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)