Supernatural 2.1: "In My Time of Dying"

Written by Eric Kripke
Directed by Kim Manners


To be honest, I’m still trying to wrap my head around this episode. I was hoping for something that would focus on the relationships within the Winchester family, and this episode had that and a lot more. Each character faced a critical decision, and while the conflicts were hardly swept under the rug, there was a sense of resolution. Kripke may have stepped back from his promise to avoid long-term mythology, as evidenced by the continued presence of the demon, but that’s a very minor quibble, since I like long-term arcs anyway!

I’ve often said that the strength of this series is the relationship between Sam and Dean, and that really shines through in this episode. For all intent purposes, Dean was unable to communicate with Sam for the majority of the episode, yet the emotional connections were plainly evident. Sam found himself unwilling to let go, despite all the past history. I really liked how the Impala became a metaphor for Dean himself; it was obvious, but played to near-perfection.

Dean had a powerful journey in this episode. I honestly think that he would have accepted his death, had John not intervened at that exact moment. Some have mentioned that Dean was a lot more accepting of his possible death in “Faith”, but for me, it made sense for him to resist it this time. It was only hours after the confrontation with the demon, and his “duty” was at the forefront of his mind. (That said, Hot Reaper Chick was worth the struggle!)

Sam and Dean both stood up to John, though in Dean’s case, it wasn’t quite in the manner I would have expected. Still, it completes the character arcs from the first season. Sam has come to understand the importance of his family, but he retains the ability to question priorities. Dean managed to question his father’s authority, but he still has the driving need to protect his brother. Both characters remain on somewhat opposite sides of the spectrum, but they are a lot closer to middle ground than they were before.

Thankfully, this incremental progress means that the conflicts remain. Sam may not be looking to leave Dean behind and resume his life, but that doesn’t mean that he’ll blindly follow orders all of a sudden. And Dean’s motivations are obviously going to be affected by whatever John whispered in his ear. I suspect it was something about why the demon had plans for Sam. If so, then Dean now holds that burden. As the older brother, it should be interesting to see if he slips back a little, trying to hard to run the show.

Of course, a lot of people are talking about John’s sacrifice. I’m not sure about this part. Granted, it works in terms of John’s very basic arc, coming to terms with the needs of his family over the need to kill the demon. It’s quite possible that he thinks Dean and Sam might be able to find a way to stop the demon without the Colt. But once Dean was alive and well, why not take one last shot at the demon? He was going to die anyway, and it’s not like his word would matter when dealing with a demon! I suppose his sacrifice wouldn’t have been so meaningful in that case, though, so I’ll leave it at that.

This was a very good season premiere, especially since it managed to focus on character psychology more than simple “scares”. I only hope that the next few episodes continue to explore the emotional fallout of John’s sacrifice. It would be easy to slip back into the “monster of the week” episodes, but ever since John’s return late in the first season, events have been massive. The characters would need time to work out the implications and consequences. If the writers take that step, and I think they will, then this season should be a great ride.

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

Heroes 1.1: "Genesis"

Written by Tim Kring
Directed by David Semel


Ever since this show was announced, I was intrigued. After all, a lot of similar projects have worked out rather well, especially “The 4400”. To me, it sounded like a TV version of the film “Unbreakable”, which I consider to be underrated. The benefit here, of course, is the wide variety of abilities on display and the distinctly “real world” aspect of the concept.

I’ve always said that pilots have a lot going against them, because of the sheer amount of exposition that needs to be covered. It’s hard to get an actual plot going when the entire universe needs to be established. So I wasn’t surprised by the fact that this first episode, really the first half of the pilot, doesn’t advance the story too far. The pacing seems a bit slow, but then, it was written as a two-hour event, not a stand-alone hour.

A lot of basic character relationships were established, and I like that aspect. There’s the now-requisite “Lost”-esque idea of characters with unknown connections, but I think it will become more a plot point than a plot convenience. The episode is very heavy-handed with the idea that these super-powered individuals are linked by something, and that certain global forces want that connection to remain a secret.

I like a lot of the characters, even the ones with seriously annoying personalities. Hiro is definitely fun, and he is used to introduce the idea of a comic book brought to life with all of his geeky references (many of which, sadly, I recognized instantly). Claire is incredibly cute, but I’m still not sure why she would be filming suicide attempts. They need to make better sense of that. Niki’s hot stripper mom could be a cliché, but her ability has a lot of potential. I’m intrigued by the close connections between Peter, Nathan, Simone, and Isaac, since so many of the heroes seem to be otherwise spread out. And right now, Mohinder Suresh reminds me of a poor man’s Sayid from “Lost”, though he’s obviously meant to be an important supply of exposition.

The overall tone suggests that there is a meta-fictional quality to the series, again not unlike “Lost”. The question seems to be: which came first, the hero or the story about the hero? Pointing back at “Unbreakable”, it was a similar idea. The hero was completely unaware of his strength and resilience until his world fell into a certain “comic book” context. So if there are people telling stories and drawing art about these heroes, where did that knowledge come from? Is there a common wellspring? I’m wondering if this is some kind of “collective unconscious” thing; perhaps some event is allowing the underlying mythology of comics and heroes within the modern world to manifest.

In terms of the apparent conspiracy to hide the truth about the emerging heroes, I have to wonder if Claire was adopted by Unnerving Guy because she would eventually manifest this invulnerability. It seems all too coincidental, which leads me to assume that it was intentional. But there are a few potential plot points that are bugging me right now, so I’m looking to the writers to reward my patience in the coming weeks. Since the series did well in the ratings, I imagine they will have time to prove themselves.

(As a sidenote: I also have a podcast associated with my various reviews called “Dispatches from Tuzenor”. Current episodes cover “Studio 60”, 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

Studio 60 1.2: "The Cold Open"

Written by Aaron Sorkin
Directed by Thomas Schlamme


So, here we are with the second episode, and I’m getting nervous. I really liked the pilot episode, because I thought it managed to deal with the balance of exposition and character introduction quite well. It was no “West Wing”, but it got the job done better than most. In the second episode, however, we get a better look at how the series itself will operate, and I found it a lot less convincing.

Part of it is the setting, which I always knew would be a challenge. I personally found “West Wing” to be inspirational, even when I didn’t agree with the political views being touted by the characters. That series had a focal point in Martin Sheen, especially in the beginning, and I think that was a boon to Sorkin and the writing staff. There was this charismatic and complex figure at the center, and everyone else could operate around that steady ground.

In the case of “Studio 60”, that center doesn’t exist. It should be Matt and Danny, but that isn’t really coming out yet. They are more prominent, but there are other characters with more clout and power. It almost feels like Jordan should be more of a factor. While I think this episode gave her some necessary shading and made it clear why people are infatuated with her, Amanda Peet isn’t quite selling me on the character yet.

I think part of the problem is, once again, the setting. It’s one thing to be struggling with the State of the Union speech with hours to go, and quite another to be struggling with the “cold open” on a sketch comedy. I firmly believe that every business situation that involves politics can hold the kind of drama that Sorkin is invoking, but the kind of people who could get excited about a presidential election campaign may not be able to relate to the pressures of television production.

One other troubling aspect is the fulfillment of all this work and creative struggle in the final act. I wasn’t expecting the actual sketch to be included, because Sorkin’s usual MO is to lead up to the event without actually showing it. It might have worked better that way. Comedy is very subjective, and in this case, I didn’t find the musical all that amusing. For something that was supposed to be a triumphant opening, it seemed rather pretentious.

And maybe that’s where my nervousness sets in. “West Wing” was all about the crushing pressure of running the political show, with the stakes being about as high as they get. It was total wish-fulfillment most of the time, but all that work and stress would culminate in something meaningful (at least, in the fictionalized sense). In this case, all that work and stress is culminating in bunch of comedy skits. Even in the best days of “Saturday Night Live”, they would be lucky if half the material worked.

For all that, there were a lot of moments that worked for me. I’m getting over my initial concerns about Matthew Perry, for instance, and his reactions to the clock were priceless. I liked getting a better look at the ensemble, even if some of the dynamics are still sketchy and the “love triangle” is already annoying. Jack is wonderfully evil and self-interested. On the whole, I still like a show a lot, but my fear is that it will quickly fade as the general public loses interest.

(As a sidenote: I also have a new podcast associated with my various reviews called “Velocity TV”. Current episodes cover “Studio 60”, so it might be something of interest. Go to http://velocitytv.libsyn.com if you want to listen!)

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

Final Rating: 7/10

Prison Break 2.6: "Subdivision"

Well, here we are, about a third of the way into the season, and sure enough, the surviving inmates are having a reunion in Utah. Thus far, the twists and turns are still adding up to the expected outcome. Which is not to say that the episode disappoints. After all, anytime T-Bag gets to be all creepifying in nearly every single act, it works to everyone’s advantage.

The writers never let us forget that T-Bag is an incredibly dangerous individual, and it’s very interesting to watch Michael deal with the implications of that singular truth. He’s still not aware of what T-Bag did while on his own, but he’s still somewhat distracted by the desire to get the money and run. Everyone other than Lincoln is an unwanted complication, and he’s managing a crew full of people with differing agendas.

Even so, leaving the desperate lady with someone like T-Bag is hardly the best of ideas. And it was rather clear from the beginning that she wasn’t desperate enough to hit the sack with T-Bag, so things were just going to get nasty. All of that eventuality makes it rough on the viewer, because they played up the tension very nicely. Some of T-Bag’s facial expressions are illegal in 32 states, and that woman was leading him on with complete awareness, like it was the best sport she’d had in years.

It is a little bit contrived for Sucre and C-Note to cross paths, let alone end up in the right spot at the right time, but it fits the nature of the story. All of them need to be together so that Mahone can catch them there. That confrontation is necessary for the story to take its next step, whatever that might be. His intensity continues to fuel this season, as evidenced by his confrontation with the pitiful Tweener.

Was I the only one wondering, in the final scene, if Little Miss Desperate was more worried about the police than the Escape Squad? The look on her face wasn’t the look of someone who had called the cops, but someone who wasn’t all that happy to see them there. I think that wouldn’t been a more ironic and entertaining twist (and it still could be true, for that matter), but the writers were pointing to the situation that did occur all episode long, so it’s not particular shocking.

The conspiracy subplot is still far less impressive, but there is some movement on that front. The mechanism for dealing with the President’s lack of availability is a bit annoying, but it does place pressure on Kellerman to produce results. And that now puts him in conflict with Governor Tancredi, who has come to believe Sara’s claims. The governor may not be long for this life, especially since he’s going to be a threat to the President herself.

So far, this season, I’ve been happy enough with the story and how it’s progressed, but I agree that the intensity of the early first season is missing. The prison’s close quarters made it impossible to avoid conflict, and there was a discernable goal in mind, above and beyond the needs of an individual episode. Beyond getting the money, the future is a little too wide open right now. Hopefully the next couple of episodes will put the season arc on a definitive path, so the writers can add that layer and strength the overall quality.

(As a sidenote: I also have a new podcast associated with my various reviews called “Velocity TV”. 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

Stargate: Atlantis 3.10: "The Return: Part I"

Written by Martin Gero
Directed by Brad Turner


If someone had told me in the middle of this 10-episode stretch that I would be far more satisfied with the “SGA” mid-season cliffhanger than the “SG-1” installment, I would have laughed hysterically. After all, the ninth season of “SG-1” had beaten the pants off of the second season of “SGA”, and the trend had been continuing into this summer’s material. But then a funny thing happened after the slow start: “SGA” started getting good again.

I still think that the character development and exploration could be better, but this episode tossed aside the lure of huge explosions and plot twists to tell a relatively simple story: the Ancients return and want their city back. Team Atlantis is sent packing, with Woolsey (from the IOA) and General O’Neill acting as liaisons to the Ancients. Much time is spent on the impact of this decision on Team Atlantis, and each character must decide how to move on (if, indeed, they can).

In short, it takes the approach used with Weir in “The Real World” and applies similar logic to the entire crew. What happens when the mission is over? Well, typically, the team doesn’t take it very well, especially after everything they’ve seen and done. It’s not surprising that this comes on the heels of McKay’s success with the Intergalactic Gate System, and not just because it then provides an interesting consequence should Atlantis be lost. McKay is flush with success, only to find his expertise shoved off on something far less challenging.

What surprises me, especially from the perspective of the “Stargate” franchise as a whole, is the methodical exploration of each character’s psychology. While Ronon and Teyla get shorted a bit, as if they were one character all of a sudden, they respond in a fairly logical fashion. They look for the next best ally to keep fighting. Enter the Genii, paying off that relationship as reinforced in “Common Ground”.

I would get how each character responded in a manner consistent with their established personalities, and explore each nuance and relationship in context, but that would ruin the fun. The writers simply take the time needed to play out the scenario correctly. They could have jumped back and forth to the fight at Atlantis, but that wasn’t where the story was. The story was the process of loss, the difficulties of moving on, the choice to defy authority. In that final act, I couldn’t help but think of a particular scene from “Star Trek III”, a huge smile on my face.

Looking back on the first half of the season, the average for “SGA” is coming in at 7.1, which is slightly above average. What’s significant, however, is that the average would have been higher, had a couple of early season episodes been left out of the mix. “Irresistible” alone was a big hit in the negative column. If more episodes are like the run since “Progeny” come along in the second half, the series might finally overcome the sophomore slump of the second season.

(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: 3/4

Final Rating: 9/10

Stargate: SG-1 10.10: "The Quest: Part I"

Written by Joseph Mallozzi and Paul Mullie
Directed by Andy Mikita


So, here we are, the mid-season break, and it’s time to sit back and take a look at how “SG-1” is holding up under the strain. All in all, this season started off strong, but there have been some stumbles along the way. Generally, anything that has involved Ba’al or the Lucian Alliance has been less than inspiring. Considering that this particular episode featured Ba’al (or one of them, anyway), it had a lot going against it from the beginning.

I fully acknowledge that the decision to incorporate Arthurian elements into the show included certain storytelling conventions. They play up the whole “quest” idea on a regular basis, so it’s not a huge surprise. However, while they’ve flirted with conventional fantasy elements, I don’t remember them stepping so far over that line as they have in this particular case. I suppose the title fits the bill perfectly.

This felt like “SG-1 Does D&D”, which I suppose will appeal to a number of fans. Truth be told, I don’t have a problem with the conventions, so long as they are used in a consistent and entertaining manner. This must have looked great on the page during the breakdown sessions, because it had all the clichéd bits: the enemies forced into working together, the “clever” challenges, each team member bringing something vital to the table, etc. And Adria’s wonderful outfit pretty much sealed the deal (Morena wears corset so well!).

The problem with using such a familiar standard is that the audience doesn’t really have to pay attention to the plot. The story will progress in the expected fashion and there will be few surprises. As such, it’s a lot easier to see where the writers fumbled. Who didn’t think that tossing the ubiquitous sand around in the little “time distortion maze” would have been smarter than tossing one rock at a time? Sand would have meant “instant walls”.

Such a solution might have also covered up the other problem with several sequences: poor pacing. The “time maze” took an enormous amount of time, and it looked fairly ridiculous. There’s a certain amount of self-awareness involved, and everything is asking us to laugh along, but there’s a big difference between inspired self-parody and spotty production.

I wish I had more to say about this episode, but it didn’t inspire much thought or consideration. At least with the Ori-heavy episodes, I can latch on to the philosophical concepts at play. There was precious little of that in this episode, and so I didn’t find it particularly memorable or thrilling (Morena notwithstanding). As I measure it, Season 10 is averaging about 6.9, which translates to an average show: solid enough, but nothing distinctive. Considering how well the season started out, that’s not what I had been expecting. Hopefully the final 10 episodes will be less uneven.

(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: 1/2
Style: 2/4

Final Rating: 7/10

X-Files 6.12: "One Son"

Written by Chris Carter and Frank Spotnitz
Directed by Kim Manners

In which the conspiracy scrambles to complete their plans to protect themselves and their families from an apparent alien incursion, and Mulder and Scully must work out their own response…


Status Report

As many X-Philes might remember, the sweeps period of February 1999 was an important moment in the history of the series. For weeks, the network and producers had been hitting the airwaves and magazine stands with promises of “Full Disclosure”. The mid-point of the sixth season would, according to the promotional materials, explain the mythology and make sense of it all.

Even then, the promise seemed unnecessary, the pomp and circumstance overwrought. After all, that was the supposed function of “Fight the Future”: putting Mulder and the conspiracy into the proper context. Unfortunately, there were other matters left to consider, mostly from the fifth season. Because “Fight the Future” had been written when the series was slated to end with the fifth season, long before the fifth season was actually made, the subsequent decision to continue the series meant that the mythology needed to be further complicated to keep the overall series moving forward.

So elements like the Rebels and the Spenders were completely outside of the context of the mythology as planned at the beginning of the third season. That story culminated in “Fight the Future”. This episode, and the second half that followed, was designed to incorporate the new elements into the mythology while remaining consistent with the film and that original concept. Of course, in the process of laying everything out and trying to tell a story on top of that, the writers exposed most of the holes in their own internal understanding of the mythology they had generated.

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

In trying to make sense of this episode (especially in the context of everything that would follow), certain basic truths about “X-Files” should be kept firmly in mind. In short, everyone lies. Motivations are obscured, sources and origins are hidden, and people make assumptions based on limited and manipulated information. Just because Cancer Man sits in a chair and gives a basic explanation for the Syndicate and the Project does not, by any means, lend credibility to what he claims.

If “Two Fathers” was all about the setup, bringing the audience up to speed on what the mythology was supposed to be coming into the sixth season, then this is the incredibly messy attempt to survive the consequences of poorly-informed decisions. There’s still plenty of time for Cancer Man to mess with Mulder’s head and make damn sure he survives the Rebel attack, but even he seems to be flying by the seat of his pants.

Unlike “Two Fathers”, which was a relatively calm recitation of the mythology with a purposeful spin, this episode has a barely-restrained chaos at the core. Scenes smash up against each other, the actors display clear desperation, and the direction is often disconcerting. In terms of communicating a thematic message, the structure of the episode more than succeeds. Yet many consider this episode to be disappointing. It comes down to how the revelations within the episode fit within the mythology. Most of them are a good fit, but it requires keeping that central truth about the “X-Files” in mind. Everyone spins the situation to his or her own benefit.

The opening voiceover makes it very clear that Mulder has accepted Cancer Man’s grand deception. The flashback to 1973 makes it clear that Cancer Man was instrumental in the apparent decision to collaborate in hopes of ensuring the survival of the Syndicate. The Syndicate obviously believed that they were bowing down to a more powerful enemy. Cancer Man’s prominence in the scene, of course, also plays into the idea that he knew the truth about the Colonists. It would have been very easy for Cancer Man to play into that moment, reinforcing the Syndicate members’ beliefs in the impending alien invasion.

The truth is far more complex. Purity’s followers circa 2012 understood that their creation was dependent upon the foundation provided by the State Department projects from 1947-1973, which was ultimately Phase I of the Project. Phase II needed to focus on the biological modifications for humanity, and needed to culminate in natural generation of the near-mindless “drones”, last seen in “Herrenvolk”. 1973 was the pivot point, and one that Cancer Man and Bill Mulder knew was coming.

Cancer Man had convinced the Syndicate to go along with the idea of collaboration because he felt he could control the progress of the Project and use those available resources for his own personal project: bringing about the “future savior” that would ultimately eliminate the threat of Purity. Bill Mulder’s option would not afford him that same latitude.

Many of Cancer Man’s decisions in this episode are hard to fathom, even though his explanations make a certain amount of sense within the context he provides. Seen from the wider perspective of the series’ mythology as a whole, Cancer Man’s actions seem designed to deliver the Syndicate to the Rebels. He was the only person who knew that the Rebels needed Cassandra Spender for their own future plans (part of the basis for creating the “shifters” that would constitute their army), and that the Rebels would be looking to eliminate the Syndicate and its operations. Pushing them to contact the Colonists was a way to get them in one place, along with their families.

Like many of the mythology episodes constructed after the plotting of “Fight the Future”, Mulder is placed in conflict with Scully because of his unjustified trust in Diana Fowley. Simply the fact that Diana was the one who chased down Cassandra Spender should be enough for Mulder to figure out her complicity. Yet he continues to believe in her possible innocence. It’s hard to imagine what power she could have over him, but the writers are using Diana (as they did in “The End”) as a means of placing pressure on Scully. It’s one element of the mythology that doesn’t work very well, because the character was never given a clear and distinct purpose or personality.

But quite clearly, she was instrumental in Cancer Man’s scheme. In keeping with Cancer Man’s use of Scully, she would have been selected based on her genetic code as a match for Mulder. She was placed with Mulder and she helped him “find” the X-Files so that his activities could be purposed for disinformation. When Scully was identified as a better match, she was reassigned to Cancer Man’s international operations, ensuring that the control chip technology was being monitored. There were connections to Strughold and the Phase II reproduction projects. Even if she didn’t understand the context of her actions, it should have been clear to Mulder that she was a part of it all.

The writers get it right when it comes to Scully’s frame of mind. The end of the fifth season made it clear that Scully’s relationship to Mulder was the one reason why she was staying with him on the X-Files. When she was ready to quit, it was Mulder’s dedication to her personal stake in discovering the truth that kept her at his side. If Mulder chooses to ignore her warnings or dismiss her conclusions, then it threatens the bond that keeps her in the game.

For all that, Mulder and Scully are still circling each other’s orbits. Some fans like this episode for nothing more than the shower scene, where Mulder blatantly checks out Naked!Scully (and really, who wouldn’t?) while Scully returns the favor, before remembering that they shouldn’t be having that much interest under the circumstances. Oddly enough, this is one scene that strongly suggests that the relationship between them had not, to this point, reached a physical level. Emotionally, they were very close to overcoming personal issues, but both of them had a lot of ground to cover before things could really heat up.

Marita believes in Cancer Man’s grand deception as much as anyone, and that feeds into the world-view that Cancer Man has cultivated in Mulder since the beginning. Marita tells Mulder exactly what Cancer Man wants him to hear: that the “hybrid” project was all about stalling long enough to develop the vaccine. All of this is something that Mulder should already know, since it’s the same information that Well-Manicured Man supplied him with in “Fight the Future”. And of course, in that situation, the Well-Manicured Man was telling Mulder the “truth” as he understood it.

It’s interesting that Mulder chooses to seek out Diana after Scully makes the more obvious connections between her and Cancer Man. It seems far too coincidental that Cancer Man comes calling at that very moment. It is more reasonable to assume that Cancer Man was waiting for the chance to take the next step in the process of manipulating his son. Having stripped away his support system, Cancer Man had Mulder at a huge disadvantage. It was the culmination of everything Cancer Man had planned for Mulder since “The End”.

Cancer Man plays Mulder beautifully, and his explanation for the events of 1973 is one of the better parts of the story. The fact that it tells the truth within the context of a lie is even more fun. At one point, Mulder accuses Cancer Man of forcing Bill Mulder to give up Samantha, and Cancer Man strongly denies it. Considering that it’s one of the few times that Cancer Man breaks out of his storytelling mode, that strongly suggests that Mulder came too close to the facts for Cancer Man’s comfort. (Indeed, “Demons” made it very clear what really happened.)

While the idea of handing over family members for testing beginning in 1973 fits the overall mythology, the purpose and origin of the alien fetus presents a few problems. Within Cancer Man’s deception, it doesn’t make sense. “The Beginning” demonstrated that the process of gestation for Purity would not produce a fetus, so how could it have been the “alien” genome? And the “alien” DNA was already within Gibson Praise, suggesting that the “sentinels” within the human population were already “hybrids” of a sort. So how does this all make sense?

If Purity wanted Phase II of the project to be biological reproduction of the “drones”, then the fetus would logically be one of the successful “drones” from around 2012, produced to ensure that the Project would proceed with that end goal in mind. In 1973, with the nanotech-modified super-soldiers still under development, it would have taken a long time to get the Project to the point where such a feat was possible.

Gibson’s “hybrid” DNA doesn’t work the same way. The genetic engineering conducted to create the “drones”, essentially biological super-soldiers without higher brain function, was based around the idea of replicating the “perfect” DNA of the “sentinels”. The Rebels would use the work conducted under the Project to achieve that goal. As a result, they wanted both Cassandra (the closest thing to a working “artificial sentinel”) and the fetus (an example of the genetic sequence leading to Purity’s end goal). Between the two, they could work out how to achieve their goal of gaining the “benefits” of Cassandra’s modifications without the downside of low brain function.

The fact that the Rebels would only stage strikes in this part of the “timeline” strongly suggests that they were only taking action in the “present” as needed to support their future initiatives. Logically, this did nothing to halt Purity’s conspiracy, since the Phase II experiments continued without the Syndicate, controlled by the Phase I super-soldiers that had been growing in power behind the scenes, who were in turn controlled to serve Purity’s purposes. As far as the Syndicate was concerned, these attacks fit within the deception that Cancer Man had fed them for decades.

One might be tempted to think that Cancer Man’s explanation to Mulder was perfectly true and that the various attempts to add layers of meaning are unnecessary. However, it should be noted that Cancer Man uses the promise of seeing Samantha again to convince Mulder, and he knew damn well that Samantha was dead in 1979. This makes it hard to imagine that much of what he said was gospel truth, and lends credence to the interpretation of a hidden agenda (which has been demonstrated several times before). Never mind that giving up the families had little meaning, since they were living in the “real world” for decades after the fact. Were those family members treated any differently than the other abductees?

This is further reinforced by the fact that Diana shows up shortly thereafter to ensure that Mulder is willing to believe Cancer Man and take the step towards survival over resistance. This is exactly what Cancer Man had been trying to achieve, after all. It’s also probably that Diana was meant as something of a fallback position. Cancer Man wanted Mulder with Scully, but if it took seduction by Diana to keep him in line, then he would adjust matters accordingly. (Recalling, of course, that Cancer Man had Scully’s genetic profile, and could have ultimately used resources to control her through the implant.)

Cancer Man’s conversation with Cassandra might even be construed as honest and heartfelt, except for the fact that he has never shown any interest in this family previous to hatching his plan to manipulate Mulder by putting Spender up on a pedestal. In fact, he was happy to have Cassandra experimented upon and her memories erased in the most casual manner. Also, why would Cancer Man be deluded enough to believe that Cassandra would want anything to do with him?

The final act is the culmination of Cancer Man’s plan to use the impending destruction of the Syndicate to his own devices. Watching the scene carefully makes it clear that he was prepared to let the Rebels get Cassandra and the Syndicate, along with their families and loved ones. He was hanging back with Diana, prepared to leave while the rest hesitated. But knowing the likely outcome, why would he have gone to El Rico in the first place?

Consider that his plan was to assume control over Mulder’s future choices to ensure that the “future savior” was born. The Syndicate was a means to an end; controlling Mulder over time was the true purpose. He had effectively convinced Mulder that the threat was real and immediate, and that his methods were a means to an end. Krycek was already on board if survival was in the cards, and Diana was another means of controlling Mulder. By having them witness the end of the Syndicate at the hands of the Rebels, Cancer Man could have convinced Mulder to join him in rebuilding the means to resist the “aliens”.

Scully, however, wound up intervening, thanks to Spender’s decision to contact her with Cassandra’s whereabouts. Cancer Man’s best chance of convincing Mulder to follow his lead was tossed to the winds. More to the point, the end of the Syndicate meant that his control over the various aspects of the Project had quickly lessened. Spender completed the job of dashing Cancer Man’s plans by resigning and supporting Mulder and Scully’s reassignment to the X-Files.

It is a little disappointing, however, for it to be that easy, especially since Mulder doesn’t give a clear answer as to how the Syndicate members died. He tosses off vague nonsense, and then Scully supports him for it! Kersh certainly had no reason to approve the reassignment under the circumstances, and Diana was still technically on that assignment. Kersh wasn’t even in a position to place Mulder back on the X-Files. There are a lot of aspects of that plot point that remained unaddressed, especially in terms of what happened to Diana after Spender’s resignation.

The final scene is one last manipulation. Cancer Man knew that Mulder was his son, yet he acts otherwise in explaining to Spender why he was such a disappointment. That’s not why Spender was shot and left for dead, to be used in later experiments by the Rebels. It makes more sense to consider this as Cancer Man’s vengeance against Spender for alerting Scully as to Cassandra’s whereabouts and thus disrupting his plans for Mulder.

“One Son” was the end of the mythology as the audience understood it, and from this point forward, the series would extend the story in fits and starts, with little thought towards making it all fit together. The mythology that would be introduced in “Biogenesis” at the end of the season would thematically link into the plot elements added through the end of the series, but only the mythology arc in the eighth season felt relatively coherent. Still, as a final resolution to the Syndicate arc, stretching back to the end of the second season, this is about as good as they were going to get.


Memorable Quotes

MULDER: “There must be some kind of mistake. I signed up for the aromatherapy treatment…”

SCULLY: “Mulder, this stinks, and not just because I think that woman is a…well, I think you know what I think that woman is.”
MULDER: “No, actually…you hide your feelings very well…”


Final Analysis

Overall, this episode was the culmination of the Syndicate arc, bringing the mythology from the past three seasons into something of a resolution. Later additions to the mythology would make these explanations all but moot, but the writers deserve some credit for trying to pull it all together. As usual, Mulder’s characterization with Diana is hard to reconcile. The chaotic nature of the direction, however, appropriate matched the needs of the story.

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

Final Rating: 7/10

Angel 2.6: "Guise Will Be Guise"

Written by Jane Espenson
Directed by Krishna Rao

In which Wesley poses as Angel when the boss is away for some spiritual psychological counseling, but things get complicated when the case involves a beautiful young woman…


Status Report

After the darkness of the previous episode, it’s fitting that this episode slips back into the light. At least, it has a somewhat more comic tone, as it focuses on Wesley. The second season is not just about Angel’s descent into darkness, of course; it’s about Wesley maturity into a leader. A lot of that is a matter of confidence, and when push comes to shove, Wesley steps up to the challenge. It’s more about his realization that the same confidence applies to every aspect of his life, even if he has some issues with physical dexterity outside of combat!

For fans of the character, the opening sequence is a bit of a step backward. Wesley hasn’t been that incompetent for a long time. This is classic Jane Espenson, though, cutting to the worst qualities of the character so that the best qualities shine through even more. For Wesley, that’s the aforementioned lack of physical dexterity and his apparent lack of guile. But he’s hardly the only one in the crosshairs.

After his run of bad judgment in the previous episode, Angel’s emotional and psychological issues are on the table. Unlike some shows, where such events would be set aside and the psychological effects would seldom be mentioned, that aspect of the story is front and center in “Angel”. Angel is looking for spiritual guidance, and that takes up a significant part of the story. It’s one of the benefits of a solid Joss Whedon series.

In fact, messing with convention in the Buffyverse has become such a norm by this point that the appearance of the supposed T’ish Magev doesn’t raise an alarm. It’s quite possible to believe that this is the real deal, because who was expecting a green, horned oracle with a penchant for disco tunes? Similarly, a burly tough guy as a spiritual counselor fits within the sense of irony.

Despite the fact that the real T’ish Magev is dead, Angel still gets some insight into his psychological issues. It wouldn’t be wrong to say that Angel is strongly influenced by those around him, especially when it comes to expectations. Angel has had a long time to develop a special kind of self-loathing, and when mixed with his innate darkness, that can translate into a death wish and a desire to be someone other than himself. All in all, there’s a damned good reason why Angel is the archetypical tragically flawed hero.

This pertains directly to Wesley’s attempt to play Angel. It works remarkably well, despite the obvious differences between the two men, and part of that is the fact that Angel is presenting a certain brand of personality when in the field. Wesley manages to step into that role, drawing upon his own heroic aspects, and he is relatively convincing as a result. When he deals with Virginia, for instance, he acts more like himself, with the competent heroism fully intact.

Angel’s talk with the supposed T’ish Magev about the curse is another subtle way of letting the audience know that it’s not just about sex. Just as the previous episode established that Darla never really made Angel happy, even when he was Angelus, this episode brings up the delicate question of physical sexual bliss and the psychological state of perfect happiness.

At the same time, if Angel is a little unsure about the exact nature of the curse, the rest of the world seems to be even less informed. They know that he’s cursed with a soul and that sex is something of a problem, but the details are rather fuzzy and it’s all a matter of hearsay. (“I’m not a eunuch!”) Otherwise, Virginia would never have made an overture towards Wesley, thinking he was Angel and cursed. Not that Wesley was going to correct her interpretations (and really, who could blame him, when he had Brigid Brannagh ready and willing?)

When Wesley’s ruse is exposed, it might have been an easy way to restore Angel as the hero of the episode and set Wesley back into his place. Instead, Wesley take command of the situation. In a nice touch, Angel becomes the one with the historical information, arming Wesley with the key to the plot to kill Virginia. In that moment, Wesley stops pretending to be the hero and simply is the hero.

Because it would also be too conventional for Wesley to battle the demon and win through courage and skill (talk about instant character development!), the threat to Virginia is resolved in a far more clever fashion. How Magnum Bryce could imagine that his incredibly hot daughter was still a virgin is a bit of an obvious question, but given his control over her world, it’s not too hard to believe.

This is a big step for Wesley, because he came to recognize more of his strengths and what he could accomplish by simply taking action and trusting in his own instincts. This has been shown before, but this is the first time that it shines through to this extent. It’s an important building block for his character’s development over the course of the season.


Memorable Quotes

CORDY: “What are you doing?”
WESLEY: “Ah…knocking things over, driving away business…you know, the usual.”

GUNN: “He’s got a plan.”
WESLEY: “A plan?”
ANGEL: “Yeah…I get to the offices before they stop me.”
GUNN: “See? What? That’s the plan? Walking real quick was the plan?”

WESLEY: “Dear God! That’s…nummy….”

MAGEV: “You’re deeply ambivalent.”
ANGEL: “Yeah, well, I am and I’m not.”

WESLEY: “You know, this whole curse thing has been widely misinterpreted…”


Final Analysis

Overall, this episode was a near-perfect character study for Wesley, delving into his strengths without ignoring some of his weaknesses. Wesley truly gets to be the hero in this episode, and as a result, the foundation is laid for his role later in the season and series. Angel also gets a little character exploration. The episode doesn’t have the impact of some of the more arc-driven episodes, but it was a pleasant look into one of the best characters on the show.

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

Final Rating: 7/10

X-Files 6.11: "Two Fathers"

Written by Chris Carter and Frank Spotnitz
Directed by Kim Manners

In which the Rebels begin a systematic attack on Syndicate operations, seeking to expose the conspiracy and gain control, as Cancer Man contemplates his next move…


Status Report

As many X-Philes might remember, the sweeps period of February 1999 was an important moment in the history of the series. For weeks, the network and producers had been hitting the airwaves and magazine stands with promises of “Full Disclosure”. The mid-point of the sixth season would, according to the promotional materials, explain the mythology and make sense of it all.

Even then, the promise seemed unnecessary, the pomp and circumstance overwrought. After all, that was the supposed function of “Fight the Future”: putting Mulder and the conspiracy into the proper context. Unfortunately, there were other matters left to consider, mostly from the fifth season. Because “Fight the Future” had been written when the series was slated to end with the fifth season, long before the fifth season was actually made, the subsequent decision to continue the series meant that the mythology needed to be further complicated to keep the overall series moving forward.

So elements like the Rebels and the Spenders were completely outside of the context of the mythology as planned at the beginning of the third season. That story culminated in “Fight the Future”. This episode, and the second half that followed, was designed to incorporate the new elements into the mythology while remaining consistent with the film and that original concept. Of course, in the process of laying everything out and trying to tell a story on top of that, the writers exposed most of the holes in their own internal understanding of the mythology they had generated.

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

In trying to make sense of this episode (especially in the context of everything that would follow), certain basic truths about “X-Files” should be kept firmly in mind. In short, everyone lies. Motivations are obscured, sources and origins are hidden, and people make assumptions based on limited and manipulated information. Just because Cancer Man sits in a chair and gives a basic explanation for the Syndicate and the Project does not, by any means, lend credibility to what he claims.

Instead, his claims should be measured against his motivations. Cancer Man wants to bring about the apparent savior of mankind through genetic selection. He used the Syndicate plans to help find the right women to accomplish that goal, and two “brothers” emerged: Fox Mulder and Jeffrey Spender. Mulder had the right genetic markers; Spender did not (hence, “paling to Fox Mulder”). Mulder was thus the child to protect, and ultimately, the one funneled towards the woman who might supply the remaining pieces of the genetic puzzle: Dana Scully.

Cancer Man does all of this out of an incomplete knowledge of events to take place in 2012. Essentially, a malevolent non-corporeal intelligence called Purity would use an artificially-evolved humanity to subsume the species and thus spread. Purity sought to ensure its rise and success by manipulating past events, fostering the conspiracy within and beyond the Syndicate operations.

The Rebels are a competing power from the same time period. They believe that the genetic alterations sponsored by Purity are to the benefit of humanity. They are driven by a cult-like desire to use the “hybrid” process to transform humanity, but prevent the subsequent “colonization” by Purity. So while the “Colonists” and the Rebels are at war, both intend for humanity to be transformed into a new, genetically engineered species.

In this episode, an important step in the process is achieved. Phase I of the Project (1947-1973) focused on artificial augmentation of the species through radiation experiments and physical alteration. This is when the basic technology of the nanotech-controlled super-soldiers emerged, as seen in the later seasons of the series. During this time, genetic information was collected to facilitate Phase II.

Phase II began in 1973 and ran right through the end of the series in 2002. Essentially, two goals were at play. The first goal was to replicate a biological analogue to the nanotech used to create the first super-soldiers. (This would eventually lead to the creation of the Rebels and the “hunters”.) The second goal, contingent on the first, was to modify the human population to give birth to children with the biological modifications “hard-wired” into their genetic code. (Emily, for example, was a failed version of this experiment.)

All of this is important because it explains why Cassandra Spender was so important in the mythology. For Purity, creating a “hybrid” (really an attempt to create an analogue to the “future savior” sought by Cancer Man) was all about preparing humanity for the next step. Studying that “hybrid” would allow the genetic engineers to work towards a child with the same properties. For the Rebels, that “hybrid” would fulfill a similar goal as the prototype for the new and stronger humanity they religiously desire. Control over the “hybrid” is important to both sides of the equation, even if the information ultimately gets to both side regardless of Cassandra’s fate.

If all of this is accepted, then where does Cancer Man fall into the equation? Why is Cassandra important to his goals? He doesn’t need the “hybrid” for his own purposes; keeping Mulder and Scully under his thumb gives him what he needs in terms of the future. But he does want to control and limit the successes of Purity and the Rebels, especially since he wants the vaccine to be developed in the meantime.

This is one of the subtle points of the mythology that is never fully addressed. Cancer Man is played as someone willing to conduct horrible tests and take immoral action to achieve his goals, but the goals are supposedly for the greater good. Why, then, would he fail to support Bill Mulder’s desire to focus on a vaccine? It makes far more sense to consider that he wanted the vaccine hidden, shielded behind the ridiculous efforts of the Syndicate and their fosterage of Purity’s conspiracy.

Much of what Cancer Man gives as an explanation for the Project in this episode is the complex and utterly false tale he has been using to control the Syndicate from the very beginning. In essence, he has used the idea of “colonizing aliens from the distant past” as a means of directing efforts, allowing them to create programs and fund aspects of the Project necessary for him to achieve his own agenda. Most of the time, when Cancer Man was encountering problems, it was related to his struggles to see the Syndicate through the most critical part of his plan.

In terms of this episode, about six months after “Fight the Future”, his plans to control information flow using Jeffrey Spender and Diana Fowley have been entirely successful. Mulder has been sidelined far enough that he could be manipulated more than ever before, and Scully has been pushed into the realization that she is committed to Mulder’s cause. The success with Cassandra Spender, for Cancer Man, now requires the careful manipulation of information to move the pieces into position.

Of course, since the Colonists and Rebels come from a common future, they both know that Cassandra Spender becomes a successful “hybrid” at this particular time period. This also marks the end of the need for the Syndicate, since Purity can now operate its conspiracy independently (and without interruption, apparently, as seen in later episodes). The Rebels want to strike at the conspiracy and eliminate any possible intervention. So Cancer Man knows that this is the end of the Project as it was; he must now take measures to preserve his interests.

Cancer Man’s monologue to Diana Fowley is not a matter of dispensing truth, or some summary of the mythology to date. It’s about conditioning Diana’s reaction to his requests and interpretations to come. It’s about making sure that she believes what everyone else must believe, if Cancer Man’s gambit is to work. And so Cancer Man must frame Spender’s actions within that perspective. (There’s also an aspect of this monologue that sounds like Chris Carter’s true feelings about the show!)

Spender’s purpose within Cancer Man’s plan is quickly confirmed: he was placed within that department to ensure that no further information about the conspiracy was discussed within the FBI. This would force Mulder and Scully to expose themselves and lose support. It certainly seems to work. In one of the truly bad scenes of the episode, Mulder is caught playing hooky, spouting off nonsense in some failed attempt at humor. Mulder, it seems, has given up. In fact, even given the chance to work on an X-File again, he wants nothing to do with it.

Cancer Man’s conversation with Openshaw, like nearly every conversation he has in this episode, is filled with half-truths. Meanwhile, the Rebels continue to eliminate members of the conspiracy able to replicate the process of creating Cassandra. It is a case of gaining weeks or months at best, but it does begin the process of cutting out the Syndicate as a potential threat to future operations. (Keeping in mind, of course, that the Rebels only made overt moves within the 1998-1999 timeframe; this suggests that a few surgical strikes were deemed necessary to preserve their operations in the future.)

Cassandra’s explanation of events is in complete alignment with Cancer Man’s cover story, so much so that it is quite obvious that he made sure that she “learned” this information during her most recent activity. Taking that into account, it’s no surprise that she saw “Samantha” during that abduction, since Cancer Man was the one who had access to the adult Samantha clone seen in “Redux II”. It was very likely the same clone, used to convince Cassandra of this version of the truth.

As usual, it’s hard to work out how much Krycek knows about Cancer Man’s true plans, especially at this stage of the game. Certainly his knowledge of the documents from the DAT tape (stolen in “Paper Clip”) would have given him a selective version of the truth, and he displayed some knowledge of the nature of the conflict from episode to episode. Whatever he might or might not know, it’s clearly in his best interests in this case to follow Cancer Man’s agenda and play to the “alien invasion” scenario.

The Syndicate meeting is particularly interesting because it suggests that Cancer Man knew and expected that the group would be infiltrated. He also didn’t want the Rebels to know about the vaccine, because he wanted it to remain under his control. The vaccine, from his point of view, represented a weapon for the “future savior” to use against those controlled by Purity. So when Krycek mentions the vaccine, Cancer Man quickly stops him and begins making plans to eliminate the Rebel infiltrator.

The date of Cassandra’s abduction doesn’t quite match with what was previously revealed. In “Patient X”, Cassandra was supposed to have been abducted for more than 30 years, which would trace back to a time before Samantha’s abduction. It also doesn’t match what would be revealed in “One Son”. More surprising is Mulder and Scully’s realization that the Project is still active, considering that they knew it to be true just a few months earlier. And any hint that Mulder might be surprised about his father’s association with Cancer Man is ludicrous.

Cancer Man uses the need to eliminate the Rebel infiltrator (to protect the “secret” of the vaccine) to test Spender, to determine whether or not he will be useful to his interests following the changes to come. Spender, of course, botches the job and learns, to his great dismay, that there is something to his mother’s claims and Mulder’s crusade. Krycek, of course, is there to ensure that Spender is successful, but also to reinforce that Cancer Man is the one to trust, pressing Spender to believe in Cancer Man’s preferred interpretation of events.

This is, of course, all preparation for the whirlwind to come in “One Son”. The final scene of the episode, in light of that, is a somewhat ridiculous attempt to generate a tense cliffhanger. It doesn’t work, and it would have been better to break on the revelation that Cancer Man is speaking to Diana Fowley. They could have easily held the final scene until the beginning of “One Son” without losing much time. As it stands, it makes no sense for someone to be banging on the door that long, giving Mulder time to act.

Taken without the information revealed in the final seasons, this episode might have been seen as an attempt, however flawed, to mesh the elements added to the mythology in the fifth season with the established explanations from “Fight the Future”. The results, however, don’t quite add up when the later seasons are added to the mix, which is hard to reconcile. How hard would it have been to remain consistent moving forward?

Whatever the reasons, the later seasons made the mythology a lot more complicated, and made any attempt to take Cancer Man’s explanations in this episode at face value a fool’s bargain. The inevitable result is a more complex interpretation of the episode, one that takes into account Cancer Man’s penchant for lies within lies. Seen from that perspective, this is still an episode that is relatively straightforward, setting the stage for the resolution.


Memorable Quotes

SPENDER: “I just want the truth.”
MULDER: “The truth is out there, Agent Spender. Maybe you should find it for yourself.”

SPENDER: “Keeping Fox Mulder down is not a job. It’s your dirty work!”
CANCER MAN: “You pale to Fox Mulder!”

CANCER MAN: “Treachery is the inevitable result of all affairs.”


Final Analysis

Overall, this episode is another attempt to mesh the elements of the mythology inserted in the fifth season into the explanations provided in the feature film. On a certain level, it works to frame the Syndicate’s operations from a particular point of view, but in retrospect, it requires some creative interpretation to fit within the series’ mythology. The episode is mostly devoted to setting up the second half of the story, but the plot is relatively simple as a result.

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

Final Rating: 7/10

Studio 60 1.1: "Pilot"

Written by Aaron Sorkin
Directed by Thomas Schlamme


Let me get this out of the way, first and foremost: I thought this was one of the best pilots I’ve seen in a while. Sure, it felt more like a play than a true television episode, but that worked to its advantage. It got the point of the show across without resorting to a ton of exposition, and the dialogue had the inspired snap to it that only Aaron Sorkin seems to be able to pull off well.

Sorkin seems to be channeling a little of his own aggressive issues with NBC into the story, but what were we expecting? Yes, he was effectively shoved out the door on “West Wing”, under less than perfect circumstances, and the network is touting this new show as the return of a favorite son to the airwaves. There are definite parallels there, but they manage not to be overly distracting.

I went into this pilot absolutely unspoiled, because I wanted to get to know the characters as presented in the story. There are an awful lot of characters, and there’s a lot of ground still to be covered. I think it’s smart to have all of these characters buzzing around the periphery of the first episode, so when they step into the spotlight more, it’s not a jarring introduction. The pilot really focuses on a handful of characters, central to the ongoing dynamic.

From a plot perspective, it had the same issues as every pilot. How does one introduce a world, characters, conflicts, and relationships within the space of 42 minutes and still tell a compelling story? Sorkin and Schlamme do it right. The “crisis” is simple enough for the audience to grasp, letting the necessary dynamics lead the characters into their natural introductory moments. All great in terms of mechanics, and if there are shades of “West Wing” politicking, it says more about the world of television networks than the limitations of the creative staff.

From a character perspective, I’m still getting thing straight. I expect it will take a few episodes to really work out the dynamics. For instance, I still don’t have a firm grasp on Jack’s role from just the pilot, but it’s more than I’m still digesting that corporate structure as presented on the show. Jordan is indeed quite impressive, but I get the sense of an naïve optimism. Sorkin can note all her accomplishments in her introduction all he wants; it still seems like she’s begging for trouble. (Then again, backing a show or creative staff often gets a network president in trouble, so it might just be her disposition that’s throwing me off.)

The main attractions, however, are Matt and Danny. I’ll be honest; for me, Bradley Whitford is the biggest draw to the show. I loved him as Josh Lyman and I find it interesting how he takes a similar line delivery and manages to portray a completely different personality. I’m curious to see if that will continue, or if it even matters. Giving him a drug addicted past is another possible Sorkin parallel, but he loves giving his characters a history to overcome, and dealing with addiction worked wonders with Leo on “West Wing”.

Matt, however, is going to take some getting used to, but that’s a purely subjective observation. I really like how his character is completely distinct from the overwhelming shadow of Chandler Bing, but I’m not as much a Perry fan as a Whitford fan. What I found a little distracting, however, was the painkiller connection. It was bold to have Perry take on a role poking fun of someone loopy on painkillers, even for just one episode, but I found it a little distracting because of the “real world” connection. But despite that, I really like the dynamic between Matt and Danny, and that will be a lot of fun to watch.

Perhaps the only way to wrap up my thoughts on this pilot, beyond delving into every character and every nuance that struck me as noteworthy, would be to describe how I felt after watching it. I wasn’t mildly hopeful, as I’ve been after dozens of pilots where the writers are just trying to get past the exposition as quickly as possible. It also wasn’t the kind of immediate home run that opened “West Wing”. But it’s very close, and I was definitely wishing for more when the hour was over.

(As a sidenote: I also have a new podcast associated with my various reviews called “Velocity TV”. Current episodes cover “Studio 60”, so it might be something of interest. Go to http://thrillridetv.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Prison Break 2.5: "Map 1213"

So the writers are pacing this out as predicted, with the inevitable convergence of all surviving players in Utah around episodes 6-8, just in time for the first major shift of the season arc. At least the writers are taking the time to get the pieces in proper position first, instead of rushing it. This episode is all about positioning, playing to strengths and weaknesses, and as such it is a transitional episode. Those can be tough, but in this case, it was done well.

Who ever expected that suburban sprawl would be an obstacle on “Prison Break”? Not me, but it makes as much sense as anything else on the show! (For those of us in the Northeast, it’s actually too accurate for words.) It’s a neatly ironic twist, because there was no way for the Escape Squad to know that it had happened. They were operating on old information, and things change. It was a nice touch.

Getting there was a little brutal. Tweener goes from the bed of a collegiate hottie to the wrong end of a baseball bat, and there was quality time with T-Bag along the way. Talk about having your day go downhill fast! For that matter, Michael and Lincoln are having issues of their own. Mahone is getting the job done, because the entire country knows about the Fox River 8, and they are running out of chances to hide.

T-Bag always seems to find a way to make himself essential. If nothing else, the man has a keen sense of survival. I question how a man could survive being locked in a trunk for hours in that kind of heat, never mind swallow dry paper when dehydrated, but considering what the writers have done in previous episodes, that’s a minor nitpick. With the rest of the gang converging on Utah, things are definitely coming to a head.

Mahone is an interesting character, and I really wonder what his deal is. I feel like there’s meaning behind his contemplation of that bird bath, especially when they ominously pan down to the ground beneath it. It’s as if something is buried there. It sounds like he’s addicted to painkillers, but it could easily be something else. I did notice, however, that once the medication kicks in, he’s a lot sharper. Most pain meds knock you silly, so I wonder if he’s hiding some other kind of condition, one that puts him on even par with Michael.

Like the main plot thread, the subplots were all about positioning. Kellerman seems to be in a precarious position, in terms of his handling of Sara, and it could be that he will find himself questioning his orders regarding her future. Sara and her father are trying to position themselves for what they want, even though it could cause complications later down the line. So far, the writers are doing a nice enough job of keeping that subplot interesting, so it’s not as bad as it was in the first season.

This episode also deals with Sucre and C-Note, both of whom end up running from the authorities. C-Note gets to show off some of his skills and personality, which is a nice touch, and Sucre’s situation with Maricruz is clarified. With the meaning of his life ripped away, Sucre could turn in a very dark direction. That said, I think that having so many of the Escape Squad identified during a short time frame was a simple but effective way of giving Mahone the information he needed.

(As a sidenote: I also have a new podcast associated with my various reviews called “Velocity TV”. Current episodes cover the “Prison Break”, so it might be something of interest. Go to http://thrillridetv.libsyn.com if you want to listen!)

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

Final Rating: 7/10

Stargate: Atlantis 3.9: "Phantoms"

Written by Carl Binder
Directed by Martin Wood


One has to imagine that this episode was developed with cost savings in mind. Most of the episode takes place in the middle of the woods near Vancouver, with very little in the way of sets or effects. One set of flashbacks is set in Afghanistan, but based on the appearance of the sand, it was filmed on a seaside location with little more than a mock-up helicopter. The point is simply this: the idea was to create a bottle show to save money.

The thing with “bottle shows” is that the lack of funding for lots of locations, sets, or effects forces the writers to focus on character interaction and psychological drama. The stakes are a bit higher for the writers, then, and the cast needs to step up to the plate. I felt like the cast did everything possible with the material given, and the writers did a fairly good job with the effects of the Wraith device.

It comes down to some of the minor details. In the previous episode, Team Atlantis wound up with a depleted ZPM and a serious threat to their long-term viability. Suddenly, from the first frame of this episode, the problem doesn’t even rate a line of dialogue. The team is still jumping through the gate and running equipment at full capacity. It is incredibly annoying to see such a promising plot development tossed aside for no good reason.

Another small problem is the premise used to keep the away team on the planet and under the influence of the Wraith device. The idea is that the DHD was destroyed, trapping them on the planet. Why didn’t Weir send a puddlejumper through the gate, have them pick the away team, wipe out the device with a pod or two, and use the jumper DHD to leave? It’s one thing to create a scenario that forces the “bottle show” premise, and quite another to leave a massive plot hole open.

I was also a little disappointed that the only character with a detailed flashback was Sheppard. It’s good to know that he has a past, and that it was relatively consistent with what has been revealed before, but why focus just on him? Issues of time and budget still come to mind, but how hard would it have been to work it out? McKay and Beckett’s hallucinations were done rather well, but it wasn’t nearly as extensive as Sheppard’s flashback. And the effect on Ronon was just plain silly.

The main complaint is that the episode didn’t bring anything new to the table. The main characters were never in any real jeopardy, especially since there were red-shirts on the team, ready to be the cannon fodder when someone needed to die. More than that, the characters didn’t need to be that isolated under the premise, so it felt more contrived than necessary. Add to that the lack of continuity (a constant complaint), and this breaks the recent stretch of solid episodes.

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

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

Final Rating: 6/10

Stargate: SG-1 10.9: "Company of Thieves"

Written by Alan McCullough
Directed by William Waring


Enjoyment of this episode will depend greatly upon one’s opinion of the Lucien Alliance. Conceived as a wild card in galactic politics in the wake of the defeat of the System Lords, the Lucien Alliance is essentially the Space Mafia. They have the means, motive, and opportunity to make a nuisance of themselves, and they dislike anyone getting in their way. Yet they have enough resources to be a serious threat.

All things being equal, they should be interesting. The galaxy is a dangerous place at this point. The Ori are running rampant (though in the background at the moment), the Jaffa Nation is in disarray and playing “bad ally”, the Tok’ra and Asgard are nowhere to be seen of late, and the Lucien Alliance is taking advantage on all sides. They should be imposing. Instead, they come across as goofy and generic.

Avateo, one of the prominent members of the Alliance, is played by Rudolf Martin. Previously, Martin was best known for two roles: Dracula on “Buffy” (a semi-effective guest role) and Ari on “NCIS”. As Ari, Martin played one of the more disturbing recurring characters; he was quite good at being terrifying in his competence and control. This is a very similar character, but the performance is not even close to the same level of quality. Frankly, Avateo is incredibly annoying, and the line delivery is about as bad as it gets.

Even when recurring characters are being killed off (a sure sign of a story reaching for impact, when nothing else in the story works), there’s a sloppiness to the entire production. The guest cast is terrible and the apparent threat of the Lucien Alliance is tempered by the inability to take these events seriously. For me, some of the scenes meant to be funny came across as desperate, and to a certain extent, disrespectful.

I’ve often said that the writing staff sometimes takes the audience for granted, though I’ve said it a lot more for “SGA” than “SG-1”, especially in recent seasons. I wouldn’t go so far as to accuse them of coasting in this episode, because the plot points were communicated. Earth is at war with the Lucien Alliance, so one more possible ally against the Ori is out of the question. That makes the search for the Sangraal even more important, which is logically the point of the exercise.

My issue is with the execution. The writing wasn’t particularly sharp, and some of the lines that were supposed to be imposing or humorous fell flat. The acting, especially from the guest cast, was far below the usual modest standard. The direction also didn’t help, because there was a casual nature to scenes that should have been more animated. It was just an episode with a lack of cohesiveness, and given that it featured adversaries that have been hard to take seriously, this amounts to another misfire.

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

Final Rating: 4/10

Buffy 5.6: "Family"

Written by Joss Whedon
Directed by Joss Whedon

In which Tara’s family comes to Sunnydale, intent on bringing her back to her childhood home, prompting Tara to take desperate measures to conceal the truth about her nature…


Status Report

This is an episode that divides the fandom quite a bit, not the least because Joss himself wrote and directed. The issue at hand is Tara and the explanation for her behavior in the fourth season and early fifth season. Specifically, why has she sabotaged spells meant to detect demons, and why does she seem to have something to hide? The strong suggestion was that Tara had a demonic ancestry, or was herself a demon trying to live in the human world.

Joss goes against the grain and ultimately has this demonic legacy turn out to be a cruel deception, thrust upon Tara by her father and the rest of her family to keep her “in line”. The implication is fairly simple: Tara fled this oppressive atmosphere and strove to find her true voice through alternative expression (the goth look, primarily). In the right environment, Tara can flourish, and Willow has been the key to that growth.

All well and good, but a number of fans felt cheated, because the possibility of a demonic legacy was one of the elements of Tara’s character that kept her from being utterly mundane. Tara was brought in to serve a story purpose in the fourth season (facilitating Willow’s self-discovery), and her ultimate purpose was to trigger Willow’s dark side later down the line (initially the fifth season, then extended into the sixth season). Like many latter-day “Buffy” characters, the writers struggled with the question of how to take a plot-driven character and make them something more. Riley and Dawn are other examples.

Ripping away the possibility of a darker legacy might have prevented overlap with Anya’s character, but it also stole away much of the mystery. Tara went from someone with a secret to Willow’s girlfriend, regardless of what this episode might otherwise imply. Beyond providing the trigger for Willow’s fall later in the series, the character had little purpose. One could argue that her normal human nature made her vulnerable enough to be the victim later in the story, but it wasn’t a requirement.

On the other hand, many fans applauded the fact that Tara was a normal person, because they could identify with her desire to fit in and find a place in the world. Tara didn’t have innate powers or some keen insight. She was a normal person trying to do her best to help make a difference. Considering that Xander’s role as the “everyman” had slipped to some extent, Tara was a strong replacement.

Joss is also a self-proclaimed feminist, and he wanted to provide a compelling and positive example of a homosexual relationship, at least so long as the story allowed for it. Willow and Tara become a symbol of how a lesbian relationship could be depicted without resorting to stereotypes, with all the strengths and weaknesses of a normal couple. This episode makes it clear that Tara’s life is far better with Willow than it would be without her.

This is one primary reason why many scenes that deal with magic (and the disapproval of its practice by the Maclays) are a thin metaphor for reactions to homosexuality. The Maclay men are disgusted by the taint of “demon” within Tara, and they use it as an excuse to put her down. There is the implication (largely from Mary Beth) that any woman who resists authority is seen as tainted by witchcraft and the “demon in her”, thus linking female empowerment and self-awareness to evil. There are men who would accuse any strong woman as being a lesbian (especially in politics), so the metaphor is hardly a shock.

Also, the question of Tara’s identity, whether human or some kind of hybrid, pertains to the season’s theme. Just as Buffy is trying to find where the human stops and the Slayer starts, Tara has been suffering with the notion that there is some part of her that is unnatural. Tara gets a sense of closure in this episode that Buffy wouldn’t find for some time. The knowledge that she is fully human resolves one source of psychological stress.

So both sides of the equation, those pleased and those disappointed, had good reasons for supporting their interpretations. Had Joss stuck with his original plan to have Tara die at the hands of Glory, thus unleashing Dark Willow at the end of the fifth season, perhaps Tara’s somewhat mundane nature wouldn’t have felt like a liability. With all that in mind, there is an interesting element introduced in “Chosen”, the series finale, that may place this episode in a slightly different context.

One big question left unanswered by the episode was the nature of the “demon”. For all that the Maclays were horrible people, using the threat of a demon ancestry as a bludgeon, the implication has always been that Tara has some degree of affinity for magic and that it comes from her mother’s side of the family. It can’t all be manufactured by the Maclay men, and it actually makes more sense (and works within the metaphor better) if Tara and her mother did, in fact, have something about them that was unusual.

As seen in “Chosen” and the episodes leading to that finale, the true source of the Chosen Line is not the demonic power inflicted upon the First Slayer by the First Watchers, but rather, a source of pure white magic. Willow has the ability and the power to tap into that source, and it is strongly feminine. It is implied that the First Watchers (and those to follow) feared this feminine power and sought to control it. Thus the paternalistic Watchers controlling the choices of the Slayers under their wing.

Looking at this episode, the Maclay men are quite similar to the Watchers in that regard. Tara and her mother could have been the descendents of those with a connection to the Goddess power behind the Chosen. It would explain her modest abilities, and might even explain why the First Slayer chose to use Tara as an avatar in “Restless”. For that matter, it could explain why Tara and Willow had such a quick affinity for combining energies to accomplish magic together.

While this would give this episode another positive and surprising layer, it also would expose the writers to further criticism. After all, this would result in a character aspect that was never explored by the writing staff, even in terms of building the relationship between Tara and Willow. Instead of noticing Willow’s descent in terms of behavior and choices, Tara might also have noticed that Willow was dabbling in the wrong kind of magic. By retroactively applying the idea of a “Goddess source” to Tara’s legacy, it becomes more and more clear that the writers did very little to develop Tara on her own.

It should also be noted that any criticism of the character of Tara is not a reflection on Amber Benson. Amber did a great deal with the material that she was given, and she brought a unique flavor to the character’s portrayal. In this episode, she manages to convey the depth of psychological duress brought on by her family, and the love between Tara and Willow really shines through. Much of that is Joss and his desire to make that relationship more romantic than romantic (especially in that final scene), but it takes Amber and Allyson to make it work.

The blame falls squarely on the shoulders of Joss and the writing staff, because they began making decisions on “Buffy” based on a love of the characters and a desire to keep them around as long as possible. Everyone beyond the four core characters had a function, and when that function was fulfilled, they should have left the stage. Like Riley before her, Tara was kept much longer than her “normal” nature could realistically sustain. This is one of the episodes that ripped away much of what might have made her viable on her own, unfortunately.

Joss doesn’t just touch on Tara, however. “Family” is definitely the theme, and it plays out with Giles and Buffy as well. With Joyce suffering medical issues, Buffy is beginning to depend on Giles more as a father figure than an actual Watcher. This would play into his concerns about his role in Buffy’s life in later seasons. Riley is also searching for his place. Just as Tara begins to feel like she has a new family, Riley is becoming more isolated. And of course there’s Spike, who struggles with his growing obsession with the Slayer.

For all that, the decision to render Tara completely human is the make-or-break quality of the episode, and looking back at the series as a whole, that was a bad decision. Tara never managed to be a fully-realized character, and once relegated to the support role, she was mostly a living barometer for Willow. One can only watch this episode and wonder what might have been, had Joss resisted the urge to cut against the grain and make all that previous foreshadowing all a big misunderstanding.


Memorable Quotes

BUFFY: “Giles, I noticed you’re doing the smallest amount of helping that can actually be called helping.”
GILES: “Well, I saw myself in more of a patriarchal sort of role. You know, lots of pointing and scowling…”

GILES: “You can’t be more specific about what she’s like?”
BUFFY: “She was kinda like Cordelia, actually. I’m pretty sure she dyes her hair.”
GILES: “Right! That one, of course. Our work is done.”

BUFFY: “Tara’s birthday. We’re at a loss.”
GILES: “You’re in a magic shop, and you can’t think of what Tara would like. I believe you’re both profoundly stupid.”


Final Analysis

Overall, this episode was the source of much disappointment, snatching away some of the more interesting aspects of Tara’s character in the pursuit of an easy metaphor. One of Joss’ few missteps, this episode did much to sideline Tara as a viable character in her own right, and the character never fully recovered. Still, there are good aspects to the episode, so it wasn’t a total loss by any means.

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

Final Rating: 5/10

X-Files 6.10: "Tithonus"

Written by Vince Gilligan
Directed by Michael Watkins

In which Scully is temporarily reassigned to another agent for what seems like a routine case, but as the investigation proceeds, she begins to suspect something unusual is involved…


Status Report

While many of the writers manage to tell interesting stories, Vince Gilligan stands out as the one writer willing and able to handle the subtle changes in character evolution largely missing from episodes of “X-Files”. While most of the writers seemed to embrace the “iconic” versions of Mulder and Scully, Gilligan swam against the stream in “Drive” and this episode, exploring the new status quo in a logical manner, while also threading continuity into an exploration of Scully’s psychology.

At the end of the fifth season, Scully was ready to walk away. Having faced down death and the slow but steady loss of nearly everything in her life, she was forced to consider that Mulder had become her world. In “Fight the Future”, Scully made the choice to leave, but events stole that choice away. Now, she has spent months in career hell, suffering beside Mulder in one thankless task after another. So given the opportunity to step out on her own and pursue her self-interest, what would Scully do now?

This idea was touched upon in “Dreamland”, but Scully wasn’t ready to leave Mulder’s side to bow out gracefully. It was more a question of convincing him that the game was over and the time had come to find a new path. So the basic question of loyalty had been answered, however incompletely: Scully was determined to stick with Mulder. In similar fashion, “The Rain King” delved into her reasoning. For better or worse, the prospect of a life without Mulder was a thing of the past.

Part of that is Scully’s psychology. Scully seeks out a strong authority figure, someone with passion, and wants to be swept along on the whirlwind. If it’s a bit dangerous or unconventional, even better. Yet she will also recognize that such a pattern is not entirely healthy, and she will find a justification (even generate one of her own through rebellion) to exit the situation. This pattern is important because it makes one thing very clear: if the end of the fifth season was about recognizing the reasons not to stay with Mulder and his crusade, then the sixth season touches on Scully’s realization that all those reasons aren’t enough.

That may sound romantic, but from an objective point of view, it comes across as something like Stockholm Syndrome. Scully has become more and more isolated from everything else in her life, leaving Mulder and the cause. Mulder’s insistence that she is the one thing keeping him going could be interpreted as emotional blackmail. Whatever the case, even if the growing emotions are genuine, the relationship is far from healthy.

All of which points back to the central opportunity in this episode: Scully is given the chance to save her career and leave Mulder behind. It is essentially the opportunity she was ready to take a few months earlier. (Timeline considerations are hard to work out in the sixth season, but it’s at least five months.) Having dealt with Kersh and the constant reminders that Mulder is bad for her future, has time worn her down?

It doesn’t help that Kersh tosses her onto a case with an eager young agent like Ritter. Nor does it help that the case feels like a test. Did Cancer Man know that the case had certain elements that would appeal to Scully as similar to an “X-File”, and was she being tested to see if she would abandon Mulder? Considering that Cancer Man wants Mulder and Scully to be together, this apparent opportunity might have been a case of reverse psychology. Offer her a seemingly normal case, force her to work with an ambitious agent, and show her what it would be like to leave Mulder’s side.

If that theory holds water well enough, then it might be interesting to consider why Fellig was at the center of the case. If Cancer Man knew about Fellig and his apparent ability, which could be seen as an innate awareness of the nature of death itself, could he have wanted Scully to encounter Fellig? After all, Cancer Man had conspired to give Scully one of the more advanced control chips, which included the self-repairing aspects seen later in “En Ami”.

The suggestion of the story is that Fellig granted Scully a longer life by diverting death, thus granting her the same pseudo-immortality that he had been experiencing. And that certainly fits into the tease given in “Clyde Bruckman’s Final Repose”. But it’s also been shown that Scully bounced back from death under far more serious circumstances, including the events of “Fight the Future”. So why wouldn’t her faster-than-normal recovery be related, as an effect of the technology implanted in “Redux: Part II”?

It also makes thematic sense for Scully to be the one to encounter and deal with someone who has cheated death. Scully’s life has been filled with death, and yet she continues to escape it. If there is one thing missing from this episode, it’s more of Scully’s consideration of what death means to her relative to her faith. Has that changed since her experience with Emily? Having touched on entities that are spiritual in nature, can she accept the idea of a death figure? What does she think happened in that moment before she passed out?

With so much focus on Scully, Mulder is relegated to the background. Yet Gilligan uses what little time he has with the character to reveal some subtle (yet predictable) advancements. No matter where they stick Mulder, he continues to find ways to work on apparent X-Files, going so far as to break into Kersh’s E-mail. The very fact that he can do this suggests that the case is a set-up; why else would the conspiracy allow that hole to remain open for exploitation? But he also makes it clear that he won’t sit back and let Scully be taken away, which is a very consistent.

In terms of the mythology, one has to wonder if Fellig’s ability fits into the spiritual world of the “X-Files”, which has some fairly complex (if unwritten) rules. In general, it is completely consistent for a non-corporeal entity to be affecting the human population. One need only consider what “Closure” or “All Souls” brought to the table to recognize that. But Death itself? It just doesn’t fit very well, especially if death is depicted as a transition, not the result of predation.

On the other hand, what if some non-corporeal entity was feeding off the dying, and that was what Fellig saw? And what if Fellig had some small measure of the “sentinel” ability to live out an extended lifetime? It could be the intersection of those two unrelated elements, common within the mythology, that would lead Fellig to the assumption that Death had passed him over. Add the likelihood that Scully’s control implant kept her alive and accelerated her healing (a nice touch coming after the previous episode), and everything falls into place.

While this episode is ostensibly a stand-alone effort, it manages to delve into ongoing character evolution, peer into corners of the mythology, all while suggesting an ongoing manipulation by the conspiracy on several levels. Considering that this same level of multi-layered storytelling was last seen in “Drive”, the previous episode by Vince Gilligan, perhaps it shouldn’t have been such a pleasant surprise.


Memorable Quotes

MULDER: “Don’t forget your toilet brush! No...no, ma’am, not you...”

RITTER: “Hey, I’m confused. I thought we were trying to bust this guy, not look for reasons to let him go.”
SCULLY: “I thought we were looking for the truth.”

RITTER: “Are we clear, Dana?”
SCULLY: “Scully…and we’re done with this conversation.”

SCULLY: “Mr. Fellig, I know that you know more about photography than I do, but this is just a lens flare.”
FELLIG: “You’re right. I do know more about photography than you do.”


Final Analysis

Overall, this episode is a good combination of character and mythology exploration, all within a story that could have easily been a stand-alone episode with those important connections. The spotlight on Scully is definitely a plus, but the character insight doesn’t end there. In a season marked by a lack of continuity, this is a blessing.

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

Final Rating: 8/10

Angel 2.5: "Dear Boy"

Written by David Greenwalt
Directed by David Greenwalt

In which Darla’s manipulation of Angel escalates, further isolating Angel from his friends and allies…


Status Report

Much like the “Buffy” episode that aired during the same week, this episode was all about bringing the smoldering plot elements strewn throughout the first few episodes into the forefront. Where the fifth season arc for “Buffy” began in earnest, with many elements left open to question, the second season arc for “Angel” was more or less laid out in this episode. When this one was over, the goals of Wolfram and Hart were fairly clear; the character exploration that resulted was the entire point of the arc.

Following up on Darla’s slow but steady seduction of Angel, this episode takes it to the next level and explores the desired effect in more detail. As a result, the rest of the world around Angel finally gets the chance to react to the subtle changes in his personality. It’s not a pretty sight, especially since the writers finally get around to bringing Kate back into the picture.

As mentioned in many other Buffyverse reviews, one of the primary theories regarding vampires pertains to how the darkest impulses of the human personality translated into the demonic personality. As seen with characters like Spike and Angelus, the prevailing psychology of the vampire appears to be an extreme and twisted version of the worst aspects of the original human. In terms of Angel, Liam wanted to prove how clever he could be, devalued by his family and society. Angelus thus became cruel and unusual in how he would toy with the world around him, gaining infamy in the process.

This is important, because it was something largely untouched in the early seasons of “Buffy” and the first season of “Angel”. The earlier seasons always set a wide divide between the human and the demon. In Angel’s case, Angelus was evil in and of himself. Angel was the human haunted by the deprivation of Angelus, this horrible alter-ego that had taken over his body. But this season arc explores the intricacies of the concept, showing how Angelus was an outgrowth of something within Angel from the very beginning.

That idea was an important response to the end of the first season. If Angel is foretold to be restored to his humanity at the end of the fight, there are metaphorical aspects that come into play. Is this meant literally or spiritually? Overall, it works better from the spiritual point of view, and this season is very important in terms of exploring the part of Angel that fuels Angelus. It’s not the demon, as noted later, but the full depths of Angel’s emotional and psychological anger and bitterness.

As noted, the plan by Wolfram and Hart is to use Darla, as Angel’s obsession for 150 years as Angelus, to bring out the darkness within the core of Angel’s human personality. The theory would be: if the evil within Angel was a seed that flourished in Angelus, how much darkness was actually present in the man? And if Darla was the woman who turned him, wouldn’t she be the best chance at bringing out that darkness again?

The plan definitely works, because despite what Angel might say otherwise, his entire existence is shaken by the possibility that Darla is alive and manipulating him. It doesn’t take very much to make him act out, and Darla is more than happy to see it happen. Julie Benz does an incredible job (with the help of the wardrobe department!) of playing up Darla’s seductive side, but she’s equally effective at portraying Darla as the wounded ex-wife, returning with a vengeance.

After all, Darla was the center of Angelus’ universe for a long time, and a lot of his choices were made to live up to her expectations. It was bad enough when Angel’s soul was restored, but then Angel chose Buffy over her. There are few rejections more crushing than a stake to the heart. Darla is the woman scorned, and this is not only her way of getting back a pound of flesh, but stealing Angel back from Buffy.

One key to the larger season arc is dropped in this episode, in terms of Angel’s curse and how it works. In the second season of “Buffy”, the emphasis was on sex as the trigger for Angelus’ return. However, the true condition was “a moment of pure happiness”, which is something else entirely. Angel makes it clear that he never loved Darla, no matter how heated a passion they felt for each other. So the stage is set for the moment, later in the season, when Angel and Darla have sex, without Angelus being unleashed.

Like Wesley and Darla before him, Gunn demonstrates his willingness to take Angel down if he should return to his evil ways. This is also an important element of the season arc, because if his entire team is willing to take that measure, then the later decision not to stake Angel becomes a sign that the team does not believe he has fully reverted. It also sets them apart from Kate, who has little patience for the nuances of the situation.

Kate’s journey has taken some interesting turns by this point, and by making her one of Angel’s opponents, that dynamic is a lot better than the first few episodes would have indicated. Her reaction to her father’s death has led her to a Mulder-esque fall, which has led her to blame Angel for every bad thing that happens. It doesn’t matter whether or not Angel could have prevented the deaths or foreseen the danger.

It’s not unlike shooting the messenger, but it pertains to the season arc in a number of ways. Kate’s animosity eliminates one source of cooperation from Angel’s world, which serves to isolate him even more. More importantly, Kate’s attitude foreshadows what would happen later in the season, as Angel makes the direct choice to allow people to be killed. Where does one draw the line? At what point does Angel’s culpability begin? It is a question that would continue to be explored right up until the end of the series.

Dave Greenwalt always had a strong sense of Angel and his psychology, and this episode hits at the heart of what the second season would accomplish: transforming the series from a noir-heavy action piece into a study of redemption and the demon within. The strength of the second season is reflected in this episode, especially in terms of the foreshadowing and plot development. This is a stepping stone to some of the disturbing yet rewarding episodes still to come.


Memorable Quotes

CORDY: “It’s not like you just hit me in the head and WHAM, it happens!”
WESLEY: “What if we test that theory with one of my big old books?”

GUNN: “My uncle Theo always said: never buy a dull plow and never get it the middle of a religious war.”
CORDY: “You really have an Uncle Theo?”
GUNN: “No, but it’s still good advice…”

CORDY: “Angel? What’re you…what’re you? Personal bubble…personal bubble!”

ANGEL: “I saw her! I’m not crazy!”
WESLEY: “Where?”
ANGEL: “Right between the clowns and the big, talking hot dog!”

WESLEY: “Angel, you can’t just…sniff a person a know-”
ANGEL: “You had sex last night with a bleached blonde.”
WESLEY: “Good Lord, how’d you-”
CORDY: “That’s unbelievable…I didn’t think you ever had sex!”

ANGEL: “It’s been a long time since I said this to anyone, but you can scream all you want.”
DARLA: “Oh, I’m not gonna scream…”


Final Analysis

Overall, this episode was the first of the second season to address the season arc directly, and it set up many of the important plot elements in the process. The relationship between Angel and Darla is full of passion, good and bad, and that dynamic shines through. This is a major step in the transformation of the series that would be complete by the end of the season.

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

Final Rating: 8/10