Heroes 1.17: "Company Man"

Written by Bryan Fuller
Directed by Allan Arkush

Considering all the comparisons, it’s neat to see “Heroes” attempt its own version of “Lost”. This definitely fit the classic “Lost” mold in terms of format, and this should finally give a true basis of comparison. Can “Heroes” succeed in the same kind of narrative territory that has made “Lost” so unique? And can “Heroes” retain its flavor in the process?

Choosing Mr. Bennett as the focus of the episode was a smart move. Mr. Bennett is one of the best characters on the show, and his history is central to the entire mythology. The framing story is perfectly suited to this review of Mr. Bennett’s history. Ted adds an unpredictable pressure on the situation, Matt can read minds, and Claire wants answers. And of course, this is the perfect chance for Matt and Claire to discuss their personal experiences and put together connections among the superhumans.

Very quickly, pieces of the puzzle come together. Hiro’s father has a direct connection the initial exploration and cataloguing of those with abilities, a process that was already underway more than 15 years earlier. It’s not entirely clear whether Hiro’s father and his associates are the ones running the Company or if they are independent contractors. The possibility of a connection to Linderman is likely.

Claire’s “death” did a great job of ratcheting up the tension, forcing Mr. Bennett into the right position to explain himself. It’s now quite clear that Mr. Bennett is trying to keep Claire from being victimized by his own organization. Victimized, it seems, in the same way that Matt and Ted were. As with the best villains, Mr. Bennett truly believes that he is doing the right thing, both for his family and the world.

This is given scope and depth by every action that Mr. Bennett takes, past and present. So much has been done to keep the truth concealed, but now the situation is spiraling out of his control. That’s the kind of circumstance that reveals character, good or bad. Of course, it reveals something very important: Mr. Bennett, as bad as he might be, is holding back out of love for his family. What would someone without those dueling loyalties?

There is one small problem with the resolution to the episode. Ted’s ability is based in the release of nuclear radiation. If he loses control of his ability, it shouldn’t simply start a fire. Ted should be releasing massive bursts of radiation. And that should be ripping anyone near him apart, or short of that, giving them serious radiation exposure. Claire was badly hurt, but everyone else should have been equally damaged.

In the end, Mr. Bennett is no longer in control of the situation. He’s managed to save himself, but the genie’s out of the bottle. Mr. Bennett’s attempt to save his family has failed, and he may not be able to save Claire from the Company in the future. His only chance of survival is to throw himself into his work without further hesitation. And that should reveal what it’s like when someone like Mr. Bennett no longer feels conflicted about his work.

Like the best episodes of “Lost”, the flashbacks and “present day” segments of this episode answer a number of questions while producing new ones, without generating the wrong kind of frustration in the process. In fact, like the best episodes of “Lost”, this managed to give a highly consistent history for Mr. Bennett while revealing layers that were only hinted at in the past. It’s not the sort of thing that “Heroes” should do every week, but it was the perfect way to end the complication phase of the season arc and start the road towards resolution.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

24 6.11: "Day 6: 4PM - 5PM"

Written by Manny Coto
Directed by Tim Iacofano

In which the plot to assassinate President Palmer comes to a head, while Jack comes face to face with an old enemy and Chloe begins to suspect that Morris is unfit for duty…

Status Report

Coming into this episode, the writers put themselves in a bit of a bind. Philip Bauer’s motivations have been all over the map, and ex-President Logan is now part of the story. With the mid-point of the season rapidly approaching, can the plot be brought back into some semblance of cohesion? With Manny Coto as the primary writer for the episode, there’s at least some measure of hope.

The explanation for Logan’s house arrest is rather ridiculous considering the end of the fifth season, but considering how hard it is to believe that Logan is involved in the first place, it’s an effort that’s appreciated. Unfortunately, no attempt is made to explain why Philip would connect Jack with Logan, which is a gaping plot hole that needs to be addressed as soon as possible.

As usual, circumstances are contrived to force Jack to make a deal with this season’s devil, and Logan gets back on his feet after token resistance. Why they couldn’t make a videotape explaining the terms of the deal for Markov’s benefit is hard to reconcile; it would have taken moments, and Logan (and his knowledge) would have remained safely behind Secret Service protection.

The confrontation between Logan and Wayne Palmer was a lot of fun, but it’s quite possible that the writers have missed the mark on why Logan was such a successful character in the first place. It was the mixture of bruised dignity and amorality that kept his character from descending into complete farce. This episode is missing that dynamic, but it’s quite possible that this supposed journey to redemption will transform into something a bit more substantial.

It’s rather nice of Reed to keep Tom Lennox alive long enough to hear every little detail of the plan to assassinate President Palmer. That justification is a bit harder to swallow. The primary weakness of any conspiracy is the human element. Why take the risk, especially if the suspected links to the Bauer company and the conspiracy from the fifth season are valid? They ought to know better from recent history.

CTU continues to be a drain on the season as a whole. Morris’ personal issues are getting old, especially since Chloe should have punted him into a new and better incarnation hours ago. The time being taken to keep Morris’ secret is completely ridiculous. If he’s even a small distraction, he should be removed. And he certainly shouldn’t be given free reign to question Buchanan’s judgment.

As many fans noted after the previous episode, it’s getting very hard to care about the people in CTU when they seem far less interesting than previous CTU teams. In particular, Nadia seems far too soft for her position, and Chloe seems to have lost a lot of her edge, despite the scene in the men’s room. Unfortunately, this subplot is progressing in an utterly predictable fashion, highlighting everything that’s lacking in the CTU this season.

The end of the episode is the attempted assassination of President Palmer, placing Assad squarely in the same crosshairs as the scapegoat. It’s not a bad final act, and it plays out with a good deal of tension. Because it was the inevitable culmination of established plot elements, it came together rather well. With Palmer out of the picture for a while, his enemies could reveal some details about the conspiracy against him, the current terrorism, and Philip Bauer. And perhaps that could finally lead into an explanation of Philip Bauer’s activities since the beginning of the season. At this point, the success or failure of the season could very well depend on resolution of that gaping plot hole.

Final Analysis

Overall, this episode was saved by a final act that managed to deliver on a well-developed plot thread. Otherwise, there are still some glaring plot holes, one in particular, and they detract greatly from the overall quality of the season. It’s not a good sign when the subplots are more consistent than the main storyline.

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

Final Rating: 6/10

(Season Average: 7.0)

Prison Break 2.18: "Wash"

The resolution phase of this season’s arc is just full of surprises. The past few episodes have been a lot of fun, as plot threads continue to collapse back into the main story in surprising ways, and character fates continue to be unpredictable. At this point, it’s not hard to see how the various plot threads are going to overlap, which is a very good sign. With four episodes left to go, the endgame is definitely in sight.

The writers pulled one last surprise out of the bag regarding the evidence exonerating Lincoln: it’s a copy and inadmissible in court. Learning that is less than obvious, since Michael and Lincoln try to contact one of their father’s allies and nearly get caught in a trap. Kudos to Sara for being the one to work out the truth, even if she took an enormous chance by visiting her father’s grave. (It was a nice touch for the ground at her father’s grave to be so fresh; it’s easy to forget how little time has passed since the escape.)

In the end, the only way to use the recorded conversation on the thumb drive is confrontation of President Reynolds, which ties in very nicely with Kellerman’s decision to kill his former employer and romantic target. It’s a very nice touch to have Kellerman inadvertently become a threat to Michael’s last ditch effort to end the whole nightmare. And his little scene with his sister made him a little more human, even though it’s probably going to be the reason why he gets caught before the assassination, if that’s how it plays out.

With the conspiracy gaining on Michael and Lincoln, Mahone’s deal with C-Note takes a tragic turn. Once again, we get to see Mahone’s human side, even if it comes at a moment that is rather inhuman at its core. Mahone looks incredibly shaken by his order to kill C-Note, and the resulting subplot with C-Note’s reaction to the choice dropped in his lap is very well done. It’s possible that C-Note will survive in the end, but it was an unexpected turn for the plot to take.

Bellick is sent to bring in Sucre, who is finally getting a few moments of happiness with Maricruz. Things always seem to go badly once a member of the Escape Squad has that kind of moment, so there’s little doubt that Sucre’s safe haven is about to fall apart. In fact, knowing Bellick, Maricruz and the baby are hardly out of the line of fire.

The wild card in all of this is T-Bag. After his misadventures in the middle of nowhere, seemingly as far away from the rest of the world as one could get from the rest of the Escape Squad, his fortunes take him back to Chicago and on the same flight as Bellick. It shouldn’t be long before T-Bag ends up right in the middle of the mess at the end of the season.

Perhaps the most impressive aspect of the episode takes place in the final act. Usually, when someone is in a room and another character is hunting them down, the editing will imply that the hunter is converging on the location of the prey. Typically, the prey is safely elsewhere, having fooled the hunter once again. This time, it could still happen that way, but the likelihood is that Mahone will finally catch up with Michael. That confrontation will certainly be worth the wait.

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

Final Rating: 8/10

Battlestar: Galactica 3.16: "Dirty Hands"

Written by Jane Espenson and Anne Cofell Saunders
Directed by Wayne Rose

Over the past two seasons, one of my main comments on “Galactica” was the somewhat shallow exploration of the day-to-day struggles for survival. There were the broad actions involving the Cylons and the issues explored on New Caprica, but the situations within the Colonial Fleet as a whole were either vague or ham-fisted in nature. The Colonials seemed to have a fairly reasonable way of life, given the tense nature of the exodus.

This episode goes a long way towards changing that impression, and I love it all the more for it. Perhaps the best element is the growing sense of a caste system based on colony of origin. We see, for the first time, a difference between wealthy colonies and poor colonies and how that translates into the upkeep of the fleet. Questions of entitlement vs. necessity are directly raised and addressed, and the ensuing agreements are simply part of a long-term process of change. This is a far better look at the tensions within the fleet than, say, “Black Market” or “The Woman King”.

At the heart of the discontent is Baltar, who has apparently learned a little something from his former Vice President, Tom Zarek. In fact, Baltar’s new message and method is so close to the Zarek model that Zarek’s absence is the one major sticking point for the episode. Of course, one might assume that Zarek was working behind the scenes in some fashion. He could have defused the situation easily by supporting the current government, but he chose to stay out of it. That could be translated as silent approval of the worker revolt. (The reality, of course, is that Richard Hatch was probably unavailable for the episode and couldn’t be written in.)

Whatever the case, this probably pertains more to Baltar’s trial than the abortive Sagittaron plot that made such a mess of “The Woman King”. Baltar is using the growing tension in the fleet to divert attention from his own crimes against humanity. If anything, he’s shifting the blame to an “aristocracy” led by Roslin, Adama, and their Caprican ruling class. Those stuck in blue-collar jobs under horrifying conditions already resent those living in clean, spacious quarters, and Baltar knows that. And of course, he knows very well how heavy-handed Roslin and Adama can be when their authority is questioned and the needs of the military are threatened.

Baltar has now positioned himself as a grass-roots champion of the working class. Never mind that he was the one in charge when so many of the New Capricans were ravaged and abused by the Cylons. The fact that Tyrol was able to restore a sense of worker rights to the fleet can now be traced directly to Baltar’s visionary “book”. Like Zarek, Baltar might be staging a comeback for himself. For Baltar, it’s a desperation move, but one in keeping with his genius.

This episode also dismisses the notion that the events of New Caprica are a thing of the past. Tyrol’s character motivations are still firmly rooted in his role as union organizer on New Caprica, and much of his dissatisfaction since the Second Exodus had to derive from the attempt to pretend everything was back to status quo. For that matter, looking back on many of the so-called “filler” episodes this season, they are all linked by the subtle awareness that the fleet has yet to really deal with the New Caprica legacy. Roslin and Adama have been dealing with the cracks in the “everything’s normal again” façade, but it’s building towards something major. Zarek’s warning about Baltar’s upcoming trial is precisely in line with this undertone.

Because this episode is as much about attitude and selective interpretation of information as it is about the issues within the fleet, we get to see sides of characters that are consistent yet unusual. This is in contrast to “The Woman King”, where many character shadings felt forced or unearned. It’s unfortunate that other characters were left out of the story. For that reason alone, this might have worked even better as part of a season arc. Rather than focusing on relationship issues (which seem awfully silly in comparison), the writers could have focused on the dynamic interplay of fleet tensions and conflict with the Cylons.

As it is, this is still a great episode that should play into the rest of the season rather well. It even ties into the larger series concerns in a subtle, indirect manner. It shouldn’t take long to consider that the vital importance of one refinery ship should make it an easy target for the Cylons, especially those still hidden in the fleet. Other ships are equally vital to basic survival. The fact that such ships have not been targeted or destroyed could be another hint that the Cylons need the Rag-Tag Fleet to exist, at least for a little while. It might also be a plot hole, but considering how well everything else in the episode worked, I’m willing to give the writers credit.

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

Final Rating: 8/10

Lost 3.9: "Stranger in a Strange Land"

Written by Elizabeth Sarnoff and Christina Kim
Directed by Paris Barclay

In which Jack becomes embroiled in the power struggle within the Others’ camp when Juliet is slated for execution, while Sawyer and Kate argue over saving Jack and dealing with Karl…

Status Report

Some episodes manage to balance the present and past with a strong sense of metaphor. At the very least, the connection between past decisions and “present” conditions should be strong enough for the audience to appreciate the point being made. When the metaphor or parallel is forced, the episode typically suffers as a result. And when the writers try too hard to build up connections that are obtuse for the audience, the episode doesn’t have a prayer.

It’s not entirely clear what the goal was coming into this episode. Jack’s flashback reveals that his true self is a leader of men, good and noble. And that has been shown over the course of the series to some degree. The flashbacks also seem to demonstrate how that positive aspect of Jack’s character is continually undermined by the most negative aspects of his personality. And this has also been aptly demonstrated over the course of the series. Jack is stubborn, impatient, entitled, and angry. Jack is also deeply troubled by that which defies logic and reasoning.

Of course, all of that has been established already. Now it feels redundant. The goal of this episode should have been progress towards that hidden nobility or a clear signal that his inability to move past his negativity will lead to something terrible. That’s been the hallmark of “Lost” since the first season. That’s where the episode fails to do anything new.

The writers use Jack’s mark, an indication of his true self, as an analogue to Juliet’s situation. Jack’s tattoo states “he walks amongst us, but he is not one of us”. The Others’ sheriff, for lack of a better term, interprets that as an ironic statement, applicable to his current situation. But it’s a rather clever way to refer to a leader. A leader is often forced to stand apart from the rest.

So what does this mean in conjunction with Juliet’s “mark”. Any kind of analysis is hampered by the fact that the meaning of the mark is only implied, not fully explained. Juliet appears to be some kind of social pariah, no longer trusted and barely tolerated. So in a sense, Juliet walks among the Others, but she is not one of them. If that literal meaning is wrong in Jack’s case, however, then is it also incorrect in Juliet’s situation? Perhaps the connection is that Jack and Juliet are perceived as outsiders, but they will ultimately emerge as the ones in control. Whatever the case, the writers were reaching for something there, and it’s quite possible that they missed.

There also seems to be a parallel between Jack and Sawyer. Sawyer appears to make choices that undermine his relatively new relationship with Kate. Jack seems to have something simple with Achara, but he can’t leave well enough alone and his choices destroy the delicate balance between them. Delving into the details, of course, the parallel doesn’t quite hold up.

For one thing, Sawyer’s problem with Kate has less to do with his insistence on survival and sympathy for Karl than Kate’s lingering feelings for Jack. Kate is the one feeling guilty about leaving Jack behind, even though Jack insisted on it. Kate is the one who wants to use Karl to pull together an attack plan. Sawyer may be insensitive to her emotions over the whole ordeal (and characteristically willing to screw things up with her), but he’s not creating a situation out of nothing.

On the other hand, Jack let his own insecurities and control issues get in the way of his free-spirited affair with Achara. Granted, her characterization was bizarre enough to test the patience and understanding of any reasonable man on the planet. Her personal style was one step short of exhibitionism. But this seems like a case of trying too hard to give Jack some small justification. The writers make Achara so over the top that the depth of Jack’s psychological damage is somewhat mitigated.

It’s fairly clear that Jack suspects Achara might be a prostitute. Her overall appearance is suggestive of a life on the fringe; she actually looked like the personification of an anime character. The comment about tasting something salty was, quite possibly, a thinly veiled reference to a certain sex act on her part. His decision to follow her into one of the less savory parts of town, complete with her barely-there red dress, was reinforcement of his assumption. It would have been a bit more intriguing if Achara’s questionable behavior was more subtle. It still ends with Jack acting like Achara’s entire life was his to question and dominate, so his issues were laid bare and the consequences were justly severe, but it wasn’t as effective as it could have been.

The point being that Sawyer’s situation with Kate was more about Kate, and Jack’s situation was all about Jack. So the parallel doesn’t quite hold water. The writers have also tried one final connection between the three relationships under study in the “present”, but that conclusion is based on assumption. The final act seems to draw a connection between Jack/Juliet, Sawyer/Kate, and Alex/Karl. One relationship possibly blooming, one relationship on the rocks, the last relationship in the midst of idealism. If that was the intended conclusion, then the rest of the episode wasn’t framed to lead into that or provide insight.

So ultimately the episode feels like a lost opportunity, revealing the origin and apparent meaning of Jack’s tattoo but little else of note. More than that, there’s no apparent progress in Jack’s development. It’s not clear when Jack’s trip to Bangkok took place, why he felt the need to find himself, or why he was so angry. And the trip to Thailand seemed rather extraneous and clichéd.

It certainly didn’t help that the ABC promotional department made the claim that three major questions would be answered during the episode. One has to wonder how they came to that conclusion (especially since the producers asked the same question). Yes, the mystery behind Jack’s tattoo was solved, but was that really a major question? The fate of those abducted by the Others is revealed, but only in the sense that they are alive and part of the Others’ community in some way. That still only counts as two possible questions to be answered. So what the hell were they talking about?

In the end, this episode simply didn’t come together. It couldn’t have happened at a worse time. “Lost” is struggling, thanks to the timeslot move and the dissatisfaction with the focus on the Others. This episode once again pertains to the Others and Jack’s unusual captivity, and that may continue to frustrate the audience. On the other hand, this is part of the complication phase of the season arc, so this is building towards something that might change the status quo in a major way. Hopefully this will be a momentary setback along the path.

Final Analysis

Overall, this episode seemed to have a lack of focus. None of the attempted parallels seem to come together by the end, which makes the episode somewhat unsatisfying. It also doesn’t help that the episode was promoted as something that it clearly wasn’t. This will hopefully be a temporary setback for the season.

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

Final Rating: 6/10

(Season Average: 7.3)

Heroes 1.16: "Unexpected"

Written by Jeph Loeb
Directed by Greg Beeman

Right off the bat, we meet the newest addition to the superhuman gang: Hana. Hana is more than happy to use Ted the Nuclear Man as a weapon against Mr. Bennett’s organization, which serves to bring him back into the story at just the right time. Matt continues to struggle with his personal predicament, caught between wanting to do what’s right and wanting to protect what’s left of his tattered world. His choices drive a wedge between him and his wife. This simply adds to his desire to find some outlet for his frustration, and Mr. Bennett is the perfect target. Ted and Hana give him one more reason and the perfect opportunity.

Faced with her mother’s worsening condition, Claire may be gathering the desire to fight her father’s agenda directly. That fits right into the Haitian’s plans for a resistance, which in turn may mesh with the developments with Ted and Hana. She’s run out of nearly every other option she can think of, so who else could she turn to? Considering how the episode ended, it looks like she’ll be caught between her family and her desire for answers.

For his part, at the beginning of the episode, Mr. Bennett is sent after Peter and Claude by Isaac, who seems to be operating out of less than altruistic motivations. It also doesn’t help that Isaac’s jealous of someone as mind-numbingly boring as Simone. It still doesn’t make sense that Peter and Isaac would be so taken by Simone, given her utter lack of energy. She’s also not particularly smart. Nathan’s the last person who would lead the charge to expose the super-humans to the public, given his political aspirations and his fear that Peter could become a liability. She was well aware of that fact, so why expect Nathan to change his mind at this stage of the game?

Whatever the case, Peter has managed to learn enough to save himself and Claude when it counts. And of course, that all comes together during the fight in the final act. Frankly, it was fun to watch Peter take out his anger on Isaac, because he was finally starting to use his multiple abilities in concert. Simone’s death should serve to divide them further, but it’s hard to feel bad about her admittedly shocking demise. That love triangle was one of the least interesting aspects of the series.

Somewhat apart from the rest of the interconnected action, Mohinder and Sylar find someone else from his father’s list, a woman in Montana with the ability of “super hearing”. This particular ability threatens to expose Sylar’s dishonesty, which is an unexpected twist. For that matter, Mohinder’s potential inhibitor presents a threat to Sylar’s plans. This episode gives us a better understanding of Sylar’s ability to take on new abilities and adjust to the effect. In this case, after several hours, Sylar was still having difficulty with Dale’s ability. If Mohinder hadn’t been distracted by Dale’s murder, he might have put two and two together. It certainly seems as though it won’t be long.

Hiro’s attempt to act tough is awfully amusing, but it’s a nice bit of character development. It’s just another expression of his emerging heroism and confidence. His assumptions are also challenged by Mr. Grumpy Agent. At least his abilities kicked in when the time was right. That’s an interesting connection to Peter’s situation. Hiro’s decision to leave Ando behind is a test for both of them. (Nice cameo by Stan Lee in the final act!)

In the typical arc driven series, the complication phase of the season arc comes to an end with a major twist, leading into the resolution phase, around episodes 16-18. Certainly the events of this episode point to something major in the very near future. The situation at the Bennett house would be the most sensible place for that to happen, though one would also expect something equally explosive for Peter and Hiro. Things are definitely coming together, and there’s been no end to the surprises along the way. The final six episodes should be one hell of a ride!

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

Final Rating: 8/10

Studio 60 1.16: "4AM Miracle"

The drop-off from Tom Schlamme’s directorial effort last week is evident from the very first frame. This is “Studio 60” back to the usual grind, and it’s simply not as compelling. It doesn’t help that the episode feels scattershot and disconnected. A number of plot threads are explored in the episode, but there’s never a true sense of cohesion.

The main plot is a follow-up to Matt’s downward spiral in the previous episode. Matt continues to struggle with his muse, especially now that she’s put him in his place and left him for metaphorical dead. Without the tension that comes with Harriet tightly in orbit, Matt is unable to function. It’s starting to become noticeable. If he’s still abusing pills (something not seen in this episode) and his depression remains, it’s hard to imagine that he’ll be able to hide it much longer. After all, Danny is a recovering addict and should know the signs.

His conversation with the sexual harassment lawyer didn’t seem to gel in the way implied by the dialogue. There was certainly a purpose to pushing Matt’s buttons, but it might have been too subtle. The idea, if I understood it correctly, is that Matt was willing to stand up for the sanctity of the writer’s room even when the topic at hand was debauching his soulmate, which in turn makes him a good witness against the claim that the writing room was a hostile work environment. If that was the point, then it was a little obtuse.

The attraction to Matt, of course, fits perfectly within the odd world of “Studio 60”, where sexual harassment lawyers can point out how damaging an office relationship can be to overall effectiveness, yet solicit a date from a future witness for the defense. As good as this might have been for Matt, it makes Harriet’s apparent slide back into his life more complicated. The episode leaves Matt in a precarious emotional situation.

A lot of time was spent on Harriet’s time on set with Luke, and it also hit an odd note for me. Perhaps this is part of the cycle that keeps Matt and Harriet in their eternal struggle, but why would Harriet feel guilty about telling Matt how he acts? His sense of entitlement is disturbing, and they’re simply not good for each other. Yet instead of forcing Matt to get his act together and moving on with Luke, she sabotages her relationship with Luke and comes running back to Matt. Sure, Luke was being a jealous fool, but he’s not playing to co-dependency game.

The Matt/Harriet relationship manages to make Danny and Jordan look sane in comparison. The two of them are still being very cute together, but this episode does suggest that juggling a baby (hopefully in the metaphorical sense) will be harder than they realize. Danny is far too cavalier about the demands that they will face. Any parent can dredge up the war stories from that first child’s early years, when everything was new and incredibly daunting. All the assurances in the world won’t make things easier if Matt can’t get the show out of a tailspin and even more stress hits at the same time as the birth.

This is the last episode to run before the hiatus for “The Black Donnellys”, and apparently it also had the worst ratings for the series’ run to date. Everyone but the core audience is abandoning this ship before it sinks completely, and that’s unfortunate. More unfortunate is the probability that this episode was representative of the series as a whole. It had plenty of promise and potential and interesting characters, but at the end of the day, it just never came together.

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

Final Rating: 6/10

24 6.10: "Day 6: 3PM - 4PM"

Written by Howard Gordon and Evan Katz
Directed by Brad Turner

Status Report

The previous episode brought the calamitous introductory phase of the season arc to a close in the best fashion possible, linking together the various plot threads into the suggestion of a more intriguing whole. At the same time, it also emphasized the sloppy writing that has plagued the season since the premiere. In particular, some of the dialogue has lacked a certain honesty.

Situations have seemed ridiculous in the past, but recently, characters have said things that wouldn’t be found in standard melodrama. So coming into this episode, the question was relatively simple: which version of “24” would hit the air this week? The impressive version with the wide yet interwoven scope? Or the disappointing version with the silly dialogue?

Philip’s active role in preserving his company’s viability is clearly an important part of the complication phase of the arc, and that’s where much of the problem resides. James Cromwell is a good actor, but he may not be the right man to hold this role. His delivery seems to lack the gravitas of a major villain.

It doesn’t take long for Jack to be told that his father is the enemy, which keeps this particular plot thread from dragging out. Jack is forced to choose between Josh, who might be his son (though he doesn’t seem to realize it), and hunting down Gredenko. As noted in the review for the previous episode, Jack’s decision to deal with his father directly as another step in his restoration as a hero, paralleling developments earlier in his life. It makes perfect sense for Jack to be forced to face his father one on one. Jack’s willingness to let himself be executed is a sign that his journey is far from over.

Of course, the disappointment arises when Philip reveals that he wasn’t the one behind Gredenko and Fayid. He was simply trying to keep his role in the fifth season’s plot from being exposed by Gredenko. Not only does this water down some of the implications from the previous episode, but it takes away some of the power of Philip Bauer’s motivations. Instead of preserving a current agenda, Philip is protecting himself from past indiscretions. It’s not quite as compelling as it could have been (assuming, of course, that Philip is being honest).

The conspiracy against Wayne Palmer takes another major step forward as Tom is led further down the path towards his fateful decision. He makes the right call, but too late to stop the plot to assassinate the President. It is rather fitting that he become the victim of a frame after what he did to Karen Hayes, and it’s what he deserves after considering treason in the first place.

Apparently the writers didn’t get the message about how annoying the drama at CTU can be, because they found a way to make Morris even less appealing. It’s becoming harder and harder to believe that Chloe would cover for someone like Morris, regardless of their history. She’s certainly written off people for less in the past. It’s hard to imagine that Bill Buchanan wouldn’t let Morris stay on the job after what he endured. This simply puts Morris in the position to screw up when it’s convenient for the writers to have someone drop the ball.

The episode ends with Philip inexplicably letting Jack live, despite already trying to kill him, and leaving Jack a cell phone with ex-President Logan’s number waiting. For some unexplainable reason, Logan offers to help Jack find Gredenko, but only if they talk alone at Logan’s location. This turn of events is hard to swallow, and unless the writers make sense of it in the next episode, it will simply be another addition to the list of reasons why this season has been a missed opportunity.

In the end, this was a transitional episode, which is what one would expect at this stage of the game. If the usual pattern holds, the next big shock should hit right around episode 12, the mid-point of the season. Logan’s involvement is obviously a part of that. If the writers can make this revelation something more than an attempt at shock value, it could be worth the wait.

Final Analysis

Overall, this episode was a necessary transitional episode, moving characters into new positions as the race towards the mid-point of the season begins. Some of the more intriguing implications from previous episodes are rendered moot, which is a disappointment, but the final act is, by far, the hardest to swallow. If anything, the season is struggling to gel, and the writers have a lot of work ahead of them.

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

Final Rating: 6/10

(Season Average: 7.1)

Prison Break 2.17: "Bad Blood"

The race to the season finale is on, and the writers are definitely stepping up to the plate. Though many of the developments are generally proceeding as predicted, the details continue to be surprising. Anything that promises to bring the disparate threads of the season together in a logical manner is welcome, after all, and this episode continues that process. In fact, like so much of last season, “Prison Break” is back to showing “24” how serialized storytelling should be done.

Pope’s return to the story was hardly shocking to anyone paying attention to press releases, but it made sense within the context of the story. Kellerman pointed out the fact that Michael and Sara were recognized faces, and sure enough, that became an issue. One might quibble over the idea that they would make such a mistake, but under the circumstances, they’re desperate enough to make it reasonable. Whatever the case, the subsequent plot developments feel natural.

I like the fact that Michael and Pope had a few moments to work out their issues, even if many of them were left unresolved. It closes the door for Pope’s time on the series far better than his original exit. More importantly, the conspiracy is becoming more unhinged and therefore more unpredictable. It made Michael’s victory worth the cost to see Lincoln beating the hell out of William Kim.

Now that Michael has the evidence needed to prove Lincoln’s innocence, the endgame has truly begun. It’s a question of getting that evidence into the right hands before the conspiracy can close the net. This is where the subplots seem to come into play. While Bellick had nothing to do with C-Note’s capture in this episode, his involvement with Mahone and his personal history with Michael makes him the perfect bloodhound.

C-Note’s story had been off in left field for too long, but now it comes together with the main story in a way that makes it easy to overlook earlier issues with the subplot. C-Note needed to be pushed into a corner with no other option but to cut a deal, and based on his personality and history, his family’s survival was the logical source of leverage. It’s unclear how C-Note’s knowledge of the website that Michael mentioned to Sucre will play into the overall resolution to the season, but clearly that’s the intent.

Speaking of Sucre, his subplot was amusing enough, but it’s still relatively isolated. Without the reminder of the website (europeangoldfinch.net) in the recap at the beginning of the episode, his entire story would seem like a needless distraction. Now, in conjunction with C-Note’s deal with Mahone, it emerges as a clever way for Sucre and C-Note to come back into the main plot thread. Kudos to the writers for planting that clue and paying it off!

T-Bag’s subplot is now the only one still dangling in the middle of nowhere, but now that the ridiculous hostage situation is resolved, there’s no telling where he’ll end up. He’s still the poster boy for everything bad that’s come of Michael’s good intentions, so it makes sense for him to be out and about for as long as possible. With nearly everyone else working for Mahone or serving as bait, T-Bag could make an effective wild card. He could see the death of his dreams in this episode as the consequence of meeting Michael Scofield, and dreams of revenge could ensue.

Dreams of revenge will surely be the order of the day for Kellerman. I always thought that Sara’s experience with Kellerman would lead to trouble when they were all working together to uncover the conspiracy, and sure enough, it finally comes to pass. Hasn’t Sara heard the saying “keep your friend close, and your enemies closer”? Kellerman is a lot more dangerous as a free agent, and they could have used someone with inside knowledge of the conspiracy.

Whatever the case, things are really beginning to come together as the season comes to a close, and I couldn’t be happier. That said, I still think that the series would be best served if it were to end with this season’s finale. The writers may have managed to pull out of the terminal dive this time around, but this is a concept that works better as a short-term event than an open-ended series. I would hate to see the series wear out its welcome.

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

Final Rating: 8/10

Battlestar Galactica 3.15: "A Day in the Life"

Written by Mark Verheiden
Directed by Rod Hardy

As of the writing of this review, “Battlestar: Galactica” has been renewed for a fourth season. The number of episodes for the fourth season seems to be unclear; David Eick has indicated that it will be 13 to 22, with the final number under negotiation with Sci-Fi Channel. The slump in ratings, largely due to the inexplicable move to late Sunday night, probably will factor into that decision. Whatever the case, fans need not be concerned yet; unlike “Farscape”, this series has too high a profile for it to be cancelled in the middle of the night on a sleepy weekend.

This is of interest because episodes like “A Day in the Life” wouldn’t happen in a 13-episode arc. Or rather, they tend to be rare. The writers are usually forced to focus on stronger season arc elements and tighter character threads. An episode devoted to character exploration is usually left out of the cut, or the content is watered down as a minor subplot. There’s less time to get caught in blind alleys (like the previous episode, “The Woman King”), but there’s also less time for intriguing character study.

Interestingly enough, all of the promotion for the episode seemed to focus on the airlock situation with Tyrol and Callie. Yet it quickly occurred to me, watching the episode the first time through, that their story was there to support the real action: the struggle within Adama’s mind. And that led me to the realization that we haven’t learned much about Adama from his point of view. We’ve gotten a lot of exposition, and a lot of opinions about “the old man”, but this is direct information.

If some of this is old information, particularly in terms of the Adama family dynamic and the effect of Bill’s absenteeism, it’s given new life through unique presentation. More to the point, father and son find a new level of respect for each other as a result. While Adama’s planet might hit this spot in its orbit year after year, circumstances bring Lee into the right place at the right time for a bit of rapprochement. It’s good to see the character move out of the Polygon of Tortured Love and into something that should challenge his moral assumptions.

The other nice touch to the episode is the treatment of Adama and Roslin’s unusual but incredibly sweet relationship. Their personal theme is one of my favorites pieces by Bear McCreary, and it is used well in this episode. Had the two of them agreed to a relationship at the end of the episode (or acknowledged openly the one they have), it would have been far less satisfying. Instead, they take an incremental step forward, with Adama still unable (or unwilling) to let go of past regrets. Unlike the Polygon of Tortured Love, this is a relationship that can be savored for its maturity.

While it was hardly as elegant, the struggles between Galen and Callie were at least realistic and give a bit more credence to Tyrol’s sudden aggravation in “Taking a Break From All Your Worries”. It’s interesting to see characters suffer through the typical issues that come with parenthood under the strained conditions of the Rag-Tag Fleet, and since they were tangential to the episode, they didn’t become a major distraction.

Episodes like this manage to communicate one of the more difficult aspects of the series’ premise: how does one live when civilization has been stripped away and every day might be the last? The overwhelming nature of humanity’s ordeal is easy to forget, but it is front and center in this episode. Consider for a moment the discussion, however brief, on the effect of the genocide and exodus on the legal system. Roslin openly admits that it has been a mess, and that the trial of Gaius Baltar now brings every shortcoming of the current status quo to light.

Shortening the fourth season may help the series survive through tighter plotting and active pacing, but it would be a shame to lose episodes like this in the process. More than that, this episode is an example of using existing situations and continuity elements as foundation for a something new. If the writers managed to do this more often with the non-arc episodes, longer seasons would hardly be a problem.

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

Final Rating: 8/10

Supernatural 2.15: "Tall Tales"

Written by John Shiban
Directed by Brad May

If previous episodes haven’t made the connections between “X-Files” and “Supernatural” abundantly clear, this installment should seal the deal. This episode is basically the “Supernatural” version of “Bad Blood”, one of the best comedic episodes of “X-Files” and one of the most beloved in the entire nine season run. Or perhaps it would be more appropriate to point back to “Jose Chung’s ‘From Outer Space’”, at least thematically. Despite the similarities, this is a solid episode that takes the spirit of its ancestors well in hand.

After all, those episodes were less about the absurdity and more about revelation and perception. The same applies to this episode, both in how the brothers see each other through the twisted lens of the Trickster and how the Trickster messes with the brothers directly. As with all things “Supernatural”, even an amusing episode with plenty of hilarious jokes is more about character than anything else.

Very early in the season, Sam and Dean were adrift in the aftermath of the confrontation with the demon. Sam had lost his computer, and Dean had lost the Impala. The restoration of both over the course of the first few episodes was a metaphor for the restoration of their confidence in themselves. The Trickster uses each item as a means of gaining power, almost as if Sam and Dean had sacred totems stolen away in the night. It’s a concept that works very well and on many levels.

This opens the door to each brother’s perception of the other, which is where much of the comedy is found. Sam’s impression of Dean may be exaggerated, but it’s not far from the truth. Dean sees himself as a clever ladies’ man, irresistible to the opposite sex. Sam sees Dean as desperate for any female attention. Sam also sees Dean as an uncultured slob, which leads to one of the best visual gags in recent memory. The mental image of Dean stuffed with nuts will be hard to forget!

Sam hardly escapes the same treatment. If Sam sees Dean as a bit of a typical manly brute, Dean sees Sam as an effeminate nerd with absolutely no sense of women. In total keeping with Dean’s macho exterior, his less-than-charitable view of Sam includes an undertone of homosexuality. Of course, Dean has always believed that Sam ran off to escape the hands-on world of hunting to become a mild-mannered, touchy-feely intellectual. If Sam sees Dean as someone without a sense of personal dignity, Dean sees Sam as someone with no sense of fun.

As with most good examples of self-parody, there’s a grain of truth in every exaggeration. After all, both brothers see the other as their personal totems would suggest: Dean as the typical blue-collar tough, Sam as the typical intellectual nerd. Bring those two extremes closer to a common center, and you have the Brothers Winchester. The more time they spend together, the more they rub off on each other. And of course, they see that as strange and a little disconcerting, which the Trickster happily uses to his advantage.

The use of the Trickster is a nice touch. It’s especially interesting that he’s using his abilities for what one might call “just desserts”. He’s not randomly killing people; he’s choosing his victims based on their own decision to commit immoral acts (from his point of view, at least). Someone with his kind of power could certainly do worse. While some might be displeased with the open-ended nature of the episode, it makes sense for the Trickster to survive. After all, if the Winchesters could take down a demigod, why would the demon be a problem?

The Trickster’s survival also provides the potential for a future re-appearance. If the writers manage to come up with a concept as entertaining and insightful as seen in this episode, then such a prospect is more than welcome. This was the perfect episode for the end of February sweeps for the Brothers Winchester.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10