Buffy 5.5: "No Place Like Home"

Written by Douglas Petrie
Directed by David Solomon

In which Buffy is convinced that her mother’s medical condition is the result of an attack on her family, and all of the evidence points her towards Dawn…


Status Report

Much like the fourth season, the fifth season gets off to a relatively slow start. Sure, Dawn is introduced at the end of the premiere, and some of the seeds are planted for the character arcs, but it takes five episodes for the actual season arc to start in earnest. Rather than drag out revelations about Dawn, the writers answer the key question (no pun intended) in relatively straightforward fashion. One of the best aspects of this revelation is how little it explains. Several huge questions linger and await resolution.

The teaser is a particularly good beginning, because events are finally given a wider canvas. One of the issues with the fifth season, in terms of how it began, is the pacing. The story remains focused on the small scale of character relationships. This opens up the idea of a secret order of monks, trying to preserve something of great power, and thus immediately giving the plot more of an impact.

That doesn’t mean that the character development is set aside. The best aspects of “Buffy” are often realized when the plot arc provides the impetus for deep character exploration. That’s where the metaphors and themes play the predominant role. The monsters and situations are often metaphorical because the source of the angst and drama is incidental; it’s the changes and reactions to each challenge that drives the show.

In this case, Joyce and her questionable health remains at the forefront. At this stage, the viewers have every reason to believe that the cause is something unusual, since nearly everything in the Buffyverse falls in that category. The idea of a “real world” malady striking someone down was unheard of, so Buffy’s thought process is rational from her unique perspective. Given the information she has, and her own emotional distress, what other assumption would she make?

Giles is also continuing on his path, trying to restore a sense of purpose through his new business (complete with hilarious costume!) and his renewed mentoring of Buffy. Just as Joyce and her troubles would never go away, so will Giles’ recognition of his growing dissatisfaction play a part in the rest of the season.

Riley’s worries over his “normal” physical status are reflected in Buffy’s off-screen comments and his own lack of confidence. While this is a logical plot progression for Riley, it does not serve the character well, once again reinforcing the notion that he should have left Sunnydale once his purpose in the fourth season was fulfilled. (He does provide the writers with an easy way to reinforce the sub-theme of loss and isolation that helps define Buffy in the fifth season, but it’s still what killed the character for many.)

In the middle of all this, there’s the follow-up on Spike’s realization at the end of the previous episode that he has a growing obsession with Buffy. In keeping with his character, he approaches this situation with passive-aggressive loathing. Standing outside of Buffy’s house, pining away for someone who hates him with a passion, is exactly the sort of thing the human William would have done. This is a nice foreshadowing of the revelations to come.

This episode is notable for the introduction of Glory, played by the lovely Clare Kramer. The idea of making the Big Bad a hottie is hardly new, especially after the third season and Faith, but that was not the most controversial aspect of the choice. It was more a matter of the writers’ decision to have Glory act like a spoiled brat. Initially, many fans were annoyed and disappointed in Glory for that very reason.

Of course, in retrospect, it makes sense. If the season is about the dichotomy within personality and issues of self-identity, then this fits very well into the theme (especially given later revelations about Glory and Ben). If Buffy has something within her that is non-human (and at this point, there were hints that the Chosen line had demonic origins), then Glory is effectively the demon within, unleashed and seeking dominion. And what is the key to that dominion? None other than an aspect of Buffy’s human side, rendered flesh and blood.

The spell that Buffy performs is simply a plot device, a means of getting Buffy to the point where she realizes that something is up with Dawn and that things have changed. As a means of communicating intent to the audience, it is also effective. Those who felt that Dawn was a complete violation of continuity were granted a quick and immediate rebuttal. Yet there was also the possibility, laid out in “The Real Me”, that Dawn was something sinister, and that played into the spell’s effects and Buffy’s assumptions perfectly.

By the end of the episode, Buffy is placed in a position of responsibility that portends her role in Dawn’s life by the end of the season. More to the point, Buffy comes to the conclusion that she must protect Dawn as an “innocent”. Metaphorically, if Dawn was created out of the part of Buffy that is completely human, then Buffy is protecting the manifestation of her own innocence and humanity. Seen within that context, her choice at the end of the season is practically inevitable: the Slayer sacrificing herself for the Human.

The other interesting side to Glory is her method of maintaining “sanity”. Glory is effectively a “mental stability vampire”. She uses humans as something of a food source, and without that replenishment, she begins to unravel. That level of analogy makes her just another kind of vampire, and thus the perfect enemy for Buffy to counter, while still on a completely new level of power.

With the plot elements getting the ball rolling on the season arc, interspersed with character shading and a ton of metaphor, this episode is one of the highlights of the early fifth season. Another stage in Buffy’s development is achieved, and the pieces are in place for her sacrifice in the season finale.


Memorable Quotes

DAWN: “Check out all the magic junk!”
GILES: “Our new slogan…”

BUFFY: “I put this before the group. What the hell is it?”
GILES: “It appears to be paranormal in origin.”
WILLOW: “How can you tell?”
GILES: “Well…it’s so shiny…”

GILES: “Xander! There’s too many of them…people! And they all seem to want things.”
XANDER: “I hear ya. Stay British! You’ll be OK!”

BUFFY: “What are you doing here? Five words or less.”
SPIKE: “Out. For. A. Walk….Bitch.”


Final Analysis

Overall, this episode is the highlight of the early fifth season, setting up a number of elements crucial to the season arc while exploring the central metaphors with an unusual amount of subtlety. So much is happening in the episode that it would be easy to miss the foreshadowing, but looking back on the series, this is the kind of storytelling that worked best.

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

Final Rating: 8/10

Prison Break 2.2: "Otis"

Written by Matt Olmstead
Directed by Kevin Hooks


One of the elements of “Prison Break” that must be embraced, as evidenced by the first season, is the inclusion of unlikely or even preposterous plot elements. I’ve always said that this series has embraced the “24” style, for better or worse, while trying to improve upon the storytelling possibilities. The result is a show that has a tendency to develop complex and memorable characters while still relying on plot twists that make no rational sense.

The main plot with Michael and Lincoln is a perfect example. All decisions made along the way are fairly consistent with the characters as previously portrayed. Lincoln is deeply concerned with LJ and his future, having lost Veronica, and Michael often allowed his better judgment to be clouded by the pain and suffering of others. Even so, it all hinges upon a choice that neither character would rationally make: springing LJ from a courthouse within hours of their own prison escape.

There were reasons for the plot choice, of course. It keeps the plot from losing tension, which could easily happen, given that the characters are spreading out and the plot elements need time to build again. Michael has demonstrated an ability to improvise, but he also saw those moments as a means to an end: getting to the next stage in the plan. This episode begins to show how he copes with an open-ended situation, where his plans are all but tossed aside.

This also serves to demonstrate just how quick Agent Mahone can be on his feet. Once again, I have to give full credit to William Fichtner for his portrayal of Mahone. If the premiere required a bit of rationalization to explain how he could draw conclusions about Michael so quickly, then this episode was all about matching Michael’s ability to improvise. It’s no mistake that Michael and Mahone end up facing each other down in the final act, because the episode is neatly structured to culminate in that fashion. Michael is going to have to get used to the idea of a nemesis that can be just as clever.

More logical was the process of cutting Pope out of the action and setting Bellick up as the wild card in the whole manhunt. Bellick, like T-Bag, is a character that the audience loves to hate, and now he’s more dangerous than ever. As a CO, he had to operate within certain boundaries, however loosened to his tastes. As a vigilante, he has no such restraint, beyond getting caught himself. The interesting implication is that Mahone might find himself warring with Bellick, thus giving Michael just enough room to maneuver.

The subplots with T-Bag and Tweener were definitely setup, pointing to a reunion of escapees in Utah, probably around episodes 6-8, when the first turn in the season arc is likely to strike. Tweener is hardly the most inconspicuous individual, so it’s likely that this roadtrip of his will go badly. T-Bag’s thread, however, involves a bit of a writing cheat. Could T-Bag really get his hand back under those conditions? It’s unlikely, and I fully expect him to have full use of the hand in a matter of days. That, and the whole idea of breaking LJ out of the courthouse in the first place, were two plot contrivances that the writers did a lot to salvage.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Current episodes cover the “Prison Break”, 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

Dead Zone 5.11: "The Hunting Party"

Written by Adam Targum
Directed by Kevin Speckmaier


Now that the fifth season has come to a close, there are number of questions surrounding “The Dead Zone”. It’s not just a matter of renewal anymore. It’s a matter of progress in terms of storytelling. This season finale was an example of how the series could still deliver a competent episode, but it was also an example of treading water in all the wrong ways.

First, the good points. I like the fact that the story started off small. It was fairly obvious to the audience that the situation was much bigger than Johnny could guess, but from his point of view, it was all about peeling back the layers of the onion and discovering how well he had been used. Skipping over the major plot contrivance of Johnny accepting a free computer from a contest he didn’t remember entering (something he ought to know better than to ignore by now), the plot unraveled in a measured fashion that allowed the audience to stay one step ahead, dreading what must inevitably come next.

Seen as a whole, from the end of the third season to the end of the fifth, given that they were one big production order, the revelations about Janus, Stilson, and the conspiracy all made sense and build neatly on the sporadic mythology episodes to date. The purpose of the “Armageddon” is revealed, and it follows a certain brand of logic. Janus is not unlike the Shadows on “Babylon 5”: knocking over the anthills, ensuring that the nation(s) of choice emerge from the rubble stronger and better than everyone else on the planet. Stilson is effectively a figurehead, and that allows Stilson to demonstrate some degree of humanity while remaining a figure of darkness.

This episode also firmly establishes Janus as a figure with enough intelligence and influence to overcome Johnny’s gift. Sooner or later, the writers need to explain why Johnny is completely unable to gain a victory against Janus, but for now, this episode avoids that problem by centering on a plot by Janus to inform Johnny of a certain reality in a certain way. Johnny is meant to be a spectator, not to change events. It’s a subtle point, but one missing from earlier episodes on a similar theme.

The problem, however, is that breaking the production order into two seasons gives the impression of nominal progress. The two seasons end at essentially the same point: Janus giving Johnny an ultimatum. If the season had aired 22 episodes, then there might have been a sense of the subtle shift: Janus giving Johnny a basic offer in “Saved”, and now making it more of a demand. But the difference isn’t enough to make it feel like the fifth season advanced the story very much.

I’m also disappointed that Purdy had nothing to do with the season finale, after a lot of apparent build-up towards a decision to help Johnny. It’s hard to imagine how he would have been part of the episode, but the structure of the season and the character’s arc really demanded it. Without that element, the finale felt incomplete.

It’s also hard not to notice that this episode was produced much earlier in the production order, because a lot of the cast chemistry problems hadn’t kicked in at this point. Walt seems a lot stronger in this episode than the previous installment, for instance. In a way, the effect is that the episode doesn’t feel much like a season finale at all.

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 “Dead Zone” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, the podcast associated with my various reviews. 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.)

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

Final Rating: 7/10

(Season 5 Final Average: 6.5)

Stargate: Atlantis 3.7: "Common Ground"

Written by Ken Cuperus
Directed by William Waring


I’ve had my issues with “SGA” over the past season or so, in large part because of a lack of strong continuity. I’ve seen apparent arc elements fall apart and fragment so badly that the eventual resolution doesn’t feel like the culmination of anything at all, and I’ve seen character arcs bungled to the point of absurdity. But every so often, the writers have managed to deliver. The past few episodes have been a step in the right direction.

If this had been an episode about the Genii, with nothing else but their politics as the driving force of the story, then it might have been disappointing. The Genii have come to enjoy using Team Atlantis as pawns in their reindeer games, and it has gotten a bit old. Kolya is a fun villain, and you can never tell what his next move might be, but the stakes need to be more even. If it’s all a question of suffering at the whim of the Genii, it’s not as interesting. Team Atlantis needs to have more of a stake in the situation.

Putting Sheppard in the middle of the fight wasn’t a bad idea, and his “relationship” to the Wraith was the key to the episode’s success. It is a little predictable for them to work together and gain a measure of mutual respect, but they took the familiar elements and gave them a particular “SGA” twist. Specifically, they used the situation to suggest that the Wraith are more complex than given credit for, especially in terms of what they can do and the meaning behind it.

I saw the whole “Wraith restores Sheppard” thing coming, but they took me by surprise by explaining that the ability had been hidden for reasons that could be seen as spiritual. In fact, it’s possible to understand the Wraith as more than predators now, which is a step in the right direction. After all, if the Wraith can be understood, it possible for Team Atlantis to get some Wraith to see them as worthy allies (even if uncomfortable ones).

My suspicion is that this plot element will be critical to plans for the Asurans later in the season. Granted, I may be completely off the mark, considering how the writers for “SGA” can go off the rails pretty damn fast, but there had to be a reason for the writers to make such a concerted effort to expose that ability and give the audience a reason to wonder about Wraith society. All I can say is that I’d be damned disappointed if all this character development and additional detail went by the wayside.

If I have one minor quibble, it must be the fighting scenes in this episode. Take a look at the first time that Sheppard takes a shot at one of the Genii, when he’s just outside of his cell. He turns to throw a punch, and his fist is easily a foot away from the other actor’s face. Usually I’ll give them a pass for that sort of thing, given the budget and time restraints, but that was just bad! Thankfully, the rest of the episode made up for it.

(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: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

X-Files 6.8: "The Rain King"

Written by Jeffrey Bell
Directed by Kim Manners

In which Mulder and Scully investigate the bizarre weather conditions in a small town in Kansas…


Status Report

As noted in many of the previous sixth season episodes, there was mandate from Chris Carter and the network to push the series into lighter territory, given the success of the humorous efforts from earlier seasons and the likelihood of new viewers after “Fight the Future”. The first third of the sixth season is replete with what would become known as “XF Lite”; episodes that were largely self-contained, treated Mulder and Scully as characters with only the most basic history and context, and attempted to mix the unusual with humor.

Episodes like “Triangle” and “Terms of Endearment” fell into the trap of the first two categories, exploring different ground but losing much in the process. Other episodes, like “Dreamland”, allowed for character and context, but focused too strongly on humor at the expense of the potential for more. In each case, the writers managed to give the audience something more than just vaguely recognizable characters stumbling into the unknown.

For many fans, this was the unfortunate example of all three flaws. While some fans with an emphasis on romantic elements of the show were pleased by the constant references to the underlying emotions between the two agents, many were left wondering whether or not the writers were even paying attention. New writer Jeff Bell took a lot of the heat for the episode, but ultimately, this was the end result of the changes mandated from the front office.

Almost immediately, the audience is left to wonder where this episode is supposed to fit into the overall continuity. Two episodes earlier, the setting was Christmas; now, for the second episode in a row, the setting is more appropriate to late fall. That was partially the effect of the decision to shift when the episodes would air, thanks to Major League Baseball. But even without that mess, there’s the small problem of context.

Even the previous episode made it clear that Mulder and Scully were still on a tight leash, and many threats had been leveled against them for exploring X-Files and related sundry. So how does this episode fit into that “big picture”? Not one moment in the episode is the current crisis for the agents incorporated. On the basis of this episode, that “big picture” might as well not exist. After all, how did Mulder get a phone call from the mayor, if any such calls would go directly to Spender?

Thus this episode is completely self-contained from the point of view of the ongoing story arcs. Overall, it’s not entirely clear how the events fit into the series’ mythology. One could suspect some form of poltergeist activity, the subconscious application of psycho-kinesis to affect one’s environment, usually centering against the individual with the psychological stress in question. Loosen the rules a little bit, center that subconscious outlet of energy into the weather, add in the possibility that Holman has the genetic markers for some kind of “sentinel” ability (see the review for “Fight the Future” for more on that, specifically the mythology section), and it might make a kind of sense. Just never mind the problems created by the prospect of a drought covering half a state for months, supposedly unnoticed by anyone else in the world.

So the concept at the heart of the episode has a tenuous connection to the spiritual and psychic universe of the X-Files, but the more immediate aspects of the conspiracy and the effect of it on the agents is completely missing. Another source of continuity, however, could be easily accomplished if character development and the relationship between Mulder and Scully is given proper context.

Oddly, this episode focuses entirely upon the possibility of romantic feelings held by Mulder and Scully for each other, despite the fact that such an obvious expression of such emotions had been a long-standing prohibition. In this case, nearly everyone else involved in the episode notes how obvious the love and affection must be, referring to them as a couple whenever it remotely makes sense in the context of a scene. In other words, while many of those emotions have been part of the complex nature of their relationship, in this episode, it’s far more open than it has been in earlier seasons.

This plays less upon the established character histories and more upon the “iconic” versions of the characters. The “iconic” Mulder and Scully show up in many of the stand-alone episodes of the sixth and seventh seasons, designed to allow new viewers to recognize them in very general terms. Mulder is the believer, leaping to the paranormal on any shred of evidence, and Scully is the skeptic, even in the face of a situation that cannot be explained by science. (Never mind that earlier seasons typically left the nature of a phenomenon to question, rather than providing an exact cause.) The “iconic” Mulder and Scully secretly love each other, and that’s all there is to it.

Looking at the series from the long view, Mulder and Scully would be coming to terms with certain personal realizations. At his point, Mulder is still unsure about his sister’s fate and where the conspiracy is going. While he clearly has feelings for Scully, to the point of placing her on equal footing with Samantha in his life, Scully is still not the center of his universe. Resolving the mystery of Samantha’s fate still comes first.

Scully, on the other hand, is dealing with a more complex set of emotions. Mulder already fills a psychological void for Scully, playing the role of the authoritative figure that she finds utterly desirable. Yet that same psychology typically leaves her with a means of escape, whether it be family or otherwise. Being with Mulder has cost her in many ways: her health, her career, her family. Scully was ready to walk away, and that should be something dealt with in the sixth season.

Instead of these complex characters with warring desires and fears, the writers offer the “X-Files” version of a romantic comedy. While Mulder and Scully would ultimately choose each other by the end of the seventh season, each must have a moment of epiphany before that time comes, allowing them to overcome the internal barriers to such a relationship. They also must come to the point where any other option, based on their shared psychological issues, would be impossible to imagine. At the end of the seventh season, that point is reached, but early in the sixth season, it was premature.

Many point to Scully’s conversation with Shiela as an admission of love for Mulder, and perhaps to some degree, that’s what it is. But given how ridiculous the situation is, why would Scully air such feelings to a stranger, especially since her character would not be willing to admit such things to herself at this point in the series? While it was cause for celebration for those yearning for overt signs of a Mulder/Scully romance, it was another sign of writing issues for those looking for character consistency.

Having effectively failed to give these events a context within the conspiracy, with slight connection to the series’ mythology, the writers also failed to place these events in a consistent context for the characters themselves, except in the most general sense. The final and most lethal element of the episode, however, was the horrible brand of “humor” employed.

Many of the gags fall completely flat, especially the guest characters themselves. Instead of offering a compelling set of individuals, the writers chose to populate Kroner with wacky characters that don’t seem like they act in any rational manner at all. It’s the inclusion of the bizarre for no other purpose than to be weird, and it’s fairly transparent. The audience is given very little reason to care about the residents of Kroner.

Given that this was effectively the fifth episode in a row with cute or humorous elements, it should be no surprise why the audience was tired of the new direction chosen for the sixth season. It certainly doesn’t help that the episode was written to appeal to a subset of the audience, effectively to the exclusion of anyone with other interests and preferences. Given all of that, it’s not hard to see why this is often cited as one of the worst episodes of the series.


Memorable Quotes

SHEILA: “I murdered that poor cow!”

MULDER: “He wants advice. Dating advice.”
SCULLY: “Dating advice? From whom?”
MULDER: “Yours truly! Hello? Scully…Scully, you there?”

MULDER: “Just tell her how you feel. And Holman…I do not gaze at Scully!”

SCULLY: “Well, it seems to me that the best relationships, the ones that last, are frequently the ones that are rooted in friendship. You know, one day you look at the person and you see something more than you did the night before. Like a switch has been flicked somewhere. And the person who was just a friend is…suddenly the only person you can ever imagine yourself with.”


Final Analysis

Overall, this episode is often considered one of the worst of the series, and on a number of levels, there are specific reasons for that reputation. With little or no connection to character development thus far, or the specific circumstances of the agents themselves, this is an episode designed to appeal to those with a desire for Mulder and Scully to admit their feelings. The result is an episode that brings very little to the table.

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

Final Rating: 4/10

4400 3.13: "Fifty-fifty"

Written by Ira Steven Behr and Craig Sweeny
Directed by Nick Copus


Ever since the season premiere, I’ve been impressed with the level of complexity and continuity present in the third season. In the finale, there are number of elements from “The New World” that come back to pay off in the final hour. A lot of shows have struggled with the idea of a tight season arc; I think I can safely say that this was one of the more satisfying attempts.

Some would say that the finale was predictable, but I think there’s a huge difference between “predictable” and “well-foreshadowed”. An episode is really only “predictable” if the resolution to a new crisis presented in the teaser or first act is telegraphed long before any complication etners the picture. “Well-foreshadowed” is something else entirely. The writers knew where the story was going from the premiere forward, and they made sure that everything was in place well ahead of time.

For instance, it was important to introduce Boyd, because he plays into the ruse that eliminates Ryland’s men in this finale. It was equally important to demonstrate how invulnerable Isabelle could be, so that her survival was a matter of course. Similarly, Richard’s telekinesis emerged in the premiere, and was refined through a desire to protect the world from Isabelle. Tom was given the chance to stop Isabelle without resistance, only to regret it later. (If there was one element that I would call “predictable”, it was the resolution of the final act; I called that in near-perfect detail the minute Richard was practicing throwing knives!)

So now Isabelle is effectively out of the picture, and her effect on the course of the series was certainly unexpected (yet consistent with the end of the second season). So as anticipated, Jordan is able to use his grass-roots movement to spread the stolen promycin to the masses. The question is: will those empowered by Isabelle’s promycin become the forebears of the Future Elite? Could that be the method by which Isabelle preserves the Future Elite and ultimately overcomes the 4400? It would play into the idea that Jordan has been deceived.

I also like how the whole Diana/April/Ben thing addresses one of the concerns I’ve had for quite some time. Tom’s involvement with NTAC seems to be fairly clear: he wants to be an advocate for the 4400 and he can’t have influence in NTAC if he’s not there. But Diana has to protect Maia, and when is enough enough? Now she has the chance to get out of the game and find some safe place to ride out the storm. The kicker is, April has chosen to take the promycin. My guess is that April’s reaction to the promycin will lure or force Diana out of hiding and back in the saddle.

With the series renewed for a fourth season, the status quo looks to be taking another major shift. Alana’s abduction is an interesting twist, though it once again brings into question her role in Tom’s development. With Isabelle neutralized, does the future believe that Tom’s role has been fulfilled? Or is her knowledge gleaned from Jordan seen as a threat? Ryland has even more political currency against Jordan and the 4400, the Center has been closed, and who knows what kind of individuals will get abilities. If the writers can pull off another season like this, then the fourth season ought to be one hell of a ride.

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 “4400” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, the podcast associated with my various reviews. 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.)

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

Final Rating: 8/10

(Season 3 Final Average: 7.8)

Stargate: SG-1 10.7: "Counterstrike"

Written by Joseph Mallozzi and Paul Mullie
Directed by Andy Mikita


Coming off an episode with absolutely no connection to the overall season arc, the writers must have known that the time had come for a stiff shot of mythology. Coming about a third of the way into the season, it’s the right time for the plot to become more complicated. Adria’s ascendance and display of power fits the bill, as does the loss of Dakara. Add to that the fragmentation of the alliance between the Jaffa Nation and the Tau’ri, and things are not looking good for the Milky Way.

I like how the plot resists simple categorization. Events unfold, with a slight tinge of predictability, but there’s also the feeling that things could go out of control at any moment. And sure enough, the Jaffa are in complete disarray, pointing fingers at anyone and everyone. It’s as if the loss of Chulak and other worlds had frightened them into believing that they might lose it all again, and they would rather alienate the rest of the galaxy than risk servitude to the Ori.

The irony, of course, being that their actions are more likely to lead to their downfall than maintaining their current alliances. This has always been one of the more interesting complexities of the series: the struggle to keep groups with natural tensions in an alliance of defense. It’s bad enough when everyone is working together, but once the in-fighting starts, the defense becomes nearly impossible. Add a practically indestructible hottie to the mix, and it’s a fun time had by all.

Morena Baccarin doesn’t show too much range in the role, but she really doesn’t need to, since any deficiencies fall within the whole twisted psychology of the Orisi. Her relationship to Vala could be her eventual Achilles’ Heel, but the writers may recognize that such a plot element would be too obvious. More than half the season remains, and if the usual plot progression is in play, there’s still a lot of complication and fragmentation of alliances to come before things look remotely promising.

I’m still a little worried about the whole “Merlin’s weapon” thing, especially in light of the cancellation. It would be all too easy to have SG-1 find the weapon just in time for the series finale, ending the threat of the Ori once and for all. I think the Ori arc would work better with a little more time to grow, since I doubt that the writers had planned to use the entire season to cover all the arc elements. Either the solution will be rushed, or the series will end on one hell of a downer. (I’m envisioning a situation where the SGC is forced to relocate to Atlantis as the Ori influence spreads, in some bid to protect Earth, thus justifying the movement of “SG-1” characters like Mitchell and Vala to “SGA”. Hey, one can dream, right?)

(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: 2/4

Final Rating: 8/10

Angel 2.4: "Untouched"

Written by Mere Smith
Directed by Joss Whedon

In which Angel finds himself helping a disturbed young woman with apparent telekinetic abilities, but things become complicated when the source of her lack of control is revealed…


Status Report

In keeping with the general format of Mutant Enemy season arcs, the first several episodes focus less on the Big Bad and more on shading: adding to the depth of the mythology, exploring character relationships, and setting the stage for all of those elements to be dashed against the rocks once the storm hits. This episode is a perfect example. It adds layers to the conflict between Angel and Wolfram and Hart, while also clarifying the situation between Angel and Darla.

A key relationship in this season is Lilah and Lindsey, the warring talents at Wolfram and Hart. Darla is something of a pawn between them (though one with more power than they realize), and for now, Lindsey has the upper hand. Lilah needs to be successful, and Bethany is the kind of long-term project that could be very useful to the firm and its clients. An assassin with finely honed PK skills would be quite valuable.

Bethany’s instability is something Lilah can use, but it also puts her on Angel’s radar. One would think that Lilah would contain the situation better, but a lot of her plans suffer from such logistical issues. This time around, Bethany becomes the kind of bargaining chip that The Powers That Be would like out of the hands of Wolfram and Hart. (Leaving aside, for the moment, whether it’s the actual TPTB or Jasmine, since it’s very hard to reconcile the distinctions.)

Bethany sees herself as a freak of nature, not unlike Gwen in the fourth season, and that’s natural common ground for her and Angel. Unlike Gwen, Bethany poses a distinct risk. One uncontrolled burst of PK with the wrong construction material, and Angel is dust. That underlying concern is one of the things that should have been more present in the story. It was touched upon, but the direction of the story was more psychological.

Beyond Bethany, there’s the continuing concern of Angel and his behavioral changes. Darla’s scheme is working its wonder, giving even the most mundane of scenes a bit of an uneasy edge. (Never mind that the flashbacks are quite tantalizing themselves!) Little things like Gunn and his place on the team would usually be a minor matter of debate, but it speaks to an overall lack of attention, forcing Wesley to consider taking a more proactive role. While that doesn’t come forth in this episode, the seeds are definitely being planted.

Wesley’s growth and insight are most apparent in the scene where he guesses, quite correctly, that Bethany’s ability was unleashed by the psychological and emotional trauma of a sexually abusive childhood. Wesley immediately tests this theory, and while it’s not the smartest move in the world, it does get things out in the open. And it also leads to a moment where Cordy and Wesley misinterpret something Angel says as a dismissal from the job, foreshadowing a moment later in the season.

The writers could have left the abuse out of the equation for the rest of the episode, but they took the more disturbing and challenging direction of making it critical to the resolution. This is where the episode loses some of its power. Once it’s clear that Angel is going to help Bethany get past the psychological damage, even just a little bit, a certain amount of tension is lost from the story. It might have been better if her ultimate loyalties were more questionable in the end.

Whatever the case, Bethany’s ugly childhood leads to an uncomfortable scene where she offers herself to Angel, because in her world, that’s the only thing she expects a man to want from her in exchange for a measure of kindness. The writers do avoid one of the more distressing possibilities by making it clear that Bethany would only feel that sort of obligation to men. From a certain point of view, one has to wonder why Lilah hadn’t tried to use that to her advantage. (It’s quite possible that the writers weren’t prepared to get that dark.)

Cordelia has an interesting conversation with Bethany, and one that she rarely gets to have. How often can Cordy express how a vision makes her feel, how it allows her to share the emotions of a potential victim, even for just a little while? The first season finale gave insight into how deeply she reacts to the visions, but this episode helps explain why the experience is slowly but surely maturing her. Cordy is still quite forthright, but she’s using it to help Bethany understand why control is something worth attaining.

Predictably (at least, since it was clear that the abuse would find resolution), Bethany’s father comes calling in a last ditch effort By Lilah to take control of the situation. This move is not just an attempt to take back Bethany’s loyalty. One nice shading to the episode is the big picture within Wolfram and Hart. Lilah needs to remove Bethany from the board so that Lindsey’s project, considered far more important, may proceed. So Angel gets a sense of victory, Lilah is forced a step back, but Wolfram and Hart still gets a net gain.

In the scheme of things, Angel’s encounter with Bethany is a relatively minor adventure. It shows some growth on the part of Wesley and Cordelia, and it shows the evolution of the relationship between Angel and Gunn, but it’s mostly important in terms of the clarification regarding the situation at Wolfram and Hart. One is left to wonder if the machinations within the firm might have been more disturbing if the original conception of the series had been maintained.

Had the credits not listed Joss Whedon as the director, it might never have been apparent. Looking back on the timeline of his directorial work, this is another step in the application of fundamentals. There are some interesting scenes here and there, but Joss is still working on getting the job done. What is a competent if unremarkable directing job here becomes the foundation for his superior work on “Firefly” and “Serenity”.


Memorable Quotes

CORDY: “I was top 10% of my class!”
WESLEY: “What class? Advanced bosoms?”

CORDY: “There’s not enough yuck in the world.”

BETHANY: “Make love? What are you, from the eighteenth century?”

LILAH: “He is a vampire, you know!”
BETHANY: “Weird.”


Final Analysis

Overall, this episode is typical of early-season Mutant Enemy installments, focusing on character relationships and setting the stage for the fireworks later in the arc. While the main plot thread is interesting, it falls into some predictable territory, and ultimately the episode is more notable for its look in Wolfram and Hart than anything Angel does.

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

Final Rating: 7/10

Dead Zone 5.10: "Into the Heart of Darkness"

Written by Shintaro Shimosawa and James Morris
Directed by James Head


I have a feeling that this one will divide the fans a little bit. For one thing, a lot of people hated The Collector, and this is a direct sequel to that episode from the fourth season. (While the past 21 episodes have been far from cohesive, this proves that the writers had conceived the full 22 episode order as a whole.) On the other hand, this episode finally comes back to the core relationships, and there’s even the feeling that this is meant to be a final statement on those relationships. But the question is: did the execution match the goals?

I’ll look at the idea first. Maligned as it is, the whole connection to the Collector was just a device, a way to put Johnny, Sarah, and Walt through the emotional and psychological wringer. Linda annoyed me, but I understood why she was there. It was about establishing priorities. Sarah admitted that she really loves both Johnny and Walt, but that her future is clearly with Walt. It’s been said before, but there’s a feeling of finality to this particular version. Sarah made her priorities clear: the baby, JJ, Walt, and Johnny. The future, the present, and then the past.

Walt is challenged as well, particular in the possibility of losing his family. The characters have danced around the question of JJ, but this puts it into a very clear perspective. It was all about Sarah, especially once he discovered that a baby was on the way. When he thought that Sarah and the baby were gone, it came down to his feelings about JJ. In the end, he understood that he was JJ’s father, regardless of paternity. So his priorities were clearly aligned.

All of which provides the opportunity for Johnny to make a clean break from the Bannermans. Considering how all the promotion has been focusing on Johnny and Bruce, it feels as though the recent episodes have been about closure in nearly every other respect. Looking back on the past couple of seasons, that process of separation has been reflected in Johnny’s isolation. Unfortunately, it has also led to a degradation of the cast chemistry.

So conceptually, if the series is meant to continue with Johnny and Bruce and precious little else (as often speculated), then this episode is an important part of that process. And since I love context, this episode had plenty of what I enjoy? Why, then, was this not one of the best of the season?

It all comes down to the final act. Up until the final confrontation between Linda and Walt, the episode had been holding its own. And then there was Chris Bruno’s performance. I usually love Walt and how he’s portrayed, but this just felt wrong from the moment Walt started breaking down. It never felt genuine, and that immediately took me out of the story. And that did a lot to undermine the effectiveness of the episode.

(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: 1/2
Direction: 2/2
Style: 2/4

Final Rating: 7/10

Prison Break 2.1: "Manhunt"

Written by Paul Scheuring
Directed by Kevin Hooks


It feels like the first season only ended a few weeks ago, and this premiere picks up exactly where the first season left off. That’s a tough mandate to pull off, considering that the audience had a lot of expectation and there were a ton of variables to explore. For the most part, I think the writers managed to pull it off, but there are obvious signs of tweaking the details.

First and foremost, there is the positive development. William Fichtner was the perfect choice for Michael’s equal and opposite. It’s tough to be convincing when your character has to be smarter than every other character on the show to date, except the lead character, but he pulled it off beautifully. The thing with Fichtner is that he can act with his eyes. When he’s supposed to be thinking and making connections, it’s right there on the screen. He conveys intelligence, and that’s why it worked.

So why was it that easy? Well, I think the audience forgets that they have a lot more background information and explanation than any of the other law enforcement characters to this point. Bellick and the others had no reason to search Michael’s real estate, and they had little reason to question the tattoo. Mahone is seeing all of this information within a very different context, and with that in mind, I think it was logical. A trained, experienced, and talented agent with a highly detail-oriented approach would probably have the same success.

From a storytelling perspective, the writers had to sell the idea, very quickly, of someone with the skill and drive to put enormous pressure on the escapees. Bellick is a brute; he’s clever enough in the prison setting, but he’s not trained for the big picture. The writers needed to keep the intensity level on high, and this was the best way to do it.

The other obvious reason for the quick and dirty introduction of Mahone was the collapse of the conspiracy subplot. It will likely emerge over time as an ongoing concern, since it was at the forefront of the producers’ minds from the beginning, but it’s clear that the loss of Patricia Wettig has forced that to change. Also, Veronica’s character never developed as strongly as intended, and even in this episode, her scenes tended to drag down the pacing. All in all, Veronica adds more through her death, especially given the effect on Lincoln.

Sarah’s subplot is something that could be problematic. Her survival is a good thing (perhaps bought at Veronica’s expense), but the writers have to be careful and ensure that her subplot factors into the big picture quickly. The fans were really involved in the Michael/Sarah relationship, so the writers should make damn sure that she doesn’t become a weight on the back of the season arc.

I could talk about all the little plot details, but this was a jam-packed premiere, and there’s a lot still to process. In fact, it was so dense that it showed serious signs of editing for time. Some edits were incredibly bad, especially for a high-profile season premiere. When the audience can tell when dialogue was snipped to shave extra seconds from the running time, it’s a bad situation. Hopefully it was an isolated problem, and things will be smoother in the next episode.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Current episodes cover the “Prison Break”, 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: 1/2
Style: 2/4

Final Rating: 7/10

4400 3.12: "Terrible Swift Sword"

Written by Bruce Miller and Ira Steven Behr
Directed by Scott Peters


Once again, the writers demonstrate how a clear vision and a strong season arc can be a powerful storytelling tool. Nearly everything that happened in this episode was set-up from the very beginning of the season, and when the inevitable DVD set comes out, I’m sure a lot of people will be stunned at how well it all hangs together. I, for one, will not be, because I’ve noticed the difference from the moment the season began.

Another fan put it perfectly when discussing this episode: the best thing about the series is that you never know who the good guys really are. In other words, each side of the coming conflict has a damned good point, and in terms of general philosophy, one might agree with all sides. It’s the extreme nature of the steps taken in implementation of that philosophy that becomes troubling.

Jordan laid it all out in this episode. The catastrophe is not one single event, but the culmination of a societal flaw. The accumulation of resources and power by a select and elite few will result in the majority of humans dying in a future wasteland, trapped outside of a vast walled city of plenty. As science fiction concepts go, this is an old one, but it touches on the class and social struggles of the current era.

The implication is that the masses secretly sent back the 4400 to challenge the elite, changing society by changing humanity. The Future Elite, one might assume, then seeded the 4400 with Isabelle, their attempt to preserve the circumstances of their own rise to power. Jordan’s gambit in this episode fits into this conception perfectly. He is taking away the chance for the Elite to co-opt the 4400 abilities and giving it to the masses. It is a sensible enough plan.

To use the “X-Men” analogy, Jordan is playing the Xavier role. He’s using former terrorists (like formerly criminal mutants) and convincing them to use their talents to level the playing field in a non-violent manner. Yet there’s also a touch of Magneto in Collier, and it remains to be seen how far he will go to preserve and protect his own kind.

Of course, there is a potential twist to all of this. What if Jordan is actually fighting for the wrong side? It’s an assumption that Ryland and Isabelle are working to preserve the Future Elite. What if Jordan’s plan to distribute the promycin to the masses is the first step in creating the Future Elite? What if Jordan’s best intentions are actually being manipulated?

The interesting thing to consider is that Jordan is acting to change something, but he has no idea what effect his actions might have. He may not even know the circumstances that led to the rise of the Future Elite, beyond vague and general changes over time. For the short term, Shawn’s visions of the conflict to come seem close at hand, and that does not bode well for some of the characters! My guess is that the bloody events foreseen by Shawn will be the result of Ryland’s forces attacking the 4400 Center, under the banner of “anti-terrorism”.

This is all culminating in one hell of a finale, and I can only hope that USA Network once again sees the light and supports this series with another season. This has been the highlight of the summer season in many respects, and I certainly look forward to seeing where the writers can take it from here.

(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

Stargate: Atlantis 3.6: "The Real World"

Written by Carl Binder
Directed by Paul Ziller


Coming on the heels of an “SG-1” episode that was all about breaking and shattering format, it makes perfect sense that “SGA” would be grasping for recognition of a different kind. In this case, it wasn’t about reaching for laughs that would otherwise be unattainable; it was about proving the worth of the premise and the characters by exploring a different brand of storytelling. While the concept is hardly new (“Buffy” did it equally well in “Normal Again”, one of the best sixth season episodes), it does a lot to break the series out of its monotony.

I liked how the episode was mostly told from Weir’s point of view, so much so that it lost a certain punch once the first sign of manipulation come along. We all knew what to expect, so such hints were hardly necessary. Having Jack flip out was a lot less effective than the constant appearances of Sheppard’s shadow-form. Speaking of which, who else was able to figure out that it was him, long before they showed the connection?

Up to the point that Team Atlantis showed up, explaining what the situation was and racing towards a resolution, I loved the episode. This was a glimpse into character psychology, and it was great to see Torri in a situation that gave her room to breathe. Whenever she gets to break out of the command mode, she looks a lot more natural. It might have something to do with vulnerability; I liked seeing Weir go through the process of questioning herself and then regaining that sense of absolute certainty.

Even after Team Atlantis showed up (and I think the episode lost a bit of power when that happened), it was intriguing to see how Weir handled each challenge to her confidence in “the truth”. Weir came to the conclusion that her memories and experiences had been real, despite great evidence to the contrary, and she wasn’t willing to sugar-coat it. She truly expected Dr. Fletcher and O’Neill to understand that what she believed was absolutely real. And for me, that says a lot about the strength and weakness of the character.

Weir shows strength by sticking to her beliefs and following through on them. Once she comes to the conclusion that her memories must be real, she does everything possible to get back to where she belongs. She rejects the idea that she is, in fact, the victim of a mental break. At the same time, this is a positive take on a potential weakness, because that kind of certainty has also been reflected in her passionate defense of bad command choices. And I find that kind of complexity appealing, so long as the writers are willing to follow through on the potential for disaster.

I think the episode might have been better if seen, until perhaps the final act, entirely from Weir’s point of view. Seeing Team Atlantis was fun and revealing at certain points (especially for the Weir/Sheppard shippers), but I would have preferred to stay in Weir’s head for as long as possible. Niam could have revealed the truth about her condition once Weir got to a certain point in her resistance; the final scene in the gate room would have been the perfect time. Sure, it might have violated the “show don’t tell” principle, but in this case, it was a choice between brands of exposition, and I think staying in Weir’s head would have made the episode more consistent.

Even so, the break of format was a great move, because it sold the idea of the Asurans as a threat while focusing on the personal implications of such a conflict. More to the point, I really liked the exploration of Weir’s psychology, and it’s something that should be done more often for the rest of the characters. It wasn’t as deep as it could have been, but in “SGA” terms, it was a major step in the right direction.

(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: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: SG-1 10.6: "200"

Written by Brad Wright, Robert C. Cooper, Joseph Mallozzi, Paul Mullie, Damien Kindler, Martin Gero, and Alan McCullough
Directed by Martin Wood


This is the kind of episode that is quite impossible to review, because the plot is merely a device for celebration of an unusual and amazing accomplishment. Considering how close the series has come to cancellation over the years (essentially, every season since the fifth season), who could have predicted that 200 episodes would be a possibility? And really, how else to celebrate, if not by tongue-in-cheek self-mockery?

Inevitably, there will be complaints. Some will complain that Jack should have been around more, or that Mitchell and Vala were still prominently in the episode. Those would be the fans who would have rather seen the series end than continue on with new characters. Of course, the writers and producers manage to make light of their own decision to keep going. Relatively few targets are left untouched, from the cast, writers, producers, and network. Even so, I’ve seen some who feel deeply insulted by the episode. It’s hard to understand why, and I would have to wonder if those fans missed the point.

A lot of the sketches are hit-or-miss, as one would expect when nearly every writer on the staff gets to play. For my part, I loved the “Thunderbirds/Team America” version of the team, complete with the biting mockery of the dialogue. By the time Daniel was scribbling all over the computer screen, I was laughing hysterically. The Star Trek and Farscape vignettes were also highly appreciated, and I loved the end of the episode, with the writers really giving it to the cast (and from what I hear, it was all taken in good fun).

If anything, I was sad to see it all come to an end. Some of the sketches could have been longer; I’d love to see the outtakes from this episode! From my perspective, the only way to make something so off-format work is to ground it heavily in the continuity (the excellent “Buffy” extravaganza “Once More, With Feeling”) or make it something completely stand-alone (the banner “X-Files” episode “Jose Chung’s ‘From Outer Space’”). “200” definitely falls into the latter category, and it does a nice job of it.

With this celebration out of the way, there’s every reason to believe that the season arc will return with a vengeance in the next episode. I look forward to it, since this has been one of the most consistent seasons of the series, in terms of plot arc progression, since the series began. When the episodes have strayed, the results have been mixed. This is the rare exception: a stand-alone that tries to be nothing but entertaining and celebratory. I feel that it more than met that goal, and I congratulate the cast, crew, and production staff on a banner achievement.

(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: 2/4

Final Rating: 8/10

Dead Zone 5.9: "Revelations"

Written by Shintaro Shimosawa, James Morris, and Paul Coyle
Directed by John L. Adams


It’s taken five seasons, and possibly the entire run of the series, for Purdy’s past to take center stage. So was it worth the wait? Purdy has been a central figure in Johnny’s life for a very long time, and there has always been a great deal of tension. Purdy’s personality has been fairly complicated, especially in terms of the intersection of his faith and his ambition and greed. Where did all that begin, and will he and Johnny ever find common ground and peace between them?

In terms of how Purdy’s story was crafted, I think this is a past that makes sense. It might have been a bit much to make his name an alias, hiding some former identity, but it does fit the idea of a man who combines the best and worst of humanity. And his past jumps back and forth between the two extremes. Purdy uses his faith to fuel his greed, yet in the end, he has the potential to perform a selfless act of contrition.

So I liked where they went with Purdy, and the producers put a lot of money and effort into rendering it large on the screen. John Adams did a great job with the direction, and his casting choices were also top notch. And for the most part, I thought the cast chemistry was a lot stronger than it has been of late. Only one thing was bothering me throughout the episode, and it’s something that has been bothering me since the fourth season: David Ogden Stiers.

Looking back on earlier seasons, I felt his performance as Purdy was a lot more subtle. Over time, I think it has become a lot more strained, a lot less nuanced. A lot of his scenes have been rather ham-fisted this season (the end of the premiere, for example), and while it was a bit better in this episode, I still found that his line delivery took me out of the story on occasion. I’ll be gracious and attribute it to Stiers’ advancing age and the overall slip in the chemistry of the cast, but some of the scenes didn’t work for me because of that.

Also, I wonder if this wasn’t a plot point that would have had more impact within a larger context. The previous episode didn’t do a perfect job of it, but the stand-alone elements had consequences on the larger stage of the Johnny/Stilson battle. This episode could have been a turning point for Purdy, following up on “Forbidden Fruit” and the possibility of working against Janus. If this episode had provided Johnny a reason to sympathize with Purdy, or at least come to peace with him, then it could have also led to Purdy deciding to make amends by helping deal with Stilson. Just a few lines, a little context, and the episode could have been that much better.

(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 3.11: "The Gospel According to Collier"

Written by Ira Steven Behr, Craig Sweeny, and Adam Levy
Directed by Fred Toye


With only three episodes to go, including this hour, the season has been above average nearly the entire stretch. This installment simply continues the trend, and unless the writers completely miss the mark on the finale, this will be the most successful season of the series yet. This is something that other shows should take note of: it is possible to maintain quality over an entire season and still explore new ground. Stacked next to this, it’s no wonder that “Dead Zone” seems to be struggling and stagnating week after week.

All that said, this episode was not perfect. The “A” plot was about as good as it gets, with an awful lot of positioning and politics tossed into the mix. Jordan’s return is, indeed, messianic, as was always expected, but it worked a lot better than I would have anticipated. Having him create a quasi-religious movement, without even knowing his own identity, before he re-emerges? Brilliant. Using this situation to grant Alana some kind of quick dispensation to come back when it counts? More brilliant.

Jordan is now in the perfect position to exert political and social pressure to achieve his goals. Socially, his grass roots quasi-religious return supplies him with non-political pressure behind the 4400 and their future destiny. He has a lot of people willing to listen to his words and warnings, and in the wake of the Nova Group’s disintegration, the disaffected 4400 need a purpose. Jordan is even more of a perfect leader than he ever was before, and more to the point, he’s far more dangerous because of that influence. He would be the perfect candidate for leading the 4400 in a pre-emptive strike against Ryland’s forces, especially if he has seen the future and he knows that such action is necessary. Similarly, his move against Isabelle suggests the knowledge of her choices to come.

At this point, speculating on the shape and scope of the near-term conflict is almost impossible. There are signs that Jordan and Shawn will be at odds. Jordan and Richard seem probably allies against Isabelle, and if Shawn sticks with Isabelle, that could explain Shawn’s visions from the previous episode. Tom got what he wanted from Jordan, who acted decisively once he had what he wanted. Could Tom ally himself with Jordan and against Shawn? This is all going somewhere, and the best part is that the pieces have been clicking into place all season.

Alana’s return should put to rest any fears that Tom will be having a romantic relationship with Diana, and it also helps to alleviate my concerns about Alana’s role in Tom’s life. The writers have restored my faith in that regard; I probably should have known better, but they have me on the edge of my seat. Alana was critical to Jordan’s return, and she also knows a lot of what Jordan experienced. That could be very important.

The only element of this episode that annoyed me was Diana’s subplot. Taken in concert with Alana’s return, it keeps Tom and Diana as professional partners, which is good. But this is even more abrupt that Alana’s initial appearance, and it seems like an odd reason to bring back April. It was nice to see Diana looking so hot and in this unusual plot thread, but it was a bit jarring to have this overlap with Jordan’s return. But when an episode needs a “B” story, something has to happen!

(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

Stargate: Atlantis 3.5: "Progeny"

Written by Carl Binder
Directed by Andy Mikita


So far this season, after a capable premiere, “SGA” has been struggling. A lot of the problems that plagued the second season have carried over into the third, and with the ratings down significantly from the first season (or even the second), the series needed a shot in the arm. While there is an argument to be made that the franchise is simply feeling the effects of “franchise fatigue”, given how often “SG-1” is run and how much material is available, the writers haven’t given the fans much reason to come back every week.

One of the obvious solutions is better writing, but as I’ve mentioned more than once, the key is giving the audience something more than a string of stand-alone episodes. The first season managed to incorporate long-term plot elements while telling relatively stand-alone stories, and the first half of the second season seemed to be on the same path. Returning to stronger continuity could and should cement the fanbase, and episodes like this are a good example.

On the one hand, some might consider this particular plot element an example of repeating plot threads from “SG-1”, rather than paving new ground. Yet this is something that “SGA” can do well: explain aspects of Ancient technology and history introduced on “SG-1” within a more direct context. This episode explains one of the lingering plot holes from earlier “SG-1” installments while delivering current consequences and complications for Team Atlantis. This series should explore the legacy of the Ancients, and if it retroactively explains some of the Ancient elements from “SG-1”, how could that be a bad thing?

All that said, the writers had an uphill battle once the Replicator concept came around again, because I’ve never been a huge fan of that particular threat. So it had to work well for me to overcome my lack of enthusiasm. What sealed the deal for me was the promise of long-term consequences. Weir and the others managed to escape for the moment, but there’s a lot of doubt as to whether or not it was a clean getaway. The Asurans could be more of a problem than the Wraith, and it’s one more reason for Team Atlantis to uncover more information about the Ancients, their history, and their technology.

Weir is now facing threats on various levels: the Genii, the Wraith, and the Asurans. With all of that happening in the Pegasus Galaxy, the question is how all of this will begin to overlap. It would be interesting if the writers managed to unleash the Asurans on the Wraith sooner rather than later, thus shifting the balance of power in the galaxy and forcing unusual alliances to emerge.

Of course, that is the other element that has yet to emerge: where are the allies for Team Atlantis? By this point in “SG-1”, the Tau’ri had made contact with the Asgard, the Jaffa Resistance, and the Tok’ra. The conflict between those groups, relative to the struggle against the Goa’uld, made it possible to touch on continuity and intrigue nearly every week. While Team Atlantis is facing serious threat from many corners, those threats can’t appear constantly, or survival seems contrived. If allies were to emerge (beyond the SGC), it might help give the writers enough complexity to develop a strong season arc. This is a good step forward; it remains to be seen if it will be enough.

(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: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Stargate: SG-1 10.5: "Uninvited"

Written by Damien Kindler
Directed by Will Waring


Coming off of an episode covering one of the less popular plot threads for the series, namely the Ba’al clone saga, the writers could have continued the downward slide. After all, this was clearly promoted as a stand-alone episode, and in recent seasons, the stand-alones have been of varying quality. So I was a little surprised when this turned out to be a continuity-driven transitional episode with a focus on character relationships. Who saw that coming?

The plot itself is an interesting follow-up on the Sodan technology from the ninth season. Much of the time, alien technology is utilized without much concern, and so it’s always fun to see it come back and bite the SGC where it counts. They should point this one out to the NID and anyone else who wants to grab alien technology as soon as it’s found. (Then again, SGC protocols are horribly underwhelming when it comes to protecting the planet!)

From my point of view, the plot was just a nice way to touch on past continuity while musing over the psychological issues of the SG-1 personnel. Take, as an example, the interaction between Sam and Vala. Vala is still trying to prove her worth, and in the process, she tries the patience of everyone within earshot. Sam, however, is the least likely to appreciate Vala and her point of view, and this episode gives her a reason to respect Vala’s contributions, if only a little.

Frankly, this is the benefit of having Daniel “out in the field” for a couple episodes. When Daniel is around, the writers tend to have Vala right at his side, as though they were joined at the hip. With Daniel out of the picture, the writers are forced to explore how the team dynamic has changed with Vala tagging along on the missions. Her interaction with Teal’c is priceless!

One interaction that was less obvious, but equally intriguing, was the relationship between Mitchell and Landry. I liked the idea of gathering at O’Neill’s cabin, if only because it reminds the audience that O’Neill is still out there, alive and well, if off-screen. Landry is right: the team needs downtime, and that also means supporting each other on an emotional and psychological level. Mitchell’s lack of confidence is an interesting twist, because it’s not apparent in other episodes, yet it makes perfect sense.

Landry’s issues are a bit harder to work out, but that’s more a symptom of thin characterization than anything else. It’s hard to know how to interpret his heart-to-heart with Mitchell when there’s very little to go on from earlier episodes. Landry is basically a mixture of O’Neill and Hammond, dedicated to defending the SGC politically and giving clear direction while tossing in one-liners where possible. In this episode, we see a little more of the pressure on his shoulders, which is not really surprising, but still nice to see in a different context.

It would have been easier to toss in a stand-alone episode with little or no connection to the season arc, but the writers took a more challenging approach. The result is a solid transitional episode, not unlike the episodes of “Buffy” or “Angel” that explored consequences while ensuring that the main plot was referenced. The “Stargate” franchise has struggled with that kind of storytelling in the past, so this was a pleasant surprise.

(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: 1/4

Final Rating: 7/10

Dead Zone 5.8: "Vortex"

Written by Michael Taylor
Directed by Alexandra LaRoche


Ever since the beginning of the fourth season, I have been annoyed with some of the creative choices for the series. In particular, there has been a movement towards “message episodes”, where the story is more about preaching a moral than telling a story that makes sense for the characters. While Johnny’s selfless personality traits do lend themselves to such a direction, it can get tedious week after week.

More than that, the chemistry of the cast has been degrading on screen, and in some instances, it has been distracting. In terms of isolating Johnny, it would make sense, but it hasn’t been consistent and it doesn’t feel like something the writers and producers had planned. As a result, a lot of the defining relationships from the earlier seasons feel weakened. Contributing to that is a lack of connection to the overall mythology, fostered by the episodic structure of the season. Add occasional bad dialogue, sketchy direction, and odd comedy choices, and it’s little wonder that some fans have been less than pleased.

So I get the question quite often: what does the series need to do to meet my expectations? The question is usually framed to suggest that I would never find an episode of the fifth season with the right stuff. I now have a very good example, however, to counter that claim. I think that “Vortex” holds up incredibly well. If all the fifth season episodes were constructed with this level of confidence, things might have been very different.

I don’t intend to get into too much detail, but I think there’s a clear difference between the quality of this episode and, for example, “Panic”. The writing for “Vortex” manages to tell a strong and compelling story without resorting to plot contrivances or shortcuts. Johnny’s visions are integrated constantly. The guest cast works very well, and scenes that could have been over-the-top are kept believable. Most importantly, the direction and production of the episode is noticeably stronger. None of the scenes pull you out of the story, wondering why they did what they did.

The only gimmick is the courtroom drama, but that wasn’t really a gimmick, so much as a way to tie this particular story into the larger tapestry of the series’ mythology. With that in place, the events are no longer self-contained; the broader impact and implication is also communicated. This is what I have been looking for, and what has largely been missing. But that alone wouldn’t have been enough; it was the tight production values that sealed the deal.

(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: 2/4

Final Rating: 8/10

4400 3.10: "The Starzl Mutation"

Written by Amy Berg and Craig Sweeny
Directed by Allison Liddi


The season continues to march towards one hell of a confrontation in the finale, and if this episode is any indication, the battle lines are already drawn. Through two very different types of storytelling, the shape of the near-future is placed in relative focus, leaving more than enough room for debate. And of course, there’s the end of the episode, which sends the story into further chaos.

The main plot of the episode set up one side of the equation. Ryland’s stockpile of promycin, extracted from Isabelle, has been used to create the prototype for a new kind of army. This effectively fulfills Isabelle’s role as the agent designed for the destruction of the 4400. Not only is she the source of promycin used to create an enhanced army capable of taking on the 4400 and their mission, but she is nearly invulnerable, making it all too easy to keep creating reinforcements.

Two items come to mind as immediate implications. The short-term question would be the desire to stop the extraction of more promycin, to prevent the further creation of anti-4400 forces. Tom’s ability to take down Isabelle could play into that, especially if it’s seen as a way of limiting the scope of conflict that is sure to come. The other implication could play into the whole “catastrophe”. Once the anti-4400 forces eliminate the 4400, they themselves become a threat to humanity. Does Ryland have a way to deal with that possibility, or will the instability among the anti-4400 soldiers lead to the catastrophe itself?

Shawn’s plot thread may play into all of that. While I found the means of his visions to be somewhat annoying, since it easily could have been something that came from Maia instead, it served the purpose of leaving the audience very worried about the near future. It really does look like a choice between the lesser of two evils, and it all comes down to Shawn’s relationship to Isabelle.

If Shawn marries Isabelle, does that keep her within reach, so Tom can do what must be done? And does that, in turn, push Shawn to become more of a leader? There are a lot of open questions, but it also seems that Richard needs to take more control of the 4400 Center, and that leads to a “pre-emptive strike” against Ryland’s forces. That could be a necessary action to prevent the catastrophe. On the other hand, if Shawn doesn’t marry Isabelle, it could be that her wrath and instability leads to a widespread escalation of conflict, perhaps because she could not be eliminated early enough and the war between the 4400 and the anti-4400 leads to the gradual destruction of humanity.

I thought that the episode provided more than enough foreshadowing and maneuvering to last the rest of the season, but the return of Jordan Collier adds a wild card into the mix. Where will he stand on the whole issue of Isabelle and Shawn? If that relationship is so important to the fate of humanity, and Jordan is convinced that he is meant to shepherd the 4400 towards their proper destiny, Isabelle stands in direct conflict with his assumed goal.

Whatever the case, this series continues to deliver. Throughout the season, every episode has been packed with enough detail and potential for pages and pages of analysis and speculation. It’s exactly what fans of shows like “Lost” and “BSG” need in a summer series.


(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

Stargate: Atlantis 3.4: "Sateda"

Written by Robert C. Cooper
Directed by Robert C. Cooper


This is one of those episodes that has me caught between appreciation of what the writers, cast, and director attempted and reaction to how it all came together in the end. This episode came with a lot of praise and hype from the producers, and sometimes that can be a letdown. After all, shows like “Dead Zone” talk about how every episode is another example of how creative and inspired they are, and the audience wonders if they’re talking about the same thing. “SGA” has been falling into the same trap lately, and this episode is a good example.

On paper, this must have looked impressive. And conceptually, it is a cut above the average storytelling on “SGA”, especially since the first season. The flashbacks were slightly confusing, but it fit the scattered and frantic tone of the story, and it was good to see a bit more of Ronon’s past. Even the resolution of the episode must have looked good on paper. So why was I left feeling annoyed and even embarrassed for everyone who said that this was one of the best episodes yet?

I think it had a lot to do with the direction. I understand the stylized choices made to give the episode edge, but in a few instances, it made the whole thing look ridiculous. Had the main storyline retained a certain darkness, the disconcerting flashbacks would have worked very well. This could and should have been shot at night and it should have been horrific. Ronon should have looked like he was in shreds.

Instead, the director shot the episode like it was a bad action film. All the faux-Matrix shots, the slow motion cuts, the all-too-obvious staging of the action set pieces, and especially the showdown between Ronon and the Wraith commander all felt like something that would come out of a film school graduate on his or her first assignment, grasping for anything that might look badass.

I’ve been willing to give Jason Momoa his due when it comes to a relatively two-dimensional character. He plays Ronon well, especially the moments with edge. But in this episode, there are several scenes where line delivery is unconvincing, to say the least. This happens a lot in the final act. It certainly doesn’t help that he was saddled with those badly staged action scenes.

In terms of the staging, I should explain what I’m talking about, because it’s a fine line that gets crossed. Ronon knows that an ambush is coming, so he places weapons in certain places so he can respond. This all looks very smart, but some of those weapons are in plain sight. It’s hard to believe that the Wraith wouldn’t notice any of that, and that a hunting party would show such a lack of coordination. It didn’t make Ronon look like a survivalist; it made the Wraith look stupid. And that didn’t serve either Ronon or the Wraith well at all.

The bottom line is that the Cooper both wrote and directed the episode, and that led to shortcuts. The writing may have involved some contrivances, but good direction will help smooth out the worst excesses. In this case, the direction did little more than expose the shortcomings in the writing. As much as I wanted to like this episode, it fell short in some fundamental areas.

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

Final Rating: 5/10

Stargate: SG-1 10.4: "Insiders"

Written by Alan McCullough
Directed by Peter Woeste


Coming off the best episode of the season, I was a little wary of this latest installment. For one thing, Daniel was nowhere to be seen, and given that my favorite parts of “The Pegasus Project” involved his character, I was worried that there would be a letdown on those plot points. The second problem was the episode’s focus. I hated the idea of the Ba’al clones in the ninth season, and so a return to that concept in this episode wasn’t something I met with anticipation.

I suppose that my first fear was a wash. Daniel wasn’t in the episode at all, but the plot points were front and center, and the season arc continues to get plenty of exposure in each new episode. This was all about finding Merlin’s weapon and further complicating the information that Morgan LeFay provided, and that was promising. Sure, we’re still firmly in “Lost City Retread” territory, but I’m still finding elements to enjoy. So the lack of Daniel didn’t result in a loss of focus.

On the second point, I was far less impressed. The SGC has dealt with Ba’al enough that they ought to know better than to take anything for granted. On several occasions in this episode, they let their guard down, missing information or implications that were obvious to most of the audience. This is one thing that annoys me to no end: when writers intentionally make their brilliant characters stupid or gullible to facilitate a plot hook. Ba’al and his clones succeeded because the SGC overlooked the obvious, not because the scheme was particularly clever.

For example, the SGC personnel already know that the Trust has been taken over by Goa’uld and has a great deal of influence. They know that Ba’al is looking to stake his own claim and build an empire. Given the connections between the NID and the Trust, why wouldn’t they be watching Barrett like a hawk? Especially when he starts acting like a maniac. They know that Ba’al was using mind control techniques in the past, and they know he’s up to something. Why wouldn’t they place heavy restrictions on access and place layered security protocols on the prisoners? It was far too easy for Barrett to get to Ba’al, which was a key element of Ba’al’s plan.

I suppose this could be overlooked, considering that every series will eventually have a character act a certain way when the script simply won’t allow for anything else, but it was hardly the only offense. I was also bothered by the portrayal of the Ba’als in this episode. Some villains are best used in small doses; Cancer Man was arguably more potent in early seasons of the “X-Files”, as opposed to later seasons where his presence was more centralized. Too many Ba’als can be a problem, especially since the actor had trouble delivering some lines convincingly.

Having fallen into the same trap as the writers, I must mention that one of the downsides of the episode was the constant use of “Ba’als” as a punchline. Yes, it’s funny, but it also got to be a little strained, especially when the situation became serious in the final act. Since I already found the whole “Ba’al and his Clones” plot thread to be ridiculous, it didn’t help for the characters themselves to mock the idea.

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

Final Rating: 7/10

Dead Zone 5.7: "Symmetry"

Written by Loren Segan and Christina Lynch
Directed by Rachel Talalay


With the season already winding down towards the season (and possible series) finale, I’m rather pleased with the fact that the quality of the episodes has kicked up a notch. I still don’t feel like it has hit the same heights as the first couple of seasons, but relative to the fourth season and the beginning of the fifth, things are looking up!

A lot of people (including the producers) compared this episode to the classic “Precipitate”, but I’m not sure that’s a great idea. “Precipitate” was a lot better, especially in terms of clean storytelling. No matter the complexity, the audience had a good sense of what was happening. This episode felt a lot more muddled and a bit more tentative in places.

At the same time, I think this was a lot more ambitious than I expected out of the fifth season, and it kept my interest for the entire hour. Right up until the final revelation, I wasn’t sure how it all fit together. Most of the recent episodes have been easy to decipher, so it was fun to have an episode that kept me guessing. If nothing else, it distracted from some of the minor storytelling mishaps along the way.

I wasn’t thrilled with Bruce’s involvement with the episode, since I’m still not sure how that was supposed to work, and I think some of the transitions between characters were hard for Anthony Michael Hall to communicate. One thing I’ve complained about is the need for every episode to have an underlying “message”, so the relative lack of a message in this episode was a good thing. Even so, it was a little easy for Johnny to defuse the situation at the very end, especially given how psychotic Cole had been right up until that point.

The director did a nice enough job of keeping the story straight and avoiding the most obvious drawbacks of the plot device in question, but there were a few moments where the story was almost impossible to follow. I can easily see how people would get frustrated with the episode, but it did reward patience. And considering how pathetic the continuity can be on this show, it was interesting to see the knife from “Panic” come back into play.

This is the third episode in a row that I actually liked. Even if I still don’t think that the episodes are better than average, especially relative to earlier successes, it is nice to see that the writing staff still has some measure of creativity left in the barrel.

(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 3.9: "The Ballad of Kevin and Tess"

Written by Ira Steven Behr and Craig Sweeny
Directed by Scott Peters


If the previous episode felt a bit more “stand-alone”, then this is a massive return to the strong continuity that has been the hallmark of this season. There are three major plot threads in this episode, and all of them promise to result in future plot twists. And then there’s the ending, which points to a finale with implications that far exceed those of the second season finale. Any worry I might have had about the pacing of the season has been addressed.

The main plot thread for the episode, of course, is the alliance between Dr. Burkhoff and Tess, the schizophrenic patient played by Summer Glau in the second season premiere. With her inclusion in the story, Dr. Burkhoff’s arc becomes a lot more substantial. Now the circumstances of his reawakening links into the current events, adding seemingly stand-alone elements into the big picture. I’m very happy to see that Burkhoff’s experiments are connected to his role as the “father of the 4400”, and I’m even more convinced that it ties into the catastrophe at the core of the mythology.

The question remains: will Burkhoff’s experiments, definitely known by Ryland’s allies within the government, lead into the “military applications” that Burkhoff mentioned in an episode earlier this season? It’s only speculation, but I would guess that Ryland’s interest in Isabel and her ability to produce promycin, key to her ability to save the 4400 at the end of the second season, is designed to level the playing field. Burkhoff would be the perfect case study to determine how best to use the promycin to create an “anti-4400” force. (And my guess is that the ensuing conflict will lead to the catastrophe, thus creating that time paradox loop that I’ve speculated upon before.)

Diana’s forced evolution further complicates her relationship to the 4400. The injections might have been stopped in time, but it’s also possible that permanent changes have been made to her physiology. If so, how would that compromise her position within NTAC? This could go in a lot of directions, because it’s quite possible that she could end up a renegade, with Tom forced to choose between allegiance to his partner and the 4400 and the demands of his superiors.

Back at the 4400 Center, Shawn is getting a chance to rebel, but that opportunity is also reminding him that his ability puts him in a bad position. He could easily compromise his morality and run off with the band, leaving the Center to Richard and damning the consequences. He’d have a lot of fun with the groupies, and since his new friends have a deathwish, who cares if Isabelle finds him and takes a few of them out as an example? Shawn, of course, is trying to deal with the fact that he’s trapped, and it’s taking him into a bad place.

Richard, meanwhile, is finally getting an interesting arc of his own. Along with some alone time with the gorgeous Heather, he’s also learning how to control his emerging telekinesis. He obviously intends to use that power to stop his daughter, and there’s an interesting possibility with that. Tom has a syringe with the means to eliminate Isabelle. Isabelle knows that Tom will eventually come for her, and she could probably deal with Tom. But would she expect her father to use his ability to drive the syringe into her with an ability he wasn’t supposed to be able to control?

Like many “4400” episodes this season, there’s almost too much to talk about and speculate. It’s easily the most consistent series of the summer, and it’s driving towards one hell of a finale. With only four episodes left for the season, there’s a lot to cover. But something tells me that the writers are more than capable of the challenge.

(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