Prison Break 2.9: "Unearthed"

If the previous episode was full of telegraphed plot threads and very little inventive storytelling, then this episode makes up for much of the lost ground. Not everything is a complete breath of fresh air, but there’s a big difference between predictable and well-constructed. If you can guess the outcome by the end of the first act, it’s predictable. If you look back and see how the characters have been maneuvered into their current situations, it’s well-constructed. The line may be thin at times, but it is distinct.

In this case, Lincoln’s capture seems a bit too obvious. The writers all but pushed him into making the moves necessary to get caught, and it seems like the kind of plot twist that would be hard to overcome without major contrivance. But looking at the season thus far, this particular situation is the result of Lincoln’s repeated insistence on tossing caution to the wind. Lincoln is not Michael, and he does not think things through before acting.

With Lincoln captured, there’s every reason to think that Michael will want to free him and LJ again. There’s also every reason, especially after this episode, to believe that Mahone will recognize that and will want to take a personal approach in setting up the brothers for a fall. Usually, the structure of a season would suggest that this showdown would come around episode 11 (the midpoint of the season), but with the unusual scheduling preferred by FOX, it could be stretched out to episode 13. That’s assuming, of course, that it happens at all.

Another nice touch was the parallel structure in terms of each subplot. At some point in the episode, Michael, Lincoln, and C-Note were all in danger of being caught. While the audience could be relatively certain that Michael would remain at large, since he needs to be available to counter Mahone, C-Note had no guarantee of survival. That constant potential for disaster kept the tension level steady throughout the hour.

This episode also presents the very real possibility that Bellick will get his hands on Westmoreland’s money. While some future complication will likely render this possibility moot, just the suggestion is enough to set “Prison Break” fans on edge. In a clever move, the audience has reason to want T-Bag to get way with the money, because Bellick is even less deserving of the windfall.

Nearly everyone had guessed that Oscar Shales was buried in Mahone’s backyard; it was all but revealed in the first few episodes. The writers made it more significant by how Michael became aware of it, and how that changes the dynamic between predator and prey. In essence, the writers took something telegraphed and used it in an unexpected way. In contrast, in the previous episode, Sara’s realization about Michael’s messages was straightforward and unimpressive.

Of course, it’s hard not to wonder how much better this chess game between Michael and Mahone could have been, had he not been revealed as a pawn of the conspiracy. That he is probably being blackmailed into working for the wrong side is quite beside the point. If Shales was Mahone’s dirty little secret, then it would serve to put Michael and Mahone on a more even playing field as two men with mistakes and regrets to overcome. That’s not quite true anyone, and the overall structure of the conflict suffers as a result.

(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 3.5: "Collaborators"

Written by Mark Verheiden
Directed by Michael Rymer


It would have been easy to skip over the consequences of the New Caprica Occupation, especially with everyone back on Galactica and dispersing throughout the Colonial Fleet. But the writers for “Battlestar: Galactica” have seldom taken the easy road, and it would be unfortunate to ignore the effects of the Occupation on the general population. This episode manages to explore those effects on a number of individuals while providing a logical excuse to put the Occupation behind them as much as possible.

In the most general terms, this is a case of politics serving the worst impulses of humanity. Zarek’s political goals, taken objectively, make a great deal of sense. Roslin will clearly resume her presidency, but her term of office would be dominated by the search for traitors and the need for justice and revenge. Zarek takes a draconian approach to the matter and creates a “jury” to weigh the evidence against apparent collaborators and execute them quickly and quietly.

One way or another, it seems that Zarek understood that some members of the fleet would be more willing to see the process through than others, so he lets Tigh run the show and pick the jury. On the face of it, using the members of the resistance makes sense, but it is a bit obvious. There’s little doubt that Roslin and Adama will know who stood on that “jury”, and so will a lot of people in the fleet. Why not choose less visible members of the resistance, if the idea is to help clear the air?

Roslin’s solution is purely political, because policy will not and should not change the hearts of the people. She sets a good example, but it’s definitely a case of following through on Zarek’s intentions. Roslin’s hands are clean, and now any action taken against the former collaborators will be illegal. The tensions should remain, however, until something happens to unify humanity once again.

All of this serves the greater purpose of exploring how individual characters are dealing with the post-traumatic stress. It’s not pretty, to say the least. Tigh has returned to some bad habits, but with a streak of resentment that puts him at odds with any moderating authority, including Adama. Part of it is a defense mechanism, because he doesn’t want to admit that he has regrets. But part of it is a belief that his actions were justified. The Occupation has left Tigh a far more interesting character.

Kara is also a complete mess, and it’s painful to see her deal with the self-loathing. Kara is angry for letting her emotions get the better of her, and she’s punishing everyone else around her as a result. She doesn’t feel worthy of happiness, so she acts in a manner that makes it a self-fulfilling prophecy. Within that psychological space, her quick and cruel end to her marriage with Anders is hardly surprising.

In keeping with his characterization this season, Tyrol tries to be the voice of reason. I’m not quite sure how Tyrol and Gaeda could have set up the information exchange without some kind of initial contact, but that’s a minor point of contention. Tyrol tries to find a way to make the process fair and moral, much as he did on New Caprica. He ultimately helps to save Gaeda, and perhaps that’s enough to assuage his conscience. It’s interesting to note, however, that he is the only one of the “jury” with a young child; he cannot help but consider the future consequences of his present actions.

Overall, this episode continued to explore the consequences of the Occupation, paving the way for the next turn in the season arc, which should come in the next couple of episodes. The subplot on the Cylon Basestar will inevitably lead into that next plot turn; otherwise, in terms of this episode, it was a somewhat unsatisfying excuse to explain why the Cylons permit Baltar to live. It will only work if the writers are willing to make it an important plot point. Given how they’ve done so far this season, that shouldn’t be a problem.

(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 6.5: "Reunion"

Written by Steven S. DeKnight
Directed by Jeannot Szwarc


“Smallville” is seriously campaigning for the Most Improved Returning Series award. After a couple of seasons with arc elements that quickly disappeared, the writers seem to have learned a few lessons. For one thing, they have a clear sense of where they are going with Clark, and they brought in a recurring characters that facilitates that character development. They also keep referring to the “zoners”, a subject that keeps responsibility to the world at the forefront of Clark’s mind. The show is still struggling in other respects, but this season has yet to miss its mark.

Of all episodes, however, this is the one that had the most potential for trouble, because it focuses less on Clark and more on Lex and Oliver Queen. The ideas behind the episode are solid: Lex and Oliver were rivals with a shared secret, and how they dealt with the consequences of that common tragedy defined both of them. In terms of Lex, this is yet another element contributing to his amoral development. For Oliver, this helps explain why he felt the need to devote his life to helping others.

This particular incident, however, isn’t as profound as it seems. Lex’s betrayal notwithstanding, Duncan’s death was an accident. Oliver and the rest might have felt survivor’s guilt, but it’s easy enough to absolve them of direct responsibility. In the end, it doesn’t matter; Duncan holds them accountable, one way or another. But to hold Oliver guilty for “murder” would be to charge Clark with the death of every person that died because he came to Earth.

So it comes down, surprisingly enough, to the psychology of the characters. Oliver and Clark both feel a burden of responsibility that doesn’t necessarily make sense, but it drives them to extraordinary action. It’s a common bond between them, something that will only help to confuse the issue when Clark finds himself disagreeing with Oliver’s methods.

Lex, on the other hand, holds more direct responsibility, but he either tries to conceal the truth (from himself or others) or allows others to do it for him. It’s something that should ultimately force Lana to leave him or change to accommodate him, and one can only hope that the character gains something in the process.

While Lex becomes more iconic, giving over to his darkest impulses more and more with every season, Lionel becomes more conflicted. As noted in the fifth season, he seems to be shifting into a father figure role for Clark, whether Clark likes it or not. The intent of the writers is unclear. Is he supposed to be fighting his worst impulses, or is he playing games to gain power through knowledge? The former is far more interesting than the latter.

Overall, this episode added a number of interesting layers to the relationship between Clark and Oliver Queen, while continuing the season’s theme of responsibility. Clark is inching closer to the kind of person who would become Superman, and that sense of direction is helping the series regain its focus. Adding a character arc to Lex and Lana would help strength the season even more, but for now, it’s impressive to see the series get back on its feet.

(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 2.5: "Simon Said"

Written by Ben Edlund
Directed by Kim Manners


This episode brings the season back towards the overall mythology, adding some twists and turns to the mystery, while still focusing strongly on the psychology of the Brothers Winchester. I don’t want to sound like a broken record, but that psychological element continues to be the most interesting element of the series. If there is any similarity between “Supernatural” and “Lost”, then it’s the underlying design of each episode. It’s not so much about the demons without as the demons within.

While the topic is never addressed directly, the first hint of Dean’s knowledge about the demon and the “special children” shines through. Dean knows more than he’s telling, and it doesn’t sound good. He tries very hard to convince Sam that his abilities aren’t a sign of evil, but every so often, it sounds more like he’s convincing himself. Sam’s not stupid, and he picks up on Dean’s evasiveness. That troubling lack of communication is pervasive in this episode, forcing the viewer to think about the possible implications.

The twin brothers are, in essence, the two opposing directions available for Sam. He could use his abilities to help others, not unlike Cordelia on “Angel”, or he could use the abilities to his own advantage, picking and choosing his battles. Right now, he doesn’t have nearly enough control to abuse his power, but if he could develop it into something vaguely “Dead Zone” in nature, there’s more than a little room for amorality.

For a good chunk of the episode, the writers seed the story with information that is vitally important. Sam and Dean have touched on a correlation between the demon’s behavior and children with abilities: their mothers were killed 6 months after they were born, and right around the time Jessie was killed, the latent abilities became active. The glaring exception to the rule is right there in front of the entire audience, but it’s concealed well enough that the end of the episode is a surprise. It seems that some children with abilities were not present when the demon killed the mother, and that clearly means something important.

This is another episode where the benefits of the Roadhouse became clear. Ash is a good support system, at least in terms of speeding the story along and adding an amusing recurring character, and Ellen is a no-nonsense parental figure, someone with experience and context. And of course, Jo is quite easy on the eyes, and she’s definitely gotten under Dean’s skin. It would be fun to see her in a more active role, to see how Dean would react to a female hunter!

Overall, the guest cast was solid, especially the twin brothers, and the writers did a good job of taking a concept tied to a memorable “X-Files” episode into an unexpected and relevant direction. More to the point, they didn’t abandon the psychological trauma of the past few episodes; they applied it directly to a more pressing situation. The Winchesters were rightfully focused on the case at hand, but underneath it all, they were still dealing with the fallout of their father’s death.

(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

Ghost Hunters 3.3: "Shadow People"

Case #1: Johnsons House, VT
Case #2: Moundsville Penitentiary, WV

This episode was loosely themed around the so-called “shadow people” phenomenon, which is a subject that I find quite interesting, largely because I have encountered it in the “real world”. Much like the second season, when they have these themed episodes, they tend to offer two investigations with differing results. This helps to provide a few interpretations of the actual phenomenon, but the ongoing decision to cram two investigations into one hour continues to undermine the intentions. There’s literally no time to focus on the unique aspects of each case.

It’s crystal clear, watching this episode, that the editing was brutal. There were some scene breaks that screamed “amateur hour”. Pilgrim Films could be doing a much better job of it, especially after a couple years of practice. The difference between the investigations, which have much higher production values this season, and the staged set-ups and transitions is jarring. Never mind the cuts in the conversations!

Case #1: Johnsons House, VT

It was good to see Mike Dion again. For those who are unaware, Steve started New England Paranormal a few years ago, after Jason initially denied his membership with TAPS. Why? Because Jason didn’t want Steve to have to drive from near Boston to Rhode Island. Now that Steve works primarily with TAPS, Mike runs NEP. Jason has referred to NEP as a “sister organization” to TAPS, and the non-TV TAPS team works with NEP regularly.

For all that, I’m not sure this episode demonstrated Mike’s experience and skill within the field. I imagine that was partly the nature of the investigation, but the editing didn’t help, either. I thought a lot of this investigation was chopped up. Steve’s staged conversation with Dave about EMF detectors, something that would have been covered ages ago when he first started working with them, really threw off the pacing.

I really love EVPs, because when they occur within context and above and background noise, it’s hard to debunk. In this case, I’m on the fence. The first one sounded more like “I’m Tracy” or “Who’s Tracy?”, and the second one was a little bit mocking. Both of them, in my opinion, sounded more like a grown man trying to imitate a young girl’s voice than an actual child’s voice, especially the second EVP. I have my suspicions as to a source, but there’s not enough evidence to prove it.

Otherwise, this one was full of fluff, especially the “personal experiences”. The editing always makes it look more active than it is. Look at their facial expressions, and you can tell how bored they are. I think that Jason approached it the way he did because he, too, had some suspicions.

Case #2: Moundsville Penitentiary, WV

This is another historical site seeking validation of “haunted” activity. I like penitentiaries, though, so I was looking forward to this one. It’s also nice that they had some evidence from other parties to examine. The bulk of the episode was spent debunking that evidence, and I thought they did a fairly good job. Since nothing was happening on their own investigation (despite the attempt by the editors to make it seem otherwise), it made sense.

I completely agree with the debunking of the “apparition”. I had the same reaction when they showed the video the first time around. The “shadow man” explanation, however, doesn’t quite work for me. I have to go back and look, but the “shadow man” didn’t show an origination point. In Jason and Grant’s version, the shadowing effect would show the legs coming from the direction of Jason’s position on the floor. Shadows, after all, have to come from somewhere. The picture shows the “shadow man” against the door, with the surrounding area bright and visible. If there was a light source behind the woman talking the picture, and that caused the shadow (IR or otherwise), wouldn’t there be a long stretch of shadow from her position up to the bottom of the figure at the door?

Chill Factor: 7/10

Lost 3.4: "Every Man for Himself"

Written by Edward Kitsis and Adam Horowitz
Directed by Stephen Williams

In which Sawyer is tortured horribly by the Others, forcing Kate to take action, while Jack is brought in on an unexpected emergency and Desmond shows more unusual initiative…


Status Report

During the first season, the highest ranked episode was “Outlaws”, the second Sawyer-centric episode written and produced. It’s ironic, then, that this season’s Sawyer episode is the least effective episode thus far. While a lot of the themes continue from the season premiere, particularly in terms of the psychological testing and torture, none of them gel particularly well. The writers try to set up a meaningful parallel between past and present without entirely earning it.

The Others were originally shown as the faceless enemy, united in their disturbing and mysterious cause, but that has changed significantly. The Others are now exposed as human beings after all. Ben may be the leader, but there are tensions and internal conflicts. Even under the most dire of circumstances, Ben is ready to manipulate his captives and test their responses. The implication would be that Ben’s leadership style has engendered something of a schism among the Others, with Alex and her cohorts undermining his authority (by, for instance, freeing Claire).

The Others have been ruthless to the JackLocke Tribe, but now they are shown as ruthless to each other. Pickett’s wife is mortally wounded, and the entire situation is used as a means of testing and manipulating the prisoners. Ben is more than willing to direct his people to channel their grief and pain towards this unknown goal. This is entirely consistent with his interactions with the JackLocke Tribe in the second season. Ben is, in many respects, a cult leader, a zealot of his own cause. Anything and everything may be sacrificed to whatever that cause might be.

Jack still seems at the center of the manipulation, even if the episode doesn’t focus on him directly. It’s not at all certain that Ben is suffering from a tumor on the spine, though it could be legitimate. Whatever the case, Pickett’s wife was already dying by the time that Juliet came to Jack, begging him to help. They were playing on his training, undermining his reasonable perspective separating his people from the Others. By having him attempt to save one of “them”, Ben forced Jack to perceive them as equals. (The absence of a working “crash cart” is suspicious, given how well they’ve maintained other non-critical systems.)

In the moments after, Jack is kept isolated so Juliet can continue to undermine his perceptions, playing on the sympathies engendered by their shared experience. It’s quite possible that Juliet was honest about her medical background, but Jack has no reason to believe her. He sees the truth of the situation as plainly as the audience, but he can’t escape the fact that he needs to solve a problem once it crosses his path. Ben’s medical condition, staged or otherwise, will eat away at his resistance.

One reason they chose to abduct Sawyer and Kate along with Jack is the likelihood of using their complex relationship as leverage. Letting him hear Sawyer being tortured is unusual, however. On the one hand, Ben could be testing Jack’s concern for Sawyer, to see how deep the animosity might be. But reminding Jack of that torture could work against the effort to convince him to join the cause, if that is the goal. It’s just as likely that Alex and her friends have been trying to counter the conditioning process, reminding Jack of his friends and what Ben is doing to them.

Beyond their relationship to Jack, it’s unclear why Sawyer and Kate were abducted. Logically, they must serve a purpose for the Others. Ben puts Sawyer through the paces in this episode, and it is remarkably brutal. He lets Pickett beat Sawyer to a pulp to see whether or not Kate will declare her love for him and save his life. It’s almost certain that Pickett was channeling his anger as per Ben’s directions, so what was the advantage?

It’s still reasonable to assume that Ben is aware of Jack’s attraction to Kate, and that he wants to show Jack that Kate is really in love with Sawyer. It would be an effective way to isolate Jack and take away more of his resistance. They began with testing all three of them based on their histories and established psychology, but it looked like they adjusted when they discovered that Kate asked about Sawyer first.

But Ben obviously has something in mind for Sawyer as well, and it’s not clear what that purpose might be. If he’s trying to turn Jack and it’s going well, is Sawyer the backup plan? Is he trying to dominate Sawyer physically and mentally to beat down his resistance, thinking that will get Sawyer to respect him? It could be that this is Ben’s way to turning Sawyer. Show him how much better they can be at the game, and then offer him the chance to go home if he betrays the JackLocke Tribe in the process. They certainly dangle Kate in front of him like a carrot!

That would appear to be the implication of the flashback as well. Sawyer was tempted into betraying a fellow inmate for his own benefit. Unfortunately, the flashbacks are a bit spare, and they introduce an element that could be disastrous. Why does Sawyer have to be a father, when there are so many other issues for him to deal with? Sure, there’s the parallel between Clementine and Kate, in terms of people he will sacrifice for, but it doesn’t work as well as the writers would hope.

However, the Others now know his weakness: Kate. If they are trying to break down their resistance, using their strengths against them, what do they have planned for Kate? They already know that she can escape that cage, but they do nothing about it. It still feels like Kate is there so they can use her waffling between Jack and Sawyer to their advantage, but that seems too simple for Ben and his cohorts.

Meanwhile, lest the audience forget about the JackLocke Tribe amidst all the bloodletting, Desmond shows the practical side of precognition. It was easy enough to figure out where he was going with his science project, but that simplicity worked fairly well. Now the rest of the tribe has reason to wonder about him. Will he become another challenge to Locke’s status as shaman, or will Locke try to use him to unveil more about his supposed destiny?

At the current pace, it would make sense for the Others to reveal their purpose by the end of this six episode mini-season, thus launching the rest of the season into a different direction for the remainder. Hopefully that will also mean less of the repetitive torture. It’s one thing when it leads to a logical plot progression; it’s another when the writers just seem to be lingering over it.

(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 continued to explore the motivations of the Others, including how far they will exploit a situation to their own ends. The parallels between past and present were a bit less impressive this time around, and some elements were a little predictable. That said, the Others manage a level of psychological manipulation untouched elsewhere in TV Land.


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

Final Rating: 7/10

Heroes 1.5: "Hiros"

Written by Michael Green
Directed by Paul Shapiro

It felt like the pacing slowed a little bit in this episode, but in a good way. After everything that happened in the previous episode, the writers needed some time to deal with the consequences and continue this slow but steady process of bringing the heroes together. Along the way, there are some interesting revelations and hints regarding the future. All in all, the series has hit its stride!

Claire’s father is one complicated villain, and it’s still very unclear what his goals are. That’s not a negative; it’s one of the more compelling mysteries. His actions are part of the process, tying the characters together as surely as Isaac’s visions. Whatever his plans for the superhumans might be, he still acts like many fathers would like to act: lashing out at someone who tried to violate his little girl. The fact that he probably has his own plans for Claire adds a disturbing layer to it all.

Peter’s abilities, long suspected by some fans to be a mimicking power, take center stage, providing a neat and somewhat logical solution to Isaac’s problem. Having a visionary with a massive drug habit is hardly useful, so Peter should come in very handy. This ability could also be useful for defensive purposes, if they should fight someone like Syler with powerful telekinetic abilities. This doesn’t change the fact that Peter is still a boring character, but it does make him important to the plot.

In fact, many of the characters are discovering the extent of their powers in this episode. For every positive, there seems to be a negative. Niki’s inability to remember her activities when “possessed” by Dark Niki will likely be an issue, especially when it comes to defending her decisions and actions regarding Micah. Matt finds some positive applications for telepathy, but almost immediately, the negative aspects overwhelm him. In both cases, it’s a question of control.

That will be the most interesting aspect of the series this season: watching the characters gain confidence and control over these abilities, all while facing series threats to themselves and the world. They could help each other find that strength and focus, but it’s equally possible that some will be lured into working with the wrong people. The process is what makes the show worth watching.

With so much happening, some elements are bound to work better than others. Nathan’s political machinations may be important in the long run, but it’s a little hard to follow at this point. I’m also not sure about the subplot with Hiro’s friend and his obsession with Niki. She seemed a little too calm about the idea of someone from Japan coming to her house after seeing her strip on the internet. Contextually, she was worried about threats to Micah, and she had been badly used and mistreated in recent days. Her reaction just didn’t seem to fit the situation.

Overall, the good far outweighs the bad, and there’s plenty of time to iron out some of the rough spots. After all, the series is rapidly becoming appointment television for fans, and the ratings continue to grow. That means that the series is getting great word of mouth, and that should make a lot of comic book fans very happy. It would appear that the “Lost” formula can strike twice, if handled and promoted properly.

(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 2.6: "The Wrap Party"

Written by Aaron Sorkin
Directed by David Semel

Not everyone was as impressed with the previous episode as I was, so it’s probably a good thing that the series took a somewhat different direction with this installment. The first thing I noticed was the marked increase in clever banter. Matt had some hilarious one-liners throughout the night, and the scene with the brainless cocktail waitresses was simply inspired.

For all that Matt and Danny are partners and effective co-leads, Matt is getting a lot better screen time lately. It might be his neurotic personality, but if he’s in the scene, he’s the focus. Danny, on the other hand, seems to be a bit more reserved. This episode shines more light on their professional relationship, confirming the Leo/Josh-esque dynamic. Danny is the business end, Matt is the talent.

This episode also had a lot to say about Jordan, and despite the more amusing aspects, it wasn’t pretty. Jordan seems to have paid a steep price for her success: she has few friends. Even in a large crowd, she’s basically drinking alone. The desperation is played up a bit for the comedic aspects, but it’s hard not to feel sympathetic, especially considering how often her past seems to work into conversation.

In fact, for an episode that started out with a lot of the funny, the tone shifted into deep sentimentalism by the end. Tom’s family issues were uncomfortable to watch, especially since it was clear that his efforts would be for naught. I think a lot of people can identify with Tom. It’s not easy when your choices don’t match your parent’s expectations, and it becomes impossible to bridge that gap.

There was also the exploration of Simon’s history, which was a little less universal. It makes sense for him to point out the lack of diversity, considering that it is a major issue for the networks. If this is supposed to be an important show for NBS, then it would be high profile for Matt to bring in a good black writer. I was quite pleased to notice that the stereotypical black comedy was panned all around as feeding into racism, but the alternative wasn’t particularly funny or insightful. In moments like that, it can be difficult to relate to Matt, because it feels forced when this incredible talent finds some mediocre and overly intellectual joke so promising.

If there was one plot thread that didn’t quite fit, it was the blacklisted writer. I wonder how many other viewers recognized that list of names as soon as Cal wrote them down. As a dutiful “Babylon 5” fan, I recognized those names instantly, so it was interesting to see how they led up to the reveal. I think that the only gratuitous reference was during Tom’s speech, though they were a little heavy-handed at the end.

Overall, this started out with some strong comedy and ended with a mixture of social and political statements that didn’t all come together entirely well. I still get the feeling that the show is trying to find a consistent voice, even as it continues to improve, and that the network is losing patience with the mediocre ratings. I think a lot is riding on the performance during November sweeps.

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

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

Final Rating: 7/10

Prison Break 2.8: "Dead Fall"

Written by Zack Estrin
Directed by Vincent Misiano


In the previous episode of “Prison Break”, Mahone was revealed as a murderer, dispatching Tweener with relative ease. Sucre seemed to turn on the rest of the Escape Squad, and Sara was facing down an assassin from the conspiracy. Not all of these plot elements were appreciated by the audience, and one major question was hanging over this episode: would the writers fall into the predictable traps, or would they manage to surprise everyone with the unexpected?

Mahone’s motivations turned out to be uninspired at best and utterly cliché at worst. Initially, there were indications of an unstable individual with serious mental problems, especially when the agent from internal affairs started ripping him apart about his track record. Very quickly, however, it became clear that Mahone was a tool of the conspiracy. His background suggested some kind of black ops training, but taken in context with Tweener’s messy execution, that doesn’t quite make sense. Nor does it make sense for the conspiracy to open themselves up to public exposure, which the systematic deaths of every member of the Escape Squad would do!

Slightly more effective was Sucre’s gambit with Michael, which was a nice touch. Even better was the revelation that T-Bag, the least deserving member of the Escape Squad, managed to run off with all the money. This plot thread quickly devolved when Sucre’s leg became trapped in the middle of a rising river, forcing Michael to choose between convenience and loyalty. It’s no surprise that Michael chooses to save his old cellmate, based on his psychology, nor is it surprising that the two of them narrowly escape with barely a scratch. (Wouldn’t Sucre’s leg be badly hurt, given the weight of that log?)

Sara’s plot thread was hobbled by the fact that many fans, especially on the internet, already decoded the majority of Michael’s messages, making that slow revelation mind-numbing to watch. It’s one thing when the writers lead to a surprising twist with a clever spin on established continuity. It’s quite another when the audience is several steps ahead of the game, and they can see the plot progression coming a mile away.

The only real surprise in this episode came from Bellick. While his return was inevitable, his activities in this episode are promising. Since it appears that T-Bag will be running off on his own subplot for a while, paying off a loose thread from the first season, it makes sense for Bellick’s quest for the money to follow along. This has potential, but given how fragmented the season has felt, this may not be the best move.

Overall, this episode continues the slow slide from quality that began at the beginning of the season. Considering how much I liked the first season, I’m a bit disappointed with the sloppy and lazy plotting since the premiere. Making Mahone a tool of the conspiracy was a horrible idea, and I’m not sure that the series will survive it.

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

Final Rating: 6/10

Battlestar Galactica 3.4: "Exodus: Part II"

Written by Bradley Thompson and David Weddle
Directed by Felix Enriquez Alcala


And so ends the experiment of New Caprica, spawning a thousand new crimes against humanity and demonstrating without a doubt the massive difference between Human and Cylon. This episode is the culmination of everything that took place in the second season finale, driving home a number of inevitable consequences and outlining the emotional scars. By the time Adama shaves off that damn moustache, the audience is begging for a sense of normalcy. Thankfully, the writers make it very clear that the wounds of New Caprica may never heal.

They have the rest of the season to deal with the consequences; this episode was all about ending the nightmare and establishing a new status quo, familiar but disturbing. The price of freedom for the people of New Caprica was staggering, and that’s just looking at the immediate cost. How many people died on the ground, and how many resources were lost with the destruction of Battlestar: Pegasus? And how many resources will be needed to repair Galactica from its massive damage? This was the largest battle since “Resurrection Ship: Part II” in the second season, and as is befitting of this series, it was as impressive and horrifying at the same time.

Nothing happens without a price on this series, and everyone paid. I’m surprised that so many of the civilian ships made it off New Caprica. I was expecting the Cylons to start firing on the ships as they took off from the ground. After all, Galactica and Pegasus were outnumbered, and one of those Basestars could have strafed the ground. Of course, there’s the possibility that the Cylons were still willing to let humanity live in the hopes of future reconciliation, but that’s not the most compelling argument.

Ron Moore always said that the situation on New Caprica would be resolved within a few episodes, and that promise was fulfilled. I’m not sure that I’m happy about that, but I can see the thought process. The second half of the second season was fraught with uninspired storytelling; the status quo had become largely entrenched, and something massive needed to happen. New Caprica was, in essence, a plot device, a means of changing characters and stirring up new conflicts. That was largely successful, even if the New Caprica situation was begging for more exploration.

Many of the main characters have issues that will need to be explored. Adama wasn’t himself after Baltar’s victory; he may have called Lee soft, but how much of that was transference? Kara will need to examine her sudden maternal instincts. Tigh needs to deal with the morality of his command decisions. And Lee needs to find his role outside of his brief and unsettling command. (Granted, most of this comes down to the writers explaining why the characters would take such a direction, but if things are explained retroactively, it could all work out in the end.)

Now Baltar and Hera are among the Cylons, and there’s every reason to think that this will continue to challenge the Cylon culture. Hera seems to be the fulfillment of the Cylon agenda from the first season, but just what will that ever-referenced plan turn out to be? Will they be too distracted to keep after the Colonial Fleet, or will they return to the old philosophies with a vengeance?

There were a number of interesting levels to the episode, and all of them made this a thrill ride. That doesn’t mean that the episode was perfect. The opening scene with Lee and Dualla was one of the worst scenes in recent memory, from the dialogue on the page to the stilted and unconvincing delivery. The timely arrival of Pegasus was telegraphed to the point of absurdity, and it’s hard to justify the sacrifice of a more powerful ship in such a dire situation.

Overall, it was a thrilling and entertaining episode with a few rough spots along the way. The effects were excellent, and some of the moments in the final act were gut-wrenching. It all comes down to the scenes that didn’t work and the potential for character decisions to be explained. Only time will tell, but it’s hard not to overlook the negatives by the time the end credits are rolling.

(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: 3/4

Final Rating: 9/10

Smallville 6.4: "Arrow"

Written by Kelly Souders and Brian Peterson
Directed by Michael Rohl


At this point in the season, it would be typical for “Smallville” to abandon season arc elements in favor of fan service. Some might remember the disturbing fifth season episode “Thirst”, notable for parading Kristin Kreuk around as a pseudo-vampire with a plot as thin as the material in her costume. So it’s surprising to note that this episode is the fourth in a row to focus on plot and character arcs. It’s even more surprising to note that the characters are acting somewhat consistent in the process.

The underlying theme for Clark this season is morality: can he maintain his high-minded morals without someone to remind him where the high road is? And how does Clark come to the conclusion that being a superhero is the right direction for his life? Oliver Queen puts both issues on the table for Clark, and in a nice touch, he’s not completely wrong or right. Clark has a lot of issues with the “end justifies the means” philosophy, and looking back on his relationship with Lex, it’s not hard to understand why. But Queen’s point about helping strangers in need is a rather good one, and as we know, Clark ultimately recognizes that his gifts are for the world, not just his friends.

As one would imagine, Queen’s philosophy is delivered with all the subtlety of a falling anvil. For someone with a desire for low profile heroics, as evidenced by his lack of public profile until Lois dubs him the Green Arrow, his actions in this episode are hardly clandestine. This is where the mechanics of the story arc are too easy to discern. Queen had to begin a relationship with Lois before this point so he could become, as Green Arrow, the focus of her rage. This, in turn, gives Clark and Queen common ground, and evens out the playing field a little. Clark may not have a sense of his place in the world, but he does know the price of hiding his identity.

Knowing that Clark and Queen must work together at some point, even while debating the finer points of their moral codes, this initial animosity gives the story run to maneuver as the season progresses. Clark may question his own conclusions, or give Queen reason to question his own. This could pull Lex into the equation in a relatively natural way. After all, Queen is a mixture of Clark and Lex, in terms of goals and methods, and should something emerge of interest to all three, Clark and Lex could end up vying for Queen’s support.

Equally interesting, though less promising based on past history, is Lana’s decision to play in Lex’s world. Lex may be undermining his own success by testing Lana and using his father as a pawn in the process, but Lana is finally showing a darker side. It might actually be fun for Lana to do more than flirt with this level of self-interest. It would give the writers something to do with the character, and with a new direction, Kristin might have more enthusiasm for the role.

Overall, there are still a number of elements that could be improved. Lois’ conversion as dedicated reporter is still forced, and she remains the primary source of eye candy. Lana’s character shift needs to be consistent, and the writers should resist the urge to slide her back into sweetness and light. All that said, this is still the best start for a season of “Smallville” in quite a while.

(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 2.4: "Children Shouldn't Play With Dead Things

Written by Raelle Tucker
Directed by Kim Manners


This is a fairly simple episode, when it comes to the “paranormal” elements, but as usual, it all comes down to some complex and crushing psychological exploration. This is another episode covering Dean’s grieving process, and we finally get past some of those emotional walls. What lies beyond those walls is not pretty, but it’s entirely consistent with previous characterization and events depicted thus far.

The case, as I said, was simple. A hot young woman (played by a surprising Summer Glau) is killed in a car accident, a friend with deep unrequited love brings her back as the undead (with some disturbing intentions), and things get violent as a result. This is one of the few times I’ve seen a show deal with necrophilia, and the presentation had to make a lot of people uncomfortable. In this case, the dead woman was quite lively and very attractive, which only helps to sneak the implication past the radar.

This particular situation is designed to force Dean and Sam to consider reactions to sudden loss, and it hits Dean right between the eyes. Sam hasn’t been dealing with his father’s death very well either, but a lot of his time has been spent dealing with Dean. Dean is beginning to recognize how messed up he is, but he also has no idea how to heal. And he has a lot of reason to think that he bears a terrible burden on his soul.

I’m glad that Dean finally mentioned the obvious connection between John’s death and his miraculous recovery. I thought it was a little odd for the writers to pretend that the brothers wouldn’t work that out, and sure enough, it was all part of the story arc. Dean did come to the right conclusion, and it’s ripping him apart to imagine what kind of deal his father made. As he points out at the end of the episode, he was dead, and by the logic of this episode, bringing him back was wrong.

Of course, that goes against the emotional reaction of the audience and Sam’s gut instinct, so it’s incredibly hard to reconcile. Yet looking back at the season premiere, the writers set the stage for this psychological trauma from the beginning. Sam has no answer to the problem, because there is no good rebuttal. Dean is exactly right, and that engenders a level of self-loathing that has been evident in the past few episodes. That kind of character development and exploration is quite rare in television.

Another positive aspect of this episode, more present in this episode than any other this season, was the humor. It may have been an example of Dean’s defense mechanisms at work, but he was tossing out hilarious comments right up until his emotions got the better of him. More than that, the script itself included some amusing moments, like Dean walking in on Sam’s sampling of the hotel on-demand porn. The humor made the darker psychological material easier to digest for some in the audience, and so long as both ends of the spectrum are explored, the series will continue to excel.

(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: 3/4

Final Rating: 9/10

Ghost Hunters 3.2: "OK Corral"

A lot of people have complained that the constant trips to high-profile locations has had an effect on the charm of the show. Certainly it has opened up the doors to more criticism. In this episode, we have two more locations promoting their “haunted” status and seeking validation. That’s not quite the same as demonstrating the TAPS mission statement of helping those in need, but since the non-TV team is covering the civilians, I won’t complain too loudly.

Case #1: Copper Queen Hotel

The first investigation takes place at the Copper Queen Hotel. I was immediately skeptical, and not just because the employees were practically begging for evidence. This place has rooms named after the supposed ghosts “haunting” the room! So when Jason and Grant started getting odd images on the thermal footage, I was a bit concerned. I thought it was fairly obvious that the “apparition” was a reflection and that Jason had inadvertently turned the camera towards Grant in the hallway, so when they ultimately debunked that footage with exactly those explanations, I was relieved.

The rest of the investigation was fairly normal. They’re still working on the production values and the general technique issues. They mentioned the baseline for the EMF readings, which was a good start, and they were quite clear that the EMF readings alone were little more than suggestive of unexplained activity. This being an older building with the power still on? I’m not at all surprised that there were EMF fluctuations.

Seeing Steve and Brian in the same bed was more frightening than the possibility that the luggage rack slid across the floor, but I was pleased to note that this relatively slow moment wasn’t filled with manufactured drama. I don’t see the signs of a silly “season arc” like the Brian Saga of the second season, so maybe Pilgrim Films got the message.

The big moment in this episode, of course, was the apparent evidence in Grant’s room. I’m with Jason on this one. Looking at the footage, the movement is caused by pulling, not pushing, and all of the action takes place on one small section of the blanket that folds under the gathering fabric. That’s an indication that the blanket was being pulled from underneath. (Pulling from above would have resulted in the blanket folding over itself as it moved.)

Naysayers will immediately claim falsification, but there’s a far more logical (and much less complicated) explanation. Grant probably pulled on the sheet under the blanket in his sleep, and the blanket pulled up as a result. It wasn’t a huge bed; it wouldn’t take much movement at all for that to happen. Try it at home; this is hardly unusual. It may look strange, but I wouldn’t call it paranormal. I thought it was quite amusing to listen to Grant rationalize it, though!


Case #2: O.K. Corral

I noticed that they were using a thermocouple probe with the IR thermometers this time around, which is a nice improvement. They still use the “cool” equipment at the request of the network, but they are trying to add some meaningful functionality. They even seemed to mention how the equipment was supposed to be working, reading surface temperatures rather than air temperature.

At any rate, as soon as they mentioned it was an outdoor investigation and the wind was picking up, I was certain that the investigation would be rendered moot. And sure enough, that’s how it happened. They tried to play up a couple things here or there, but mostly to fill the hour; I blame the editors for that more than anyone else.

All in all, not a bad episode. I like it when they show footage that could be claimed as evidence of a haunting and then explain why it doesn’t pass muster. Skeptical zealots will claim that this is all part of the vast pro-paranormal brain-washing conspiracy to fool the audience into a false sense of objectivity, but given that this is what they say they will do, it’s entertaining to see them do it.

Chill Factor: 7/10

Lost 3.3: "Further Instructions"

Written by Carlton Cuse and Elizabeth Sarnoff
Directed by Stephen Williams

In which Locke awakens after the destruction of the hatch, and after an apparent vision, embarks on a quest to save Eko’s life, while Hurley encounters a changed Desmond…


Status Report

Slowly but surely, the writers are covering the aftermath of the second season finale. It’s hard to imagine that the first “mini-season” is already halfway completed. The concept of breaking the third season into two uninterrupted blocks is a good one, but there is the question of pacing. Can the foundation laid in the first three episodes propel the next three installments towards a big enough moment to satisfy fans? Time, it seems, will tell.

Locke fans, at least, should have been satisfied with this episode. While some elements felt designed to re-introduce the character, ostensibly to those theoretical (and unlikely) new viewers, the rest was classic Locke. Locke has always been the man searching for deeper meaning and woefully falling short of it, feeding his own psychosis with each perceived and actual failure. This episode is not so different, but the incremental steps towards a new man can be seen.

Locke has always seen the island as a gateway to something greater. Looking back on the first season, he sought to create a reality around himself, fueled by his experiences on the island and the apparent revelations. Locke presented himself as a survivalist and a hunter, the most capable man on the island, and the pseudo-shaman for the newly formed tribe. Every moment became another proof of destiny, until his decisions led to Boone’s death.

The second season saw Locke struggling with the possibility that his inflated sense of destiny was all an illusion. He thought the hatch would open and reveal his destiny, but instead, it was a relic. It’s quite possible that he still doesn’t understand what was happening in the Swan Station (much like the audience), but he does know that things went badly once he stopped believing in the island and its role in his destiny.

Locke has been looking for his place in the world, and because of his own shortcomings and mistakes, that has been impossible. He has come to the conclusion that he can only find fulfillment in a role that elevates him in his “rightful place”. Appeals to mysticism are a part of that psychology: claims to secret and forbidden knowledge, the ability to speak from a higher authority, the assuredness of the zealot. It would be bad enough if these manipulations were simply tools used for population control, but Locke actually believes that the island is giving him direction.

The episode neatly walks the middle path between Locke’s version of reality and a more objective point of view. Locke may induce a vision that sends him off to find Eko, but once he starts on that path, the signs and marks are all mundane, appealing more to his tracking skills than his communion with the island. Yet it is abundantly clear that Locke succeeds because of his own belief in success. He is sure that the island wants him to rescue Eko, and so he acts with enough confidence to achieve that goal. The task only required that confidence, but Locke could have only discovered that through the restoration of his faith.

So it would be possible to conclude that Locke, despite his warped point of view, did all the right things to rescue Eko, things that anyone with the same level of determination and skill could have done. But it’s also possible to conclude that he was meant to find and rescue Eko, thus restoring his place as the spiritual leader of the JackLocke Tribe. Both interpretations are fully supported, thus taking the audience back to the philosophical territory of the second season finale, with each fan asked to choose faith or reason.

Complicating matters, Locke’s flashback is like the nagging voice of doubt in the back of his head, reminding him of past mistakes. This flashback takes place in the wake of the previous Locke episode, and once again, Locke demonstrates poor judgment. He’s looking for a place to belong, and he thinks he finds it at a commune. But his trusting nature, borne of a desire to fit into a destined role, leads to personal disaster. In Eddie, he thought he saw someone just like himself, and he thought it was his purpose to help Eddie find his own purpose. As revelations go, this one is minor, but it fits the episode rather well.

If Locke’s flashbacks supported the idea that his choices in this episode were driven by psychological issues, then his vision supports the idea that the island was really speaking to him. In Locke’s mind, Boone was the avatar of the island, telling him where to direct his energies. The comment about Charlie and Claire could be telling, especially if things begin to go wrong and he tries to warn them. But even that is hardly clear, since Charlie and Claire will almost certainly run into trouble, based on their own issues. It really does come down to Locke’s interpretation of events, filtered through his warped state of mind.

Hurley’s encounter with Desmond, however, balances out the voice of “reason” with more than a little “faith”. Desmond appears to have foretold Locke’s call to arms, and the fact that Desmond had little to no contact with Locke before his conversation with Hurley, that’s harder to dismiss. Will Desmond continue to demonstrate some form of precognition? If so, was that an effect of his exposure to the electromagnetic anomaly under the Swan Station? If that precognition plays out, what does that say about Locke’s claims of guidance from the island itself?

This episode proves what a number of fans already knew: Locke and his complicated psychology is one of the highlights of the show. Even a mediocre Locke episode is more than worth the time. This was something of a restoration for Locke, a return to a simpler and less conflicted direction for the character, and that means a more proactive Locke in the future. And that should make Locke fans very, very happy.

(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 was something of a restoration for the character of an important character, bringing him back to his roots and reminding the audience of his complexity. While the episode is told from his point of view, the conflicting interpretations of faith and reason are both represented and explored, giving this installment some much needed depth.

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

Final Rating: 8/10

Studio 60 1.5: "The Long Lead Story"

The previous episode was an example of strong, consistent storytelling, delivering on the promises made in the pilot and demonstrating why the series should survive. While this episode doesn’t quite live up to the same challenge, it offers a number of poetic and even beautiful moments, all in what seems to be a transitional episode as the long-term character elements build.

Having introduced a reporter with full access in the previous episode, the logical next step would be an episode focusing on the reporter doing her job. And in fact, a large measure of this episode is exactly that. The result is an interesting perspective. On the one hand, Martha is the perfect example of a “gateway character”. The audience gets to discover the ins and outs of the Studio 60 world through the eyes of a character with similar goals. On the other hand, Martha is still something of an insider, and so her perspective is not quite mundane enough to mesh with the perceptions of the casual viewer.

The positives outweigh the negatives, though that determination is realistically subjective. I found that Martha’s desire for a story, however self-interested at times, had the necessary effect of peeling back the layers of the story. In particular, there was a lot more about the relationship between Matt and Harriet, and it’s a deeply romantic story. A lot of outside factors could have played into it, but the writers chose to focus on specific aspects, and it worked well.

I’ve been a little annoyed with the constant use of musical montages to end the show, and I thought the lack of one in the previous episode was another strength in the storytelling. Too often, the musical montage is a cheat, a way of ending an episode without writing a final scene with proper denouement. Quite often, songs are chosen for mood, as if the emotional resolution is good enough and context is unnecessary. This episode ended with a song with relevant lyrics and dialogue that gave it context. It was, quite simply, poetic.

Another strength of the episode was the subplot involving Jordan. While the series is centered on Studio 60, Jordan’s decisions regarding the sketch comedy need to have the proper context. Her responsibility is for the entire network, and we finally get to see her in action. Her decision to scuttle a no-brainer reality show for a more literate series may be another example of Sorkin wish fulfilliment, but it clearly defines Jordan’s thought process and her commitment to elevating the medium. Touching back on Wes and his on-air diatribe was another appreciated grace note.

For all the good elements, including some gorgeous direction in the more powerful romantic scenes, there were some drawbacks. The pacing was a bit slow again, in contrast to the near-perfect pace of the previous episode. While some scenes deserved the long and generous takes, like Sting’s performance or Martha’s conversations with Harriet, others felt plodding. The comedy sketches were once again groan-worthy, even if there’s the underlying hint that Matt is struggling because of his troubles with Harriet. If that were the case, though, the response from the Studio 60 audience should be reflecting that lack.

(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

Smallville 6.3: "Wither"

Written by Tracy Bellomo
Directed by Whitney Ransick


So far, this season of “Smallville” has started off on the right note. Granted, a number of essential flaws remain firmly in place, but in terms of sheer entertainment value, there’s a lot to enjoy. In particular, the writers seem to be trying harder, searching for a dynamic that works within the overall mythology while breaking out of the conventions of the past.

Clark may still be pining for Lana, but she’s definitely pursuing Lex, and that has potential. In particular, it should give the writers plenty of opportunity to explore the three characters and their basic psychology, if handled correctly. Lex has a reason to resist his worst impulses, and Lana will be tempted to compromise her morals. That process could help define Lana as a more complete and interesting individual, if the writers are willing to give her a genuine dark side. And of course, Clark’s reaction to the dynamic between Lex and Lana should test his own moral resolve.

In fact, Clark is in a position he has managed to avoid for quite a while. He’s the odd man out in nearly every relationship in his immediate life. Lex and Lana are together. Chloe, who might have been a better match from the very beginning, has finally found someone else: Jimmy Olsen. In this episode, Clark seems a bit jealous of Jimmy. Some part of him might have enjoyed the constant adoration, and that’s something that reveals a flaw in his character, making him more interesting in the process.

For all that, he’s fated to be with Lois, and as he’s coming to the realization that their sparring might hide actual attraction, she’s being swept away by the latest millionaire to step onto the Metropolis stage. The whole Robin Hood motif is a nice touch, and after a little searching, I have discovered that his costume is an homage to the original costume for Green Arrow. This episode helps to flesh out Oliver Queen’s personality a bit, which is a good move. The audience needs to understand him, and even see him in a favorable light, before he can become a suitable contrast to Clark.

Gloria was an interesting enough villain, though her overall impact was minimal. If this were a Batman series, then I might have mistaken her for Poison Ivy. Instead, Gloria’s origin is firmly rooted in the season premiere, a move that made the episode far more intriguing. This is a sign that the premiere will continue to have lingering consequences for Clark and the world, and that’s something that should give the writers a steady path forward. Clark may have defeated Gloria a bit too easily, but the point, it seems, was to have Clark face down one of the villains that escaped the Phantom Zone as a result of his actions.

One other pleasant surprise was the restraint shown at the costume party. I was expecting a lot more skin, but beyond Lois’ Maid Marian costume, the proceedings were fairly tame. Lana was quite gorgeous as Cleopatra, even if her steamy moments with Lex once again included the use of an obvious body double. And any opportunity to see Lex running around as Caesar is worth the time!

(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

Battlestar Galactica 3.3: "Exodus: Part I"

Written by Bradley Thompson and David Weddle
Directed by Felix Enriquez Alcala


After a powerful two-episode premiere, the writers jump right into another two-part tale, ramping up the tension for the inevitable rescue attempt on New Caprica. Because of the pacing requirements, the episode is largely transitional in nature. Such episodes are necessary, but they are rarely the most exciting installments of a serialized story. As a result, this is probably the least impressive episode of the season thus far.

That’s not to say that the episode misses the mark. It does exactly what it needs to do. The pieces are in place for the rescue attempt, with Adama and the insurgency working together towards a common goal. The Cylons are on the verge of a violent reprisal, but their own concerns and agendas continue to get in their way. D’Anna, in particular, is distracted by a revelation that will, most likely, complicate the rescue attempt in the next episode.

That aspect of the episode fascinated me, because it has a great deal of potential. Cylons have looked down on the pantheon and mysticism of the Colonials since the very beginning of the series, but now D’Anna is having visions, telling her to meet with a Colonial priestess. If D’Anna’s dream was in fact prophetic, then it would imply some kind of connection between Human and Cylon, an overlapping of their unconscious awareness. The implication is fairly obvious: the divisions between Human and Cylon may be more artificial than natural.

The series introduced the idea of this overlapping when they introduced the humaniform Cylons. While there are aspects to Cylon mechanisms, like relatively simple resurrection, that seem completely alien and inhuman, the distinctiveness of personality and the apparent similarity of biology (close enough to mate, in at least one case) are hints of commonality. Even if the 12 biological Cylon models are copies, their personalities appear to evolve from that common origin. Taking Caprica-Six and Sharon as examples, there is a clear nature vs. nurture exploration at work.

This is also reflected in Roslin’s comments about Hera. Once on the fence about the existence of the hybrid at all, Roslin is now fiercely protecting the child, possibly above all else. She has proclaimed Hera as the “shape of things to come”, whether for good or evil. From my perspective, this suggests that how the child is raised will speak strongly to any hope of peace with the Cylons. It also suggests that a reconciliation of some kind is the possible resolution to the conflict, since Hera is the melding of the two species.

The situation on New Caprica, of course, makes such a future almost impossible. If the surviving Colonials were ready to forget about the genocide of the 12 colonies, then the New Caprica oppression has certainly opened and festered old wounds. Sharon’s defection to the Colonials becomes that much more important, and that’s why D’Anna’s revelation about Hera is so damning. Sharon trusts Adama, but now she has some suspicion that she was betrayed. If that doesn’t play into the conclusion of this two-part story, that will be disappointing.

In counterbalance to the philosophical questions, which were a clear highlight, there were some odd mistakes. Callie’s escape in this episode doesn’t match what happened at the end of “Precipice” at all. Neither does the Cylon attack on the meeting between Sharon and Anders. It feels like the kind of mistake that comes when one writer hands off to the next, long before the scripts are shot and the directors shift details. Still, despite understanding the possible cause of each continuity error, it takes away from the illusion of a seamless production.

(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

A New Direction: Media Blvd Magazine!

I've been sitting on this news for a couple of weeks now, as all the details were ironed out and the systems were put into place. But everything seems to be running smoothly now, so I can start spreading the news! Starting this month (October 2006), a number of my reviews will be featured in Media Blvd Magazine. This is a publication with online and printed components, covering celebrity interviews, reviews, and opinion pieces on various genre and non-genre television shows. So far, the reception has been overwhelmingly positive!

One aspect of the agreement that works for me (and ultimately for you, the reader) is my continued ownership of the material. I still hold all the rights to my work; they are effectively reproducing the reviews with my permission. The net effect is that I fill a gap into their overall coverage, while I get a solid reference and wider readership. And because this is a legitimate publication, the reviews are now included in the Google News service. As of 12 Oct 2006, that aspect of the deal went live. So now, when people search on a TV show or episode, once the magazine runs it online, it comes up on the search!

I've already heard from some people who found me through the service, so this is having an immediate effect. Of course, I now feel a little more pressured to get the reviews out in a timely fashion, but the editors are willing to follow my schedule as is, which works out well. Also, they are intrigued by my (tenuous) contacts with the principals of shows like "Ghost Hunters", "Haunting Evidence", and "Dead Famous", and if I can schedule an interview, they might be interested in running that as well. Needless to say, this is quite an opportunity, especially since there are some items brewing on the paranormal research front that could overlap tremendously with this particular endevour.

So I urge everyone to jump on over to http://mediablvd.com/magazine/ and show them support. They have tens of thousands of subscribers and a lot more in the "casual readership" column, so add that to the thousand or so people who visit this site a day, and it's definitely a big step in the right direction. Also, for what it's worth, I'm using my professional name for the reviews posted on Media Blvd, so there may be some cosmetic changes moving forward. Rest assured, I won't forget the people who helped me get this far, and the archive site will continue to be the primary archive for everything that I produce.

Thanks to everyone who helped make this possible!

Supernatural 2.3: "Bloodlust"

Written by Sera Gamble
Directed by Robert Singer


The previous episode covered the fallout of John Winchester’s death and incorporated a fairly simple horror film cliché in the process. The results were varied, with many fans annoyed with the “killer clown” concept in general. This time around, the writers focus almost entirely upon the psychology of the characters and the dangerous world of “demon hunters”. The result is a tense episode that demonstrates everything currently working for the series.

The distinction of “Supernatural” is that it presents a paranormal world fraught with danger, but the real story is the psychological and emotional journey undertaken by the Brothers Winchester. The characters are easy to care about, especially in their current bereaved state. Sam and Dean are struggling to keep it together, and in this episode, they really are a mess. Both of them are trying to find a sense of normalcy.

I was a little disappointed to see the Impala on the road again, even if it was something desired by creator and fan alike. I thought it was a powerful metaphor for Dean’s fractured psychology, and bringing it back so quickly takes something away from that. Of course, this episode makes it clear that Dean has a long way to go in terms of healing. He’s looking for a father figure instead of becoming his own man, and his choices in this episode are disastrous.

I still think the theme of the season will be letting go of their childhood needs and becoming their own men, but that process is going to be a lot more painful than expected. Sam doesn’t really know where he belongs or who he should be, and Ellen can only give him so much of the maternal support he wants. Dean is trying to put his world back into the safe little boxes of black and white, and it’s not working.

The not-so-subtle message is that change and growth are painful, and sometimes go against one’s sense of nature and rightness. The vampires in this episode are choosing a better way, a means of co-existence. It goes against their demonic nature, but they just want to be allowed to live and thrive on their own terms.

Dean and Sam need to do the same. Sam needs to reconcile his gifts with his humanity and find a way to live a whole life. If anything, he understands Lenore because of those gifts; he’ll never be completely normal again. Dean, on the other hand, struggles with the notion of allowing that world to co-exist at all. The idea of a harmless demonic creature goes against his training and education.

It’s all very simple, but that simplicity allows a lot of room for character exploration. Amber Benson does a near-perfect job as Lenore. Some may remember her as Tara on “Buffy”; here, she shows her range and plays both predator and prey with equal confidence. (And she looks lovely with the darker hair, too!) And Sterling Brown gave the character of Gordon the necessary gravitas to be a potential father figure in Dean’s mind. Without the capable guest cast, this latest look into the minds of the Winchester boys wouldn’t have been so impressive.

(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

Ghost Hunters 3.1: "Tombstone, AZ"

Disclaimer

A lot has happened since the end of the second season, both in terms of the show and my relationship to it. Since writing my review for the second season finale, the episode covering the investigation of the Stanley Hotel, my perspective has shifted considerably. For one thing, I’ve met Jason and Grant on more than one occasion, and I’ve spent time with some high profile individuals within the paranormal research field. I’ve gained hands-on experience in paranormal investigation, and while that’s still a work in progress, the preparations involved gave me a wealth of insight, above and beyond my technical education.

My point is that there will be a noticeable effect on the reviews, and so it’s worth running through the basics in the first review for the third season. I fully acknowledge, here and now, that I cannot be fully objective. My perceptions and assumptions are colored by my relationships with the people and ideas on the show. From a purely professional standpoint, one could reasonably question my ability to review a show about people I know, even as general acquaintances. Thankfully, my goal is not to judge the veracity of the evidence, the validity of the methods, or the integrity of TAPS. My goal, simply put, is to say whether or not I was entertained.

I fully intend to give my opinion on the evidence and the conclusions reached by Jason and Grant, but ultimately, this is all information that has been filtered through several stages of editing and post-production. So it’s a matter of “taking it as it’s presented” and going from there. I’m not going to get into an argument about whether or not it was falsified. On the other hand, if something looks questionable, I’ll point that out and give reasons why. Basically, I’ll be saying exactly what I would say to Jason or Grant if we were discussing the show with them personally.

I’ll also speak to the dramatic elements of the show, because I have a great deal of experience in reviewing dramatic television. When I see signs of a storyline being manufactured, even out of real events, I’ll be pointing that out. And I’ll be pointing out technical items here and there as well. If it crosses my mind, it’s fair game. The only caveat is that I don’t claim to be an expert on paranormal investigation, TAPS, or television production. I take full responsibility for any inaccurate, incorrect, or inane comments along the way, and I reserve the right to correct myself later.

Now, on with the show!


The Investigation

Things start off on the right foot when we have Donna in a cowboy hat. It just gets better from there! I was very happy to notice that the show has been retooled a little bit. The stupid and distracting sounds and music added in post-production are still a point of contention, but on a practical level, there were some items added to the investigation that I really liked.

As some might remember from my second season post-mortem podcast (http://entil2001.libsyn.com), I mentioned how useful it would be to see them setting up the cameras and explaining the whys and wherefores. They actually did that, and I found it helped a lot in getting a sense of the space and what could or could not be covered. One minor improvement, however, would be a very quick graphic. In terms of air time, it would take less than a minute to show a floor plan, a few dots, and run a useful voiceover to explain the rationale. It would be very easy to do, and would look damned professional in the process.

I also noticed that there was a stronger emphasis on portraying the investigation in a more realistic manner. That might be lost when two or more cases are covered in a single hour, but for now, I thought the production values were much higher and the sense of realism was enhanced as a result. The downside, of course, is that it felt like someone had suggested that they carry digital cameras around and snap at random, as if that would satisfy critics. I don’t recall them doing that before, and while it’s perfectly legitimate, it was a little suspicious.

For all that, a lot of time was spent commenting on shadows and sounds that never made it on camera. That’s par for the course, but made a lot worse by the post-production. I thought, now and again, that there was a sound of cards shuffling, but I had to dismiss that because of the goofy sound effects. Even when it comes down to the full body apparition, I’m willing to take them at their word, but there’s no way to demonstrate that the third party verification technique wasn’t contrived. Any critic is going to pull that one apart easily, just on the basis of editing alone.

One very good development, at least in the short term, was the lack of drama. This was a relatively straightforward investigation, probably designed to introduce new viewers to the premise, the personnel, and the format. One can only hope that the rest of the season will continue with this trend.


The Evidence

As usual, there was a wealth of personal experience involved, but since it wasn’t caught on film or any recording device, not much can be said about it. I’m willing to hear it and accept that it was possible they saw an apparition, but there’s really no proof. Also, I was not impressed at all by the sound of a large marble hitting and rolling down the roof. That would be all too easy to manufacture, and I think even the team had that thought when they were talking about it.

The EVP of period-appropriate music was interesting, especially since it appeared to be embedded in the background noise. I’d love to get my hands on a copy of that sound file and look at it more closely. But I can hear the counter-argument already. Was it possible that there was a radio station playing that music nearby? Maybe someone outside? Unlikely, perhaps, but possible.

The best evidence was probably the cord unwrapping itself from the bell. Reading the “debunking” on that one should be fun. I’ll admit that it was very hard to see the cord in the footage, and it took me a few times before I could see what they were talking about, thanks to the nature of the footage. But it was definitely interesting and I’d love to get into that place myself!

Chill Factor: 8/10

Lost 3.2: "The Glass Ballerina"

Written by Drew Goddard and Jeff Pinkner
Directed by Paul Edwards

In which Sun must choose between Sayid’s desire to rescue Jack and Jin’s desire to return to camp, while Sawyer and Kate are tested by the Others and Jack receives an unexpected offer…


Status Report

Much like the season premiere, this episode focuses on a small subset of the larger ensemble. Curiously, it focuses on two characters that are, in the larger scheme of things, somewhat secondary to the main action. As interesting as Jin and Sun may be to some, it’s not easy to see how they intersect with the season arc at this stage of the game. The potential was there for another letdown like “Adrift”, the calamitous second episode of the second season. Thankfully, the writers had a better grasp of how to keep the arc moving forward while covering the character work.

Three plot threads are covered in this episode, and all of them have their strengths and weaknesses. The major plot, of course, is Sayid’s decision to draw out the Others and stage some kind of half-baked hostage exchange. Jin disagrees, and Sun is placed squarely in the middle. The “B” plot is the continued manipulation of Sawyer and Kate by the Others. The “C” plot, barely touched upon in the episode, is the next step in Ben’s manipulation of Jack. (Sure, the second and third threads could be considered as a whole, but they are distinct in many ways.)

The main plot is incredibly simple, and for that reason alone, it had the potential to sink the episode. Simple plots aren’t necessarily a problem, but for a series known for complexity and depth, a straightforward tale can be deadly, especially this early in the season. In essence, Sayid wants to take Desmond’s boat, dock where he sees signs of recent human activity, and lure the Others into a trap. Jin insists that they return to the JackLocke camp. Sun effectively chooses Sayid over her husband, and Jin is not a happy man.

Much like “The Moth”, one of the less subtle episodes of the first season, the flashbacks cover a time when Sun was caught in her affair by her gangster of a father. He decides to correct the error by eliminating Sun’s lover. His weapon of choice? Jin, who has no idea why this man is so important, but gets coerced into playing the heavy. Knowing how important family and status has been in Jin’s mind, it’s not hard to see how Sun’s father manipulates him into committing yet another questionable act.

The writers weave past and present together in a manner that suggests Jin suspected Sun’s affair. This presents a rather annoying continuity problem. Jin has never questioned Sun’s fidelity before this point. His personality is too controlling to allow such accusations and suspicions to remain unspoken for so long. Watching the episode carefully, it’s clear that the writers were using the possibility of this knowledge to add tension to the episode, but once that tactic is recognized, it makes it hard for anyone to take the “betrayal” parallels seriously.

The net effect is that Sayid’s judgment can be questioned, since they’ve now lost Desmond’s boat, and there’s every possibility that Sun has killed one of the Others. This could make things worse for Jack, Kate, and Sawyer, though it’s hard to imagine how that could be the case. Ben already has a list of personal reasons to put them through the wringer, even setting aside the goal of all the manipulation. In terms of the Jin/Sun dynamic, it’s hard to determine what this episode was supposed to add to the knowledge in hand.

The Sawyer/Kate plot thread was a bit more interesting. Lest the audience forget that Kate is supposed to have “eye candy” qualities, they keep her in the revealing sun dress and make her do sweaty work that requires bending down a lot. Not only does this keep a significant segment of the audience attentive, but it provides Sawyer a great deal of incentive to keep working.

It would be easy to describe the Others as cruel in this episode, and they are quite violent with their methods. Yet it’s clear that they have a specific objective in mind, and they have come to the conclusion that dehumanizing their captives would be a great way to achieve that goal. They seem to be running classic conditioning techniques, using pointless physical tasks in an attempt to break down resistance and test responses to stressful stimuli. Beyond the obvious connections to the Dharma Initiative, it’s hard to imagine why they would do the horrible things they’ve done.

This episode does provide an interesting perspective, however, on the possible schism within the Others. One generation appears to be following a twisted version of the Dharma Initiative methodology, but another generation could be trying to stop the crazy. If Alex is to be believed, then the young prisoner in the premiere was not, in fact, a plant for testing Sawyer. There may be allies among the Others, especially if they’ve been turning on each other of late. It’s promising that Alex initiated contact with Kate. (Of course, it could all still be a test and a ruse, but that’s always the case with the Others.)

Sawyer’s character took a bad turn in the second season, and it wouldn’t be hard for the audience to forget that he can be clever. It took a little while for it to become apparent, but he was evaluating the Others for strengths and weaknesses, testing their responses, trying to throw them off balance. It wasn’t a bad move, and under different circumstances, it would probably work. Unfortunately for James, the Others are watching them 24/7, and that kind of chess move was exactly the sort of thing the Others wanted to see.

The subplot with Jack was more or less a framing exercise, marginally advancing Jack’s part of the story and peeling back another layer of the Others onion. Thankfully this provided a reason for Ben/”Henry” to steal another scene or two. The reminder about the decompressed timeline of “Lost” was beneficial, since it’s easy to forget that Ben was a prisoner of the JackLocke Tribe very recently from their point of view.

But this also suggests an interesting direction for the season arc. Ben reveals something very important to Jack: the existence of the outside world. Producing a dossier with up-to-date information is one thing; a recent transmission of time-stamped is another. Ben is offering Jack hope of rescue. So the question is: what is the motivation for telling Jack this information?

If one were to speculate, it would appear that Ben and the Others are in real-time contact with an outside organization funding and supporting their existence on the island, utilizing existing Dharma facilities and methods. One might suspect the Widmores to be deeply connected to the post-Dharma colony. The Others might see the JackLocke Tribe as a threat to their way of life and long-term goals. As such, Ben may be trying to convince Jack to join the cause: leave the Others alone, let them do what they need to do when the time comes, and reap the rewards of cooperation.

If that is the intended direction for Jack, then they still have some work to do. That’s where Sawyer and Kate come into play. They are testing and manipulating Sawyer and Kate, and one effect of the joint manipulation is bonding. Sawyer and Kate have a common purpose, and that may lead to something more as it builds on the existing attraction. More than once, the writers have demonstrated that Kate has an effect on Jack’s psychology. If the Others were to manipulate Kate into some kind of deeper relationship with Sawyer, isolating them from Jack for that very purpose, then revealing that relationship to Jack under the right conditions could push him over the edge. The effect, if played right, would be converting the current leader of the JackLocke Tribe into one of the Others.

Long-term, that could be a powerful source of drama. Jack might be manipulated into certain conclusions, but they would draw him down a path of selective reasoning to get him there. He would be convinced that his choice was the logical, rational choice. In the meantime, who will lead the JackLocke Tribe? The answer is obvious, though that process could take time as well, starting with the next episode.

Will all of this speculation add up in the end? It’s far too early to say. But giving the audience enough new information to digest and contemplate is a wise move. Had the episode focused entirely on Jin and Sun, it would not have worked very well. Frankly, little was learned, and the usual concerns about the creativity of the writers in terms of the flashbacks will doubtless be raised. In this instance, the subplots kept the episode afloat.

(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 was not quite as focused as the season premiere, and the main plot thread lacked a solid punch. Thankfully, there was enough focus on the plot elements introduced in the premiere to keep the season arc moving forward, with new information and complication stirring up the mix. The ending of this episode in particular will fuel a great deal of speculation.

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

Final Rating: 7/10

Heroes 1.3: "One Giant Leap"

Written by Jeph Loeb
Directed by Greg Beeman


Three episodes in, and “Heroes” is doing quite well. It is one of the first shows to be called a hit for the Fall 2006 season, and for good reason. While the concept of “real world heroes” might be familiar to fans of the genre, the general public hasn’t seen the idea play out on such a canvas since “Unbreakable”, and quite frankly, not a lot of people took that film to heart. The sheer size of the ensemble cast doesn’t hurt, either.

One of my favorite aspects of “Lost” is the variety of characters. Say what you will about which characters are prominently displayed, there’s plenty of ground to cover and a lot of perspectives to enjoy. This series is very similar, because if one subplot or character doesn’t work for you, then there’s half a dozen other ideas waiting for your attention. There is, in essence, something for everyone. And that’s a very simple way to get people to relate to your show.

A lot happens in this episode, even though a lot of it is standard introductory material. The writers are still trying to show us the universe of “Heroes”, and which details differ from the world we understand. For instance, most of us don’t live in a world where a strange symbol that looks like a mutated “S” pops up all over the place. Claire draws it on her books, apparent government agents wear it on a necklace, Syler draws it all over the place, it’s everywhere. Not as subtle as it could have been, but considering how much it takes to get through to some people, it may be necessary.

We finally get to see Syler, and he is about as powerful as one would expect. At the very least, he is the first superhuman to be shown with actual offensive capability, using what appears to be a combination of telekinesis and telepathy (very bad combination). Most of the “heroes” have defensive abilities, so that might be a running theme for the beginning of the show. The “heroes” may be gathering to defend humanity against those with the power and will to prey on those without abilities.

If so, then the logical direction for the series, based on what we’ve seen, is an exploration of each characters’ journey towards one side or the other. The writers are doing a good job of showing how the abilities are not necessarily a godsend, even if the message is sometimes a bit overdone. Claire is cute and has a lot to lose, but if this trend continues, she’s going to become the Kenny of “Heroes”, dying and resurrecting in ever more spectacular ways. (That said, the end of the episode was impressive!)

It’s characters like Matt that give insight into how the emergence of a power might realistically become a problem. The writers don’t go as far as they could, since they have a plot structure in mind and the pace needs to be maintained, but his fortunes rise and fall based on his control over his powers. His journey should be a lot of fun, and if he continues to make strong connections in law enforcement, he could become very important to the story.

Not every character is clicking right now. Niki is fascinating in a rather disturbing way, but her story’s all over the place. Simone and Peter are a terribly boring couple. For that matter, Peter is boring in nearly everything he does, so they need to make him more accessible. Isaac is obviously going to be crucial to the plot, but at this point, I find him irritating. And I’m not sure why, but I have yet to warm up to Mohinder and his role as Basil Exposition.

The saving grace of the show, of course, is Hiro. He steals nearly every scene he’s in, though part of that is the inevitable reaction to someone from another culture with unfamiliar mannerisms. But any genre geek, especially the comic book fans, can listen/read the dialogue in nearly every Hiro scene and recognize a kindred spirit. Which, of course, gets back to that comment about how the audience can relate to the characters, and why this series is doing so well so quickly.

(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 1.4: "The West Coast Delay"

Written by Aaron Sorkin
Directed by Timothy Busfield


According to several sources, the ratings seem to have stabilized, though at a much lower level than anticipated by NBC. The implication is that the previous episode stopped the bleeding. Ratings are usually more indicative of reaction to the previous episode, not the one that aired, so there’s even more reason to be hopeful. This was easily the best episode of the series since the pilot, and quite possibly, the best of the series so far.

One thing that is abundantly clear is the comfort level. This script screamed comfort with the characters and the premise. This, I believe, is what they should have been doing all along. There’s a lot more of the casual comedy that Sorkin is famous for, and any pacing issues seem to have been resolved. This episode has a lot to say about Matt and his neurotic personality, and the episode is all the better for it.

This is the first episode where Matt Perry worked for me. Previously, I don’t think his personality was shining through quite enough, but now I have a strong sense of his motivations, strengths, and weaknesses. He’s a professional with a gift, but he has a lot of confidence issues. He also seems to deal with those confidence issues with the mental equivalent of flailing. The result is a joy to behold.

If Matt is the neurotic one, then Danny is the quiet train wreck waiting to happen. He has the right kind of business sense, and he’s great in a crisis. But he also has some serious issues, especially when it comes to drugs and addiction. I’m waiting for the episode that will focus on his character exploration, because I suspect it will be very effective.

To use a common enough analogy to “West Wing”, Danny is coming across as a Leo figure, while Matt is definitely a Josh figure. The generational issues aren’t there, but the personalities are meshing and evolving in a similar way. This foundation is beginning to form the center around which the other characters can orbit. As I mentioned before, “West Wing” came forward with a powerful presence at the center from the very beginning: Martin Sheen’s portrayal of President Bartlet. It’s taking a little longer for Matt and Danny to serve the same function, but it’s definitely starting to happen.

The other major characters are also started to gel. They’re acting more like individuals and characters and less like mouthpieces, and that helps tremendously. The focus in this episode is on relationships and interactions, gaining and losing respect, and grace under pressure. There’s no time for speeches about politics or religion when the integrity of the entire production is at stake! The benefit is that the audience isn’t divided by the content. They can relate to people juggling relationship issues with work.

Similarly, this episode addresses the other major drawback of the previous episodes. This time around, the crisis at the heart of the episode makes a great deal of sense and the audience has little trouble recognizing why everyone is running around trying to make it all work. There’s a clearly defined deadline and a challenge to be met, and anyone can relate to that. What better way to demonstrate how talented this crew is then to show them meeting this challenge?

(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

Smallville 6.2: "Sneeze"

Written by Todd Slavkin and David Swimmer
Directed by Paul Shapiro


With the incursion by Zod over and done, it would have been easy for the writers to ignore the consequences and jump into the new season with another string of mediocre “freak of the week” episodes. So it was a complete surprise when this installment covered a number of lingering issues evolving out of the season premiere. In fact, there are indications in this episode that Black Thursday (as they called it) has triggered a long-term story arc with several layers to it.

First and foremost, it appears that the unusual circumstances of Black Thursday caught the attention of Oliver Queen. Queen is, of course, the Green Arrow, and he’s looking for those with superhuman abilities. Lex caught his attention, but I was far more interested by the methods employed to understand Lex and his role in the Zod situation. Queen is not necessarily a “white knight”, and that will put him in conflict with Clark in the future.

Of course, that has a lot of potential. One of my constant complaints about “Smallville” has been the lack of moral development for Clark. It’s really quite simple: Clark never really needed to develop a moral code, because he was brought up with an almost supernatural moral compass by the name of Jonathan Kent. The problem is that a semi-perfect protagonist can be a little boring. Drama is about process, after all. Look at how Lex’s conversion towards self-interested evil has compared to Clark’s rise as hero, and the differences are startling.

The introduction of other heroes with a more proactive agenda could finally force Clark to work through these moral questions. Clark has always been supplied that advice; how will he react if Queen wants him to take certain measures against a criminal that conflict with his moral upbringing? Will Clark be willing to stand up for his beliefs? Logically, of course he will in the end, but it would be interesting to see him flirt with compromise a little bit.

One of the elements touted in the press for this episode was the discovery of Clark’s super-breath. At least it managed to factor into the plot by the end of the episode. Most of the time, it was played for laughs, and in those instances, it was a hit or miss proposition. More inexplicable was the development that Lois, armed with the result of one of Clark’s sneezes, would suddenly turn into a tabloid-style reporter. Sure, that character development had to happen sooner or later, but why was this the incident that turned her around that particular corner?

And of course, it wouldn’t be an episode of “Smallville” if there wasn’t some angst between Clark and Lana. At least this is no longer as tedious as it has been in the past. Lana is trying to make her relationship with Lex work, especially now that they are living together. Her problem, ironically enough, is the video security, which supposedly runs around the clock. (Where that has been in past seasons, I can’t figure out). As she’s trying to work out her issues with that, she needs help to save Lex, and Clark is already on the hunt. The usual griping ensues, and while the fresh bitterness is fun, it does seem repetitive.

(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

Battlestar Galactica 3.2: "Precipice"

Written by Ron Moore
Directed by Sergio Mimica-Gezzan


If the season premire was all about introducing the new status quo to new and long-time viewers alike, then this is the beginning of the real story. As originally aired in the United States, this was the second hour of a two-hour premiere. This worked well because the first episode was stuffed with necessary exposition. No matter how well it was handled, the audience was left wanting more, some sense of where the story would logically progress.

As it happens, this second episode also introduces some expository elements, but they are targeted and precise. Most notably, the captive Kara finds herself under manipulation when her supposed daughter is brought into her cell. According to Leoben, Kara’s ovary (extracted in “The Farm”) was used to create, using his genetic material, a hybrid child. This child, especially once injured by Kara’s negligence, rips through her defenses and leaves her vulnerable, Stockholm Syndrome style. (Of course, I have my suspicions that Kara may still be playing for time to escape.)

Another major development is the rounding up of certain insurgents, including Callie. It appears that the Cylons have plenty of collaborators among the humans, and they know a lot about the resistance. Ellen Tigh becomes a far more important character than ever expected as a result. Callie was probably chosen to send a message to the rest of the population, along with visible targets like Roslin and Zarek. I like the fact that they now respect each other a little more, though the adversarial nature of the relationship remains. All of this serves to expose Gaeda as the insurgency’s mole in the government, which cannot go well for him.

One very impressive aspect to all of this is the use of Jammer and Duck, featured heavily in the “webisodes” released in the US before the season began. Duck, of course, was the first suicide bomber in the premiere, and Jammer finds himself in a tough situation as one of the first members of the New Caprica Police. This gives the “webisodes” a lot of weight, and I appreciate the fact that such content was relevant to the overall story.

On the other side of the equation, the in-fighting within the Cylon regime is becoming violent. The “new way” of the Cylon was introduced by Caprica-Six and Boomer in “Downloaded”, but time seems to have tempered the enthusiasm of the Cylon for this twist on God’s intentions. If they continue to press their reforms, the hardliners among the Cylon could simply decide to get rid of the “liberal influence” and return to their genocidal tendencies.

That could, if handled well, resolve one of the major questions of the series: what is the Cylon agenda? So far, this season has done much to flesh out (no pun intended) that side of the conflict, but there’s a lot more to be revealed and explored. How will the Cylons respond when they discover that Sharon is now an officer for the Colonials? Adama was willing to trust one Cylon, but will that become the exception that proves the rule?

On top of all of that, there’s some progress for Lee and his restoration. For all his apparent softness and loss of edge, he does have a very good point. Even if they fight, humanity must be preserved, even if it’s just a few thousand souls. No matter what his reasons, Adama cannot be certain that Sharon can be trusted, and it may be a disaster for Galactica to return to New Caprica. If it does go badly, Adama can do everything possible to keep the Cylons busy while Lee leads the remaining fleet as far away as possible.

As with all good episodes of “Galactica”, there’s more to discuss and debate than a simple review can hope to cover. While Tigh’s insurgency brings up interesting question about Iraq, there are obvious parallels to occupied Europe in the 1940s. In essence, the writers continue to delve into history, psychology, and philosophy as inspirations.

(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: 3/4

Final Rating: 9/10

Battlestar Galactica 3.1: "The Occupation"

Written by Ron Moore
Directed by Sergio Mimica-Gezzan


It’s been a long wait for fans of “Battlestar: Galactica”, but the third season is finally here. In a number of interviews leading into this season, the producers discussed how a strong premiere was needed to show new viewers why the series has such critical acclaim. I can’t think of a more thought-provoking situation to start with than the Cylon Occupation. Whether or not Ron Moore saw this as the perfect platform for taking the series to the next level, I cannot say. I can only sit back and be amazed at the chances being taken.

This first episode is dominated by exposition, but given how much time has passed since the relatively familiar world of “Lay Down Your Burdens”, it’s not a bad writing choice. This is almost like a pilot episode in tone, laying out the conflicts as they now stand and fleshing out the changes to familiar characters and relationships. There’s a lot of information to communicate in a short time, and Moore manages to do it well. More to the point, it gives the new viewer enough information to understand the nature of the story, while answering some lingering questions for the more experienced audience.

Most of the conflicts match expectation. Adama wants to mount a mission to free humanity on New Caprica; Lee is less certain, having lost much of his fire in the past 18 months. Tigh is running the insurgency on New Caprica, with allies like Tyrol, Anders, and Roslin, and they disagree about methods. Baltar is a puppet president ruled by a fractious Cylon council. None of these details are particularly surprising to long-time fans, but it’s the starting point for a massive amount of drama.

The plot for this episode centers on Tigh’s decision to step up the war against the Cylons by using suicide bombers. The target is the first contingent of New Caprica Police, an all-human police force trained and directed as faceless terror troops against the rest of the human population. From the Cylon point of view, they have all the best intentions at heart: they believe God wants them to find a way to live with humans in peace. Their methods, however, are harsh, making it clear that the reforms introduced among the Cylon after “Downloaded” are not universally accepted. They might be following a new path, but the old desire to dominate and eliminate lingers.

With all this intrigue designed to set the stage for even more disturbing plot twists to come, it’s amazing to think that other plot threads managed to stand out so dramatically. Starbuck’s situation is particularly surprising and unsettling. If the Cylons have changed because of their discovery of love, then it has expressed itself in a particularly nasty way for Kara. She has been abducted from her husband, held captive in a fake house, and forced to deal with a psycho’s manipulation. All horrific enough, but as with so many elements of the story, the ability of the Cylons to resurrect in a new body means that any violence against them is moot. It makes a hopeless situation even worse.

As fan of complex shows with a science fiction twist, all of this would be enough to hold my interest. However, Ron Moore takes it to the next logical step by introducing more than a little social commentary. Just as the Cylons question each and every choice and fight amongst themselves, the insurgents are divided over the idea of suicide troops. The humans are, after all, supposed to be our heroes.

But the heroes in this case are, from a certain point of view, terrorists. While the details are different, the question is still raised: if a population feels oppressed by an unwelcome occupying force, what measures are reasonable to resist and fight back? What targets are acceptable? There are clear analogies to the situation in Iraq, and one could debate the particulars of such an analogy for days without losing steam. The purpose, however, is to ask questions that might otherwise never come to mind. If there is one flaw in the execution so far, it’s that the Cylons are still too overtly evil, making it impossible to see them as anything but a threat to be resisted at all costs.

As I said, entire chapters could be written on the psychological, sociological, and philosophical aspects of this episode. Certainly the writers don’t back off with the second season of the season, either, and things are unlikely to resolve quickly or easily. As difficult as this material might be for the average audience (and it is unapologetically dark), it might be the turning point in the fight for humanity’s survival. After all, the survivors of New Caprica are likely to be the most resilient, and there’s no telling how this will change the Cylons.

(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: 3/4

Final Rating: 9/10

Supernatural 2.2: "Everybody Loves a Clown"

Written by John Shiban
Directed by Phil Sgriccia


Mixing stand-alone plot elements with a larger mythology can be a demanding challenge, especially when a series is struggling to draw in new viewers on a fledgling network. “Supernatural” has always faced the challenge by attacking it directly, and in this case, it works beautifully. There’s the “killer clown” element, which is clearly intended to attract the horror genre fans, but there’s also the deep character exploration and psychological aspects, which are the meat and potatoes of the show.

I’ll be honest. Since I find people to be more frightening than anything one might call “paranormal”, the whole killer clown plot element wasn’t for me. It was done fairly well, I thought, but it wasn’t something that would hold my interest. Show me something with a little more complexity in terms of intent, something intelligent with resources to cause mayhem, and then it gets interesting.

Which is why the most damage inflicted on Dean and Sam in this episode came from each other. Neither brother is working through the death of their father very well, and it’s a lot easier for them to focus on each other’s issues than their own. Lingering in the background of those conversations, of course, is whatever John told Dean and the fact that both of them have to deal with the changes in the other.

Most shows would skim over the difficult process of dealing with a major loss, covering it one episode and moving on as soon as possible. It’s clear from the tone and pacing of the season thus far that John’s death is not going to just disappear from the radar in a couple of weeks. The effects will be long-term, and it may take the entire season for everything to work itself out, if it ever does. One thing is certain: Sam and Dean have no intention of giving up on each other.

Beyond the character interaction between Sam and Dean, there’s also the introduction of Ellen, Jo, and Ash. With John out of the picture, it makes sense for the Winchesters to get a support system, and the seeds were planted in the first season for John’s friends and allies to serve that function. It certainly wouldn’t hurt for the boys to have a “mother figure” around, and it should be fun to see Dean deal with a hottie with his kind of skills who he might run into more than once. And Ash fits the style of the series perfectly: the idea of “blue collar” geniuses running around saving the “white collar” world from true evil.

Many fans noticed that Dean and Sam both lost an object that was a part of their identity in the first season finale. Dean lost the Impala, and Sam lost his laptop. Ash serves as a capable enough backup until Sam gets a replacement, and Ellen and Jo may be able to provide short-term resources until the Impala is back together. So they serve the plot in a realistic fashion while facilitating the metaphorical aspects. Until Dean has his Impala and Sam has his laptop, the Brothers Winchester will not be whole.

(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

Lost 3.1: "A Tale of Two Cities"

Written by JJ Abrams and Damon Lindelof
Directed by Jack Bender

In which Jack, Kate, and Sawyer find themselves at the mercy of the Others, who test and manipulate the survivors to an unknown end…


Status Report

It’s been a long wait for “Lost” fans. Despite a summer filled with a multimedia online “experience” that mixed the fictional world of the series’ mythology with another layer of meta-fictional “reality”, there’s nothing quite like getting that fix of a new episode. The producers, of course, have been trying to get ahead of the inevitable questions about the direction of the show and the possibility of getting answers to long-standing mysteries. Not everyone was satisfied with how the “Lost Experience” was handled, and a lot of fans were dropping the series after becoming frustrated with the pacing.

Some criticisms were valid. The first season, after all, was an unexpectedly literal character study of people under extreme and unusual crisis. Multiple themes were explored, and nearly everything was fresh and exciting. The second season, in contrast, left many fans underwhelmed. Despite the stronger focus on the series mythology, providing vague but intriguing layers of possible conspiracy, the characters were no longer fresh and the story was decompressed. The decision to bring in several red-shirts in the form of the tail-section survivors met heavy resistance. While the second season ended in the right direction, several questions were raised about the viability of the series.

One aspect that was only generally addressed, but was seen as vitally important as early as the middle of the first season, was the idea of the Others. Much has been suggested about their nature and their purpose, but all of that came second or third-hand. In breaking out the third season, the producers and writers have seen this element as a priority, and the promise is that the Others and their motivations will be revealed over the course of the season.

Some might have been looking for an exposition dump, perhaps another “orientation” film that would clearly outline the purpose of the Others and their entire agenda. Frankly, that would be a huge mistake. One of the best elements of “Lost” is the choice to explore character motivations slowly and in depth. It has taken some time to understand the most familiar survivors, and there are still hidden depths to be explored. It makes sense that the writers would explore the Others through their choices and actions instead of dumping the information on the audience in some vain attempt to provide immediate gratification.

It also makes perfect sense to build on the information already in hand. “Henry” is already known to be a master manipulator, and everything about the Others has been deception and illusion. It’s all about perception. The Others continue to control and dominate all interactions. The only way for the writers to be consistent with that portrayal is to maintain the level of manipulation. That means revealing very little to Jack, Kate, and Sawyer. The end result, to the frustration of many, is that little is revealed to the audience in the process.

The plot is incredibly simple, yet demonstrates a subtle control over the storytelling. Each of the three survivors has a limited set of experiences with the Others. The audience, in turn, gets to see some of the context surrounding all three scenarios. But beyond that, there is an obvious layer of secrecy; the audience is still only seeing a small portion of the big picture. The audience is really in the middle: they see how the survivors are manipulated, but they themselves are also being manipulated and restricted. The effect is that the audience gets to share, in some small way, what the survivors experience. The audience may not be under direct observation, but the effect is still present.

Each of the three survivors, chosen for some unknown reason by the Others, has an experience tailored to their personality. Jack is, understandably, the primary focus of the episode. It’s no revelation that Jack is stubborn and unable to let anything go. It makes absolute sense that he would be obsessed with knowing who his wife left him for, to the point of accusing his own father. (It’s interesting to note that the writers have been twisting Jack’s story to suggest that his issues triggered his father’s issues. It would explain a lot of Jack’s guilt about his father.)

Juliet plays Jack beautifully. They isolate him in what appears to be the infamous underwater station (an offhand payoff to one of the open first season questions, if taken at face value) and play the classic interrogation game, wearing down his resistance. Everything Juliet told Jack must be questioned, because it was designed to manipulate Jack into surrendering, even if only a little. Some might have found his flashbacks to be redundant, but it was used as a revelation of his surrender. As seen in previous seasons, it’s not always necessary to pave new ground with the flashbacks, if the presentation of that information is revealing in a contextually appropriate way.

The final act, however, brings back one of the central themes of the series. Jack asks Juliet if the Others are the remnant of the Dharma Initiative, and her response is revealing: “it doesn’t matter who we were; it matters who we are”. That is at the heart of the redemptive opportunity offered by the island. As seen in the first season and explored further in the second, there are those willing to take steps towards leaving the past behind and finding a new life, and those unwilling to let go. The survivors who have clung to their old lives have typically encountered serious hardship as a result.

If the Others are related to the Dharma Initiative, then they may still be attempting to finish what Dharma began. As seen in the “Lost Experience”, Dharma was created to change the value of one of the factors in the Valenzetti Equation, a mathematical determination for the extinction of humanity (and something referenced on the “map” from “Lockdown”). Dharma supposedly failed. The Others might be trying to continue the work with the survivors of Oceanic 815. If so, then they likely perceive themselves as a completely different group than Dharma itself.

The Others seem to be pushing Jack, Kate, and Sawyer into taking the leap from who they were to who they are. The logical process would be to push them through the psychological gauntlet of acknowledging the past, letting go, and coming to a sense of self-realization. Jack, Kate, and Sawyer may have been chosen because of their infamous resistance to change and their leadership roles within the JackLocke Tribe.

Jack was isolated and faced with his past, placed in a situation where he would have to give up control, despite his stubborn drive to resist. Kate, on the other hand, was forced to wear a dress and act “civilized”, contrary to her personality, throwing her out of her comfort zone. All the while, she was reminded of her criminal past by the handcuffs she was forced to wear. One would assume that this is just the beginning of her own enforced self-realization process.

Sawyer’s process begins, as one might expect, with humiliating captivity. For someone who values his ability to maneuver in any situation, forging his own destiny, this is a painful scenario. Clearly, the Others used the other “captive” to undermine Sawyer’s confidence, and then tossed Kate into the adjacent cell to determine what that interaction would accomplish. As with Kate, the expectation is that this is only the beginning.

Some might find this episode to be a disappointing beginning to the season, overlooking the fact that a short exploration of the Others and their plans for Jack, Kate, and Sawyer would be less satisfying in the long run. This is a series that works better when exploring the details, and this season premiere is all about the details. If anything, the question is whether or not the rest of the season will deliver on what this episode promises.

(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 a capable season premiere, introducing one set of plot threads for the third season while reinforcing the primary thematic aspects of the series’ mythology. Some might find the relatively narrow focus and the emphasis on psychological manipulation to be less than inspiring, but trying to cover all the open questions from the second season finale would have resulted in something far too scattershot. Hopefully, the rest of the season will demonstrate why this was a strong beginning.

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

Final Rating: 8/10

Studio 60 1.3: "The Focus Group"

Written by Aaron Sorkin
Directed by Christopher Misiano


There’s a certain irony to this episode, but not the kind of irony that fans might enjoy. One subplot centers on the question of audience retention. Basically, everyone’s job rides on a retention rate, from first to second episode, of about 90%. This small matter is treated with life or death seriousness. The irony, of course, is that “Studio 60” has lost more than 30% of its initial audience, and it continues to bleed viewers over each new hour. It’s never a good thing when a show makes the case for its own cancellation.

The rapid decline of “Studio 60” has left a number of people wondering what the hell happened. This was supposed to be another triumph for intelligent television. Instead, it has become a cautionary tale of the worst kind. Critics point to the fact that the series has already gone after Christians and takes on even more conservatives in this hour. In effect, the series is begging half the country not to watch it, and sure enough, they’re tuning out in droves.

Let me be clear about this much: the episode had a lot of high points. Most of them were related to characterization. The large ensemble is beginning to shake out to the point where personalities are emerging. The conflicts are evolving nicely, and it’s getting easier to relate to the world of television politics. I still wonder if that world is something the masses would ever want to see, since it shatters certain illusions and confirms certain unsettling suspicions. But I, for one, enjoy seeing what happens behind the curtain. Any dwelling upon the negative is an attempt to identify why the show is struggling, and what needs to be addressed to turn things around.

Two major issues come to mind when I think about why the series is struggling to get a mainstream audience. The first pertains directly to the characters. To get the mainstream audience to watch, you have to be able to transcend party lines and religious considerations. “Lost” is a hit, for instance, because it manages to cover multiple aspects of society with its cast, and people can relate to their struggles for redemption. It literally has something for everyone.

As interesting as I find Jordan and her sordid past (and damn, do I like her more and more), and as much as I understand Sorkin’s desire to use Danny as an analogue for his own struggles, a whole lot of people are turned off by what they see as immoral Hollywood excess. Where we see complex business politics playing out in a creative pressure-cooker, they see petty personal hypocrisy. And as I mentioned last week, a whole lot of people find it absurd that a show about a sketch comedy series would be so damn portentous all the time.

All of which brings me to the second major issue, one that struck me in the previous episode and bothered me even more this time around. The comedy sketches aren’t all that funny. It’s one thing to be intellectual about showing the process behind the scenes, and quite another to be overly intellectual in the comedy sketches. How many of the most memorable sketches from SNL were intellectually satisfying? Most of them were very clever but played broadly. Most of the sketches rehearsed in this episode could easily be spun as “academic, elitist liberal humor”. In other words, it’s only going to play to a select audience.

Most core fans, those with a knowledge and understanding of Sorkin’s brand of writing, approach this series as intended. It’s wish fulfillment, just as much as “West Wing” was. Sorkin is selling the idea of an intellectually-challenging comedy show as successful, despite all the predictions of doom from network executives. It’s all right there in Wes’ tirade in the pilot. Sorkin is developing a world where all those criticisms about network television need not apply. But that is, in fact, the problem: he’s trying to tell wish fulfillment about television on actual television, and unless things change in the next few weeks, that subplot about the ratings will sound an awful lot like a self-fulfilling prophesy.

Fans might reasonably suggest that changing the show to address these issues would, in fact, undermine everything that Sorkin is trying to accomplish. And they would be right. I don’t want to see that happen either. But if the fans want to know why the series is struggling, these are two big reasons. This show was never going to be a mainstream success. It doesn’t have the broad appeal or message to strike that instant chord. We are left to hope that the network is willing to live with a modest audience for a very expensive show.

(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 1.2: "Don't Look Back"

Written by Tim Kring
Directed by Allan Arkush


If the first episode was all about introducing the characters, then this episode was about defying perceptions about the characters. This is already a series begging for close inspection; a lot of people were probably very confused at the end, wondering when things happened and how much was real. It’s an ambitious start to the series. Certainly, the writers are making the case that this will not be a conventional or simple television series.

The large cast is a good thing, because it gives the audience several options, allowing them to relate to one or more characters in each and every episode. Hiro is certainly going to be a breakout character, but Claire appeals to the younger viewers and her personal story is approachable. Some may find Niki to be disturbing, especially in terms of how her ability affects her son, but showing the various facets of this phenomenon on “ordinary” people is the name of the game.

This episode introduces a number of plot elements, and trying to cover it all would take far too long. I like how they introduce a possible villain in Cyler, linking him to brain extractions and making it sound like he might be one of the super-powered out there. It’s still not clear that he has abilities, or if he is part of the conspiracy messing with Mohinder. Claire’s adoptive father seems to have been unaware of her potential until now, but that could be misdirection. I can’t help but wonder if there is a connection between him and Cyler.

Niki’s situation is rather intriguing. One could interpret all of this as some kind of multiple personality disorder, but Dark Niki seems to have abilities and resources well beyond those of Normal Niki. It could be a combination of both. Niki could be subconsciously aware of her abilities, and the result could be the emergence of a personality that embraces the power. Right now, Dark Niki is playing with Normal Niki. If things get worse, one could imagine a scenario where Normal Niki willingly gives her life over to the other personality. It could really go in some fun, disturbing directions.

Matt, the telepathic cop, is introduced in this episode, and I speculate that he will become important. Used correctly, his ability is a huge asset to the group, especially if they eventually band together against Cyler or the threat coming to New York, foreseen by Isaac and Hiro. As with many of the characters, his personal issues will get in the way. I like that realistic feel to the scenario; these are not perfect people jumping into heroism. They are normal people, trying to figure out how to cope with these changes.

If Isaac manages to survive and they can clean him up, he could be quite useful. Between Isaac and Matt, they have a lot of angles covered in terms of advance warning. That said, most of the abilities are defensive in nature, unless Niki really does turn out to be stronger than she looks. That could be intentional in terms of the plot, or a recognition that offensive abilities are usually flashy and unrealistic.

Beyond that, there’s the odd symbol that keeps popping up. It was found in at least three or four spots in this episode, and I’m sure someone has already gone back to the first hour to see if it appears there as well. I have no idea what it means, but I’m sure that it pertains to the main story in some way. That attention to detail, and the depth of the mystery, will help keep the series moving forward as the season hits full speed.

(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 2.7: "Buried"

As anticipated, the first third of the season draws to a close with a number of plot threads approaching the turning point, shifting from the introductory phase of the season arc into the throes of massive complication. This is when the story begins to change, and this is also the stretch that is most difficult for a writing staff. Building up the conflicts is usually not the problem, and if there’s an end in sight, the writers usually know how to drive towards that conclusion. The middle of the story, however, can get ugly.

Looking at the entire scenario from top to bottom, I’m not quite sure if I like where this is going. I expecting things to get ugly once everyone was in Utah, but this is well beyond what I had in mind. To be honest, most of it makes sense and works for me. I was a little disappointed at how easily the police woman was taken down, but it became an interesting problem for Sucre, spinning him in an unexpected direction. Lincoln’s decision to grab LJ was completely consistent with his short-sighted decision just after the escape.

Michael seems to be recognizing how far he’s strayed from his original well-laid plans, especially in terms of his current “allies”. All those reminders on the news can’t help with his mental state. All he needs is another laundry list of T-Bag’s activities since the escape and a clear picture about Sara’s recent travails to put him in another catatonic state. His guilt and remorse is continually rising, and watching his battle to rise above the ugliness of the consequences of his actions will be entertaining, to say the least.

The conspiracy angle is still not as interesting for me as the Escape Squad drama, but it has certainly kicked up a notch. I saw Governor Tancredi’s death coming a mile away, and now my suspicions about Kellerman seem to be coming together. I think he’ll find himself torn between the desire to restore his place in the conspiracy and his feelings for Sara. Unless I’m buying into a red herring, Kellerman actually seems to be concerned for her well-being. I see Kellerman saving Sara and using that as a means of being in the right place when Michael contacts her in the future, setting him up for a moment of truth.

With so many elements coming together nicely, why am I left with such a bad taste in my mouth? It has everything to do with this twist involving Mahone. For most of the episode, I was happy with his character and how he dealt with Tweener. As clumsy as the whole “confession” concept was, in terms of delivering exposition, I thought the idea of using T-Bag’s actions to undermine Tweener’s loyalty was smart. It didn’t work, but it effectively communicated the concept to the audience, reminding them of what the Escape Squad has done.

This, in turn, reminded me of something that is very easy to forget: Michael and the rest of the Escape Squad are, for all intent purposes, the bad guys. In the real world, would we want them to escape Mahone and the manhunt? Mahone makes it very clear, in his discussion with Tweener, that he is on the right side of this situation. Everything he has done has been to save lives. We, as an audience, should be conflicted with our loyalties.

But then, when Tweener betrayed Mahone (completely expected, given how often these writers use that same plot device), things went into the completely wrong direction. Mahone kills Tweener, immediately robbing the character of his moral authority. He’s either working for someone, possibly the conspiracy, or he’s listening to voices in his head. Regardless of the reason, he is now firmly one of the villains of the story, and I find it unfortunate that they would take him in that direction.

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

Final Rating: 6/10

Smallville 6.1: "Zod"

Written by Steven DeKnight
Directed by James Marshall


The fifth season of “Smallville” was challenging on a number of levels. In terms of a season arc, it managed to be one of the more cohesive seasons, even if the writers completely changed certain elements at the last minute. Professor Fine was one of the more memorable recurring villains, and of course, there’s the death of Jonathan Kent. The end of the season left Clark in the Phantom Zone and Lex possessed by General Zod. So where does the series go from here?

As I’ve said before, I’m not at all knowledgeable of the “Superman” comics, and quite often, that has been a good thing. I don’t have any concerns about continuity with decades of source material or any of that; I’m concerned with the relative integrity of the series itself. That was one area where the fifth season fell apart at times: the overall arc was maintained, but from episode to episode, the quality was highly variable.

On the whole, I think this season premiere gets the ball rolling in the right direction. Clark is going to have to take responsibility for his own choices, and if the writers follow through on that premise, it could mean some actual character development. They’ve certainly set the stage for a defining season for Clark. Jonathan is gone, Jor-El is silent, Lex is no longer a friend to offer advice, and Lana is lost to him. Martha is there, but while she’s been given the baton in terms of playing the primary role in Clark’s moral development, Clark must start looking at his own choices more closely.

And if the writers are still paying attention after considering all of that, then they must inevitably see this season’s arc as a chance for Clark to clean up his unintentional messes. I’m not just talking about those Phantom Zone buddies that are running around causing trouble. I’m talking about his personal relationships, and that doesn’t mean making things peaceful. It means taking a stand and sticking with it. I’m not sure where the writers intend to take this season, but there’s potential to take Clark’s development towards Superman a little further. Especially if the series is drawing towards a close over the next season or so, since the logical ending would be the choice to become Superman.

For all that, however, I’ve always maintained that the series is only as interesting as the complex relationship between Clark and Lex. If it’s just about Clark, it’s too simple. Clark is not, in fact, a very interesting character, because he can never really step outside of his iconic moral stance for long. Lex, on the other hand, must develop as a strong and meaningful foil to Clark, and the series has been a steady (if inconsistent) build towards that goal.

Having Zod possess Lex was a nice way of tying into the lifelong animosity that will exist between the characters, and Michael Rosenbaum is clearly having a blast in the process. As always, the interesting aspect of Lex is the possibility of his redemption, and how often such opportunities are ripped out of his grasp. In this case, Lex will want to make up for what he did under Zod’s control, but the combination of his reputation and his ambition should make that impossible, thus feeding into his eventual decision to embrace his darker impulses. Only time will tell if the writers will be willing to make Lex and his character development sensible.

On the whole, I liked this episode, but I do think some plot conveniences were involved. It was far too easy for Clark to get out of the Phantom Zone, and I had the distinct feeling that we were supposed to recognize the young woman Clark encountered there. It seems odd that the Fortress would suddenly stop working, and that Chloe, Lionel, and Martha managed to survive with hardly a scratch (Lois was hurt, but of course, she had to survive). Still, that’s normal for the resolution of a cliffhanger, so I wasn’t particularly annoyed by it. And if the writers manage to explore the consequences in the future, then it will be worth it!

(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: 2/4

Final Rating: 8/10