Smallville 6.13: "Crimson"

Written by Kelly Souders and Brian Peterson
Directed by Glen Winter

Much like the previous episode, this installment is devoted to character exploration through altered state of mind. Clark was the victim of a mental attack that left him dealing with an alternate reality, based on his own suppressed emotions, fears, and hopes. Very little of that world was particularly flattering. Lana was utterly devoted to him and yearning for his love, he saw his own culpability in Lex’s descent, he saw how Chloe stands by him no matter what, and he recognized the relationship between his mother and Lionel Luthor.

All of these items are once again addressed in this episode, along with a couple more of long-term importance. This being the Valentine’s Day installment, the writers pulled a clever twist. The episode starts out like one of the usual silly comedy routines. Lois is hit with an aphrodisiac in lipstick form, and it makes her crazy for Clark. He’s terrified of Lois on the prowl (not surprisingly, she’s filmed like a music video vixen) for the requisite act, after which she infects Clark with red kryptonite, sending him into an amoral frenzy.

Once Dark Clark hits the stage, the episode goes from goofy to a lot more interesting. Under the veneer of Jonathan’s traditionalistic moral teachings, Clark has a sense of entitlement matched only by Lex Luthor (appropriately enough). Dark Clark is always fun, because all the undertones of the character come screaming out. He may be a jerk, but he’s not holding back or acting dishonestly. The engagement party scene was the highlight of the episode for that very reason.

Dark Clark points out all the horrible things that are, in essence, true. At least, they are true from a certain point of view. Dark Clark is happy to point out that Lana is a prize to be won, despite her constant protestations to the contrary. Sure enough, when she has the chance to put Clark in his place and point out the difference between loving someone and needing to be with them forever, she gives in. She doesn’t take control of her own actions or destiny, beyond a few momentary decisions here and there.

Imagine if Lana were, in fact, in control of her life. Why wouldn’t she use Lex and his resources to prevent Clark from interfering in their new life together? Granted, he’d get around security and legal strictures, but she hasn’t been fully aware of that until now. Because she acts in accordance with Clark’s attitude that she belongs with him, despite her protests, she fuels the fire. And now that she’s finally discovered proof of his secret and Lex has admitted a sinister aspect of his relationship with her, the writers appear to be setting the stage for her demise.

Lex and his secret plans for Lana’s baby represents an annoying twist. It completely contradicts how Lex learned about the baby and his reaction to the news. While this will no doubt satisfy those who hated the relationship between Lex and Lana, it undermines the tension between Clark and Lex as friends-turned-enemies. It’s too easy for Clark to be right about Lex. It would have been a lot more interesting if Lex had been sincere, and everything had fallen apart despite his best intentions. Instead, Lex is just being evil, which has been established but never fully rationalized.

Thankfully, Clark is still imperfect, with plenty of flaws to overcome. He outlines his relationship to Lois, Chloe, and Lana almost perfectly, but his mother gives him a free pass on all of it. Is it right for Clark to see all of these women as objects to be used as needed to fulfill his emotional yearnings? It’s no surprise that Lois terrifies him at this point. He can’t get over Lana because she still bends to his will and refuses to shut that door. He’s more than happy to string Chloe along and use her as a confidante while chiding her for keeping secrets. Lois won’t take that attitude (most of the time, anyway), and it perplexes Clark to no end. Yet he is strongly attracted to her on every level, no matter how he might protest.

This might seem like a massive negative for the series, but it actually represents a step in the right direction. As I said repeatedly during the fifth season: Clark needs to be flawed and make the wrong move to make his development into Superman worthwhile. If he’s depicted as perfect, as he has been in the past, then he has nowhere to go as a character. The writers may not be taking it as far as they could, but they are showing Clark to be paternalistic and dismissive of others.

Lois, strange as it may seem, has been depicted as the one person willing to stand up to his attitudes and stay out of the more traditional role. Clark needs to make major mistakes with everyone else in his life, or he will never understand and grow. Lois is designed to be the one who teaches him a thing or two about strong women (despite her role as eye candy), which in turn changes him into a better person. This process has been less than perfect, to be sure, but it is leaps and bounds above previous seasons.

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

Final Rating: 8/10