Heroes 1.10: "Six Months Earlier"

This episode is, for all intent purposes, the “Heroes” version of a “Lost” flashback. Instead of focusing on one character’s past history, the writers explore the underpinnings for a number of established plot threads. The result is a laundry list of revelations about the world of “Heroes” and why events unfolded as they have.

Perhaps most importantly, we see how Sylar emerged as such a threat. In a nice touch, it’s Mohinder’s father who essentially triggers the killing spree by clueing one of the super-humans into the mechanism of his own power. Add in a little mental instability and it all makes a sick sort of sense. Comic book fans might consider this too close to the “Rising Stars” concept for comfort, but the idea is an old one and the series puts an interesting twist on it all.

One could draw several similarities between Peter and Sylar, for example. Peter temporarily absorbs the powers of those around him, but the transfer also seems to be psychological in nature. To some extent, he may even control the person that he’s linking with, which would explain Nathan’s accident. Compare this to Sylar’s ability to see how the super-humans achieve their abilities on a cellular level and then “fix” himself to “absorb” those abilities permanently. Sylar is reminiscent of Rogue from “X-Men” in that regard (just a lot less attractive).

Mr. Bennett’s activities are still shrouded in mystery, but it’s now confirmed that he’s been working on study of the super-humans for a very long time. Also, many abilities were in place before six months ago; some just became more pronounced. The implication of this episode is that Mr. Bennett only went after Mohinder’s father once Claire was identified as a potential subject for study. Otherwise, he seems intent on monitoring and controlling the super-humans, even if his efforts are thus far incomplete.

Hiro learns another important lesson about his abilities. The process was more than a little painful, especially for those of us who liked Charlie and thought the two of them were adorable together. Hiro now understands that there are limitations to his ability to alter time, at least at his current level of control. It should be interesting to see where that realization takes him.

We also get some additional information on Niki and her bizarre situation. The split personality explanation still holds water, since Niki could have repressed all of her worst memories, eventually developing an “evil” twin after the prompting of her father’s return. But a more bizarre possibility also comes to mind: what if the twin sisters had some kind of combined ability, a strong connection, that allowed Jessica’s consciousness to survive within Niki?

Considering that there was also some interesting character development for Matt (his dyslexia was unexpected, but it’s a nice touch for a telepath) and a number of interesting connections were made along the way. With Hiro back in the “present”, the writers can focus on moving the plot threads forward and upping the stakes.

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

Studio 60 1.10: "B-12"

Of all the overused plot elements in the history of storytelling, the “baby plot” has the worst reputation. While pregnancy can be mined endlessly for dramatic purposes, the addition of a baby to a story tends to result in severe limitations. More than one series has been killed by a “baby plot” as a result. “Alias” is the most obvious example in recent memory, but there are countless others.

Considering how much “Studio 60” has struggled to find the right balance since the pilot, it’s hard to understand why they would choose to incorporate Amanda Peet’s pregnancy into the series. While one could argue that the series is already sitting in “lame duck” status and that Aaron Sorkin is running with the “one year to live” idea mentioned by Jordan in the previous episode, there’s little reason to make the situation that much worse.

Sorkin also risks annoying the audience by using a tired writing trick to make it happen. He makes Jordan live through cliché after cliché, but to cover it, he has Jordan note that she’s living up to those clichés. It doesn’t really work, and the whole situation just feels rushed and sloppy. Are we to believe that Jordan’s growing lack of fire and focus is some kind of hormonal issue? Wouldn’t that be just a bit insulting?

If that had been the only disappointing aspect of the episode, it would have been easy to overlook. Unfortunately, a number of items fell flat. While the B-12 shot connection might have been subtle, it was run into the ground during the bit between Matt and Danny. Matt’s idea about “Spit Take Theatre” was just plain silly, even if it was a last minute attempt to salvage the show. In fact, none of the sketches were more than mildly amusing. (Though the reference to Union, NJ made me smile…was that a shout-out, Mr. Sorkin?)

There’s also the running gag of Harriet’s inability to tell a simple joke. Sorkin has struggled since the beginning to place Harriet on a comedic pedestal, with every script being about how influential and funny she is. So why can’t this “genius comedienne” tell a simple joke? Harriet does not come across as someone with overflowing talent, and this has hampered the suspension of disbelief in the success of the show.

There were some positive aspects of the episode. Nearly everything related to the writing staff and the visiting guru was spot on, especially the choice application of “metaphor”. The structure of the show was a lot of fun, slowly revealing the context of the scenes from the teaser over the course of the episode. And any amount of Jack seems to be a highlight. But the bulk of the episode missed the mark.

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

Final Rating: 6/10

Prison Break 2.13: "The Killing Box"

Written by Zack Estrin
Directed by Bobby Roth


As the second season hits a relatively short hiatus, the writers manage to bring a number of plot threads to interesting cliffhangers. Not all of the story elements get the time they deserve, but that comes with the territory. The episode is treated more like a typical episode than a “fall finale”, but that actually works better from a structural point of view. The real fireworks should come in the next few episodes after the hiatus.

The big twist in this episode might have been predicted by some fans, but it may not be as simple as it seems. Kellerman appears to be turning on his former allies, but what if his goals are more complex? It’s hard to speculate with a series like “Prison Break”, but wouldn’t it work to Kellerman’s favor if he appeared to be helping Michael and Lincoln?

Kellerman has been strongly motivated to restore his place in the president’s confidence. He was willing to take out Sara to achieve that goal, despite his own complex (and warped) affections for her. On the verge of being retired himself, how could he turn things to his advantage? By helping Michael and Lincoln escape, he can eliminate the problems of William and Mahone (his direct competition) and, if successful, convince Michael and Lincoln that he can help them use the information Sara has to bring down the conspiracy. And wouldn’t it be a coup for Kellerman to get everyone in one place?

Leaving speculation aside for the moment, it’s doubtful that Mahone is actually dead. It would be a mistake to build up the character as such a threat, complete with a complicated back story, just to kill him so abruptly. Unless the writers have been taking lessons from the poorly organized staff on “24”, there’s no reason to toss a shocking death into the story at this point. Until his death is confirmed, I have every reason to think that he will remain a strong presence in the future.

T-Bag continues to succeed in his plot for revenge, and the writers give him some surprising depth in the process. It’s no surprise that he ends up killing more people along the way, but his regrets seem sincere. Is it possible that his intentions are not what they seem? T-Bag has become the kind of character the audience loves to hate, so where could the writers take him that would qualify as a surprise? I can’t help but wonder if Theodore will attempt a reformation of sorts, only to have it end badly, echoing his previous experience.

Bellick’s plot thread still seems a bit pointless, beyond the obvious karmic qualities. At the same time, I can’t help but believe that it will eventually tie into the big picture, justifying the time spent on the story. Certainly it gives the writers an opportunity to reveal information about the new warden, who promises to be important in future episodes. Similarly, Sucre’s escape will likely factor into the rest of the season arc, though there’s not much to speak of in this episode. With so many balls still in the air from previous episodes, the writers should have their hands full when the series resumes in late January.

(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://velocitytv.libsyn.com if you want to listen!)

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

Final Rating: 8/10

Heroes 1.9: "Homecoming"

Written by Adam Armus and Nora Kay Foster
Directed by Greg Beeman


After a great deal of foreshadowing and plot escalation, the moment has finally come to save the cheerleader and save the world. Oddly enough, without the massive promotion given to this episode, it would feel much like any other. The pacing is just about the same, and the serialized nature of the plot is so complex that the idea of an “event” episode, even during sweeps, is somewhat misleading.

Yes, Claire is huge part of the episode, and it would be easy to get lost in that sweet and gorgeous smile. It would be just as easy to focus on Peter’s heroic battle with Sylar and how it marks an important turning point in the series. But while the writers treat this with appropriate focus and portent, it’s not oversold. Sylar’s capture will serve to expose more about Mr. Bennett’s organization, and now Claire is ready to accept her abilities, but beyond that, there’s no obvious connection between saving Claire and saving the world.

I’m a little concerned about how the writers will deal with Peter. In a relatively realistic setting, it would take very little time for the police to determine that Peter wasn’t involved in the killing. So if that doesn’t happen, it could be a problem. One way to complicate matters would be for Mr. Bennett to ensure Peter is detained under shady circumstances. This, in turn, could lead to some interesting issues with Peter. After all, he does have a somewhat unsettling side, and he could be pushed into a less heroic direction.

Claire’s plot thread is obviously important, but as mentioned, it’s only one of many plot threads handled in the episode. Mohinder comes to an important realization about his father’s research, and he’s now poised to become a uniting factor for the heroes over the course of the rest of the season. It’s now abundantly clear that this emergence of superhuman abilities is not a small event; there are an awful lot of them out there, and it’s been at least one generation since it started.

I’ve said before that I think that Jessica has been around longer than six months, but that something changed, strengthening her presence within Niki in tandem with the development of her enhanced strength. The more we see of Jessica, the more I’m sure of it. She demonstrates a degree of knowledge and control that would not otherwise be present. So how long has Jessica been lingering in Niki’s mind?

The writers have brought up a number of questions over the past several episodes, and it’s about time that they start explaining things. Hiro’s plot thread actually may serve that purpose. Characters have mentioned that the abilities began to emerge about “six months ago”, and sure enough, Hiro has jumped six months into the past. With Charley’s ability to remember almost everything in extreme detail, with the subconscious ability to process that information into practical application, she could help Hiro in any number of ways.

This is also a natural way to explore, beyond Hiro’s direct experiences, what happened six months before the pilot. There’s no reason why the writers couldn’t show the audience what was happening while Hiro was getting to know Charley. And that would be the perfect opportunity to clarify the context for a lot of the characters already seen in an unusual and creative manner.

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

Prison Break 2.12: "Disconnect"

The previous episode brought a number of important plot elements to the forefront, and this installment is all about the consequences. There are transitional elements to this episode, but there are also a number of important revelations. That mixture keeps the story moving at a blistering pace, and also helps to keep the disparate nature of the plot threads from getting too confusing.

We get a little more insight into the genesis of Michael’s psychological issues, and it’s not pretty. I suppose some fans speculated at an abusive childhood for Michael, based on his emotional problems, but this went a little further than I thought it would. In a nice touch, young Michael met the challenge of imprisonment by searching for a means to escape. More to the point, pushed to the limit, Michael fought to survive.

Michael could have fallen into despair at the death of his father, especially since it fed into his growing sense of responsibility for the pain and suffering that has resulted from his plot to free Lincoln. He didn’t really want to hear Lincoln’s counterargument that the conspiracy was ultimately responsible for everything, after all. But the instead of trying to run and hide, Michael has decided to put an end to the entire situation.

If one considers the true “prison” to be the threat of the conspiracy, then Michael is now doing the one thing necessary to escape that prison. It’s not enough to run away; the “prison” of the conspiracy would still be there. Michael and Lincoln would never be free from the possibility of danger. The only way to regain freedom is to bring the conspiracy down. So Michael is now dedicating his efforts to eliminating that “prison”.

I was hoping that Mahone would be turned against his controllers, but that’s much less likely to happen now. In fact, the writers are going to have to pull off quite an impressive bit of plotting to make survival even remotely plausible. Mahone really has Michael and Lincoln at his mercy. It would be all too easy for the writers to give Michael an easy way out.

Michael’s plot thread covered a number of crucial revelations, allowing the other plot threads to move along at a more natural pace. Most importantly, Sara manages to get away, showing more of that impressive resolve in the process, and her escape puts Kellerman in the worst possible situation. Similarly, Bellick ends up getting a more fitting reward for his troubles than I would have expected. I hope this isn’t the end of his story, but if it is, his apparent future date with a prison cell is a sweet turn of events.

Not everything worked so well. I thought that the lack of T-Bag was an oversight, though it would have been difficult to add more to an already packed episode. Perhaps it would have been better to focus on T-Bag instead of C-Note. C-Note’s story isn’t nearly as compelling as the rest of the episode, and it all hinges on an annoying plot contrivance. While that’s nothing new for “Prison Break”, in this case, it was an unnecessary distraction from much better material.

(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

Studio 60 1.9: "The Option Period"

In an odd move, Sorkin decided to make this episode something of an epilogue to his “Nevada Day” two-parter. The surprising thing is that it works better than the two episodes that came before it. The pacing is much better this time around, and by the time the episode is over, the audience is left reeling at how quickly things have gone from bad to worse for Matt and Danny.

If Sorkin dealt with the mass exodus of his writing staff on another series, I have no knowledge of it. Unfortunately, it seems like the extreme but logical consequence of Matt and Danny’s return to power. As Ron said, Ricky was essentially ruling the roost before Matt came back, and for better or worse, that should have granted him a conversation about the future, if nothing else. Instead, he was beaten down professionally and personally. It’s easy to see why he’d be able to convince the senior writers that they were equally undesirable.

I imagine that the success or failure of Peripheral Vision Man will continue to fester in the background, especially if Studio 60 begins to falter from the lack of creative diversity. With Matt focused so strongly on the writing and his relationship to Harriet, it falls to Danny to keep things in order. But it looks like Danny is distracted by a desire to help Jordan keep her job. Part of the fun is watching them do this high-wire act, but I see some painful moments ahead.

I’m beginning to fall in love with Jordan as a character. It doesn’t hurt that Amanda Peet is easy on the eyes, but it’s more her attitude and apparent naiveté. Was Jamie Tarses like this in the real world? She seems genuinely shocked at the prospect of being fired so soon, all while displaying a powerful stubborn streak and a lack of social skills. It doesn’t quite fit with the polished and confident Jordan from the pilot, but I think I like this more. I’m just a little worried that the decision to incorporate Peet’s pregnancy will derail the character development.

While the inspiration for the mass exodus of the writing staff or Jordan’s personal struggles may be not clear, the inspiration for the subplot involving Harriet and the lingerie shoot is all too obvious. Just as the fallout from Harriet’s gay marriage statement was an echo of something that happened to Kristen Chenoweth, the whole lingerie shoot issue seems all too similar to the discussion and criticism of Chenoweth’s decision to pose for FHM. It’s a little disappointing to think that Sorkin is still using this series as an expensive outlet for wish fulfillment.

(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: 2/4

Final Rating: 8/10

Battlestar Galactica 3.8: "Hero"

Written by David Eick
Directed by Michael Rymer


The first time I watched this episode, I was not pleased. I thought it violated some basic aspects of the established continuity, especially in terms of what the Colonies knew about the potential for a Cylon strike. I also found the whole situation with Bulldog to be overly contrived. After all, it makes little sense for the Cylons to send Bulldog back to the Colonials at this point. Why wouldn’t they try to destabilize things prior to this point?

I was also annoyed by the timeline issues. If Adama has been in the fleet for 45 years, then he’s running up on 65 years old at this point, and I never would have expected that. Also, based on the information contained within the episode, he would have been assigned to Galactica about 2.5 years before the Cylon strike. So how could he have been on the Valkyrie a year before the strike? It all felt a little sloppy and ill-conceived, an attempt to blur the lines of responsibility for the genocide.

However, I had an opportunity to watch the episode a second time, and I realized that the writers were focusing on something a lot more interesting. As Roslin points out rather clearly, Adama is shouldering the blame for something that had already been in motion. Recalling the mini-series, the Cylons had been infiltrating the Colonies for years before the strike. More to the point, the Valkyrie incident proves that the Cylons were preparing for the strike. They found the stealth Viper so quickly that they were either patrolling the armistice line to eliminate any “spy planes” or they had a mole within the Admiralty. For that matter, the Admiralty’s plan could have been contrived to supply the Cylons with a handy justification, if things went awry.

So it’s quite possible that the Cylons knew who Bulldog was and that his “rescue” would do an awful lot to shake everyone’s confidence in Adama if the truth came out. It still seems a bit odd that they would use such a plot, especially one that could be so easily debunked, but the Cylons have been seriously affected by recent events and they seem to be reaching for a greater purpose.

D’Anna, after all, seems to be touching on something unusual and unexpected within the Cylon subconscious. It would appear that her discussion with Baltar shook her to her core, and perhaps that opens up the door to revelation. It’s interesting that she encounters something metaphorical in between life and death, especially since she gets a glimpse of five unseen figures. Could these figures be related to the five remaining Cylon models?

The writers reach for a connection between Bulldog’s escape from the Cylons and Tigh’s escape from the cage of his own self-loathing, but it doesn’t quite come together. For all that, the episode does give Adam and Tigh a reason to sit down and work out some of their issues, and that’s a neat bit of progress for the character arcs. Much like Adama in the second season, Tigh is trying to figure out how to deal with the world again, and it’s a long and fascinating process.

Unlike some of the weaker episodes of the second season, this is the kind of episode that challenges assumptions and focuses on character without frustrating the audience or falling apart under inspection. It’s now clear why Adama was so concerned about the prospect of a Cylon return in the mini-series, and it once again echoes the underlying question: are the survivors worthy of that survival? The answer, thankfully, remains unresolved.

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

Smallville 6.8: "Static"

Written by Shintaro Shimosawa and James Morris
Directed by James Conway


This continues to be the most surprising season of “Smallville” in quite some time, and considering that the end of this episode was spoiled by the media long before it aired, that’s saying something. It’s often difficult for a series to take substantial measures to improve storytelling this far into its run, so it’s quite enjoyable to see such a consistent effort.

While this episode focuses on the “classic” cast, the sixth season arc elements are at the center of the story. Clark is beginning to distinguish between those worthy of his attention and heroics, and that opens up some interesting psychological ground for exploration. Clark is definitely responsible for the actions of the “zoners”, so it makes sense for him to make that a priority. But Chloe is understandably surprised that Clark would dismiss Lex’s situation so easily.

Clark does a capable enough job of investigating the situation with the zoner, and it’s fun to see him deal with a threat that’s immediately out of his league. The writers also go in an unexpected direction by having Clark rescued, after a fashion, by a completely unknown hero with abilities that rival his own. Chloe echoes the obvious conclusion: sometimes a hero needs to work with someone else to overcome a threat. Tied in with the ongoing Oliver Queen plot thread, this is an obvious precursor to the formation of a team or, dare I say, “league” of super-heroes.

Chloe is rightfully concerned, because if Clark begins worrying over global issues, it would be easy for him to distance himself from his loved ones. And one of the conflicts of the whole “Superman” mythos is the disconnect between a savior from those being saved. If Clark loses that human connection, he could lose sight of the moral underpinnings of his actions. How he arrives at the right balance is an important stage of Clark’s development.

With Clark out of the picture, Chloe and Jimmy get to play hero and save Lex. Lex’s situation is interesting, because he finds himself in a peculiar state of existence. Oddly enough, in the field of paranormal research, some have noticed that there is a difference between normal human electromagnetic field frequency (50-60 Hz) and apparent paranormal electromagnetic activity (30-40 Hz). This episode may have been based on that idea, especially since Lex seems to be struggling with a ghost-like existence.

Of course, while Jimmy uses equipment to pull Lex’s voice out of video recordings (something done in actual paranormal research), his solution to the problem is an annoying mash of technobabble. Granted, on a show like “Smallville”, solutions are going to be relatively fantastic in nature, but this felt a bit more contrived than usual.

While the media focused on Lex’s proposal, the more interesting development is Lana’s insistence that research be done on those affected by the meteor rocks. Her justification is quite correct, given her experience and level of knowledge. Not being aware of Clark and his intervention, she has every reason to feel victimized by a growing population of mutated threats. This gives Lex a reason to disclose his activities to Lana, and more to the point, she becomes another strong driving force in his somewhat unethical practices. If the writers deal with that development well, then this season should only get better.

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

Supernatural 2.8: "Crossroad Blues"

Written by Sera Gamble
Directed by Steve Boyum


After taking a break from the fallout of John’s death for the past couple of episodes, the writers snap right back into familiar psychological space in this installment. Since the series doesn’t like to leave plot elements by the wayside, the previous episode is not ignored. Dean is now present in local and federal crime databases, and that makes the job a little harder. Logically, one would expect that fact to become more important over time.

In this case, however, the story quickly turns back to the idea of deals with the devil. As many noted after the season premiere, the Brothers Winchester are smart enough to realize that John’s death was linked to Dean’s miraculous recovery. Dean already voiced his suspicions, but now they face a situation where Dean is tempted by the possibility of changing the state of play.

This season continues to excel at using urban legends as a conduit for character study, and this episode is no different. The supernatural aspect is simple: a deal with a demon gives you 10 years of whatever you desire, but in the end, the hounds of hell come calling. It doesn’t hurt that the demon comes in the form of a gorgeous young woman, eager to seal the deal with a kiss (at the very least).

Sam is intent on saving people from the choices they’ve made. Even if they summoned a demon and knew what they were getting into when they did it, Sam wants to give them a chance to escape the consequences. The underlying thought process is questioned but never really exposed, but it might have something to do with the fact that Sam has a personal understanding of what it means to be caught in the middle of a demon’s intentions.

Dean, on the other hand, feels guilty over the fact that John sacrificed his life (and perhaps even his soul), making a deal with a demon in the process. Dean transfers a lot of his own self-loathing onto those who happily benefited from the intervention of a demon, only to balk at the cost. Given how much guilt runs through his veins, it’s no surprise that he would be tempted at the thought of “correcting” his father’s “mistake”.

I like how those emotions were left unresolved at the end of the episode. Sam is aware of how deeply scarred Dean is, and he’s also aware that Dean is standing on the edge of a cliff, capable of making some very stupid decisions if pushed too hard. Add that to Sam’s ongoing worries over his own stability and nature, and the Brothers Winchester still have plenty of issues to overcome.

(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

Studio 60 1.8: "Nevada Day: Part II"

Written by Aaron Sorkin, David Handelman, and Cinque Henderson
Directed by Timothy Busfield


Much like the first half of the story, this episode is a mixture of the positive and negative aspects of the series. The character development is definitely good material, and while the absurdity was dialed back a little bit to allow for a relatively simple resolution to Tom’s situation, there were still plenty of moments dedicated to classic misunderstandings and perfect comic timing. The lingering drawback was, as usual, the heavy-handed treatment of the “gay marriage” issue.

I like the fact that Tom was trying to cover for his brother, especially after learning how complicated his family situation has been in earlier episodes. As I mentioned in the review for the previous episode, this gives Tom a self-sacrificing personality that marks him as somewhat unique. I look forward to more exploration of this character and his complicated psychology.

I’m sure that some of the conflict between Jack and Danny hinges on the nuances of network television, but there’s enough context to make each confrontation worth the time. In fact, Jack and Danny have one of the most interesting relationships on the show, and it helps to keep Jordan’s high-wire act from being completely inexplicable. The situation certainly seems primed for Danny and Jordan to work together more and more, which is something to look forward to for many fans.

Matt may not be the management type, but when push comes to shove, he gets the job done. It gives him a bit more depth than the simplistic “Sorkin stand-in” role that he was initially given. Unfortunately, for all his good moments in this episode, he’s stuck in the middle of another endless dialogue about gay rights and Harriet’s comment, which is repeated often and with a lot of emphasis.

The problem isn’t that the show tackles complicated issues. As I’ve said before, any good sketch comedy show should be taking on the sacred cows and controversies of the general public. When the conversations feel natural, in character, and in context, then it works. In this case, however, a lot of Matt’s dialogue sounded like the writer preaching to the audience. There is a middle ground, and in episodes like “The Long Lead Story”, the writers managed to strike that balance.

This was a good episode, and by the end, I was still looking forward to the idea of more episodes. I still think the series is trying to find its voice, however, and the past two episodes are a good example of that. From what I understand, the focus will be shifting more towards character, and if that means more depth for the cast, I can’t complain. I only hope the preaching can be retooled into something a little more subtle.

(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

Ghost Hunters 3.6: "Attack of the Irish Elemental"

Case #1: Leap Castle, Ireland


Well, here we are, the mid-season hiatus. I know a lot of fans are annoyed at the scheduling, but it’s hardly surprising, since SFC has been doing this with almost every series on its slate over the past few years. But it does make it harder for the network and production company to find a solid episode to mark the end of the fall episode run. One is left wondering if the editing in this particular episode was designed to play up the drama for that exact reason.

At this point, I think it’s clear what the third season dramatic arc will be. In the second season, the editors had a field day with Brian’s personal issues, and they tried to pull together something of a story arc around it. It was easily the worst element of the second season. This time around, I’ve noticed that they won’t stop mentioning that Dave Tango is hungry for a personal experience with the paranormal.

Here’s my problem with this. It’s one thing when they take a person’s real world troubles and play it up a little through editing and staged scenes. It’s annoying, but it’s a version of something that is relatively harmless. On the other hand, if the third season is playing up Tango’s desire for a powerful paranormal experience, it follows that he must eventually have that experience. And since paranormal activity is notoriously random and rare, if that does happen, skeptics and naysayers will have a field day claiming fakery for the sake of drama.

At any rate, this episode highlights the Irish contingent of the TAPS Family. I must say, I’m less than impressed. Granted, Barry Fitzgerald fits the mold of a traditional Irishman quite well, and I wasn’t at all surprised to learn that he takes elementals and other such folklore seriously. For the Irish (and truly, many Gaelic/Celtic peoples), lore of the faerie folk and Otherworld is taken as seriously as Catholicism.

For that reason, I wasn’t particularly surprised that Barry was “assuming the result” when stepping into Leap Castle. I was just a bit shocked that Jason, Grant, and the rest of the team fell into the step with it so quickly and completely. There were a couple times when Jason and Grant looked at Barry like he was going insane, but they all seemed to be falling into an uncharacteristic hysteria.

The Evidence

Unlike the first season, where we saw Frank getting smacked down by his own soundboard, Dustin’s experience is completely off camera. So it’s a little harder to take seriously as proof of paranormal activity. His reactions appeared to be authentic, but I can already hear the skeptics ripping into that part of the show. Similarly, all that talk about the “face with a beard and hood” took up a lot of time, but without anything on camera, it’s not particularly substantial.

The EVPs were interesting, but the only one that struck me as impressive was the wailing woman. If it was English (and I have my doubts), then I think it says, “Oh God, (two unintelligible words)”. Neat, but not exactly proof of a haunting.

I also noticed something that wasn’t mentioned at all on the show. When Dustin was describing his experience, I heard an odd mish-mash of conversation in the background. I hit the rewind on the TiVo twice to confirm it. It didn’t sound like normal background chatter, and while it could have been added in post, I’m still not convinced. I’d love to hear any thoughts on that one.

Much like the previous episode, Jason and Grant conclude that the site is haunted despite a relative dearth of data or evidence to support it. While the episode was definitely entertaining, the questionable depiction of the personal experiences made it hard to follow the logic.

Chill Factor: 8/10

Studio 60 1.7: "Nevada Day: Part I"

Written by Aaron Sorkin and Mark McKinney
Directed by Leslie Linka Glatter


As I write this review, somewhat belatedly, I am armed with the knowledge that the series has been given a full season order. I still have my suspicions that the network will cancel the show before the first season concludes, but at least the production staff will get the opportunity to make a solid case for the series’ survival.

This particular episode, the first in a two-part story, continues to highlight the series’ pros and cons. On the positive side, this was one of the funniest episodes yet, with some wonderfully absurd elements. By starting the episode in the middle of the story, the writers gave the audience a reason to see how everyone arrived at this unlikely moment. The result was an amusing escalation from the relatively mundane to the truly bizarre.

Tom is beginning to stake his claim as an interesting character, even if he works best as a straight man for Simon. He also demonstrates a capacity for self-sacrifice when it comes to his friends. He’ll stand up for them and cover for them. Not every character has to be massively demonstrative, after all.

Jack also figures prominently in the episode, and as usual, his scenes are some of the most entertaining of the hour. In particular, he brings a certain realism to the business end of the story. How many of us know management with this kind of cutthroat attitude? Watching him stew in his own juices is just plain fun, and Steven Weber has one of the best sarcastic line deliveries in the business!

Unfortunately, most of the drama in this episode hinges once again on the exploration of religious, political, and social issues. It’s beginning to get a little tiresome. While a sketch comedy is going to have to attack sacred cows to be relevant, the situation in this episode seems a bit forced. Every time the issues creep into the story, I find myself losing patience.

Similarly, the fight over the use of “Jesus Christ” in a manner other than referring to Jesus Christ is funny at first, but the resulting sketch is hardly the “comedy gold” that Matt and everyone else seems to think it is. As with most of the comedy sketches so far, it sounds awkward rather than clever. In fact, if anything, the situation with Tom would make a very funny comedy sketch, if handled properly, which is why it seems odd that the writers can’t produce one in the proper context.

(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

Heroes 1.8: "Seven Minutes to Midnight"

Written by Tim Kring


The past few episodes of “Heroes” have been transitional in nature, ramping up the various plot threads towards the inevitable confrontation with Syler and the apparent rescue of Claire by some of the other “heroes”. Transitional episodes are often tricky, as I’ve mentioned before, because a lack of resolution leaves the audience with the impression that the episode is “unfinished”. But sometimes the process of generating tension works well enough that the episode is greater than the sum of its parts.

In this case, we have several plot threads advancing all at once, widening the scope of the story while giving the overall universe more definition. In particular, new “heroes” are introduced with connections to the main characters. Eden turns out to be something of a siren with a hypnotic voice, which fits the look and feel of the character very well. Charlie has developed an intuitive version of eidetic (“photographic”) memory, as well as a quick rapport with Hiro. Either Mohinder has an ability to see through time in dreams, or the young boy in his father’s file has that ability and is helping him. While this could be seen as a dilution factor for the series as a whole, each introduction helps to shed light on the “heroes” phenomenon.

This episode also brings the plot closer to two crisis points: the attack on Claire and the destruction of New York City. The impending attack on Claire helps to bring a number of plot points to light. It’s now clear that Mr. Bennett has been studying the emergence of the superhumans for well over a generation, and he has developed a means of bringing out a latent ability, perhaps as an initial step towards allowing individuals to gain more control over their powers. The implication is that Mr. Bennett knows that something is happening and he’s part of an effort to control its progress by any means necessary.

This ties into Matt’s attempt to find common ground with Ted, the unstable “nuclear man”, because both men seem to have enhanced abilities after their run in with the Haitian under Mr. Bennett’s employ. Ted has serious control issues, and it’s not hard to imagine that he will accidentally explode in the middle of New York City, causing the future event that Hiro is trying to prevent.

Overall, this episode begins the process of peeling back the layers of the story while setting the stage for a confrontation in the next episode. Syler is striking out again, and this time, there are forces in place to prevent his success. This may be a transitional episode, but the rising tension gives the story more than enough heft.

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

Prison Break 2.11: "Bolshoi Booze"

Written by Monica Macer and Seth Hoffman
Directed by Greg Yaitanes


With this episode, the second season of “Prison Break” hits the midpoint, which is traditionally when the complication phase hits a major turning point with a huge plot twist. In this case, the writers provide the solution to a long-running mystery, introduced in the first season as an important element for the post-escape plan. We now know what “Bolshoi Booze” means, and it works well within the context of the story.

Perhaps more important was Michael’s moment of realization, where he finally begins to realize the cost of his plan to rescue Lincoln. His psychology doesn’t allow him to dismiss the consequences of his actions, and knowing that the cost will continue to rise, he struggles with the need to resolve those consequences. This was something that I was waiting for since the beginning of the season, and it was good to see it integrated into this story.

A lot of subplots come together at the end of this episode. Certainly Michael and his father will have some words in the near future regarding his activities in the first season, and they have a vested interest in running to Sara’s rescue. The explanation about the flash drive and the evidence of Lincoln’s innocence holds water (and for now, it’s all fitting together well enough), then it should all come down to Michael and Mahone facing off over its possession.

Speaking of Mahone, there’s now a hint that he could be turned against the conspiracy, if resources were available to protect his wife and son. Michael’s father has a small but capable organization, one that could protect Mahone’s family easily enough. After all, the conspiracy can’t be watching them too closely, or Michael wouldn’t have gotten the chance to speak with Mahone’s wife. It could be fun to watch Mahone undermine his own investigation team, especially since they are beginning to question his motives.

Sara is definitely going through the wringer in this episode. Kellerman is about as creepy as it gets, with his mixture of violence and affection. Sara may have decided to put Michael and the truth behind her, but when push comes to shove, she’s willing to die for it all. This is one of the better moments for the character this season, and if she survives, her reluctance to help Michael will probably transform into steadfast purpose.

Overall, this is probably the best episode of the season in quite some time. The narrative is clearly building towards the cliffhanger to come with episode 13 (the fall season finale), but this is satisfying because of the culmination of so many lingering plot elements. The writers still need to address the fact that the characters are spread out so much, but for now, the season seems to be back on track.

(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: 2/4

Final Rating: 8/10

Battlestar Galactica 3.7: "A Measure of Salvation"

Written by Michael Angeli
Directed by Bill Eagles


Coming on the heels of a relatively controversial episode, this installment focuses squarely on the viral infection of the Cylons and the moral consequences of using it against the enemy. There’s also more than a little torture and manipulation along the way. The result is a fairly strong episode that continues to turn the season arc in a more complicated direction.

The least effective element of the episode is the description and execution of the virus afflicting the Cylons. Making it a biological virus is an interesting touch, because it reveals that the Cylons are at least partially biological and that the biology is sufficiently close to human biology for a contagion designed to affect humans to affect the Cylons. (This also helps explain how Helo and Sharon were biologically capable.)

At the same time, the idea of a virus replicating itself through the resurrection process is hard to swallow. How does a human-based virus mutate into something that has a data-based component? It’s far more likely that the Cylons are assuming that the virus could kill them all, and the Colonials just run with the ball. After all, they assume that the infection of one resurrection ship will somehow equate with the infection of the entire Cylon race, when there’s no reason to assume that at all.

The sum total of all those assumptions, however, is a compelling moral dilemma. Should the Colonials employ a genocidal biological weapon against the Cylons, even given the fact that they are fighting for their own survival? As Sharon/Athena put it in “Resurrection Ship: Part II”, would the human race be worthy of survival if they were to make that choice? Roslin’s decision is perfectly in keeping with her previous characterization, and it’s interesting to see how Adama’s mindset has shifted, largely because of his relationship to Athena.

Baltar’s place among the Cylon will likely shift now, because he brings a new and frightening perspective to their faith. At least, that’s how it appears by the end of the torture session. Will Baltar become some kind of prophet among the Cylon? As machines, the Cylons could be searching for the true meaning of faith, and Baltar could end up becoming something of a teacher, despite his flaws. Considering how this would bring Baltar into a position not unlike his role in the original series, it would be an intriguing turn of events.

Overall, there are still a number of questions to be answered about the Cylons and their nature, and Baltar’s presence on the Basestar is the logical means of exploring that ground. However, these two most recent episodes have introduced some seemingly contradictory elements that need better resolution, especially in terms of this new search for Earth and the five unseen models.

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

Supernatural 2.7: "The Usual Suspects"

Written by Cathryn Humphris
Directed by Mike Rohl


After a long run of episodes devoted to the series mythology and the exploration of the grief process for the Brothers Winchester, this installment is a bit more self-contained. Even so, one of the key elements of the episode is a nice nod to previous continuity. The Brothers Winchester have been running around the country for well over a year now, and Dean was running cons on his own for much longer. Sooner or later, that should catch up with them, and that’s exactly what happens in this episode.

As usual, the “supernatural” element of the story isn’t the most interesting aspect. The brothers manage to work together despite being kept apart, thinking along similar lines. That says a lot about how capable the two brothers are. In previous episodes, Dean has been the brawn and Sam has been the brains. This episode requires each brother to play in the other’s comfort zone, and that’s always a good time.

With the central mystery being so simple, this episode was all about the little details. This series has always been good at keeping the details straight, so it’s no surprise that a lot of familiar theories and ideas come up along the way. That’s one of the things I really like about this series. While it would be easy to change up the rules from episode to episode, they try very hard to keep the supernatural elements within a certain set of conditions.

The episode could have relied overly much on the Linda Blair references, some of which were so good because they were so horrible, but they tried to make her character viable on its own. That can be difficult, as many fans of “X-Files” can attest. In essence, this character could have been played by anyone and it would have worked equally well, absent a few lines of dialogue.

Overall, this was a somewhat low-key episode with a well-timed guest appearance for the benefit of November sweeps. The series has been struggling in the ratings lately, but given the competition, that’s not particularly surprising. I missed some of the psychological complexities of earlier episodes this season, but it was definitely good to see previous continuity remaining at the forefront.

(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: 1/4

Final Rating: 7/10

Smallville 6.7: "Rage"

Written by Todd Slavkin and Darren Swimmer
Directed by Whitney Ransick


While this episode is relatively self-contained, it does follow through on some elements established earlier in the season and it continues to explore some of the same philosophical ground. In that regard, this continues the surprising level of season arc continuity that has given the sixth season a strong start.

As with so many episodes this season, Clark’s moral development is the highlight of the episode. With Oliver as a good example of how good intentions can lead down the wrong path, Clark has the opportunity to recognize his own perspective on certain moral choices. Not only that, but Clark’s steadfast decision to stick with his strict moral code begins to set him apart among other emerging heroes. In short, Superman is beginning to form out of the clay of Clark Kent.

Which is not to say that Clark is quite there yet, since Oliver continues to make the case that Clark’s choices are too personal. If Oliver has one thing over Clark, it’s that his activities are focused on the greater good instead of the protection of his loved ones. In a very real sense, Oliver is an example of what Lex might have been, and that’s why Clark struggles to keep Oliver from falling into some of the same traps.

This is another episode where relationships are at the forefront, and that continues to push Clark into an interesting type of isolation. This is especially true in the Thanksgiving dinner scene. Clark is definitely aware of the fact that he’s the only person at the table without a significant other, and it seems to be weighing on him a bit. It should be interesting to see what his reaction will be as Lana and Lex continue to get closer.

Lana’s revelation is troublesome for many reasons, but the long-term effect on the season and series is still unclear. If it were to end with the addition of a baby to the show, it would be a massive mistake. Baby plots rarely work out well, and sometimes, it can be the death knell for a long-running series. In this case, however, there’s reason to believe that the situation will develop with more tragedy, perhaps finishing the job of placing Clark and Lex on opposing sides.

Overall, this episode had some interesting things to say about Clark and his emerging philosophy, but I think the focus on relationships keeps the episode from scoring a true victory. More than that, the episode also includes a thinly-veiled anti-drug message, which a little bit too heavy-handed.

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

Ghost Hunters 3.5: "Best of the Stanley Hotel"

I will be honest; this was not my favorite episode. I didn’t feel like a recap of the first Stanley Hotel investigation was necessary. They could have rerun the second season finale in the previous timeslot and it would have worked a lot better. I know that it helped to eliminate redundancy, since they could run through the “walkthrough” that was already filmed, but it was annoying, nonetheless.

I also don’t like the staged transitional moments. They tend to capture Jason and Grant at their most uncomfortable. Grant, in particular, looked like he was staring at a cue card during his close-ups. In the real world, they are a lot more personable. I suppose they do serve a purpose, though; if they were the nuanced actors that skeptics claim they are, they wouldn’t be so horrible during the scripted moments!

The Live Investigation

After sitting through the five hours of the live investigation that DirecTV actually managed to air, I must admit to a great deal of frustration. I was hoping that the live investigation would bear out a few things, most of which are ignored by skeptics and naysayers. I think that the general boredom of a paranormal investigation was well communicated; there’s a lot of dead time and a lot of waiting for something to happen to validate a client’s claims. Also, they discussed the equipment and used it in a generally scientific manner, even if they still skipped over the preliminary baseline checks.

On the other hand, I saw a lot of something I’ve been unhappy with all season long. It’s what I’ve described as “playing dumb”. Instead of looking at the most obvious explanations, the team members tend to jump at possible paranormal explanations or, just as often, leave it an open question and then debunk everything at the end of the episode. I’m glad that most evidence is ultimately debunked, because that’s what should happen, but why would they play into the drama so much?

During a typical episode, I can attribute a lot of that to editing. And I recognize that during an investigation, the only way to collect the most contextually meaningful information is to act like a believer and chase down anything that validates the reported activity. But for all that, during the live investigation, they seemed to jump to conclusions. For example, at one point, a phone rings while Donna and Lisa are investigating a particular room. They immediately assume that it was paranormal in origin, even though it’s far more likely that it was someone messing with them.

I have the feeling that Pilgrim Films and SFC asked them to play up the drama during the third season, and that they agreed, provided that they were free to dismiss or debunk the evidence in the end. As I said, they generally arrive at the same conclusions I would expect them to make, but the path to that point seems different and less robust.


The Evidence

The audio evidence, to me, is really questionable. Just the fact that it was audible at the time of the investigation makes it seem more like an echo from a point above that part of the basement than anything else. I’m surprised that they didn’t dismiss that evidence, considering how much else was clearly the result of pranks and outside interference.

What really puzzles me, after so little evidence substantiated by the evidence review, was the conclusion that the investigation was the second to validate that the hotel is haunted. I’m just not sure how they arrived at that conclusion. Taking everything leading up to the conclusion into account, I’m left wondering at the logic.

Lost 3.6: "I Do"

Written by Damon Lindelof and Carlton Cuse
Directed by Tucker Gates

In which Jack must decide whether or not to help Ben with his medical condition, while Kate makes a decision about her relationship to Sawyer…


Status Report

One of the major complaints about the second season was the scheduling. ABC loved to show one new episode, show a repeat, air another new episode, air two repeats, and so on. It was absolutely frustrating to the dedicated fans, and many casual viewers stopped watching because they would miss episodes and feel like they were completely confused.

The producers and the network set out to resolve that problem for the third season. The network wanted the ratings in the fall, but the producers wanted as many episodes in a row as possible. Taking the production schedule and all comments into account, they decided on a short fall “mini-season” and a long stretch of uninterrupted episodes in the spring.

It remains to be seen whether or not that will make anyone happen, but the initial reaction is oddly negative. The decision was made based on fan suggestions, yet the fans are acting like it was a decision made in a vacuum. It seems dishonest and petty to complain so loudly about something done in an attempt to make the show more accessible and reliably scheduled.

All that said, it was on the backs of the producers to develop a strong and compelling “mini-season” arc, something that would reward the fans and give them a reason to return in the spring. The episode have, in fact, been focused on Jack, Kate, and Sawyer as they struggle with the Others. Much of the time has been spent on the psychological manipulation employed by the Others, and so it all comes down to how that manipulation culminates into the fall cliffhanger.

In this case, Ben and the rest of the Others within his circle intended to convince Jack that he should save Ben’s life in exchange for a return to the “real world”. In the process, they employ conditioning techniques and a ton of reverse psychology. They get Jack to trust Juliet to some degree, and concurrently manipulate Kate and Sawyer into revealing their emotional vulnerabilities.

It comes together in this episode as Kate reveals, once and for all, her desires for Sawyer and how far she will go to save him. The Others, especially Ben, see that relationship as an opportunity to push Jack towards helping them. Kate’s choice becomes a tool for the Others, and they assume that Jack will give up on the other survivors if Kate’s choice is revealed. Indeed, he is less than pleased about the news, but his reaction may not be what the Others predicted.

Jack’s reaction, however, is a bit unexpected. Rather than leave Kate and Sawyer to their own fate, which is what Ben clearly expects him to do, Jack decides to sacrifice himself for their sake. Ironically, he doesn’t know that the Others are on their own little island and that Kate and Sawyer have no chance of escape; his efforts, if they continue, will only doom them all. It’s also possible that his actions will feed into the internal conflicts among the Others. After all, Juliet doesn’t exactly jump to Ben’s rescue.

Kate’s choice is an interesting counterpoint to her flashback, and it actually takes her character in a new direction. Her flashback fits into every that has been revealed about Kate since the very beginning of the series. When things get difficult, she runs, even when there’s more than enough reason to stay. In the past, she knew that her past would catch up with her, so she ran out on a happy marriage. Now, in the “present”, she has plenty of reason to think that running is the best option. Instead, she chooses to stay with Sawyer and deal with the consequences. It’s the first sign that Kate is embracing, to some degree, the redemption offered by the island.

Jack’s decision is consistent with the changes to his character in the second season. Ana-Lucia’s function was to push Jack into a more proactive direction, even when it forced him into a situation where violence was required. Jack actively does harm to Ben during a medical procedure, something that runs counter to his instincts and training, in the hopes of achieving his goal. It remains to be seen if that decision is a sign of things to come or an act of desperation. It’s also not clear whether or not this is part of his journey towards redemption.

Beyond the focus on Kate and Jack, there is little else that seems to happen. The most significant item pertains to Locke. He openly admits that Eko helped restore his faith, and he also seems to find a message on Eko’s staff. This moment is treated with such importance that it will almost certainly factor into the next few episodes after the break.

This episode also hints at some of the internal issues among the Others. In particular, Alex seems to have serious issues with Ben and the rest of the gang in charge, which is another issue that is primed for future exploration. Previous seasons have hinted at this internal conflict, and given that Alex was stolen from Danielle quite some time ago, it could be related to the reason why children were taken by the Others after the crash and their interest in Walt.

So the question is: will this cliffhanger meet the expectations of the audience? While the events of this episode fit into the overall structure of a season arc by concluding the introductory phase and setting up the conditions for serious complication, they are somewhat less explosive than one might have expected. For fans interested in character relationships, this is a big episode. Kate and Sawyer finally connect and Jack’s reaction to that is somewhat unexpected, but in terms of the psychological and action elements, this is somewhat disappointing.

(As a sidenote: There is a podcast associated with the various science fiction reviews called “Dispatches from Tuzenor”. Current episodes cover “Lost”, so it might be something of interest. Go to http://entil2001.libsyn.com to listen to the show!)


Final Analysis

Overall, this episode is something of a lackluster fall season cliffhanger, focusing on relationship issues instead of major plot developments. While events do culminate in terms of the introductory arc elements for the season, the focus in this episode will play more to a select subset of the audience than the audience as a whole. A lot of people will be wondering, if the ratings go down, if the writers made the right choices at this stage of the game.

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

Final Rating: 7/10

Heroes 1.7: "Nothing to Hide"

Written by Jesse Alexander
Directed by Donna Deitch


This feels like another transitional episode, but the story is definitely building. Niki’s personal issues have led into an interesting look into how super-powered individuals might deal with relatively mundane situations, while Matt’s fortunes continue to rise and fall in complex and unexpected ways. For every relatively predictable element, there’s something completely unseen around the corner.

Niki gives a little clarification into her mental state. While there were indications in previous episodes of long-term stress and psychological trouble, she states rather definitively that her current “split personality” began manifesting six months earlier. This appears to be when everyone starting showing abilities, which gives the writing staff a big question to answer in future episodes. Her darker side is called Jessica, and all of her more extreme psychological and physical aspects come out when Jessica is in control.

Interestingly, Micah is not only super-powered, but he’s perfectly aware of the difference between Niki and Jessica, and he’s not particularly concerned about Jessica. Perhaps he recognizes the fact that Jessica is dedicated to his protection. After seeing his father rescue perfect strangers, knowing Jessica’s nature, why is he so sure that it’s a good idea for Jessica to come calling?

Speaking of DL’s actions, we get another good look at how well the heroes can use their abilities. Hiro and DL act together, without intending to do so, and give the audience a taste of what a larger gathering of heroes could do on this series. Matt, similarly, gets the chance to handle Syler (or whatever his real name is) and open doors for future opportunities to use his gift.

With Syler in custody, there’s no guarantee that the threat has been contained. After all, Syler is unstable and incredibly powerful, and if he chose to escape, there’s not much that could be done to prevent it. Never mind that Syler’s motivations are still unclear, and he could be under the manipulation of someone else. Claire’s father comes to mind, but up to this point, there seems little reason for him to unleash a killer on the “hero population”.

Claire is simply trying to keep her ability a secret, which once again raises the question of why she was videotaping her “suicide attempts” in the first place. It’s too easy for someone (like her bother) to find the footage unintentionally and open her up to exposure. Then again, her plot thread has a few holes left to fill, since they still haven’t explained why no one reported her death or why the coroner hasn’t come around looking for answers.

Once again, the least effective subplot belongs to the Brothers Petrelli. Nathan’s political and family issues aren’t particularly interesting, despite the intriguing metaphor of a rising political star trying to hide some personal secret from the public eye. The biggest problem is still Peter; his character just isn’t interesting enough yet, and his scenes with Simone are excruciating.

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

Prison Break 2.10: "Rendezvous"

Not so long ago, I was concerned at the future of “Prison Break”. I felt that the writers had robbed themselves of one of the more intriguing conflicts by shifting Mahone into the conspiracy. It would have been interesting to have Mahone as a flawed but legally correct individual, contrasting with Michael’s morally questionable “hero”. Elements of that conflict remain, however, and in this episode, the writers manage to make the conflict a little more personal.

As it stands now, the two characters are still circling each other in something of a chess game, and whenever they get to square off, it’s damned entertaining. Michael has come to the point where he’s trying to justify the horrible decisions he’s made to achieve his goals, and he’s trying to minimize the damage. Mahone is willing to go a lot further, but it sounds like the conspiracy has a hold over him.

So Michael feels forced to use immoral means (crime) to achieve a moral end (saving his brother), while Mahone is using a moral means (fugitive capture) to achieve an immoral end (killing the fugitives). Both men, however, feel trapped. Michael has been trapped by his feelings of responsibility for his brother, and Mahone seems to be blackmailed by the conspiracy in some way.

While they are at odds now, they both operate from a desire to do the right thing and overcome the conditions driving them into actions they would rather not take. This opens up the possibility (however unlikely right now) for Michael and Mahone to work in common cause. If Michael continues to evade Mahone and the conspiracy, why wouldn’t Mahone begin to wonder if Michael could help him escape the conspiracy himself?

All that said, the conspiracy is closing in. I had forgotten Michael and Lincoln’s father and his resources, even though they were important in the first season, and it has introduced another complication that could make the fight against the conspiracy a little more even. Assuming, of course, that the conspiracy’s mole doesn’t bring the whole operating crashing down, which is equally possible. The writers have left themselves plenty of room to maneuver.

Many fans were looking forward to the reunion between Michael and Sara, and it was definitely worth the wait. The best aspect of this reunion was the lack of gushy romance. Sara was reasonably bitter over her losses, and Michael was left to justify his choices and decisions. In fact, Michael begins to show more cracks in his confidence upon learning about Sara’s father. He can still point to the conspiracy as the party responsible for the whole mess, but he’s psychologically unable to ignore his own culpability.

The Michael/Sara/Mahone plot dominates the episode, but there are other elements that move along quite nicely. As mentioned before, the writers make it possible to feel sorry for T-Bag, because it seems wrong for either of the former guards to get the money. It seems all too certain that T-Bag will have to rip or cut his own hand off again, which has a certain delicious irony. And of course, Sucre’s situation is setting up an interesting reunion with Michael in the near future.

(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

Battlestar Galactica 3.6: "Torn"

Written by Anne Cofell Saunders
Directed by Jean de Segonzac


As if addressing the question of whether or not the series could still delve into creative territory while maintaining a strong and consistent story arc, this episode manages to switch between traditional storytelling elements and a more surreal, dreamlike quality. Unlike the previous episode, which introduced a number of plot elements that find deeper expression in this installment, there is a distinct difference between the Human and Cylon worlds.

The Human world is stark and unrelenting. In particular, Kara and Tigh have come to the conclusion that anyone and everyone is fair game for their general hostility. In particular, they have little patience for their rescuers, and they have no problem speaking their mind. It’s clear that they are transferring their anger and self-loathing on the rest of the crew, and while the crew sees it for what it is, it’s always hard to ignore that kind of constant negativity.

Ultimately, Kara and Tigh are forced to take a good look at their psychological damage, and they react in very different ways. Kara seems to recognize that she’s spiraling out of control, and she takes the first step towards recovery. It’s unlikely to be a simple healing process, but she’s in a better position than Tigh. Tigh, however, is still falling, and there’s no telling how long it will take for him to hit rock bottom.

At the same time, Roslin and Adama finally turn back to the search for Earth. This introduces an odd plot device in the Scroll of Pythia. If they’ve always had an ancient document detailing the journey of the lost 13th tribe, why haven’t they been referencing it previously? There’s some indication that the scroll was considered a myth, and that Baltar’s research pointed to a possible translation of metaphor, but why wouldn’t anyone have thought about this?

The Cylon world is depicted in a more non-linear fashion, focusing on the idea of “projections”. They tie this idea into Baltar’s imaginary trysts with Caprica-Six, and Baltar begins to wonder if he’s a Cylon. At the same time, he learns that the seven known humaniform models of Cylon don’t talk about the remaining five, and that the Basestars have a “hybrid” processing core.

Homages to “Babylon 5” and “Minority Report” aside, this brings up an interesting philosophical question. It’s almost certain that Baltar is human. It’s also been shown that the Cylons have been incorporating organic components into their ships since the beginning (the raider in the first season comes to mind). The “hybrid” could very well be a human mind conditioned and modified to run the Basestar “ecosystem”, blurring the edges between Human and Cylon even more.

As seen in “Downloaded” in the second season, the Cylons are particularly concerned about models that are “too human”. What if the unseen five models were “boxed” for becoming too human as a whole? Better yet, what if the Cylon culture is fractured? The current seven models would represent a slim majority, and perhaps they advocate elimination or control of the Colonists. What if the remaining five are a vocal minority opposed to the war with Humanity? They could still be back on the Cylon Homeworld. In fact, this could explain why the current seven models are looking to Earth as a new home; they may not be welcome on the Cylon Homeworld anymore.

The idea of a computer virus attacking the Cylons is a bit cliché, but the treatment of it works well enough. It does seem odd, however, that the Cylons would suspect treachery on Baltar’s part. If they recognize that the 13th tribe passed through that area of space thousands of years earlier, how could they expect that the beacon was designed to attack them specifically, when the Cylons have only been around for a few generations? This does touch on the whole “this has happened before and will happen again” concept, but it seems like an odd bit of logic.

Overall, enjoyment of this episode depends largely on acceptance of the surrealism of the Cylon portion of the story. I felt that it worked well, glossing over the fact that the Cylon culture could only be shown from a human perspective and through Baltar’s mental filters. There are a number of intense moments in this episode that help keep the shift to the search for Earth from feeling like too much of a tonal shift, but it remains to be seen if the new details about the Cylons will help or hurt the series as a whole.

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

Smallville 6.6: "Fallout"

Written by Holly Harold
Directed by Glen Winter


Despite sidelining the Oliver Queen plot thread for the episode, this is still another solid installment in the ongoing season arc. In this episode, Clark comes to the realization that ignoring his Kryptonian legacy isn’t doing anyone a favor, especially since his father’s enemies keep dropping in on Earth and threatening humanity. To save the world he has grown to love, he must inevitably set himself apart from it. It is an interesting and difficult formative moment for Clark, and one that has been a long time coming.

In a nice touch, Raya (from season premiere “Zod”) returns with a few well-timed criticisms about Clark and his dismissal of his true nature. While Raya is clearly a zealot when it comes to the great Jor-El, Clark has been equally disinclined to give his father any credit. Raya gives Clark a little more perspective, and while doesn’t quite mesh with the motivations of Jor-El in earlier seasons, it does point Clark in the right direction.

Clark is now firmly dedicated to cleaning up his own mess and educating himself on the training that his father wanted him to have all along. It’s interesting to note that Jonathan’s influence is no longer completely positive. Clark needed Jonathan’s moral foundation to care enough about humanity not to rule over the planet (as Jor-El effectively desired), but he also needs Jor-El’s instruction to understand his legacy and how to use his abilities to full potential. The one aspect was covered in extreme detail, but the other is necessary for Superman to emerge in the end.

The scene at the end, depicting Clark’s momentous decision, has some odd elements to it. It was either over-edited or badly written; I’m not entirely sure which applies in this situation. In fact, the entire episode seemed like a solid story written in extreme melodramatic fashion. The style of writing actually took something away from what was trying to be accomplished.

This was even more evident during the Lex/Lana scenes. The writers are trying to give Lana some edge, which has been a long time coming. The effort itself is worth a small measure of respect. The problem is that it’s not convincing, especially when Lex acts out of character to maintain his relationship. The idea, I’m sure, is to play on the whole “Lexmas” idea that Lana is the one person able to change Lex for the better, pushing him to change his ways, but it just hasn’t panned out as intended.

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

Supernatural 2.6: "No Exit"

Written by Matt Witten
Directed by Kim Manners


Ever since her introduction earlier in the season, the character of Jo has generated a great deal of controversy. Despite calls for patience from the writers and producers, fans have quickly pointing to Jo as the weak link of the season, an unnecessary complication. This episode, however, is the first time that Jo has been in the spotlight. How did Jo stand up under scrutiny?

As it turns out, fans had little to worry about. Jo and Dean may be attracted to each other in a general sense, but only enough to make the animosity that must now exist a bit more potent. It was quite clear, starting with the first act, that Jo wasn’t going to be Dean’s latest love conquest. She’s not mature enough for that. They quickly fell into a big brother/little sister routine, something that made the final scene far more painful.

In fact, my initial suspicion was that Jo’s real father was John Winchester, so I’m glad that the writers took it in a more adversarial direction. It would have been too easy for Jo to be the latest addition to the Winchester Gang, and far too distracting as well. Dean and Sam have enough to work out between them as it is. Now, Jo still gets to be the amateur hunter, but she’s not going to take direction or friendship from the Winchesters easily.

While her role on the series may now be less controversial, that doesn’t mean that she will be easily accepted. The actress plays the role relatively well. Unfortunately, that role involves a disturbing level of naïve moaning and posturing that gets old within the space of three minutes. It’s abundantly clear what the writers want to achieve with Jo, but that doesn’t make it easy to tolerate her personality.

All that said, this is a solid episode, giving Jo a lot more scope and fans proper perspective on her place in the scheme of things. Not only that, but the entire situation sheds light on Ellen and her attitude towards the Brothers Winchester. She has a lot of sympathy for them, given what they’ve lost and her own experience, and her professionalism shines through when she demands that they have the right resources. But she also has reason to hold a grudge against the name and the legacy.

As far as the case is concerned, it owed a lot to the classic “X-Files” episode “Squeeze”, at least in terms of the claustrophobic locations. The link to America’s “first serial killer” was intriguing, but without any other knowledge of the historical background, I felt like they were using the concept to make the episode more ominous. In essence, this could have been any serial killer, and the story would have worked equally well.

(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: 1/4

Final Rating: 7/10

Lost 3.5: "The Cost of Living"

Written by Monica Owusu-Breen and Alison Schapker
Directed by Jack Bender

In which Eko struggles with the apparent spirit of his dead brother, while Locke tries to communicate with the Others and Jack faces a difficult decision…


Status Report

Quite often, “Lost” is about structure. The writers set up conflicts and let them play out over time, and when the purpose of a character has been fulfilled, that character is either placed in the background for later use or removed from the stage. The fact that a character is beloved is quite beside the point. Nor does it matter that fans might conceive a hundred different extensions of a character’s development. Only the creative minds behind a production have the sense of where the story needs to go.

Mister Eko, like Ana-Lucia, was created as a challenge to the existing power structure of the JackLocke tribe. Ana-Lucia’s was intended to push Jack into a more violent and militaristic direction, based on her own insistence that the tribe was living too softly at the expense of her own group of survivors. That shift did take place, and Jack was changed as a result, and so Ana-Lucia was no longer necessary. In fact, her death was required to push Jack into the emotional and psychological territory at the end of the second season.

Eko was designed to challenge Locke’s role as spiritual leader of the tribe, coming onto the scene during Locke’s crisis of faith. His desire for redemption was easier to accept than the idea of pushing a button, especially since Locke struggled to find meaning in his actions. Eko’s brand of spiritual guidance was less threatening and less obtuse. It didn’t matter that he was struggling to maintain a façade of religious authority; he was a recognizable beacon of light to many of the survivors.

By the end of the second season, he became convinced that coincidence was fate, and so he co-opted Locke’s role completely, pursuing the button with religious intensity. That forced Locke into a position to take action, which eventually resulted in Locke’s restoration of faith in “Further Instructions”. Eko’s role as challenger came to an end, and so his purpose was fulfilled.

Some shows have struggled with the decision to remove characters from the stage when their intended role is completed. “Buffy” was notorious, especially in the latter seasons, for keeping characters around far beyond their metaphorical utility. Characters like Riley, Tara, and Dawn lost their narrative relevance to various degrees, and many found the resulting subplots for those characters to be dissatisfying or unearned.

On the other extreme, there are shows that tend to eliminate characters for shock value, to ensure that the audience is hit with a steady stream of unexpected (and equally unearned) deaths. “X-Files” was known for eliminating minor characters whenever the writers wanted to make an impact, and “24” has been soundly criticized for killing off characters whenever the writers run out of ideas.

By eliminating Eko, the writers of “Lost” find a reasonable middle ground. Eko’s narrative purpose, as the metaphorical challenger to Locke, was fulfilled. Structurally, the story doesn’t need that function to exist anymore. The choice is to find another role for the character or eliminate the character entirely. Using Eko’s death as a reminder that the island can be deadly is a logical solution to the problem.

More than that, the writers used the idea to expand understanding of the Cerberus security system, which seems even more mystical and arcane than ever. This is the first time that the system has been seen in action, and it is brutal. It is also reasonably intelligent. The assumption that can be made, based on the information to date, is that the system is capable of producing holograms or otherwise manipulating the senses. It may also be able to manifest a solid projection.

Episodes like “White Rabbit” and “Dave” now have a completely different context. For that matter, the “Hurley Bird” from “Live Together, Die Alone” begs a second look. Given enough information about the survivors, could an artificial intelligence use solid projection resources to manipulate and judge inhabitants of the island? Or is the system just a marvel of Hanso/Dharma engineering, being used by a human intelligence that has yet to be revealed?

There is now evidence that the Others are not the only other inhabitants of the island (or islands), and so it’s quite possible that the Cerberus system is controlled by an unknown party with different connections to the Dharma legacy. If the Others do operate from a nearby island, then they might have been the descendants of those running the experiments on the Dharma Island. As such, they may be aware of someone else on the island and may have been avoiding them for a specific reason.

Ben’s decision to reveal his methods and motivations to Jack must be suspect. On the face of it, this episode presents a logical interpretation of events. Ben is a bit of a dictator, and he would be more than happy to condition Jack into one of the Others to ensure that his surgery was successful. And it makes sense that Juliet would see this as an opportunity to rid her community of a dangerous leader.

All that said, Ben has always been willing to put his own life on the line to ensure the success of his goals. It seems clear in retrospect that Ben allowed himself to be captured in the second season, and that he used the knowledge gained to his advantage. It seems too simple for it to be about Ben’s health crisis alone. It’s all too easy to believe that Ben and the Others would use his medical condition to allow Juliet and the rest to bring Jack into the fold and sympathetic to their interests, even at the cost of his own life.

Telling Jack how he was being manipulated is, in and of itself, a tactic of manipulation. It gives Jack a false sense of security, allowing him to believe that he has some degree of power and choice. That leaves him open to a fresh source of manipulation, as he looks for opportunity and it’s handed to him on a silver platter.

Beyond the three main plot threads, there were a number of minor but notable elements explored. Sayid shows some of his early technical prowess and Locke shows the kind of confidence he had in the first season. This episode also highlighted two new characters: Nikki and Paulo. The conceit is that Nikki and Paulo have been in the background since the crash, and now the changing dynamic is giving them the chance to get more involved. Neither character makes a good first impression, and the actors seem overwhelmed by the better actors in the room, but it’s far too early to judge what purpose they might be intended to fulfill.

(As a sidenote: There is a podcast associated with the various science fiction reviews called “Dispatches from Tuzenor”. Current episodes cover “Lost”, so it might be something of interest. Go to http://entil2001.libsyn.com to listen to the show!)


Final Analysis

Overall, this episode provided some unexpected insight into one of the earliest mysteries of the island while introducing some additional complication into others. The audience is still left to consider what might be manipulation and what might be sincere, but that has become one of the highlights of the season. Several plot threads seem to be coming together for the fall season finale, and this was a necessary step in that direction.

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

Final Rating: 7/10

Ghost Hunters 3.4: "Whispers and Voices"

Case #1: Veau’s House, MA
Case #2: Bucksteep Manor, MA


(This particular review only covers the regularly scheduled episode; commentary on the recent “live” episode will be included along with the review of the recap/reveal episode, which airs 08 Nov 2006.)

This episode focuses on a couple of locations that fall between the typical “tourist trap” cases and the more interesting “private home” cases. Both sites in this episode seemed to have a reputation for being haunted, and in one case, hosted a haunted house every year. Also, both clients were looking for validation of their experiences, which is a tricky proposition.

TAPS does try to debunk the unexplained phenomena encountered in a location, but at the end of the day, they believe in the paranormal and they have certain subjective interpretations of events that creep into the process. It’s one thing to say that the goal is correlation of data in the hopes of determining a cause or validating phenomena in general (as Donna and Lisa discussed). It’s another to speak in terms of certainties or what a spirit does or does not do (as Steve does all episode long).

It may seem like an odd distinction, but it’s really just following through on what they say at the top of nearly every episode. If they want to debunk a haunting, they can’t think of it as a haunting, and they can’t tailor the use of equipment based on assumptions of what spirits would do. After all, none of the equipment they use could ever demonstrate that the cause of something unexplainable is definitively “paranormal”.

Case #1: Veau’s House, MA

In this case, I had the feeling that this was a shot at publicity. The owner sounded like a game show host, not a concerned homeowner. Also, a lot of what he mentioned sounded like the effects of high electromagnetic field exposure (feeling threatened, auditory hallucinations, headaches, etc.). Beyond Steve flipping out about the spiders, which is always fun to watch, the investigation seemed rather simple.

They did, however, run into a couple of EVPs. Neither of them were particularly convincing, even if one sounded like a creepy laugh. I personally assumed it was some kind of electrical effect from interference (especially if it was the wireless audio). The camera situation was even less convincing. For one thing, it may have been secured, but it was hanging on a folding shutter, which could have jostled or moved with a little wind. It wouldn’t take much for the camera to move just enough to get that kind of effect.

Case #2: Bucksteep Manor, MA

Two things immediately came to mind as this investigation started: Donna looks great with glasses, and Heather, the client, was very easy on the eyes. It helped to distract from the fact that there was very little worth talking about in this case. Everything was effectively debunked. I was a little surprised when they reacted to the thermal images during the outside tour. I always have a hard time taking any outdoor thermal evidence seriously, and that immediately looked like a finger moving in front of the camera.

Chill Factor: 7/10