00 p.m. "Six Degrees" (new drama series)
FRIDAY:
8:00 p.m. "Betty the Ugly" (new comedy series)
9:00 p.m. "Men in Trees" (new drama series)
10:00 p.m. "20/20"
SATURDAY:
8:00 p.m. "ABC Saturday Night College Football"
SUNDAY:
7:00 p.m. "America's Funniest Home Videos"
8:00 p.m. "Extreme Makeover: Home Edition"
9:00 p.m. "Desperate Housewives"
10:00 p.m. "Brothers & Sisters" (new drama series)


MONDAYS

Well, now that “Monday Night Football” is on ESPN, there’s no reason to pay attention to ABC. This night will continue to be dominated by FOX and NBC.

TUESDAYS

This continues to be a rather empty night, in terms of shows that I review. Needless to say, ABC has nothing of interest on this night, either.

WEDNESDAYS

Thankfully, “Lost” continues in the same time slot, which is a solid fixture of my TV viewing habits. This series will continue to get the full written review treatment, because I don’t think I could resist the urge to speculate! Everything else? Blah.

THURSDAYS

I know a lot of people love “Grey’s Anatomy”, but it does nothing for me. Without “Alias”, ABC is just getting out of the way for bigger and better things.

FRIDAYS/SATURDAYS/SUNDAYS

A whole lotta nothin’. We used to watch “Desperate Housewives”, but this season has been so incredibly awful that I can only hope I can take it off our TiVo Season Pass. It looks like this network will dominate again, which just means another night of catching up on recorded shows or actually writing for a change.

So…for ABC, I’ll be following one show, which will get the full review treatment. That brings the grand total for 2006-2007 (including SFC shows) to 1 full written review, 6 capsule written reviews, and 1 podcast only. This could be a relatively light schedule next season…

24 5.22: "Day 5: 4AM - 5AM"

Written by David Fury and Sam Montgomery
Directed by Brad Turner


In which the destruction of a critical recording tosses the investigation into Logan’s complicity into turmoil, just as Bierko’s escape introduces an unexpected new threat…

Status Report

The episode begins with the unbelievable plot point dropped in the audience’s lap in the previous installment. It’s still impossible to believe that Chloe and Jack managed not to copy the recording. It doesn’t take long for them to finger Miles, but without the evidence, there’s nothing to be done, even if Jack does get a short moment of satisfaction. And it was fun watching Karen get her shot in, too!

In another odd and hard-to-swallow turn of events, Jack is suddenly no longer under suspicion, which reveals that the entire subplot was essentially an attempt to throw a roadblock in front of his efforts to uncover Logan’s complicity. Jack’s interpretation of Logan’s latest switch makes little sense, because now Jack’s allies are free to help him and organize. Sure, Logan can keep an eye on things, having gotten the upper hand, but why let Jack off the hook now? Especially when it would be easy to make a call to the Chinese and make him disappear?

And suddenly a gas canister and Bierko are back in play. Just like that, in the space of a few minutes, the rest of the season goes from an excellent chess game between Logan and Jack to a retread of the plot elements from earlier in the season, trotted back out in what feels like a complete lack of originality.

In another odd move, Agent Pierce is revealed to be alive. Perhaps this is all supposed to demonstrate how Logan has mismanaged this little conspiracy, but if so, it doesn’t quite hold water. On the other hand, it gives Agent Pierce one hell of a great scene! Logan does appear to have everything in hand, to the favor of his masters, but the Bierko situation once again threatens to undermine it all.

Jack is forced by the sudden re-emergence of Bierko to work with Henderson to stop one final terrorist attack from taking place. In a nice nod to continuity, Henderson acknowledges that immunity is meaningless without the recording. So what is his suggestion for cooperation? The kind of anonymous new life that Jack had enjoyed before getting pulled back into the game. If they could get that part right, how come so much of the plot didn’t make sense in comparison?

Another interesting nod to continuity is Martha’s involvement in Agent Pierce’s survival. They have been circling each other for some time now, so it only makes sense that it would end up this way. However, it also feels a bit manufactured, since Pierce’s survival up to this point doesn’t really make any sense. Pierce would and should have been killed long before this point, if the writers were attempting to make sense of it all. And Pierce’s survival also becomes the excuse for getting Novick to open his eyes, which has apparently been dragged out to ensure that Logan’s comeuppance takes place in the finale.

Because this episode is jumping all over the place to accelerate the plot so the season can end with some semblance of resolution, Henderson’s ploy to get Malina to reveal what he sold to Bierko for the next terrorist attack is complicated by the fact that it sounds just like Henderson trying to foil the counter-terrorism efforts. Otherwise, how could they drag the suspense out more than they have?

Assuming for just a moment that the provisions of the anti-terrorism accord would actually involve the sharing of technology and would actually be implemented less than 24 hours after the signing of said accord, Bierko’s tactics are actually fairly logical. It would probably take a bit longer for the gas to disperse, even with the air recirculation in a submarine, but it was a way to get their hands on a viable weapons system in a matter of minutes.

There are a number of issues with this episode, not the least of which is the decision to toss out the recording as a viable means of pinning the murder of David Palmer and the recent terrorism on Logan and switch to this last minute gambit with Bierko. Once the decision was made to move forward with Bierko and Henderson in custody, they should have stuck with the chess game between Logan and Jack.

Because they abandoned the very thing that made the final third of the season better, they fell into plot conveniences. Pierce is not only alive, but he’s in the position to inform Novick of the truth and set into motion what will likely be the end of the Logan administration. Jack is allowed to live and run free, even though Logan could have easily placed Karen, Bill, Chloe, and Jack under arrest and never looked back. Instead, the writers expect the audience to buy the idea that Jack’s demise was arranged for later.

It’s just a bit too much to accept. The series has always asked much of the audience, but it seems like this is needless repetition, and the circumstances don’t quite add up in the end. Bierko’s ability to get free and stage a terrorist attack within a hour or so is just plain ludicrous. Jack’s relative freedom makes even less sense the second time around. And the fact that the damn plot with the Chinese has never reared its head since Jack’s return is impossible to reconcile.

It’s quite possible that the writers will deliver a strong finale, despite the plot conveniences and acrobatics of this particular episode, but this episode doesn’t give much in the way of confidence. But that’s been one of the problems all season long: in the name of twists and turns, the characters do stupid things and logic is tossed out the window. Why can’t the writers put together a season that doesn’t rely on the audience looking the other way?


Final Analysis

Overall, this episode is something of a mess, with every indication that the writers felt the need to shoe-horn in some final twist to keep the tension going. Abandoning the intricate and deadly chess game that marked the creative resurgence of the past several episodes, this episode relies on plot retreads and more faulty character logic.

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

Final Rating: 6/10

Season Average (as of 5.22): 7.0