Stargate: Atlantis 3.3: "Irresistible"

Written by Carl Binder
Directed by Martin Wood


Before I discuss this particular episode, I have to repeat my usual disclaimer. Yes, I know how television works, and that not every episode has to be some deep exploration of the series’ mythology. Yes, I know that it’s not a crime to have a whimsical episode. And yes, I am capable of sitting back and enjoying a show for what it is.

However, that doesn’t mean that series shouldn’t have standards. And much like last season’s “The Tower”, this episode fails to meet the standards set by the first season. In fact, this episode would have been a fairly embarrassing addition to any early “SG-1” season, which had their share of poorly conceived “humorous” episodes. It really has nothing to do with anything, and unlike some of the more worthy humorous episodes, there is no insight into a given character to justify the time and effort.

This reminds me a lot of the difference between the almost literary humor of the early seasons of “X-Files” and the terrible “comedic” material in the later seasons. One type of episode was incredibly funny, but remarkably insightful; the other often sought cheap laughs at the expense of established character histories. This episode actually fell right in between the two extremes. It said nothing about the characters, added nothing to the season as a whole (that I could readily perceive), yet presented a cliché of a plot so thin as to require nothing to change.

Lucius was a one-note character, and it quickly became boring to watch the inevitable play out. It might have worked better if it fell into the Whedon-esque style: starting with the funny and sliding right into the disturbing. As Lucius set everyone against Sheppard, I was waiting for things to turn ugly. Instead, they never went as far as they could (or should) have. There was never a sense that Sheppard was in real danger; it was just a matter of how hard it would be for him to set things right.

Instead of exploring how this addictive personality might lead to the unearthing of underlying tensions or reveal aspects of characters that might play into future plot threads, this was staged and written like a standard sitcom. And since I hate most sitcoms, it’s no surprise that this episode left me cold. Any episode originally titled “Delicious Fat Guy” is an episode that should be reconsidered almost immediately. What’s worse is that Lucius is supposed to be a recurring guest character. My worries about this season, based on this episode, have risen exponentially.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “Stargate: Atlantis”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 4/10

Stargate: SG-1 10.3: "The Pegasus Project"

Written by Brad Wright
Directed by Will Waring


After the slight dip into mediocrity in the previous episode, the writers get back on track with this installment. I was immediately impressed by the heavy continuity references throughout the episode. Elements from many previous episodes, sometimes going back several seasons, came together in a fairly logical fashion. I was quite impressed!

Using the Ancient database on Atlantis to find the location of Merlin’s weapon was a clever move, and one that helps bring the events on “SGA” into context. I’ve been waiting for the chance to see both teams deal with the Ori and Wraith simultaneously, and this episode delivers on that potential. In a certain sense, there’s a weapon against the Ori now, even if it’s one that can only be used here and there. And now there’s only three Ori ships in the Milky Way, though that victory may be short-lived.

Having the same writers on both shows, for all intent purposes, keeps the characters consistent. There are the usual scenes between characters that never get to interact, but that is kept to a minimum and a lot of time is spent demonstrating why these people are so competent at what they do. The Carter/McKay material was priceless, for instance.

The action sequences were all well and good, but my favorite material was Daniel’s plot thread. For me, that was a lot more revealing. The Ancients are definitely stepping back and letting the younger races deal with the threat of the Ori themselves, and it demonstrates one of the key issues that the younger races should have with the Ancients. The Ancients seem to apply their rules with a disturbing amount of caprice, and their decision to stay out of the fight with the Ori is hard to reconcile.

I was expecting the whole Morgan LeFay thing to stretch out over the course of the season, but it had an immediate and unexpected payoff. That also impressed, and made me wonder if this season will manage to be as consistent as the ninth season in terms of season arc. Granted, there will always be the stand-alone episodes of varying quality, but they could also trickle out a few plot points here and there.

Very little time was wasted in this episode, and that was something I found exciting, especially in contrast to the episode of “SGA” that aired on the same night. I was strongly invested in everything that was happening, and I felt like my long-term fan loyalty was being rewarded by all the ongoing continuity references. It’s the kind of episode that I really wanted to watch again, to see what else I might catch along the way, and that’s exactly the kind of episode that brings me back for every new episode.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “Stargate SG-1”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 9/10

Dead Zone 5.6: "Lotto Fever"

Written by Dan Truly
Directed by Michael Robison


All things being equal, I prefer the more serious episodes over the comedic installments. The reason is actually very simple. Most of the comedic episodes cast Johnny as a comic figure, which is something that I have a hard time believing. I much prefer to see Johnny as a man filled with angst, destined to fight a losing battle, despite his gift. It’s the small victories that give the character nobility, making the battle for the future that much more involving.

In this case, the comedy came from a different angle, using the guest star’s pathetic nature as the source of laughs rather than Johnny. If anything, Johnny was the near-perfect straight man. It was easy to believe that Johnny was caught between a desire for self-preservation and his well-established desire to save as many lives as possible, regardless of his personal welfare.

As mentioned in the review for the previous episode, I sometimes find the “messages” a bit heavy-handed. And like the previous episode, I thought this did a nice job of delivering the message without going too far. The “money can’t buy happiness” message was hardly subtle, but it made sense within the context of the story.

The writers managed to make it all come together in an interesting and unexpected way, and in an unexpected twist, Johnny couldn’t prevent the future he foresaw. That’s one thing that I always find appealing, because it would be easy for him to be right each and every time. He also has to be wrong or unable to change things in situations that don’t involve Greg Stilson, because that would undermine the integrity of the series.

One small disappointment was the barely-there appearance of Sarah. I know a lot of people have been pleased with her absence, but I’ve always liked the character, especially in earlier seasons. Her absence has been a huge factor in the lack of cast chemistry this season, because Johnny seems to be more isolated. That supporting cast is a necessary element, and the series would be ill-equipped to survive without it.

I place this on par with the previous episode, and I think it is one of the better episodes of the fifth season. This also marks the mid-point of the season. Looking back, the season has certainly struggled to find its voice. Not one episode has been above average, and that’s a rare circumstance. With only five episodes left of the season (and possibly the series), there’s not much time to go out on a high note.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes have highlighted “The Dead Zone”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 7/10

4400 3.8: "Blink"

Written by Amy Berg
Directed by Colin Bucksey

This is probably the first truly transitional episode of the season. Even so, there are some long-term effects. Three subplots dominate, but I would only call two of them successful. The most disturbing plot thread, of course, pertained to Isabelle. The other two were directly connected to the “4400 of the Week”, sending Tom and Diana on a personal journey towards resolution of lingering emotional issues.

Isabelle has long since slipped over to the dark side. For a lot of people, it could be taken as overly repetitive, but I think this is all leading to one hell of a confrontation. In particular, this episode demonstrates how far Isabelle can take her particular point of view without meaningful interference. Isabelle definitely acts like a spoiled child in this episode, not unlike that omnipotent child from “The Twilight Zone”, and she deals with resistance in an almost playful manner. Shawn, perhaps the only 4400 with the power to deal with Isabelle, can’t stop her.

I believe that my earlier prediction will be verified: Tom will turn out to be the only one with the power to kill her, but that moment might have passed. How could Tom get to her now? I suspect it could end in that most predictable of ways, taking another page from the “Dark Phoenix Saga”. Isabelle could realize how far she’s gone, and beg Tom to kill her before it’s too late.

The “4400 of the Week” was a nice enough plot device, though there are certain elements that are best ignored, as they would not stand up to closer inspection. The point was to force Diana and Tom to face personal demons. And frankly, the writers didn’t really bother to hide it. It was a risky move, because it puts the burden on the power of each emotional journey. They both really needed to succeed for the plot device to be justified.

Diana’s hallucinatory journey hit all the right notes. Past history was revealed, but in the process, a strong connection was made to troubles in her present day. I’ve noted the somewhat lacking nature of her relationship with Marco since the season premiere, and this was a logical (if unfortunate) direction for her character to take. Taken in context with Alana’s removal from the equation, it does bring up disturbing possibilities, but it makes sense.

Tom’s side of the story, on the other hand, didn’t quite work for me. I struggled to determine what the present-day relevance of his hallucination might be. I suppose there is some degree of synergy with his loss of Alana (and previously, Kyle), but it’s not a perfect fit by any means. That left his plot thread wanting.

As far as transitional episodes go, this took a rather obvious plot device and made it work on certain levels, if not as effectively as it could have. This is where the Isabelle subplot comes into play. While it could have been more of the same, it took that thread one step closer to a huge confrontation at the end of the season, and distracted from the less successful elements of the main plot. This is a good example of a subplot propping up an episode.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “The 4400”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)


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

Final Rating: 7/10

Stargate: Atlantis 3.2: "Misbeggoten"

Written by Joseph Mallozzi and Paul Mullie
Directed by Martin Wood


Though this is not formally the second half of a two-part episode, it might as well be, since most of the plot elements continue from the season premiere. More correctly, this is the fourth episode in a row to deal with the moral question of the Wraith “cure”. If anything, this episode puts Weir and her team in an even more compromised position. The situation was handled poorly, to say the least, and it’s hard to know what the long-term effects are likely to be.

The arrival of Woolsey in the Pegasus Galaxy is interesting, because it may result in a softening of his character. It wouldn’t be the first time; McKay began as a character with few redeeming values on “SG-1”, and now he’s one of the more sympathetic characters on the series. Will this same transformation take place with Woolsey?

It might be more interesting if it was less successful, especially if Weir and the others are lulled into a false sense of security. After all, one interpretation of this episode is that Woolsey let Weir off the hook to demonstrate his willingness to keep an open mind and be fair. He doesn’t seem to like being the bad guy while in such an isolated position. However, it could be a ploy; convince Weir and Team Atlantis that they Woolsey is one of the gang, making his job easier.

The mistake in this episode was not the decision to leave the converted Wraith on the planet or fooling them into believing that they were victims of a plague. It was close to the line, but under the circumstances, the best alternative short of wiping them out. The mistake was in letting Beckett’s crisis of conscience turn into an error in judgment. Once the colony was set up for injections, they should have been left alone. Sure, some of them would revert, and they would start killing each other. But the final outcome was the inevitable result of not following through on the isolation plan.

It’s also unfortunate that Michael could not be an ally of sorts. It might have worked to Weir’s advantage to have a group of “humanized” Wraith, if there was any chance of getting them to see other Wraith as the enemy. Michael would know, all too well, how his “humanized” brethren would be treated by other Wraith. They could have been a fifth column within the Wraith population. Granted, it was a long shot, but I think it might have made things a little more complex.

As it was, Michael’s characterization seemed out of synch with the previous episode, where it seemed more likely. I’m not sure whether or not this situation will continue to play a role in the season as a whole, or if the Wraith “cure” will give way to some new plot thread. The colony could have been that recurring element, but obviously, that won’t be happening now. The Woolsey subplot should keep going for a while, but that’s not going to be enough. I’m still wary after the second season, but I also remain cautiously optimistic.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Future episodes will highlight “Stargate: Atlantis”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 7/10

Stargate: SG-1 10.2: "Morpheus"

Written by Joseph Mallozzi and Paul Mullie
Directed by Andy Mikita


After the premiere, I was left wondering if this season would continue to pave new ground or fall back into familiar patterns. In particular, I wondered if Merlin’s weapon would become something like the “Lost City”: something that would be the focus of a season-long search, with the solution being found in the season finale. While this is not automatically a bad thing, it is repetitive. And for that matter, so are episodes built around a virus or condition encountered on a planet, forcing the team to race against time.

So this episode was somewhat disturbing, because it fell into those familiar patterns. The virus itself is hardly unique, nor does it serve to reveal anything particularly meaningful about the characters. Is it such a surprise that Teal’c would struggle to the bitter end, the last to fall to the effects of the virus? Nor is it surprising that the parasite had no long-term effects on the team. By episode’s end, they’re back to normal, no worse for the wear. Even a couple weeks of lag time can’t account for that!

But, there are some interesting twists. If the Goa’uld gave the writers an excuse to mine Egyptian mythology for story concepts, then the Ancients War is the perfect chance to play with Arthurian/Celtic mythology. Arthurian concepts are often fun, and in this case, the idea of Merlin being an Ancient is a nice touch. Equally fun is the idea of Morgan LeFay running around, making things difficult, and a connection to Atlantis, furthering the deeply interwoven nature of the franchise.

It remains to be seen how far the writers choose to take this Arthurian conceptual connection. It could be taken to extremes, and then the fun new direction becomes trite. If the writers try to cast Mitchell as the new “Arthur” figure, that would be the immediate effect. (I can hear the screaming from the fandom now, cascading from that possible future timeline!)

To make another reference to “Babylon 5”, those Arthurian comparisons have been made before, and they’ve worked. So long as those references are metaphorical, played out visually and thematically, it can be subtle enough to avoid the worst excesses. It remains to be seen whether or not the writers will be able to pull it off in the “Stargate” universe.

For all the familiar elements, the virus plot thread is at least a solid (if uninteresting) storyline. Vala’s psychological evaluation doesn’t pass the same muster. In fact, while revealing some measure of progress in Vala’s moral development, it doesn’t go nearly far enough to justify the outcome. Vala doesn’t really prove that she can be trusted. I would have felt better if the end scene played out, and then Landry pulled Mitchell or Daniel to the side, making it clear that they should deal with her if she poses a problem. But that kind of dark territory is out of the question, despite the moral ambiguity at play on “SGA”.

For me, Vala’s plot thread kept the episode from succeeding. With the rest of the episode being average at best, it was really a matter of how well they dealt with a tricky situation. I, for one, was left unimpressed and disappointed. Hopefully this is just a minor blip for the tenth season.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Future episodes will highlight “Stargate SG-1”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 6/10

X-Files 6.7: "Terms of Endearment"

Written by David Amann
Directed by Rob Bowman

In which Mulder investigates an attack on a pregnant woman and begins to believe that the father of the child is the devil in disguise…


Status Report

At the end of the fifth season, story editor Tim Minear (mostly known for his later work with Joss Whedon) moved on, having kept watch over one of the more consistent seasons of the series. While the overall season arc didn’t work as well as the one constructed for the fourth season, the stories themselves were more consistent. (Mulder’s character arc is the exception that proves the rule.)

For the sixth season, David Amann took over the reins, and there was a distinct difference in the quality of storytelling. One cannot and should not place all of the blame on Amann’s shoulders, because the tone of the season was mandated by Chris Carter for the post-“Fight the Future” leg of the franchise. For that matter, Duchovny and Anderson had certain desires for the direction of the sixth season. It all adds up to a less consistent, more iconic approach to each and every episode.

Amann’s role is mentioned because, in general, story editors make mediocre writers. This is a bit of a gross generalization, but as an example, Minear’s episodes were hardly the highlights of the fifth season. Similarly, on “Babylon 5”, Larry DiTillio was the story editor for the first two seasons, yet his episodes were typically the least effective and least consistent. It could be a question of opposing demands.

In this case, the writers rallied around a story that focused on Mulder working more or less on his own, yet having very little to do with the resolution of the episode itself. In fact, the story doesn’t resolve so much as come to an end. While this is not always a problem, it gets a little tiresome. The earlier seasons were all about the dynamic between Mulder and Scully, struggling to resolve certain events and situations within their opposing perspectives. This episode, like many in the latter seasons, focuses on one character at the expenses of the other, while missing key elements of the character in the process.

Mulder is a complex individual with a deeply wounded psychology. The fact that he is an expert on criminal profiling is therefore a neat irony; he can understand the most extreme and dangerous intellects, but his own psychological issues are often left unnoticed by that same keen mind. Mulder yearns for someone to understand and validate his ideas, yet he gains focus and drive from the persecution he invites. He has an apparent “photographic memory”, but he conveniently forgets information on a regular basis, especially when he cannot deal with the implications. This has left him vulnerable to those willing and able to use his own weaknesses against him.

Past writers have made the mistake of taking his near-perfect memory and insight and transforming them into a near-psychic ability to leap towards the correct paranormal explanation for the incident at hand. More correctly, as described in earlier seasons, his abilities would hew closer to those of Frank Black on “Millennium”. (To further complicate the issue, Mulder does have latent psychic abilities, which has been inconsistently applied over the course of the series.)

That same mistake is made in this episode, but in far more egregious fashion. In keeping with the more “iconic” version of the character at play in the sixth season, Mulder’s past is ignored in favor of something far less complicated. Thus Mulder claims not to be a psychologist when he is most definitely an expert on the subject (complete with degrees!), and his conclusions are the result of logical leaps instead of analysis of data and study of suspects.

The Mulder of this episode is not the same Mulder of “Grotesque”, to be sure. Mulder is cast instead as someone who can divine the supernatural underpinnings of a situation in seconds. It doesn’t matter that it makes no sense for him to rummage through Spender’s trash without being noticed. It doesn’t matter that his activities would be under strict observation, especially after crossing Kersh too often in the past few months. All that matters is that Mulder come across as the archetypical rebel, pursuing truth, consequences be damned.

That is a part of Mulder’s personality, but it could have been explained and explored in more detail and in a manner more consistent with the complexity of the character in mind. Instead, more time was spent on the spurious psychology of Wayne, the demon in search of a human child. In that case, the writers also fail to go far enough. Wayne becomes something of a sympathetic character, but beyond the superficial explanation of what he wanted, there’s no sense of the why. And since this is a stand-alone story, that explanation is never to come.

This episode owes more to the anthology-esque format that Chris Carter was always looking for, without the balance between natural and supernatural that was at the heart of the series earlier in the run. There is no attempt at a scientific explanation for the events of this episode, and that presents a problem for the series mythology as a whole. How do demonic creatures like Wayne and Betsy fit into the mix?

Thankfully, the way that Wayne and Betsy are portrayed is not entirely inconsistent with the mythology itself. After all, if most of the oddities of the X-Files universe can be attributed to the genetic abnormalities present within the human genome itself, then why not a rare sub-species of “demons” like Wayne and Betsy. That could explain why Wayne is obsessed with normality; he wants a normal child, because he was born different. Betsy, on the other hand, wants to continue her subspecies.

In this interpretation, it doesn’t matter if Wayne is normally human with the ability to project the image of a demonic figure and flames into the minds of his victims. That telepathic connection is inherent to the series’ mythology. Similarly, Betsy and her child would likely be able to adapt for life among the humans. Wayne’s ability to “steal souls” could be linked to that ability, a process of stealing away energy.

All of which is easy enough to work out within the purview of the existing X-Files cases, making it odd that Scully never offered any type of explanation along these lines. Scully has come to the point where she would accept the oddity itself, yet search for some kind of explanation consistent with the data collected. That doesn’t happen in this episode; Scully is used as a sounding board for Mulder and a way to remind the audience that Mulder is under Kersh’s thumb, however haphazardly.

While the casting of Bruce Campbell is certainly inspired, the character itself isn’t substantial enough for such a talented performer. He does everything possible with the role he was given, but for the character to work, Wayne has to be subdued. With so much focus on that character, the downplayed nature becomes a further liability. A director can only do so much when the material isn’t dynamic enough for an exciting story. The tone of the episode is more appropriate to character study, yet the episode clearly fails to provide even that much.

The reason is simple, and has been mentioned in nearly every review for the sixth season: the depth of character is lost when Mulder and Scully are portrayed more as archetypes than individuals. The result is an episode that could have easily been lifted out of the schedule with no impact on the season as a whole, and when that’s the case, one must ask why the episode needed to exist in the first place.


Memorable Quotes

SPENDER: “OK, Deputy, we’re going to put this right into our priority caseload…”


Final Analysis

Overall, this episode is another disappointment, emphasizing a focus on the characters as icons rather than fully developed individuals. Bruce Campbell is wasted as a guest star, and Scully’s presence is sorely missed through much of the hour. The core idea is interesting enough, but the execution never goes as far as the writers seem to think it does.

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

Final Rating: 6/10

Dead Zone 5.5: "Inside Man"

Written by Karl Shaefer
Directed by Michael Robison


With the first half of the season rapidly coming to a close, I’ve been worried that the entire season would be buried under storytelling problems. I’ve almost gotten used to the feeling of disappointment that tends to come before the end of the first act. So when I found myself engrossed in the story, and ultimately quite pleased when the credits began to roll, it was a wonderful change of pace.

As the writers themselves put it on the official website, bottle shows can be a great opportunity to focus on story. Drama needs to be generated through character interaction, usually prompted by some extreme circumstance. In this case, Johnny finds himself in a situation where he must do the wrong thing in order to do the right thing. As it turns out, he’s not the only one.

That was something I really liked about the episode. I could tell, in general terms, that there was more to the story with the head thief, even before the flashbacks began. But his actions spoke of desperation, and I was intrigued by the possibility of how that desperation was born. Tying it to Purdy was a nice touch, and one that forced a bit of a confession out of Gene. Much like Johnny, it was a matter of doing terrible things for some perceived greater good. Unlike Johnny, he was willing to kill to restore the object of his faith. (Thus, to a certain extent, lending question to the veracity of his faith.)

I’ve always liked Purdy as a character, just in terms of the complexity of the man. He is the leader of a vast religious movement, but a man fundamentally at odds with his faith. He may have been sincere in his desire to know Christ more personally through Johnny, and it might have given him a restored sense of faith, but how long would it have taken for Purdy to use that vision to further his financial goals?

The fact is, just the act of buying the supposed object of his faith rendered it powerless as a path to restoration. It was immediately tainted by the manner of its acquisition. Purdy was trying to purchase faith, which is an impossibility. And so the result would have ended poorly, had Johnny seen the face of Christ or walked in John the Baptist’s shoes. Purdy would have laid claim to the vision as a means to an end, objectifying Johnny as much as he objectified the relic.

I love episodes that expose, through something other than exposition, the underlying psychology of the characters. Lately, the series has been a little preachy, which has stolen away some of the power of the narrative. In this case, the writers managed to dial it back a bit, even in the final scenes, which could have been a lot worse than they were.

All that said, there were still some nagging problems. I found myself wondering why Purdy didn’t recognize Johnny’s voice, considering how often they have been around each other. Also, the kid who plays JJ is a horrible actor; he pulls you out of every scene he’s in, because it never rings true. Oddly, Chris Bruno seemed to be stumbling over his performance this week. That’s one of the overall issues I’ve had with recent seasons: the cast chemistry has really degraded, and it seems like conversations are a bit too stilted and unnatural. I still haven’t seen one hit it out of the park this season, but this was the one I’ve enjoyed the most.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes have highlighted “The Dead Zone”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 7/10

4400 3.7: "The Home Front"

Written by Craig Sweeny
Directed by Nick Copus


This episode is the mid-point of the season, and as such, one would expect some major shifts in the direction of the season arc. I’m not sure that happened, but to some extent, there were some serious changes to the status quo. Ryland remains a powerful force within the world of the 4400, and characters find themselves compromised on a number of levels.

I’ve often said that Tom and Diana find themselves in a compromised situation because of their relationships to members of the 4400, and this episode is a perfect example. Everything Tom does is a reaction to Alana being in jeopardy, and he circumvents NTAC and every other law enforcement agency in the process. Even as it stands, Tom will be lucky if Alana’s sudden disappearance doesn’t lead to an inquiry into his activities.

Though he eventually changed his mind, largely because of the realization that Alana would never forgive him for screwing over Navarro, Tom was prepared to hand a man over for private execution to prevent his wife from being punished for a crime she actually committed. While the writers do try to soften this particular decision by making it clear that Ryland is on questionable moral ground in terms of his ability to hold Alana and others, the fact is that Alana aided and abetted the escape of a known terrorist.

Alana is guilty, and she confessed to her crime. Legally and ethically, Tom should have taken her into custody, regardless of her motivations. Her justification was that she was protecting one of her own kind, but that was essentially the same justification given by the Nova Group for their actions. Tom may have disagreements with how society is treating the 4400 (including how easily Ryland escaped punishment for his actions), but he’s a law enforcement officer, and his wife committed a crime.

While that should be difficult for Tom, I think he crossed the line in a major way when he sought to allow her to escape the consequences of her actions. Trading her freedom with Navarro’s life is just an expression of the amoral nature of his thought process. Diana, however, is equally compromised, because she allows her relationship with Maia to influence her own reactions to the 4400.

It may be difficult for the audience to sympathize with Tom now, because his decisions have become so questionable. As long as the writers are willing to explore this twist honestly, without pretending that it was the right thing to do, I have no problem with it. In fact, it could work out better this way, since it adds another layer of relativism to the story. How long can Tom and Diana continue to support the 4400 in their current role, before they make the wrong move and get caught?

Of course, this episode also brings up a rather big question: what was the point of introducing Alana in the first place, if she would simply end up leaving, thus depriving Tom of the psychological and emotional support Alana was supposed to provide? One gets the feeling that the actress wanted to leave for something else, or that the writers hadn’t worked out her role in Tom’s future. Whatever the case, it’s a plot point that needs to be addressed before too much time passes. (Especially since the “future humanity” didn’t intercede, which suggests they didn’t see an upshot to it.)

Given Ryland’s current position of power, it’s rather disturbing that Isabelle has become his willing ally. After all, Ryland sees the 4400 as a massive threat, and Isabelle was apparently created to destroy the 4400. Ryland could give Isabelle the means and opportunity to achieve that goal, and this episode continues to demonstrate her lack of moral development. Isabelle has become so powerful that opposing her isn’t even an option, as Shawn’s decision to avoid Nicki emphasizes. When Shawn and Richard are brought together in common cause regarding Isabelle, it’s telling.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “The 4400”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)


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

Final Rating: 7/10

Stargate: Atlantis 3.1: "No Man's Land"

Written by Martin Gero
Directed by Martin Wood


Watching this episode, I couldn’t help but wonder if the writers were being a little defensive. After all, a lot of people felt that the second season finale, “Allies”, had been an example of forcing the story at the expense of the characters. Weir in particular made very bad choices, necessary to allow for a credible threat to Earth. This premiere is meant to deal with that threat, with a subplot defending Weir’s choices. I liked the “A” plot thread well enough, but the “B” plot was all about excuses.

First, focusing on the positive, I missed these characters, and none of my annoyance with the poorly constructed second season took away from that. I still feel that the characters themselves need further definition and some sense of evolution, but that’s an old complaint that I’ve had for the franchise in general. Premieres aren’t the episodes for character evolution, anyway; it’s about reminding the audience of the status quo while hitting the ground running.

I did notice some plot conveniences. It was a little ridiculous for Ronon to still have a weapon available while confined by the Wraith, since one would expect them to check for such things before detaining them. It also seems a little convenient that the repair time for the Daedalus and Orion is just short enough to let them intercept the Wraith hiveships relatively close to Atlantis. And of course, even with Michael’s help, it’s a little hard to believe that Sheppard would survive, especially when it would have been a lot easier to destroy his 302 rather than recover and detain him!

I did like the fact that the survival of the Daedalus’ crew was not a simple matter. In fact, I had no idea that this was a two-part premiere, so I was quite pleased by the prospect of further exploration of the decision to use the gas mentioned in “Allies”. My hope is that this will lead into a formal season arc of some kind. In fact, enough lingering plot threads exist for the writers to put together a few ongoing arcs, which would address one of the main problems of the second season.

Weir’s subplot felt less like a logical progression of the story than a reaction to fan complaints about the logic of “Allies”. On the other hand, if one did lead to the other, I have to admit that the final product could be beneficial to the season as a whole. Caldwell was a good step in terms of putting Weir under a microscope; the IOA should add another level of intrigue. While I completely agree with Weir’s attitude about the IOA, especially after the ninth season of “SG-1”, I think that the situation is a bit more complicated than Weir would like to believe.

Weir and Landry are both in the position to make decisions with massive consequences. So far, Landry has been under fire for a situation that was more or less impossible to prevent or ignore. Weir, on the other hand, made terrible choices in “Allies” and deserved to be questioned about those choices. The Wraith were hardly clever in their little ruse, and Weir should have seen through the enemy. The IOA may like to let Weir hang herself, but the best defense against armchair quarterbacking is victory.

Of course, the upshot is that the intervention of the IOA could complicate the plot enough to suggest a good, solid character arc for Weir. If there are long-term consequences that result from this situation, then Weir could end up under serious political fire as the season marches on. That points to an obvious direction for the season to take, and I hope they do, since it would give the season more cohesion. As it stands, this is a good beginning to what I hope will be a resurgent third season for the series.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Future episodes will highlight “Stargate: Atlantis”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Stargate: SG-1 10.1: "Flesh and Blood"

Written by Robert C. Cooper
Directed by Will Waring


I was slightly worried that the record-setting tenth season would start on a low note, especially since I found the next step in the plot arc somewhat easy to predict. Those who remember my review for the ninth season finale will recall that I had the purpose of Vala’s child worked out before the episode was over. The promise, I thought, was in the execution of the next season arc and how the seeming overpowering nature of the Ori fleet would be handled.

I was pleasantly surprised by the fact that the premiere dealt with everything I wanted it to address, and managed to do so without too many plot conveniences along the way. Most of those issues came up as each team member was revealed to be alive and ready for rescue. The road to rescue was sometimes fraught with peril, but it was also a foregone conclusion.

The far more interesting part of the story was the reaction to the Ori threat. I was a little worried about how Mitchell would come across, since he was the new guy last season and could have been played up again this time around to overcome the lingering resistance to his inclusion. The character felt very natural in the story, as though the writers took some time over the hiatus to pin down the character once and for all. Time will tell, of course, but it never occurred to me that O’Neill wasn’t there.

Much of the time is spent on the Ori incursion and the fall of Chulak, which throws the status quo of the Stargate universe into a very nasty direction. I would have liked to have seen the evolution of the Jaffa Nation, but in a way, this is a logical step for Adria to take. The Jaffa are a massive power in the universe at large, and eliminating or subverting that power goes a long way towards crushing resistance. And it forces the Jaffa into a position of underground resistance again, which is something they know far better than self-determination.

So the situation is getting worse in the Milky Way, with the Ori establishing a nice beachhead and the Jaffa under the gun. Earth has also lost a lot of ships, and it seems like some new solution needs to be found. (Cue Merlin’s weapon from the ninth season.) This gives those annoying nits from the Lucien Alliance a lot of room to maneuver, though I imagine that they will ultimately realize that the Ori will demand their obedience just as stridently.

One thing I find very interesting is the possibility that the Ori are not the totality of the problem. Orlin told the SGC that the Ori steal the life energy from their followers and wish to destroy the Ancients for driving them out. Adria has a very different point of view. Adria claims that the Ori are the ones being targeted because they wanted to stop the Ancients from stealing the life energies of the human beings in the Milky Way. In fact, Adria claims that human life was created to serve the Ancients in this fashion.

Clearly the Ori are wrong in what they do, but it may be that they have a valid point. What if the Ancients are just as bad as the Ori? What if defending the Ancients is the wrong move? I see shades of the Vorlons and Shadows from “Babylon 5”. When Daniel mentioned that they need to learn more about how this whole “ascension” thing works, I wondered if the solution to the Ori might ultimately be a solution to the Ancients as well. And wouldn’t that factor into “Stargate: Atlantis” in interesting ways?

Much like the ninth season in general, I found that the Ori arc has revitalized my interest in the series, which was struggling for a few seasons before changes were forced to occur. I think that the new elements give the writers a lot of ground to cover and explore, and it doesn’t have to be a retread of everything that happened during the Goa’uld arc. I like how Vala has evolved over time (Claudia was gorgeous in that outfit!), and Adria should give the Ori threat a sense of focus in terms of storytelling. All in all, I’m very pleased with how this season has started out!

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Future episodes will highlight “Stargate SG-1”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Buffy 5.4: "Out of My Mind"

Written by Rebecca Rand Kirshner
Directed by David Grossman

In which Riley suffers from the lingering effects of the biochemical changes forced on him by Professor Walsh’s experiments, giving Spike an opportunity to regain his freedom…


Status Report

Not unlike the fourth season, which took its time to cement the plot arc elements and get the ball rolling, the fifth season begins with a number of character arc elements in play. The first three episodes seemed to dance around the notion of advancing character threads in any major fashion, but this episode takes on the challenge of delivering a strong character-driven story. In fact, this has the feel of a transitional episode in the middle of the season, putting the pieces in place for the plot elements that would come in short order.

The episode starts laying out the character elements from the very beginning. Riley comes across as slightly more aggressive and eager than usual, and Spike is a bit more competitive with Riley than he needs to be. In retrospect, the direction taken by each character is somewhat obvious, but there is a subtlety to the presentation.

Much of the episode is about dropping the seeds into the story, building on what was established (sometimes poorly) in the earlier episodes of the season. Buffy has always been smarter than she lets on, but this episode focuses on how smart she can be, when she puts her mind to it. Also, this is the part of the season where her desire to understand her Chosen legacy is most evident. (Later in the season, it would practically disappear.)

Xander’s newfound confidence in his own skill is immediately evident, based on his assistance with Giles’ rebuilding of the Magic Box. At the same time, his well-worn lack of self-confidence still shines through when it comes to his relationship with Anya. That seed of lingering doubt never goes away, and ultimately becomes important in the sixth season.

Tara continues to show a relative lack of self-esteem, downplaying her own ability and making it clear that she finds Willow’s abilities to be extraordinary. This is particularly subtle because Willow’s growing power is portrayed as something that might be subjective on Tara’s part; in reality, that circumstance makes it easier for Willow and others to dismiss how far Willow is really going. (Also, since Willow’s conversion to the dark side was supposed to take place at the end of the fifth season, this begins that process, which would eventually be extended.)

Spike, as per his usual M.O., is mostly obsessed. In this case, he’s obsessed with two things: the chip in his head and Buffy. This is consistent with the theory that vampires in the Buffyverse are demons that exhibit some defining facet of the human victim, taken to an accentuated and evil degree. Spike was defined for his pitiful and disturbing obsessions as a human (as seen in the final season), and so he is driven by obsessions now, taken in an unusual direction by the restraints provided by the chip in his head.

Riley shows signs of desperation, which is a nice follow-up to the previous episode’s revelation. Part of it is his extreme metabolic condition, which pushes his psychological issues to the surface. But Riley does feel like he needs to be more than human to maintain Buffy’s interest, and that’s the natural progression of his self-realization at the end of the fourth season. Riley has to keep demonstrating his ability to keep up, and in the process, he’s coming across to Buffy as trying too hard.

Dawn continues to act very much as Buffy might have acted at the same age, maintaining the theme of exploring the difference between “Buffy as human” and “Buffy as Slayer”. In this particular episode, she interjects in much the same way that Buffy might have under the same circumstances. She also displays the same devotion to her mother, which only makes sense.

Joyce shows the first signs of the condition that would eventually claim her life. This particular plot point places an external pressure on Buffy’s search for self-definition. Buffy began the road towards adulthood in the fourth season, but she was living a life that afforded her the chance to play with Riley and live in isolation. The fifth season begins the process of forcing Buffy into the real world, slowly but surely becoming less the child and more the “parent”, as the generational wheel spins inexorably.

This also allows for the introduction of Ben, a key figure in the season arc. It’s easy to dismiss Ben and his presence in this episode, because he exists for the purpose of exposition regarding Joyce and to act as a vague indirect threat to Riley. This is one element of the season arc that is particularly effective, since it allows him to become enmeshed in Buffy’s world before the audience realizes that something is amiss.

The story quickly turns back to the character evolution for Riley and Spike. One evolves out of the other, so the writers quickly define Riley’s problem and his inability to think clearly. He flees back to the Initiative (despite the fact that it’s supposed to be filled with concrete), which means that Spike is only one with the knowledge of how to get into the caves. Buffy is thus forced to go to him for help, which only feeds into his obsessions.

That Spike would use the situation to his own advantage is hardly surprising. That Buffy wouldn’t consider the possibility that Spike would abduct the doctor for his own devices is. Why wouldn’t she send Spike to go retrieve Riley and bring him to where the doctor is waiting? Sure, the situation is dire, but that is one major miscalculation. Of course, it’s also necessary for the story to go where it needs to go for Spike’s evolution.

In terms of Riley’s evolution, he faces a terrible moment in this episode. Buffy rips into him for assuming that she sees him differently because of his humanity, but he knows it to be true. Even though Riley is reacting badly to the situation, fueled by his altered metabolism, he hits the nail on the head. Buffy does need something more than the average man, even if she doesn’t realize it. Part of the problem is her own lack of self-awareness. Buffy wants to believe that there’s a normal girl underneath the layers of Chosen destiny, but in reality, the two are intertwined. And the whole Buffy needs something more than normal to counter her unique qualities and needs.

The situation ends as it must, since both Riley and Spike have to survive to come to their necessary personal realizations. Both them, however, only take a single step in this episode. Graham puts things into perspective for Riley, which begins the slow but inevitable process of Riley’s exit from Sunnydale. Riley needs to recognize that he needs to define himself on his own terms before he can be an equal partner to anyone else. Being with Buffy simply isn’t enough.

Spike comes to the first true realization that his obsession over Buffy is transforming from pure hatred to sexual lust (mixed with violent hatred). There’s the slight sense of connection between Buffy’s growing power and Spike’s growing interest, but the bottom line is that Spike has fallen into that familiar obsessive trap. The writers do a nice job of glossing over how disturbing it is by pointing out the more comic aspects of the situation.

This episode starts the process of ramping up the season, and though it still takes longer than it should to get the story moving, the groundwork for a substantial arc is being laid out in more consistent fashion than the fourth season. There’s still the evidence of Joss’ distraction, given how much of his attention was being given to “Angel” and its second season revamp. Given how the season started, it was a miracle that the season managed to get back on track at all.


Memorable Quotes

XANDER: “I’m telling you, Giles. You gotta set up a blind taste test and prove once and for all that generic amphibian eyeballs are just as good.”
WILLOW: “I don’t know…if you ask me, the newt name still means something.”

DAWN: “Did you know that one time the CIA tried to kill Fidel Castro with poisonous aspirin?”
BUFFY: “Dawn, please. I know I have to do something. I just don’t know what.”
DAWN: “Another time, the CIA-”
BUFFY: “Dawn!”
DAWN: “It’s important! Tried to make Castro go crazy by putting itching powder in his beard! It’s about the government…”

BUFFY: “I’ve got a proposition for you.”
SPIKE: “Funny…I’ve got a proposition for you. What about knocking? Seems only fair since we vamps can’t enter your flat without an invite, you could at least…say, look at those pretty pieces of paper…”

SPIKE: “Buffy, Buffy, Buffy! Everywhere I turn, she’s there! That nasty little face, bouncing shampoo-commercial hair, that whole sodding holier-than-thou attitude…”
HARMONY: “Well, aren’t we kinda unholy?”

GRAHAM: “Come on, man. You know it’s true. There’s nothing for you here.”
RILEY: “There’s her.”
GRAHAM: “OK, right, there’s her. And? You used to have a mission, and now you’re what? Mission’s boyfriend? Mission’s true love?”


Final Analysis

Overall, this episode begins to ramp up the action for the season by laying down some important character elements. While Riley’s purpose as a character is questionable at best in the fifth season, this episode helps underscore his psychological issues leading into his subsequent departure. A solid enough episode, with enough nuggets for future development to stand up to repeated viewing.

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

Final Rating: 7/10

Dead Zone 5.4: "Articles of Faith"

Written by Michael Taylor
Directed by Michael Robison


I’ve been less than thrilled with the first few episodes of the season, so I went into this latest installment with a bit of trepidation. With the lackluster quality of the fourth season continuing into the fifth (not surprisingly, given the production details), there’s little sense of consistency from episode to episode. As a simple example, note the fact that Johnny and Purdy interact quite a bit in this episode, but don’t say a word about Janus or any change in their relationship.

I was thankful, then, that this episode was a tad better than the season thus far. It still had a number of issues, but overall, it dealt with some interesting dynamics of hate and prejudice. There will no doubt be a backlash from those looking for any hint of anti-homosexual bias, given how the story itself played out, but I thought that it dealt with a wide range of racial and prejudicial issues with equal judgment.

Of course, I also felt like that exploration was sometimes heavy-handed. The opening and closing montages were horribly done, especially the mismatched and poorly-casted voiceovers. Like the previous episode, the writers sometimes oversell the message of an episode. Some scenes were practically destroyed by the heavy-handedness. For instance, the Muslims sitting around tossing out exposition, which came across as forced and unnatural.

The music score certainly doesn’t help. In some places, the tone of the music is so preachy that it kills whatever subtlety might have otherwise been attempted by the writers and director. I’ve tried to keep an open mind with the scoring changes, since it sometimes works very well. I actually like the opening theme. But in certain scenes, the music is completely over the top, and that happens in this episode as well.

I’m still on the fence regarding the return of Dana Bright. It seemed like odd timing, especially since there was nothing about her part in the story that required her to be in the episode. The writers touched on their past relationship here and there, but if I didn’t already know their history, I don’t know that I would have gotten as much impact out of this episode. On the other hand, without that context, it might have been easier to accept their relationship as presented in this episode.

This episode actually brings to mind what I feel is the defining difference between the early seasons and the more recent productions. The first few seasons told good stories and told them well. The recent seasons have told good stories, but they’ve been told poorly. I personally feel that the overall package hasn’t been as strong of late.

This was a good story, and it kept me engaged, despite the nagging problems with the storytelling. I just wish that more attention would be spent on the fundamentals. If there is a sixth season down the line, I hope they take the time to see where things didn’t work out and make the necessary adjustments. Unfortunately, if their online blogs are any indication, the production team believes this to be solid material, so I’m not particularly hopeful.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes have highlighted “The Dead Zone”, so it might be something of interest . Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 6/10

4400 3.6: "Graduation Day"

Written by Craig Sweeny
Directed by Aaron Lipstadt


The third season has been ripping along at a fast pace, and I couldn’t be happier. The producers are keeping their promise by focusing on the big picture, and I think it makes for a more interesting and layered story. For some shows, it might have taken the rest of the season for Tom and Isabelle to have a confrontation, but the writers seem to have a far more interesting agenda.

If “Gone” started the process of showing Isabelle sliding into darkness, then this episode is the logical next step. As per the visual cues, Isabelle is mostly in darker colors (though not a ravishing red, sad to say), but there’s still that hint of green in her wardrobe. Sure, it may be reading into things a little bit, but I see that as a sign that Isabelle has a choice. She may have been engineered for destructive purpose, but she has the ability to choose her own path.

Eliminating Matthew (who wasted little time in showing his true colors) was a step long-foreshadowed, and it came at just the right time. Now there’s a different question to consider in the whole “time paradox” debate: was the introduction of Isabelle by the “evil” faction of the “future humanity” the cause of the catastrophe that the 4400 was sent back to prevent? Time travel is such a tricky business in storytelling, because it should all fit together like a puzzle, with cause and effect being somewhat relative.

The recent revelations make sense of a short scene in “The New World”, where Matthew seems to be plotting the death of Jordan Collier, who remains in hiding. I thought I misunderstood the scene, but in fact, it seems that Isabelle was meant to kill Jordan and leave the 4400 in disarray, thus explaining why Matthew stepped in when he did. It all hangs together very well, even though some elements were clearly worked out after the fact.

Isabelle was being manipulated into her role as the destroyer of the 4400 by Matthew and her creators, but her feelings for Shawn overrode the programming. Shawn could be the one person to change Isabelle in a positive way, which may be one reason that Tom was willing to postpone the execution. But now that Shawn has seen Isabelle’s true colors, will he still be willing to stay with her? If not, it could be the final straw towards something very, very bad. (And Isabelle’s decision to meet with Ryland is equally troubling, since she could be forging an alliance against the 4400 and their allies within NTAC.)

Tom’s decision to let Isabelle live could be one of those moments destined for future regret. I have a feeling the audience will be thinking back to the moment when Tom could have taken action, before Isabelle become too powerful. Tom’s decision comes very close to the mid-point of the season (which is technically halfway through the next episode), so this could be seen as a turning point.

Alana’s subplot is a nice bit of counterpoint. For all that Isabelle decides to act on information without consideration of consequences, Alana seeks a measure of revenge without thinking of what might follow. The audience is left to consider whether or not Isabelle is programmed to do evil, or whether that capacity exists within every human being. Of course, the difference is that Isabelle had no moral development, which could simply make Alana’s choices more damning.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “The 4400”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Thanks for the good wishes!

Just wanted to send a quick Thank You to everyone who sent, posted, or otherwise expressed best wishes today!

Some of you might be amused to know that this is also my 10th anniversary! My wife and I were married on July 6, 1996. Two kids, four cats, several fish, a dog, three apartments, and a house later, it's amazing how far we've come from those two kids fresh out of college with little more than the clothes on our back! 10 years...it feels so much shorter...and longer...

And to top it all off? Tomorrow is Mrs. Entil's birthday! She's exactly 114 minutes younger.

Yeah, we like to get things done and over with...LOL!

X-Files 6.6: "How the Ghosts Stole Christmas"

Written by Chris Carter
Directed by Chris Carter

In which Mulder twists Scully into an investigation of a supposedly haunted house, but when they become trapped by the spirits within, the results are unexpected and deadly…


Status Report

For many, this is one of the better episodes of the sixth season. After all, Chris Carter once again writes and directs, and much like “Triangle”, there’s a fair amount of character exploration at the heart of the story. In this case, Carter displays a peculiar interpretation of the characters and what makes them tick, as filtered through the somewhat biased perspective of Maurice and Lyda. In fact, this character exploration is one of the best aspects of the episode. Unfortunately, in getting to that character exploration, liberties are taken with character history.

Carter seems to start with the intention of introducing a solid ghost story, but much like “Quagmire”, it soon becomes a chance to delve into Mulder and Scully and where they stand with each other. Carter has often mentioned that the series never pulled off a good, scary ghost tale, and that switch to a more comic aspect is the reason why this episode doesn’t qualify. There’s never a sense that Mulder and Scully are truly in danger, and once the psychological material is covered, the story takes a bit of a downturn.

But the real problems start long before that point is reached. As with many of the sixth season episodes, Mulder and Scully seem to be falling into the “mythological” mode, rather than the self-consistent continuity mode. Mulder and Scully are played as archetypes of excessive belief and skepticism, when neither character lacks the self-awareness required to fulfill such “legendary” shoes.

Mulder usually comes out of this process best, but only because that lack of self-awareness and perspective is part of his personality. Mulder continually forgets about the context of his own choices, and so certain details escape his notice (like, say, investigating a paranormal claim on Christmas Eve and not seeing the scheduling conflict). Yet even Mulder has been shown as a lot more sympathetic to Scully and her holiday needs, so this episode qualifies as a case of Mulder as “obsessive believer”, playing the archetype rather than the character already established.

Scully comes out a lot worse, and for obvious reason. Mulder needs to stay relatively static in terms of characterization, because he is the background against which Scully moves over the course of her relationship with him. Slipping this story into the Christmas mode invites comparisons to the previous holiday event, and looking back on that story, Scully’s reaction to the idea of ghosts in the first act is rather silly. Scully has already reacted to a far more personal version of a haunting, and she was a lot more accepting of the possibility under those circumstances.

Recent episodes have gone a long way towards establishing the further evolution of Scully’s skepticism. Scully has long since abandoned her purely scientific soapbox, preferring a more comprehensive approach to the unknown. Rather than denying the possibility of the evidence or the phenomenon, she has developed a comfortable ability to evaluate the unusual within the context of her science and move beyond those constraints as needed. Episodes like “Drive” are a perfect example of this character evolution.

The Scully in this episode, however, remembers nothing of her unusual spiritual experiences, and slips into the iconic “fervent denier”. Scully makes a passionate speech about the psychology of “hauntings”, which outside of the context of the series’ mythology, makes a good bit of sense. Of course most of the anecdotal evidence for hauntings can be dismissed in terms of psychological responses and wishful thinking; it’s equally true that the evidence is still evidence that must be evaluated and explained, not dismissed out of hand.

But Scully’s comments, especially in terms of not being far from loved ones who have passed, fly in the face of her own experience. The X-Files universe is an active spiritual world, and Scully has been deeply involved with that world on several occasions, many involving her loved ones. For Scully to refute the idea of apparitions and sightings of the dead flies in the face of her own acceptance of such phenomenon exactly one year earlier.

Equally, her fear is completely out of proportion, as if to sell the idea that she has never considered the possibility of earth-bound sprits or haunting in general. Scully is seldom this frightened of anything; this is the same woman who diagnosed her own symptoms when dying in “Fight the Future”! Why she would suddenly act like she’s never encountered anything more terrifying than odd bumps and cold spots is beyond understanding, unless one accepts the premise that Scully is being written as an archetype.

Carter then compounds the mistake by having Mulder and Scully act in some incredibly stupid ways. Under the situation, with apparent evidence of their own possible demise sitting right in front of them, why would Mulder and Scully let themselves be separated? This is necessary, however, for the characters to be on their own for Carter’s next intended purpose.

Maurice has Mulder pinned down pretty well, and despite the fact that Mulder is being portrayed as an archetype, it’s not far from the mark. Mulder is narcissistic, he can be overzealous, and he’s certainly self-righteous. And in the end, he is afraid of fighting alone, something that has been reinforced time and again. The interesting part is the self-awareness. As bad as that assessment might be, it’s even worse in the context of Mulder’s recognition of his own worst qualities.

Lyda’s dissection of Scully is similarly cruel yet honest. Unlike Mulder’s psychological assessment, however, Scully gets an extra layer tacked on for good measure. It’s not enough to point out, once again, that Scully has a serious co-dependency problem. (And never mind that it’s more of a desire to submit to a dominant personality, as seen in “Never Again”, which is a far more interesting and disturbing aspect to the relationship.) Carter must transform that into some kind of desire to prove Mulder wrong, which is, at best, a side effect.

Scully’s history is really quite clear. Scully falls for men who represent a father figure, a strong authoritative presence. For all her strength displayed to the rest of the world, Scully will always find one individual who will slip past her defenses, and she will submit to the desires of that individual in any number of ways (and many that were never explored, except in some fan fiction!). When that relationship is established, Scully will slip into the secondary aspect of that psychology: the urge to “rebel” against that authority figure, internally and externally, but always in a way that allows her to stay within the relationship in the end. In a sense, of course, Lyda could interpret Scully’s desire to “rebel” as a desire to prove Mulder wrong, since Scully’s safest expression of “rebellion” is refutation of Mulder’s theories.

Once the psychological exploration is over and done, the plot turns towards the confusing plot to push Mulder and Scully towards death. The motivation is never explained very well, especially once it’s clear that Mulder and Scully won’t kill each other. Maurice and Lyda seem to expect Mulder and Scully to believe that they have been shot by each other, but it doesn’t even match the murder/suicide scenario set up in the teaser.

More to the point, the resolution is about as weak as it gets. Mulder realizes, with very little prompting, that it’s all an illusion, and all he needs to do is get up and walk out with Scully and everything will be all right. This is a bit too convenient, and it also absolves Mulder and Scully of the need for a solid resolution. For instance, even if one accepts Scully’s initial lack of belief, how could she deny the existence of the paranormal now? Because Scully must be the archetype of the “fervent denier”, she cannot be allowed to believe her own senses.

The final scene has been fodder for fan fiction since the moment the episode hit air. Certainly the constant allusions throughout the episode to Mulder and Scully’s barely repressed feelings for one another play into the interpretation of those packages! Mulder’s present looks a lot like a video, while Scully’s present could be a number of things that would otherwise lead to a sexual harassment suit.

Chris Carter seems to have a lot of ideas for what the episode should be, but the integration of those ideas into one story is not nearly as seamless as many would like to think. Much of the problem is the reduction of Mulder and Scully to simple archetypes, stripping away the complexities and histories in favor of a more accessible version. This could be seen as another iteration of the introduction given to new viewers, but in the process, the long-term viewers are left wondering what happened to the more complex characters they had come to adore.


Memorable Quotes

SCULLY: “The dark, gothic manor, the omnipresent low fog hugging the thicket of undergrowth...wait, is that a hound I hear baying out on the moors?”

MULDER: “Tell me you’re not afraid.”
SCULLY: “All right, I’m afraid…but it’s an irrational fear.”

MAURICE: “I’ve found you all tend to fall into pretty much the same category.”
MULDER: “And what category is that?”
MAURICE: “Narcissistic, overzealous, self-righteous egomaniac.”
MULDER: “That’s a category?”

MAURICE: “You know why you think you see the things you do?”
MULDER: “Because I have seen them?”


Final Analysis

Overall, this episode was a somewhat muddled attempt at a whimsical holiday episode. Chris Carter tries to spin a somewhat comical ghost story into a psychological study of Mulder and Scully, but he relies on simplified versions of each character to pull it off. The episode itself is much beloved for certain scenes, but as a whole, it highlights the problems of the sixth season.

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

Final Rating: 6/10

4400 3.5: "Gone: Part II"

Written by Bruce Miller
Directed by Morgan Beggs


As expected, the second half of the story hinges on the idea that Tom and Diana would somehow remember Maia, despite the best efforts of the “future humanity” to erase her from that part of the timeline. Considering how predictable that plot element is, the writers had an uphill battle to fight. I find it interesting that they chose to address the cliché by not really addressing it. Tom and Diana slowly but surely came to remember Maia, and the hows and whys were glossed over in favor of other story elements.

On the other hand, it plays nicely into the idea that the “future humanity” is dealing with interference from a rival faction. This was also a bit predictable, but it fits the complexity of the “4400 Universe”. It seems that every represented population (humanity, 4400, “future humanity”) has a “good” side and a “bad” side, and it’s very difficult to know who fits into which category.

The idea appears to be this: the 4400 were sent back to prevent some threat to humanity by one faction, while another apparently managed to “seed” Lily with Isabelle. Isabelle is now apparently interfering with the purpose of the 4400, so the 4400 Faction chose to move some of the 4400 in the timeline to compensate. The only other alternative is to eliminate Isabelle altogether and hope that the damage hasn’t been done. All assuming, of course, that this is a correct interpretation of what has been revealed.

For instance, any information about the “future humanity” must be taken with a grain of salt. If one faction could “seed” the timeline with a counter-agent of some kind, be it Isabelle or Matthew (my current pet theory), then how can it be assumed that the faction that keeps manipulating Tom is actually the same one that sent back the 4400 in the first place? After all, people lie, especially when they are afraid that their opponents might sound more convincing. We have no idea if the Borg Queen was being honest or spinning information to her own ends.

I wonder how far the writers will take this idea of Tom as “protected”. In a lot of ways, he could become reckless, always assuming that the “future humanity” would save him if he were really in danger. After all, this is a man who was willing to attempt suicide under the assumption that he wouldn’t be allowed to die. That could really go into some dark territory, especially if things go badly with Alana and/or Kyle.

Richard’s reaction to the news that Shawn is sleeping with Isabelle is quite interesting. Did Richard refuse to spare Shawn because of the moral imperative to resist terrorism, or was there a personal component as well? Whatever the case, Shawn is in no shape to run anything after this latest attack. Just how long is that mental illness going to last? For that matter, what happens if Isabelle discovers that Shawn suffered because of a decision her father made?

After all, Isabelle already lost her head a bit and went Dark Phoenix on him in full view of the public (wearing dark colors, as predicted!), and that was just for messing with her sex life. And didn’t Matthew look enormously pleased at that display of power and instability? That plays into my growing suspicion that Matthew comes from the faction that sent Isabelle into the past in the first place.

Despite the predictable elements, there was enough happening in this episode to keep the story from being drowned in cliché. (Contrast this to the “Dead Zone” episode that aired the same night, which was horribly predictable and relied on nothing but idiotic plot contrivances.) It’s the serialized elements and the complications afforded by that format that keep the series from running aground, and it looks like that will continue through the rest of the season. I can’t help but be pleased!

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Recent episodes cover the “The 4400”, so it might be something of interest. Go to http://entil2001.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Dead Zone 5.3: "Panic"

Written by Adam Targum
Directed by Kevin Speckmaier


With the seasons of “Dead Zone” being so short, this episode is more or less a third of the way down the line. This is, unfortunately, also the third episode in a row to disappoint me. I think it’s clear why the producers wanted to swap the previous episode out and air this one during the holiday weekend. It’s certainly not an hour that stands up to close inspection, and it highlights a number of the issues that began in the fourth season and continue during this stretch.

This is the second time that I saw the episode in first run while visiting with my sister, who loves the stand-alone episodes and generally likes the elements I find lacking. (She’s a big fan of episodic TV, and I am certainly not.) I was surprised to find that she was just as disappointed by this episode as I was, and for the same general reasons.

In particular, this story had a lot of nagging logical issues. A lot of things happened and decisions were made in ways that made little sense in terms of basic physics or motivation. One example would be the ultra-convenient disabling of the alarm system, which somehow managed to disengage one or two mechanical locks while leaving the rest firmly in place. That makes very little sense. Wouldn’t it have been more logical for the assassins to break a window and crawl in, rather than gloss over a major plot point?

Then there’s the decision to leave Walt alive. Given that the assassins are ready to kill everyone in the way, and they are more than happy to beat Walt to a pulp, their reasons for keeping him alive don’t track. By that point, Johnny and JJ had plenty of reason to expect an execution, so all the assassins gain is a chance for someone else to get in their way.

Johnny’s rescue of Walt was ridiculous. Why would Johnny’s house have an industrial-sized air vent system? And why didn’t the assassin, looking for a way into the basement, wonder how Johnny had gotten to Walt and notice the massive hole in the wall? And this is after two assassins drill a dumb waiter shaft with about a dozen bullets and manage to miss Johnny with every single shot! By the time the federal agents arrived just in time to save Johnny, I was shaking my head, wondering how a script like this could get past the writing staff.

Usually I like it when the writers try to forge a link between stand-alone elements and character exploration. And in general, I liked the idea of exploring Johnny’s family history. It’s just that the revelations, and how they pertained to the “home invasion”, were utterly predictable. This is also an episode where the musical score just added a pretentious quality to the historical scenes. I got the message easily enough (Johnny is a selfless individual with a desire to do the right thing, something inherent to his family), but it was incredibly overdone.

The advance information for the next episode sounds a bit more promising, but thus far, this season has been disappointing.

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

Final Rating: 4/10

Quick Update - 03 Jul 2006

I've been away for a couple days, visiting family for the weekend and attending to an unfortunate turn of events. I wanted to thank everyone for the early birthday wishes. I guess this week marks the beginning of my "one year mission" to change a few things. I think I'm on the right track, despite some minor obstacles.

Anyhow, I will probably take the rest of the long weekend off, and then this weekend will be a bit busy (the wife's birthday is 7 Jul, our anniversary is 6 Jul like my birthday, so this is always an active time of year!). I doubt I'll get much writing done, though I'll certainly try. Oh, and a Happy Birthday to Grant and Ron from TAPS!

So...the unfortunate news. My grandmother (the last of that generation on either side of the family) went into the hospital last week in serious pain. We were stunned when told that her back was broken in three places. By the time we arrived for the weekend, the full extent of the problem was discovered: in the space of weeks, an undetected cancer had erupted throughout her body. In short, she has less than six months to live, and it's very likely to be much less than that.

It was a hard thing to hear, though the last few years have been very good to her. For my part, I hope, for her sake, that this doesn't go on for long. We went to see her last night before returning home. She hasn't been told (my mother is still deciding what to do with that), but I think she knew it wasn't good when I walked in the door. Since we live a couple hours from the rest of the family, we don't come around often. For me to show up without the kids in tow? Yeah...I think she knew it was more serious than she had been led to believe.

That's about it...I'll have more to say on other matters in the next few days. Be well, my friends!