Studio 1.13: "The Harriet Dinner: Part I"

Written by Aaron Sorkin and Eli Attie
Directed by Timothy Busfield

According to various sources, the previous episode was the first part of a three-episode arc. Now this episode is listed as the first part of a two-episode arc. Someone needs to make up their mind and figure out how they want to promote the current episodes, because this is only leading to confusion among the TV critic community.

On the other hand, the structure of this episode suggests that it is, in fact, the middle of a three-part story, regardless of how it is referenced. After all, the majority of the plot and character threads are directly dependent on the set-up from the previous episode, and all of those items remain unresolved at the end of the hour. That leaves the episode on somewhat shaky ground, as is the case for most middle chapters.

The most controversial element of the previous episode had to be Danny’s stalker-esque behavior. Many people objected to his methods and unapologetic manner, while others steadfastly refused to judge it beyond the confines of romanticism. This episode manages to correct some errors and compound others. While Danny recognizes that he stepped over the line, he still acts with an inflated sense of entitlement (which is, to be fair, inherent to his character). Unfortunately, the oldest trick in the romantic comedy book is employed to force Danny and Jordan into a bubble to work things out.

Now, it doesn’t count as clever just because Sorkin and the writing staff admitted to the fact that they were falling on cliché. It’s a fairly common way to gloss over the lack of originality: point out the cliché in a knowing fashion to make it seem less egregious. I’m hopeful that Sorkin is willing to avoid the most obvious resolution to this particular plot thread, though it is almost certainly going to end with Danny and Jordan in a relationship.

The only person who seemed to think Danny should stick to his guns was Matt, which is a fairly good sign of his own lack of perspective. Certainly no one would mistake his efforts for anything remotely mature (and he would likely be the first to admit it). It’s good to see him called on his ridiculous antics, even if it was painful to watch. Harriet finally came to the realization that she was aiding and abetting Matt’s jealousy through her own comfort with the behavior, and it was not a pretty sight.

Of course, this could lead to an interesting change of pace. Danny’s effectiveness is tied to his decisiveness. He’s all in on whatever he does (which, in turn, explains much about his addictive personality). He decided he wanted Jordan, so he went way over the top. He might very well succeed, which would put his universe back in order and make him that much more effective.

On the other hand, Matt’s creative flow is fueled by his antagonistic relationship with Harriet. He needs to be caught in that obsessive and jealous state to get his job done. It’s not even remotely healthy or sane, but it’s something inherent to the character. Without the hope of winning her affection, Matt doesn’t have that desire to raise the bar. If Harriet really is ready to shut Matt down once and for all, it could have a profound effect.

All that said, both Matt and Danny have been so open about their respective relationship-fueled neuroses that it’s hard to imagine that anyone would listen to their advice. Yet Tom walks right into the most obvious mistake in the book. Sure, Tom would have sounded like an idiot by telling the truth, absurd as it is, but at least he could have gathered witnesses and support to convince Lucy of his honesty. Now he’s been caught with his pants down (well, not quite yet, but Kim’s working on it rather persistently).

The remaining material is split between two minor subplots. Cal’s struggle to keep the snake situation under control is very funny, and surprisingly, it originates with an idea that I found quite amusing. The tension between Simon and Darius is far less entertaining. The point that Sorkin is trying to make is largely lost, because Simon is being a complete jerk in the process of making it. One gets the impression that this is an important statement about the minority voice in entertainment, but when it’s buried under all the relationship angst and dominated by a petulant attitude, I fear that message is being lost.

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

Final Rating: 7/10

Heroes 1.13: "The Fix"

Written by Natalie Chaidez
Directed by Terrence O’Hara

As the second half of the season marches on, more and more connections emerge. Mohinder points out the important of Peter right at the top of the hour: his particular ability holds the promise of understanding those with superhuman abilities. Presumably, Peter’s genetics shift (by some impossible process) to allow the abilities that have been absorbed to express themselves. That would explain his lack of control, but it also presents the opportunity, under controlled conditions, how different abilities work. All it would take is someone with the ability to see biology in a certain way, which makes Mohinder’s search all the more important.

Of course, Peter has little desire to be a lab rat, and with Claude willing to teach him and thing or two, that adds a serious complication. For one thing, there’s no assurance that Peter is in better hands with Claude, even if it gives him the impression of free will. While Nathan’s threats don’t help, Mohinder may have better resources in the long run for preventing Peter from his future meltdown.

Claire’s decision to recruit Zach to help dig up dirt on her father is ill-advised at best, especially since she knows that his life could be in danger if his “re-education” is discovered. That said, from her point of view, he’s someone she can trust. It may not have occurred to her that his personality might be different now that his memory has been adjusted.

Claire also gets more information about her birth parents. Her father is still alive, but her mother is supposedly dead. The circumstances make it sound like Mr. Bennett might have had something to do with the elaborate coverup, which would fit his overall pattern. Whatever the case, with just a scrap of information, Claire manages to get a name, something she can pursue, and she takes the first step towards contact.

Matt continues to find himself in something of a corner. His career is completely falling apart, his wife doesn’t really know how to react to his new ability, and his plans will probably only lead to more ruin. Even with his ability, he can’t fix everything, and the frustration is clearly rising. The news about his baby, however, should force the issue. Either he will become more focused, or he will be pushed into further desperation.

Hiro and Ando continue to run into improbable adventures, complete with the usual brand of humor unique to Hiro’s plot thread. Hiro continues to be the philosophical side of the series, delving into what it means to be a hero. Offered the chance to give up the game and lead a relatively normal life, he stands firm. It’s nothing new for his character, but his positive attitude is endearing. Of course, that attitude is likely to be tested by the arrival of his father, who is less than pleased!

For the first time, Niki is offered something of a solution to her Jessica problem. Of course, it’s not certain to work, because it’s not the normal multiple personality situation. However, it’s a lot more to the situation, thanks to the superhuman abilities exhibited by Jessica, so Niki is right to be wary. Still, this is the most likely road to control over Jessica and her power, and despite DL’s offer of escape, Niki knows where she can get the most help. Jessica, of course, has a rather different take on the situation, which ought to be fun.

Despite all the precautions, Sylar manages to feign death and escape his captivity. One would think that Mr. Bennett, with all his experience with the superhumans, would put some additional precautions and protocols in place. Then again, he’s made a number of mistakes, usually by underestimating the will of others.

When all is said and done, this is essentially a transitional episode, building off of the “mid-season premiere” format of the previous episode and leading into some of the larger events sure to come with February sweeps. Some may be tempted to call it “filler”, but clearly, advancing all of the plot threads is a necessary part of any tight arc structure, and episodes like this are the pleasant result.

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

Final Rating: 7/10

24 6.6: "Day 6: 11AM - 12PM"

Written by Joel Surnow and Michael Loceff
Directed by Milan Cheylov

In which the terrorist plot continues as President Palmer deals with conflicting advice and political maneuvering among his advisors and Jack deals with his family issues…

Status Report

In the previous episode, it wasn’t clear how Jack knew that his brother was up to something related to the terrorist attacks. Nor was it clear why Graem Bauer would want to see his brother dead. One reason is perhaps too obvious: his parents named him “Graem”. That would be enough for most people, especially when your brother is “Jack”. How did Jack end up with so few vowels?

Graem’s explanation for his connection to McCarthy sounds logical enough, but it’s obvious from the beginning that he’s being rather selective with what he reveals to Jack. Still, it goes a long way towards explaining what kind of business Graem and Papa Bauer had been involved with over the years, and why Jack might be seen as a threat. If Graem is ruthless enough to allow thousands of people to die for his own interests (in at least the past two seasons), why not eliminate his own brother?

For all that his perspective might have broad support, Tom’s activities do step over the line. He also continues to support the president while undermining his dictates. It certainly doesn’t speak well for his position that he conspires to remove someone who dares to keep his proposals within reasonable boundaries. More to the point, if his position is the correct one, why does he need to blackmail and attack his philosophical opponents? The answer is simple: he knows his position is untenable otherwise.

Ironically, if Karen had such a high regard for Wayne’s ethics and fair-minded thinking, she would have simply disclosed the situation about Bill and Fayed and let the chips fall where they may. Bowing down to Tom at this point only gives him the chance to use the information at a later time of his choosing, and the resignation would be seen as admission of guilt.

For once, the drama at CTU is related less to soap opera nonsense and more to the national security issues already on the table. It also draws the fine distinction between racial identity and religious identity, and how mistaking one for the other can be a disastrous error. (Leaving aside, for the moment, the recent trend of casting Latina women for Middle-Eastern roles, as on “NCIS”!)

Sandra Palmer continues to be ridiculously naïve regarding the needs of counter-terrorism efforts. One would expect that someone dedicated to protecting the rights of a beleaguered population would understand the nuances involved. Her concerns is naturally for Walid’s safety, but she should also be considering the benefit of cooperating under these circumstances and showing how valuable American Islamic support can be to anti-terrorism efforts. Even though the intelligence was ultimately incorrect, the due diligence of following that lead was necessary.

That said, Walid is not an undercover agent, and they never should have expected him to do anything requiring any measure of finesse. It was that miscalculation that led to his beating. Sandra Palmer, of course, sees it differently, as though they allowed Walid to be brutalized for nothing. She ought to know the simple concept of 20/20 hindsight.

This is the second episode in a row where the FOX promotional division spoiled the end of an episode. While this is nothing new for the idiots at FOX, it is incredibly annoying for fans looking for the most exciting and unspoiled experience each and every week. This complete and utter incompetence on the part of FOX, the latest in a laundry list of blunders, should be openly lambasted.

However, that is nothing compared to the major flaw creeping into the storyline. After establishing Jack’s lack of confidence over the course of the first four episodes, a psychological state that made sense within the context provided, the writers have seemingly abandoned that aspect of the character in favor of an immediate reversion to his usual cold-blooded efficiency. None of the self-doubt seems to remain, and so the potential for a long and revealing restoration has effectively vanished. It’s not too late for that to slip back into the story, but as the writers begin working on the fly again, it’s doubtful. Once again, the writers trade quality for expediency.

Final Analysis

Overall, this episode continued the slow but steady exploration of the consequences of the terrorist attack earlier in the season. While the drama at CTU is thankfully centered on more realistic and topical concerns, as opposed to tired relationship issues, some character choices remain hard to reconcile. Also, the writers have abandoned an important element of the earlier episodes, which takes something away from the depth of the arc.

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

Final Rating: 6/10

(Season Average: 7.5)

Prison Break 2.15: "The Message"

Written by Zack Estrin and Karyn Usher
Directed by Bobby Roth

In the previous episode, the main plot thread involving Michael and Lincoln was a bit too straightforward, hobbled by several other subplots that seemed to have little or nothing to do with the advancement of the season arc. It was, in many ways, symptomatic of the criticism leveled at the second season as a whole. In the first season, all of the character arcs were tightly connected to the main plot thread. In the second season, the characters all have their arcs, but the connections are often indirect or non-existent.

In this episode, the main plot thread is more complicated, and the writers restore one of the most interesting elements from earlier in the season. It was always a lot more fun when Mahone was unraveling Michael’s latest move, and that’s what happened in this episode. The various elements of the conspiracy were still in play, but Mahone’s careful and observant deconstruction of Michael’s message to Sara was the best part of the episode.

Connecting Bellick’s subplot to the main action again was another welcome development. This finally places his troubles in Fox River within a meaningful context. If he becomes Mahone’s bloodhound, everything leading up to that point in the story becomes Bellick’s motivation. And taking him back to Fox River reminds the audience of the dynamic in the first season, linking Bellick’s anger and resentment now to his more privileged position then.

As previously noted, Kellerman’s motivations are questionable at best, especially now that the object of his desire is possibly in his grasp. Up to this point, his resentment towards the president was his only logical reason for helping Michael and Lincoln. If that resentment no longer applies, his logical move is to get Michael and Sara together and eliminate all the threats at once. Once Sara sees him again, she’ll likely tell Michael that he tried to kill her. That should lead to some messy and interesting consequences. Even if Kellerman was genuinely ready to help, would he be forced into a corner by Michael’s reaction to his treatment of Sara?

Sucre’s subplot, on the other hand, seems completely disconnected from the main plot thread, and it’s hard to imagine how it could eventually come back into relevance. It’s entirely possible that it never will. There are shades of more familiar stories in this part of the episode. For example, I couldn’t help but think of the beginning of “Les Miserables”, with Sucre playing the part of Jean Valjean. Will this act of kindness push Sucre into a new way of life?

Even less connected to the main action is the subplot with Haywire, which seems designed to fill time, more than anything else. Haywire has been off the charts for so long that the writers might have been better served by ignoring him completely. This subplot seems to serve no other purpose than creeping out the audience. Then again, his act of murder could divert attention away at a critical moment.

It’s also hard to know how many of these subplots are meant to tie back into the main plot thread (as with Bellick), how many are meant to come to a close by the end of the season, and how many are meant to set the stage for a possible third season. Many speculated, at the beginning of the second season, that Michael and Lincoln would be exonerated by the end, leaving the third season to something very different: Michael’s struggle to repair the damage done by his fellow escapees. He might even be tasked with the unfortunate job of assisting the authorities with the capture of the rest of the Escape Squad in exchange for a pardon (as ludicrous as that may sound).

If so, then it makes a little more sense for the writers to spend so much time on subplots that have little or nothing to do with the conspiracy or Michael. The situations with Sucre, C-Note, T-Bag, and Haywire are all moving into unknown territory. There’s plenty of time left in the season to bring those to conclusion, but it’s also possible that they will remain open-ended. Only time will reveal these intentions.

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

Final Rating: 8/10

Battlestar: Galactica 3.13: "Taking a Break From All Your Worries"

Written by Michael Taylor
Directed by Edward James Olmos

The title of this episode apparently refers to the theme song from “Cheers”, which is relatively appropriate, given one of the two major plot threads. Seemingly out of nowhere, a bar emerges, where the various officers gather to complain about their relationships and get rip-roaring drunk. This is integral to the Love Polygon between Kara, Anders, Lee, and Dee, which certainly doesn’t help.

It’s hard to tell why the writers chose to add a makeshift bar to Galactica. One might assume that the underground establishments from “Black Market” were wiped out at the end of the second season, and they were never recreated on other surviving ships. Whatever the case, having a bar around implies that the crew has enough downtime to make it worthwhile, and that enough alcohol exists to keep the thing running. Perhaps it was addressed in passing in the episode, but does this really make much sense?

It does give Lee a source of alcohol, however, which provides him with the time-honored means of drowning his sorrows and self-pity. One can only hope that this is the end of the relationship issues for a while, because this plot thread was a mess. Unfortunately, Lee’s decision to save his marriage still feels temporary, and that means more excruciating scenes between Lee and Dee. Kara and Anders aren’t much better, but Anders’ unusual attitude regarding his wife makes it somewhat tolerable.

The lead writer for this episode also wrote “Unfinished Business”, and so he seems to be the one who writes episodes with heavy soap opera content. Michael Taylor has an interesting list of genre credits. He wrote some of the best episodes of “DS9” before taking a substantial role on “Voyager” as story editor and author of some of the most reviled episodes of that series. So far, his episodes of “BSG” have been loved or despised. There’s not much in the way of middle ground, and the strong focus on the agonizing Love Polygon.

That might change based on the other prominent plot thread. The interrogation of Baltar could have been the entire episode, as far as I’m concerned. This pays off the deep hostility and anger shown in “The Eye of Jupiter”, especially when it comes to Roslin and Adama. One doesn’t expect restraint from Tigh, after all. Roslin and Adama put Baltar through some serious torture, most of it psychological, and that’s rather revealing about everyone involved.

It’s always interesting to see the similarities between the Humans and the Cylons, and in this case, we see the Humans turning on one of their own in an especially brutal manner. Roslin’s “airlock” scene was one of the highlights of the hour, and it was far more visceral in its effect than the Cylon vote to keep Baltar alive. Plot elements from “Epiphanies” and “Collaborators” came back with a vengeance, with Roslin and Gaeta both grabbing a chance for their pound of flesh. The effect was a mixture of satisfaction and pity for Baltar. As Adama said, Baltar sees himself as the victim, despite the reality of his choices, and there’s enough truth in that to keep his fate in doubt.

The writer tries to draw a strong correlation between Baltar and Lee, and it doesn’t quite come together as well as one would hope. There’s a difference in scale and effect that cannot be surmounted. Baltar feels like the victim, but his choices led to his current torturous existence. The same may be true of Lee, but his choices didn’t lead to genocide or collaboration with the enemy. One might argue that both are devastating psychological states for these individuals, but it just doesn’t seem to work. That leaves the episode itself in a curious and frustrating middle ground.

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

Final Rating: 6/10

Supernatural 2.12: "Nightshifter"

Written by Ben Edlund
Directed by Phil Sgriccia

The mark of a strong television series is the ability to tell relatively isolated stories without losing sight of the big picture. Even successful shows like “X-Files” failed on that basic principle. Over the past few years, however, writers like JMS and Joss Whedon have demonstrated that working within a detailed and comprehensive mythology is not as limiting as some producers would like to believe.

Kripke started the show off on the right foot, and the second season has continued in the right direction. In this case, the episode was relative self-contained. One might argue that it was something of a bottle show, but it didn’t follow the conventions of that format in every aspect. Instead, it focused on perception: who is the real monster trapped in the bank with the civilians?

Other writers might have dropped the idea of the brothers as fugitives from the law, using it for one or two episodes as necessary and ignoring it as an inconvenience the rest of the time. This writing staff is using it as a surgical tool. In terms of the story, Dean and Sam have been forced into isolation from the rest of the hunters, thanks to Sam and his ability. This takes away a number of options from Dean, making his promise in the previous episode particularly complicated.

In this episode, the writers pay off a long-standing conceit: how could two young men roam the country with a cache of weapons and a string of fake IDs, in the era of the Patriot Act? Now we have an answer, and a more definitive one than seen in “The Usual Suspects”. Federal law enforcement is well aware of their history, and they are seen as dangerous and amoral predators. They’ve been playing the rogue since the very beginning, but the game is a lot more serious now.

The net effect is that the pressure on Dean and Sam increases dramatically. Any wrong move will draw the wrong kind of attention. Since other hunters would find themselves in the same crosshairs, like Gordon in “Hunted”, they might be less likely to step in and help them, even if they believe in Sam’s ability to resist demonic control. As a result, working each new case should be harder, forcing the brothers to consider the consequences of each and every move.

That would be bad enough, but should Sam begin to slip into darker territory, the resulting attention could be devastating. Dean’s ability to handle Sam’s behavior would be tempered by the need to avoid attention from the law. As self-contained as this episode might seem, it serves to add another layer of complication into the big picture. There’s every reason to believe that the FBI agent featured in this episode will be important to the season finale.

The writers solidify the importance of this episode as a step in the isolation of the Brothers Winchester by tying it directly to “The Usual Suspects”. The audience is reminded by the appearance of another shape-shifter that there was a previous incident that left Dean on the Most Wanted list. That makes it easier to recognize the escalation of their legal situation. It’s a simple but clever way to weave this thread into the overall tapestry.

The character of Ronald was especially important because it gives the audience a new perspective. From a certain point of view, Ronald is a madman spouting about killing a creature hiding in plain sight, tossing out bizarre theories and brandishing major firepower. The hostages have every reason to think he’s crazy, even if the Brothers Winchester know he has much of the situation worked out.

However, from the point of view of the FBI, how do the brothers look? They run around the country, telling people about demons and monsters, violating laws and burial rights on a regular basis. They toss out bizarre theories and carry enough weapons to take down a federal building. Ronald is a minor annoyance compared to the Brothers Winchester, and it’s no surprise that the FBI considers them to be the “monsters inside that bank”.

So the episode accomplished two important tasks. First and foremost, it increased the pressure on Sam and Dean, giving them less room to maneuver as things continue to get more complicated with the growing war. Equally important, there’s a long look at how the brothers are perceived by the world at large. Both ideas challenge the comfort zone of the audience, and the result is a solid and entertaining hour.

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

Final Rating: 8/10

Smallville 6.12: "Labyrinth"

Written by Al Septein and Turi Meyer
Directed by Whitney Ransick

Coming into this episode, I was expecting a retread of the sixth season “Buffy” episode “Normal Again”. After all, the general premise was almost exactly the same: the hero is fooled into believing that the unusual events of the past several years have been the result of delusion and mental illness. In fact, the premise is so similar that many felt that the episode was a complete rip-off of the “Buffy” episode. That ignores, of course, the long history of the plot device.

What made the “Buffy” episode work so well was the logic behind the concept. The writers managed to construct a new “reality” that fit the facts and felt like a viable possibility. This is where the concept often breaks down. Many shows will attempt to use the plot device, but they never manage to develop a strong alternate reality. The writers feel as though the inherent recognition on the part of the audience, that the “normal reality” must be false, is reason enough to skip the notion.

That is an error in judgment, however, because the entire point of placing a character in such a state is exploration of his or her mental state. The alternate reality must be compelling enough to convince the character that there is the possibility of its pertinence. In “Normal Again”, Buffy became convinced that her years as the Slayer were false because the alternative was far more pleasant and attractive. In fact, the alternate reality was so consistent and logical that many fans believed that it could have been used as a series finale as a final, crushing twist.

Without a doubt, the writers have taken a very similar approach. Clark is being attacked mentally, and within the resulting twisted reality, acceptance of his “illness” is a metaphor for submission to the true attack. Working from such a simple plot device, the quality of the episode is dependent on the depth of the illusion. From that standpoint, this episode succeeds without reservation. Clark is run through a gauntlet of his own making, as his hopes, desires, and fears meld within the notion of paranoid delusion.

I found myself wishing that this was a longer episode. In the previous episode, I was wishing for more time to realize the “Justice League” concept with more complexity. This time, it would have been fun to see some of the concepts play out longer. What little was seen in this episode gave some interesting insight into the darker side of Clark’s personality. The negative emotions heightened by red kryptonite aren’t buried so deeply as Clark would like to think.

From the standpoint of character exploration, Clark has always demonstrated a paternalistic streak, and he never seems to recognize the arrogance of his philosophy. Most of his history with Lana has been about doing things “for her own good”, dismissing her own desires and preferences. For that matter, Clark is so sure of what the right thing must be that he’s blind to his own hubris, which has been the source of much of his heartache over the past several years.

This episode seems to reveal the obvious. Clark realizes that he still wants Lana, and in his own mind, he sees her as a starry-eyed woman waiting for him to come back and reward her unending loyalty. Clark realizes that Chloe is possibly the best friend he could ever have, even as he treats her poorly for keeping everyone’s secrets with equal protection. He even realizes that his mother and Lionel Luthor are growing closer, even if he despises the idea.

Striking at the heart of the mythos, Clark also realizes, to a certain degree, that his fractured relationship with Lex is largely his own fault. While Lex and his troubled upbringing are a fundamental part of his desire for power and control, Clark has let that fester into personal resentment. Lana is at the center of that, and both men are treating her as an object to be won. Looking back on the series to date, it’s not hard to see where Clark’s choices contributed to Lex and his downfall. If Clark retains this ability to see past his own blinders when it comes to Lex, it could add a poignant element to their future conflict. Clark, as Superman, would feel a measure of responsibility for every act of villainy committed by Lex Luthor.

The episode is marred, ever so slightly, by the possible return of the Clark/Lana dynamic. This is a tired concept, and one that should be avoided. For better or worse, Lana has allowed herself to be the prize between Clark and Lex. That position is inevitably one of tragedy. However it plays out, Lana’s death would now have a more profound effect than anything else done with the character. Leaving Clark in relative isolation until that point would be the more interesting dramatic choice.

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

Final Rating: 8/10

Studio 60 1.12: "Monday"

Written by Aaron Sorkin
Directed by Lawrence Trilling

Like many shows this season, the first half of the season led into the winter break. While it wasn’t particularly long, the hiatus created an interesting effect on the audience. This plays more like the beginning of a new season than the continuation of the first season. For example, the teaser quickly covers the same amount of time that the show was off the air, as though the story has jumped forward from the previous run to the next phase.

All of the plot and character threads remain, of course, and they’re important enough to warrant a three-part mini-arc. That leaves most of the story in “set up” mode, which is another reason why it feels more like a season premiere. Four major plot threads are explored in the episode, and none of them are resolved in any way by the end of the episode. Oddly, there’s little frustration as a result; just anticipation for the next installment of the story.

Danny has followed through on his promise to pursue Jordan relentlessly, and at first, she seems to take it all rather well. She’s very patient with his constant advances, and in his defense, she never seems to shut him down in a definitive manner. As a result, his actions border on stalker territory, especially when he drums up support from high profile friends to press his suit. By the time that Jordan finally makes it clear that she wants him to let it go, things have gone far enough for Danny’s situation to get nasty if she feels the need to make a case out of it. Oddly, by refusing to stop, he’s discounting her feelings in the matter, which fairly close to the definition of sexual harassment (if not dead on).

Matt’s typical passive-aggressive approach with Harriet may be stoking his creative fires, but it leaves him an emotional wreck. It’s ironic that his methods might actually work better in the long run. Then again, considering the level of neurotic jealousy required to buy a date with a woman just to keep someone else from having the satisfaction, it still may be a hopeless gesture. Never mind the fact that he’s planning to denote an equal amount to a charity that Harriet would despise!

For all the relationship brouhaha, some of the best character work comes out of Jack, who gets to be the most sympathetic he’s ever been in this episode. Jack really is in a horrible bind, and his tactics display his more creative side. Even knowing that he’s often the devil, it’s hard not to like the guy and feel for his troubles. I was left hoping that he would succeed, even after his little stunt with the new girl.

Hallie comes storming into Jordan’s office like a political officer in the old Russian army: a necessary and dangerous evil. Jordan knows that reality TV is an unfortunate staple of the medium, but she doesn’t make any concessions. It’s the perfect opportunity for someone with equal ambition and less morality to present a challenge. The pregnancy attack was incredibly harsh, and it spoke volumes. Hallie could very well be the character we love to hate.

It’s practically a given that Jack’s major plot thread will intersect with Tom’s pursuit of Lucy, causing endless complications, and the tension between Simon and Darius will likely escalate into something far more substantial before the mini-arc is over. It’s good to see so many minor details from earlier episodes come back into play. The series has hit its stride, and though this is mostly a set-up episode, it still manages to remind the audience of all the good points from the first half of the season.

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

Final Rating: 8/10

Heroes 1.12: "Godsend"

While the winter hiatus left many fans less than pleased with the long wait, there does seem to be a certain value to the scheduling. One could almost see this as the beginning of a new season, considering how much of the episode is devoted to setting the stage for the next arc in the story. In fact, this is a good jumping-on point for the series, because there are a number of transitional elements that give the writers time to show the audience the state of play in the “Heroes” universe.

Nearly every single subplot moves forward to some degree, as the characters begin to interact more often and the dynamics shift. Once Nathan, Hiro, and Isaac are in the same room, the writers manage to connect some of the dots, widening the scope of the situation while further defining the future progression of the story. While Simone still feels like an odd distraction from the rest of the story, the implications overpower whatever problems might result from her lack of chemistry with everyone else in the room.

While the majority of the villainous behavior has been attributed to Mr. Bennett and Sylar, another troubling presence has been mentioned several times since the very beginning: Linderman. At first, he was presented as Nathan’s corrupt rival for political power (or the man behind the rival, as the case may be). His involvement in the Nathan/Niki situation, where Mr. Bennett managed to get into the hotel at just the right time, suggested a connection to the big picture. But what if Linderman is actually more of a threat than Mr. Bennett?

What struck me in this episode was the reinforcement of the fact that Linderman has been collecting Isaac’s paintings for some time. If Peter and Hiro could make the connection between Isaac’s paintings and prediction of the future, then why couldn’t Linderman make the same connection? And if Linderman is corrupt and willing to use that information to pursue his own interests, he could be positioning himself as a major threat.

Meanwhile, given the fact that this episode takes place two weeks after the previous episode, the majority of the time is setting up the new status quo. Hiro is still on his journey, and he is still the breakout character, delivering the majority of the comic material throughout the hour. Niki and Jessica appear to be vying for control of their mutual body more than ever, and Ali Larter manages to pull off the transitions very well. Claire struggles with the idea of keeping her ability secret, and her impulsive decision to show Zach the truth again could have horrific consequences.

Matt’s situation is particularly interesting because he has all but exhausted the legal resources to stop Sylar. Despite his earlier successes, his lack of progress since Sylar’s capture has destroyed his credibility. This should serve to test his heroism, especially if he think it would be more effective to take vigilante action. If Mohinder contacts him sooner rather than later, they could work together to gather others on the list to oppose Mr. Bennett’s organization. That’s a relatively simple solution, but it could serve as the trigger for the emergence of the eventual “team”, should one develop.

This episode also introduced the character of Claude, a man with the ability to turn himself (and apparently anything or anyone he touches) invisible. Thanks to a timely vision, Peter realizes that he will be an important element in his near future. Claude is still a complete mystery at this point, but it does bring up the question of Peter’s visions again. Where are the visions coming from, and are they connected to Isaac’s ability in any way? The answer to those questions could be of major importance to the “24” universe.

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

Final Rating: 8/10

Prison Break 2.14: "John Doe"

The general consensus, based on comments from the cast and production staff, is that the main plot arc of the series will end with the second season. As such, the conspiracy itself must be resolved within the final nine episodes of the season. This is not entirely surprising, since the writers have always noted that the concept for the second season included the resolution to the conspiracy and the situation that led to Michael’s gambit in the first season. At the very least, there is relative consistency.

So it’s not particularly surprising that this episode moves the story forward in a major way. There’s not much time to stall and play games, and sooner or later, Michael and Lincoln were going to get their chance to face down the man at the center. Surprisingly, the idea of Kellerman working with the two brothers is a good one. The resulting tension allows for reference to events earlier the series that felt forgotten or ignored.

Steadman’s decision to commit suicide was hardly surprising. In fact, it was on the edge of complete predictability. “Prison Break” has suffered from obvious plotting here and there in the second season, but predictability doesn’t necessarily translate into lack of satisfaction. Steadman’s suicide made sense as the final act of a coward, and it quickly rendered Kellerman’s plan moot. More to the point, Michael has rarely miscalculated so badly, and that plays nicely into his own complicated psychological issues.

Mahone has survived the shooting in the previous episode, which is something to celebrate. William Kim and his associates may have miscalculated in a major way. As much as Mahone might say that he’s working for the conspiracy again, there’s reason to believe that he’s playing a more dangerous game. Could Mahone be ready to help Kellerman, Michael, and Lincoln take down the conspiracy once and for all? Or will he become an even more dangerous adversary? Either way, Mahone’s role on the series has never been more important.

Unfortunately, the strength of the primary plot thread was diluted by some of the other subplots. Three subplots are explored during the course of the episode, and enjoyment of each depends entirely upon personal taste. The most substantial subplot belongs to T-Bag, who slowly but surely places Mrs. Hollander and her children hostage to his own twisted desires. Ever since the escape, T-Bag has revealed a streak of madness a mile long, and it’s fun to watch. (Of course, it could also be inconsistent writing, but I’ll give them the benefit of the doubt.)

C-Note’s situation has become a distraction, and it’s simply not very interesting. It’s a tragic enough story on its own, but it doesn’t mesh well with the rest of the series at this point. While Bellick’s situation is a nice example of just desserts, unless he manages to survive and regain some measure of freedom, all of this tempering of his character into something more dangerous will be moot. Right now, many of these side stories suffer from the fact that they don’t really impact the main story, and they are easily dismissed as a result.

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

Final Rating: 8/10

24 6.5: "Day 6: 10AM - 11AM"

Written by Joel Surnow and Michael Loceff
Directed by Milan Cheylov

In which President Palmer and CTU deal with the immediate ramifications of the terrorist’s nuclear attack, while Jack pursues intel from Assad that leads him to his own family…

Status Report

At the end of the season premiere, the writers changed the landscape of the “24” universe by setting off a nuclear bomb just miles away from Los Angeles. By allowing the terrorists to succeed on such a level, the writers gave themselves quite a job. Not only did they have to pick up the pieces of Jack Bauer’s psyche, but they had to give every single character a distinct but logical reaction to that event. More than that, the plot had to keep moving forward.

In the initial moments, Wayne Palmer presents the characteristics of a strong if shocked leader, recognizing the needs of the country as well as the needs of the government. Considering that this would be the fourth use of a nuclear weapon in history (the two in WW2 and the bomb detonated in the second season), it shouldn’t be hard to recognize that Wayne is keeping things together rather well. His brother would no doubt be proud.

As one would expect, the immediate suggestion is a show of force to likely Middle Eastern states supporting Fayid. Wayne keeps the response rational and measured. Most surprising is Tom’s open support of the president, despite his own feelings on the matter. Granted, his actions are designed to gain support for his hard-line security agenda. Wayne thankfully keeps a strong and steady course, despite his apparent inability to deliver a speech with conviction.

Fayid’s plans are held up by a relatively logical plot issue: the man meant to reprogram his bombs died in the nuclear blast. This takes the writers off the hook in terms of moving that plot thread forward too quickly. They get the chance to concentrate on the introduction of co-conspirators and the inevitable fallout (no pun intended). McCarthy and his annoying partner represent the worst elements of American society: the ones who would happily watch fellow Americans die for a little cash.

Jack is shocked back into action by the most noble of causes: the preservation of a single life. Considering the chaos all around him, it would have been easy to turn away and wallow in his self-pity a bit longer. Staring up at that expanding mushroom cloud (nicely kept within realistic proportions over the timeframe of the episode) would have been a simple enough excuse. But Jack fell back on instinct. It might have been a little too easy for him to get back in the game so quickly, but it’s reasonable to think that seeing the impact first-hand made him realize how much worse it could have been and might still be. One only hopes that his lack of confidence remains intact, so that the character can be meaningfully explored.

The tension between CTU and Assad is well played. After all, the agents at CTU had been tasked with Assad’s capture for weeks before the beginning of the season. Assad clearly has his own agenda in mind, and it’s quite possible that he will be revealed as a villain. But for now, his earnest complexity is one of the highlights of the season. It would have been a lot more fun to see him work with Jack, however, considering their chemistry.

Assad’s intel puts Jack on an unlikely collision course with his own family, which was an unexpected but welcome touch. We’ve had a very limited exposure to Jack’s personal world, and considering his recent history, this is a shocking development. Equally shocking is the off-hand revelation that Jack’s brother is one of the men responsible for sending him to ChinaLogan into everything that took place in the fifth season. and, more importantly, manipulating This is a major plot revelation, and it was neatly underplayed by the writers.

For all that, the writers fumbled some of the introductions for the Bauer family. Graham is a lot less imposing outside of his fifth season enclave, and the dialogue with his wife is about as painful as it gets. And it’s ridiculous for Graham to have married a woman that was, of course, in love with Jack years earlier. Considering how guilty Graham acts throughout the episode, it’s no surprise that Jack immediately suspects him of holding back information.

Similarly, Sandra Palmer continues to be a liability to her cause. As the FBI agent said quite plainly, she’s more than happy to abuse her relationship with the president while crying about the liberties taken by others. For all the rough treatment of Walid, he does the right thing by acting as a mole for the authorities. It should be interesting to see if Walid starts to disagree with Sandra and her theatrics.

Final Analysis

Overall, this episode was surprisingly strong, considering the tall order of following up on one of the most memorable events in the series’ history. This episode manages to drop a few bombs as well, even if the execution of an intriguing idea is not quite what one would have hoped. Still, some characters demonstrate unexpected strength, which is a welcome turn of events.

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

Final Rating: 8/10

(Season Average: 7.8)

Battlestar: Galactica 3.12: "Rapture"

Written by Bradley Thompson and David Weddle
Directed by Michael Rymer

The wait between seasons 3.0 and 3.5 was much shorter than in the past, much to the pleasure of BSG fans awaiting closure on the mid-season cliffhanger. Despite the short break, a number of changes have struck the Galactica universe. The most important change is the shift to Sunday nights, an attempt to capitalize on demographic gains and reverse an overall slump in ratings. It remains to be seen if this questionable strategy will yield positive results; the fact that the AFC Championship game spilled over into the same timeslot will certainly not help the ratings for the triumphant return.

The episode deals with the items open from the end of “The Eye of Jupiter” well enough, but some of the situations evolve in ways that seem watered down or lackluster. The most obvious example is the tension between Lee and Anders. For all the sniping and staring-down in the previous episode, they set it all aside quickly enough once Lee sends his wife to find Kara. If that writing choice deferred some of the Lee/Anders hostility for another day, it did lead into one of the more interesting subplots: Dee’s reaction to being sent to rescue her husband’s possible lover. It might feel like soap opera, but the show is all about broken character relationships, and love polygons come with the territory.

As predicted, the Eye of Jupiter was the super-nova, once again playing on the idea that “all of this has happened before”. Kara’s childhood premonitions and possible visions tie into her role at the end of the first season rather nicely, and it also presents some interesting possibilities. At the very least, one could wonder if Kara and Roslin are both fulfilling roles in ancient prophecy, but it could be something more ominous. What if Kara is, in fact, one of the final five Cylons?

Setting aside the oddity of the Cylons themselves referring to the “final five” in that particular way, D’Anna clearly recognized at least one of them during her religious experience. Looking back at the scene, her expression suggests that she recognized all of them to one degree or another, but that one fact in particular struck a chord. Her expression and plea for forgiveness suggests that one of the final five had been sorely mistreated by the Cylons during the genocide.

The implication fits with the possibility that Kara is a Cylon, because that might explain why the experiments with her ova have yet to yield much in terms of results (or so it would seem). But others fit the criteria. Baltar is another obvious possibility, as strongly suggested by the staging of the “vision” scene. But wouldn’t it also apply to someone like Saul Tigh? That would be incredibly ironic and a huge revelation. Right now, it’s all speculation, but the writers are doing an effective job of stringing out the mystery.

The other major subplot was Sharon’s rescue of Hera. I love how Sharon manages to get back among the Cylons, and that Caprica-Six is forced to choose between her previous co-conspirator (Boomer) and the more human Sharon. It would appear that Caprica-Six retains her stance that Cylons and Humans are meant to co-exist, while the rest of the Cylons are still unsure. Each model seems to be the embodiment of a certain philosophy. The Cavills want to destroy Humanity, the Boomers are pushing for going separate ways, the Sixes want to bring the species together. It’s still not entirely clear where the other models stand, but I expect them all to demonstrate similarities that serve to amplify the differences among them. (And, for that matter, how the Cylons among Humans have evolved as individuals.)

It should be exciting to see how Roslin reacts to the fact that Sharon was, in the end, apparently loyal. Will she continue to question Sharon’s motives, and if so, will those suspicions be rewarded? After all, Sharon’s loyalty might have been a function of Hera’s condition, and the fact that the Cylons couldn’t treat Hera correctly. What if the condition could have been treated on the Basestar? Whatever the case, Roslin’s suspicions, if they exist, will likely be undermined by her own deceptions regarding Hera. I expect this to be a thorny issue for the rest of the season.

There were a lot of other aspects that worked well. The final fate of the D’Anna model follows through on a concept introduced in “Downloaded”, and represents the most substantial shift in the Cylon mindset. What used to be a united front is now revealed as anything but unified, as models turn on one another. Perhaps it is the introduction of Human traits into the culture? Meanwhile, there’s the capture of Baltar, which ought to have unusual ramifications. Where exactly will Baltar’s desire for personal survival take him next?

Unfortunately, this installment also had many of the problems evident in “The Eye of Jupiter”. In particular, the pacing felt choppy, especially in the final act, as though the episode had to be cut for time. One has to wonder if a longer version will emerge on DVD. Also, the dialogue lacked a certain sophistication, as though the writers were simply trying to get through the plot points as efficiently as possible. Both of these items have been repeated offenses, however, so there’s no reason to focus on this episode alone.

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

Final Rating: 8/10