Lost 3.14: "Expose"

Written by Edward Kitsis and Adam Horowitz
Directed by Stephen Williams

In which the truth about Nikki and Paulo is revealed when they wind up dead under suspicious circumstances, uncovering secrets kept by other members of the tribe…

Status Report

Nikki and Paulo had the unfortunate pleasure of being new characters on a show where new characters are often reviled. While earlier appearances were less than inspiring, there was little justification for the amount of pure venom tossed their way. Fans were clamoring for their deaths before the writers had a chance to establish them as full characters. How can characters be hated when there’s no time to know them on any meaningful level?

One thing that Nikki and Paulo brought to the table, on some level, was a different perspective. There’s a set number of survivors getting the limelight, and it’s easy to overlook the fact that there are dozens of other survivors milling around in the background. It’s reasonable to assume that some of them would float in and out of the major events, and eventually, they will do something important or desire a larger stake in their collective future. As intrusive as that might feel to the viewer, especially those begging for things to be the way they were right after the pilot, it’s a very different story for the characters. For many of them, Nikki and Paulo were always there, always part of the big picture.

Of course, few of the background players were brought into the story with such fanfare, nor were they so damn pretty. Kiele Sanchez is simply gorgeous, and as seen in this episode, she’s capable of playing Nikki as something other than a vacuous cheerleader archetype. Similarly, Rodrigo Santoro is a handsome man, and has shown his range in several other productions. Everything about them suggested that they were taking on a huge role, and that didn’t help when it came to fan response.

The truth, of course, is that they were a red herring. They were meant to look like “red shirts”, easily sacrificed when things got dangerous in “The Cost of Living”. This made Eko’s death all the more shocking, but left the two new arrivals with a nebulous purpose. This episode effectively takes advantage of their view from the gallery while giving the audience exactly what they wanted.

The tone of this episode is informed by the teaser: Nikki is pretending to be an actress in a somewhat cheesy “Baywatch” meets “Silk Stalkings” Australian series, working with Paulo to steal millions in diamonds from a rich producer. Almost everything about this episode fits into the same general tone: any time that Nikki or Paulo remembers a previous experience, unless it’s actual footage from earlier episodes, the dialogue is somewhat ham-fisted and overly obvious. (A perfect example would be the conversation between Ben and Juliet, who have never been so open about anything.)

On occasion, however, that tone carries into the scenes set in the “present”, and it doesn’t quite mesh. Examples are the conversation between Hurley and Desmond and Charlie’s confession to Sun. It’s almost as if the writers intended the entire episode to have that overly-obvious feel to it, yet there’s enough distinction between the flashbacks and the “present day” to cause a bit of confusion.

Adding to the thin veneer of self-mockery was the long string of flashbacks for Nikki and Paulo, documenting the path that led to their unfortunate demise. While their story started out seriously enough, especially during the moments after the crash, each new installment added a touch of snark to the story. While the slow but steady breakdown of their trust was given its emotional due, there was a definite attempt at amusing connections to the overall mythology.

In fact, by the end of the episode, Nikki and Paulo felt like the “Lost” version of Vorenus and Pullo from “Rome”. They weren’t the “historical” characters, per se, but the ones that managed to be around when everything happened, ala Forrest Gump. It was often quite funny, sometimes a bit frustrating, yet ultimately rewarding. A number of plot points were placed into context when seen through their eyes.

The real hook of this episode, of course, was the manner of their death. It took a bit of willing suspension of disbelief to accept this plot element. After all, how could Nikki remember the precise effect of a single spider bite, yet fail to remember the warning about the potent pheromones that attract even more of the creatures? For that matter, it seems unrealistic that Nikki would only be bitten once, and that the spider bite wouldn’t show any outward symptoms beyond paralysis. Add to that the rush to bury the dead, and it all adds up badly for the wayward couple.

On the other hand, this is yet another example of an ongoing theme for the series. Nikki and Paulo failed to change their ways and coveted diamonds, worthless on the island, over each other. In terms of the island, this is a rejection of redemption, and death is almost always the result. (And if one listens closely, the sound of the “monster” is discernable in the moments before Nikki is bit by the spider.) Still, it’s hard not to feel horrible about how they died, especially when Nikki opens her eyes. It felt like the perfect comeuppance.

This episode also confirmed the existence of homosexual and/or bisexual characters in “Lost”, something more or less ignored up to this point. Shannon mocks Boone about his sexuality, which would seem to imply that he was bisexual (since they slept together not long before that scene). It’s not much in terms of diversity (since Boone is long since dead), but it’s something. (If the writers would stop killing off gorgeous women at a frantic pace, that might also be a positive development.)

In the end, this may not have been an astonishing episode filled with momentous events, but it did fill in a few gaps and placed a number of events in an interesting and fresh context. And while this feels like the definitive end for Nikki and Paulo, Locke’s line about secrets never staying buried on the island for long might give hope to their fans. Whatever the case, this was a fun and unusual episode, and that’s all that it tried to be.

Final Analysis

Overall, this episode took the usual format and twisted it into something very different. While the tone of the episode suggests that it requires very little attention, a number of minor questions are answered along the way. This isn’t even a transitional episode in the traditional sense, but as apparent stand-alone installments go, this is a solid effort.

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

Final Rating: 7/10

(Season Average: 7.5)

Battlestar: Galactica: Looking Back on Season 3

From a certain point of view, the third season of “Battlestar: Galactica” was its most controversial. Not necessarily because of content, but because of the deep divisions that emerged within its fan base. While the critics continued to give the series credit for breaking new ground, fans began to complain about glossed-over plot concepts, poor characterization, and an apparent lack of focus.

The numbers seem to reflect the issues raised by the fans. The ratings feel dramatically in the third season, starting relatively strong but losing nearly half of the viewers by the end. Of course, the Neilsen ratings aren’t necessarily the best measure of the success or failure of a series, especially in the current paradigm of iTunes, DVRs, and legal downloads. Estimates suggest that the actual ratings are at least 25% higher than those reported. Accounting for the mid-season change from Friday nights to Sunday nights, a move guaranteed to result in fewer “live” viewers, and the numbers are less disturbing.

However, one cannot ignore the fact that the average review rating for the second season was 8.0, which indicates an “above average” season, while the third season came in at 7.6. While that’s hardly a massive drop in quality, it does reflect a softening of the edge that once defined the series. “Galactica” may not have descended into the tripe that some would claim it has become, but this was arguably the least effective season thus far.

Looking back on the third season, four main criticisms come to mind. First, the New Caprica arc came to a close far too quickly, leaving many of the interesting social and moral questions raised at that time unanswered. Second, this was followed by an emphasis on the relationship issues between Apollo and Starbuck, a decision that was very unpopular. Third, the second half of the season was derailed by the last-minute decision to abandon an entire story arc. Finally, and most importantly, the character developments were more abrupt, leaving the audience with the distinct impression that those elements had been a last-minute decision instead of the result of careful consideration.

Unfortunately, the Sci-Fi Channel has elected to wait until early 2008 to air the fourth season, which gives fans a lot of time to think about what they disliked about the third season. Unlike the second season, where most of the complaints centered on a few lackluster episodes, the weak points of the third season were distributed more evenly. That leaves one with the impression that the problems were comprehensive, inherent to the production of the season as a whole, rather than isolated to one or two installments. The slip in Neilsen and review ratings is another indication.

Ron Moore openly admits that the writers work better in shorter seasons, given the tight storytelling in the first season. He also admits that the series has entered its third and final act, and that an endpoint is in sight. There are many indications that the series will need to end with the fourth season, which will last 22 episodes (including a 2-hour event in the fall, disconnected from the rest of the season). The question is: will the demands of completing the series and giving it a strong ending overcome the challenges that the writers have with a long season?

Given the events of “Crossroads: Part II”, the writers have left themselves a difficult task. The Final Five Cylons are clearly different from the traditional Cylons, and that will need to have a satisfactory explanation. That includes the implication that the newly identified Cylons (if, in fact, that is true) have been around a lot longer than the known Cylons. The clear connections to Earth must also be explained, most especially the return of Starbuck.

Few, if any, of these answers will be answered quickly, and there’s plenty of reason to think that the entire fourth season arc will weave all the questions into one comprehensive concept that will lead into the final resolution. After waiting more than nine months for the next season to begin, will the fans be willing to let the story spool out at its own pace? This is not unlike the situation that “Lost” has been in during its third season: answers are coming, but not quickly enough to stave off impatient criticism.

If the writers manage to keep the intensity going for the entire fourth season, perhaps to a series finale, then the shortcomings of the third season could be a distant memory a year from now. However, if the fourth season seems to run into the same problems that plagued the third, the result could be an average ending to a superior television series.

Prison Break 2.21: "Fin Del Camino"

In the first season, the various plot threads all came together in the penultimate episode, culminating in the escape from Fox River. That was easily one of the most exciting hours of the 2006-2007 season, and I don’t think the series has hit a similar high note in the year or so since that point.

This penultimate episode doesn’t have the same feeling of resolution, but that might be a function of the season arc itself. While the first season was full of subplots, most of them were directly tied to the escape attempt. It was easy to get all of those threads together at the same time with a comprehensive impact. While a number of elements come together in this episode, it just doesn’t feel as momentous.

The main plot, of course, is the breakdown of Michael’s successful resolution to the escape plan. After finally getting Lincoln to the boat in Panama, Michael’s lured back into the game by Mahone, who poses as Sucre, tipping him off to T-Bag’s location. Michael, based on his psychology, is unable to leave well enough alone and feels the need to take down T-Bag himself. This starts a chain of ever-worsening encounters.

It would be easy to assume that Bellick’s latest misfortune wraps up his part of the storyline, and that Michael finally put a stop to T-Bag’s crime spree. Similarly, the surprise turn at Sara’s trial would have been a nice way to bring Kellerman’s arc to a close and help Michael and Lincoln escape the conspiracy once and for all. However, with the third season pickup, it’s likely that none of these situations will be “resolved” for very long. And of course, Sucre will survive and will need to find his Maricruz.

However, wrapping the subplots up for the moment was necessary to clear the boards for the central conflict. Michael had to be the one willing to follow through on his threat with T-Bag to provide the ironic contrast to Lincoln’s failure with Mahone. And that was necessary for Mahone to put Michael in a metaphorically satisfying bind.

Mahone’s character arc brings him to a completely unexpected position. Mahone needs to escape if he wants to survive the breakdown of the conspiracy, and that means co-opting Michael’s plan for the money and the boat. This forces Michael to choose between his plan, after struggling to make it work for so long, and his brother, who was the inspiration for the plan in the first place.

While this could lead to a final confrontation between Michael and Mahone, that may not be the case. After all, Mahone is now in a position similar to Michael: he’s on the run from people with a lot of resources. Mahone may not care about Michael and Lincoln’s guilt or innocence anymore, which could take the character into interesting places if the writers and producers are smart enough to keep him around.

One intriguing possibility is that Michael will end up sacrificing himself for Lincoln’s benefit. If Kellerman reveals enough to threaten the Company in the States, then they might not want to bring Michael back if he’s captured. They might have Company assets in Panama that could toss him in a deep, dark hole. And that could force Lincoln to take measures to get Michael out of prison. That may be an unlikely scenario, but it would certainly be a neat twist on the original premise.

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

Final Rating: 8/10

24 6.15: "Day 6: 8PM - 9PM"

Written by Howard Gordon and Manny Coto
Directed by Brad Turner

In which tensions rise when Daniels sets a short timetable for a nuclear strike in the Middle East, pushing Jack to find Gredenko before the deadline is reached…

Status Report

As the episode begins, Vice President Daniels is ready to start World War III in response to the less-than-impressive drone incident in the previous installment. The only means of stopping the escalation of hostilities is locating Fayed or Grenenko, two men who have little love for each other. Jack’s hands are, as usual, quite full.

Mike Doyle turns out to be a lot like Jack, which as noted before, gives an interesting perspective on the process Jack is going through. Jack would never allow someone to suffer for his mistakes, if it was within his power to make things right. Once again, given Jack’s current lack of confidence, this is a straightforward mechanism for pushing Jack into doing more and more of the right thing rather than the expedient thing, especially if Doyle ever steps over the line.

Jack ends up with one of Gredenko’s associates, whose brother happens to be autistic. It’s odd to see Jack use such a soft and pleasant manner with a suspect, but it’s a nice touch. The autism angle was an unnecessary element of sentimentality, used to make things more complicated. The actor who played Brady didn’t quite sell the character, which made it a bit more difficult for the scenes to work, but it showed that Jack was more than a one trick pony with the torturing. It still came across as a Very Special Episode of “24”, but it could have been a hell of a lot worse.

Back at the presidential bunker, Sandra Palmer miraculously reappears after disappearing for several episodes. She was hardly missed, and this time around, her part in the plot has nothing to do with her previous political stance. She’s just there to facilitate Karen’s plan to counter Daniels’ attack by putting Wayne Palmer back in a conscious state. That doesn’t quite make sense from a political perspective, but it does give Daniels a chance to toss out more bluster.

Just when the drama at CTU seems to be more professional than personal, Milo’s feelings for Nadia become an open topic of conversation. Frankly, neither character is interesting enough to make this worth the time. And why Chloe would be the one to bring this up with Milo is hard to reconcile, since she’s usually a bit more on task and annoyed with interpersonal complications. Then again, without a strong foil at CTU, Chloe has been all over the map in terms of characterization this season.

By the end of the episode, Jack has Gredenko in hand and ready for a bit of tough questioning. Unfortunately, as with so many situations on “24”, Jack is forced into considering a deal with Gredenko to get Fayed and the nuclear warheads. Daniels, itching for some mutually assured destruction, is less than pleased when Wayne calls off his strike on the Middle East. This leads into what should be an interesting (if familiar) power play for control of the government.

The pacing of the episode made it feel more like a transitional episode than anything else, and as that, it struggled. One is reminded of the transitional episode in the fourth season where Jack was aided by two Arab-Americans, a transparent attempt to liven up a mediocre installment with something distracting. While this actually ends with Grendenko in custody, the season is rapidly approaching the point where the next major twist takes place, so it could be a temporary victory.

Final Analysis

Overall, this episode was another mediocre installment, focusing on transitional elements while churning along familiar plot threads. The writers flirt with Jack’s more human side, which is a nice touch, but it’s not enough to overcome the momentum of apathy surrounding the season arc.

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

Final Rating: 7/10

(Season Average: 7.0)

Battlestar: Galactica 3.20: "Crossroads: Part II"

Written by Mark Verheiden
Directed by Michael Rymer

Each and every season, “Battlestar: Galactica” has ended its run with a plot twist that changes almost everything. This finale is no different, even if the roads taken are a bit unusual and the revelations seem less impressive. It’s certainly a lot more confusing than previous season finales, and there’s a lot to talk about before the fourth (and probably final) season comes along in 2008. (As SFC, once again, shoots itself in the foot.)

The most reasonable plot element of the finale was the trial of Gaius Baltar, and even that took an odd turn into left field. At first, it felt like the writers had worked themselves into a corner and had no idea how to get out. The rules of the trial fell apart completely, and I was left thinking that it was a complete mess. That is, until Lee gave his monologue on the stand and touched on nearly everything that had been bothering me about the trial in the first place.

I loved his extended tirade about the hypocrisy of the entire affair. It’s about time someone pointed out to the “emerging aristocracy” that the fleet was not, in fact, civilized. It’s barely controlled chaos and desperation, and it plays fast and loose with the rules every single day. Lee simply gave the fleet a whopping reminder. More than that, he managed to tie the season into a neat package by connecting the trial, and its implications, to the downfall of New Caprica. That gives the entire season a more cohesive feel, something it truly needed.

Not everything about the trial worked, of course. There’s still much to be resolved. Why did Gaeta lie on the stand, and what was the secret that Gaius knew about him that led to the earlier assassination attempt? The subsequent shift in strategy felt forced, especially when it was clear that the shift would place Lee and his father in direct conflict. Whatever the case, the fallout from the trial should be interesting, to say the least, as it puts a wedge between Adama and Roslin.

Turning to one of the more confusing elements of the finale, Roslin’s cancer treatments put her into some kind of Cylon conference call with Sharon, Caprica-Six, and Hera. Because of Caprica-Six, Baltar is connected to the same scenario, which appears to put them in opposition with the Final Five Cylons. It’s interesting to note that this connection is only relevant to the “known” Cylons; they are not connected in any way to the Final Five. This suggests a fundamental difference between the Cylons and the Final Five (these groups really need distinct names now!).

After all, the hostile Cylons had a Plan, part of which involved the creation of a new generation of Cylon through hybridization. This is where Hera came into the picture, a child that was important because of her unique heritage. Now there’s another Cylon hybrid, and one that seems completely normal: Tyrol’s son Nicholas. Each kind of Cylon now has a hybrid child; what does that mean in terms of the overall implication for the Galactica universe?

During D’Anna’s search for the Final Five, I speculated that the Final Five might be Cylons who disagreed with the war against Humans and dissented with the Cylon Plan. It may be more complicated than that, considering the fact that the Final Five were happily fighting the Cylons as apparent human beings. They weren’t acting as sleeper agents per se, like Boomer in the first season. Much of the information about the Final Five suggests a connection to the previous “cycle”, which has some interesting implications.

After all, the records of the previous “cycle” were human records. The humans survived, while the Cylons were created by humans in relatively recent times. What if the surviving “Cylons” from the previous “cycle”, older than the modern Cylons, incarnated in some fashion in the Final Five? And what if the Cylons themselves had sleeper agents (the Final Five) within their own society, unseen yet influential? It might be that the Final Five are working to ensure Humanity’s survival on their own terms, knowing that if the cycle repeats as it always has, the Cylons must be defeated or subsumed into the restored Human race. Perhaps the Final Five are related, in some fashion, to the Lords of Kobol themselves!

This brings into question the very nature of the Cylons, and perhaps explains why the 13th Tribe knew what to leave behind as markers. The song (“All Along the Watchtower”) feels so out of place that it must be intentional. One simple guess is that some artifact of the 13th Tribe (or the nature of the nebula itself) is relaying a signal from Earth, adding something else to the mix that “activates” the Final Five. This would make the emergence of the Final Five the “signpost” expected in that region of space.

All of this is dependent on assumption, because the writers keep everything vague. Tyrol, Anders, Tori, and Col. Tigh all assume that they are Cylons, but there is nothing objective to prove that it’s true. They may be wrong, and this might still be the signpost to Earth at work, targeting specific genetic traits. Similarly, one could assume (as many have) that Starbuck’s reaction to the Maelstrom was her own response to the signal. Her return in this episode could be seen as evidence that she is the last of the Final Five. If so, then her journey to Earth supports the idea that the Final Five are connected to Humanity’s previous survival.

The arrival of the hostile Cylons is a bad sign for the fleet, especially if it means that the trillium ship has been destroyed. That was the only source of refined fuel for the fleet, and as mentioned in the review for “Dirty Hands”, it should have been one of the primary targets for the Cylons. Of more long-term importance is the rise of Baltar’s little cult, which seems to consist mostly of women. There’s no telling where that will go.

Whatever the case, the writers are also going to have to explain the use of a “modern” song in the context of the Galactica universe, and that could be a tough sell. I’m sure many fans are trotting out that ridiculous and overworn phase “jumped the shark”, despite the fact that there’s no commercial or ratings advantage to be had with such a move. Similarly, by bringing back Starbuck and revealing most of the Final Five, the writers make it necessarily to explain the differences between the two Cylon factions. No doubt, these will be two major plot elements for the fourth season. Let’s just hope that the long wait will be worth it!

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

Final Rating: 9/10

(Season 3 Final Average: 7.6)

Supernatural 2.17: "Heart"

Written by Sera Gamble
Directed by Kim Manners

The key to any script of “Supernatural” is psychological and emotional resonance. Every time a new threat is discovered, it’s not just a matter of taking down a monster or fighting a demon. The inner demons are a lot more powerful and challenging than the physical threats, and this episode is another perfect example of that.

Emmanuelle Vaugier is a gorgeous woman, but despite a massive resume including dozens of movies and several recurring roles on television, she doesn’t have much of a reputation for her acting ability. So for some, her performance in this episode might be a revelation. She managed to sell the idea of Madison’s plight to the very end, which had to have been a challenge.

The plot seemed to gloss over some of the motivations along the way, which could have been a matter of cutting the episode for time. Sam’s attraction to Madison was obvious, but they seemed to get a bit too close too fast. Given her character history, Madison didn’t seem like someone ready to trust so completely. It wasn’t enough of a problem to kill the episode as a whole, but it did seem like the writer’s intentions and needs were a bit more apparent than usual.

The connection between Sam and Madison was necessary to establish the aforementioned emotional and psychological resonance. Sam had to have a stake in Madison’s future, even beyond his usual sense of empathy. He had to get close enough to Madison to see the goodness within. That made it possible for him to recognize that Madison was trapped by a demonic imposition beyond her choice and control.

And that, of course, is precisely how Sam feels, which is why saving Madison is so important to him. Regardless of how different the respective situations might be, it’s about the possibility of salvation. Sam needs to be able to save Madison, because then it’s one more reason to believe he can be saved. Killing Madison, even at her own behest, is an acknowledgment that his own story may end the same way.

It also forces Sam to consider how Dean has been handling the situation. Dean is more than happy to make the clinical decision to take down a threat, unless it means taking down Sam with the same kind of detachment. Sam recognizes the contradiction, and he calls Dean out for it. Yet the question remains: if Dean is usually willing to err on the side of caution and take out a threat, and he acts against those instincts with Sam, can he be trusted to do the right thing if Sam does turn?

None of these issues are particularly new, but that’s not the point. “Supernatural” is at its best when it takes a known psychological issue and then demonstrates how those issues affect the work of the Brothers Winchester. Situations don’t just remind them of their problems; their problems haunt them at critical moments. This keeps the standard “monster of the week” episodes, much like this one, from becoming stale.

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

Final Rating: 7/10

Smallville 6.17: "Combat"

Written by Turi Meyer and Al Septien
Directed by James Marshall

Coming into this episode, I was less than enthused. The previous episode had been, for me, a disappointment, focusing far too much on soap opera and Clark’s never-ending sense of entitlement. Jumping from that to an episode that is a thinly-veiled excuse to cross-promote with the wrestling shows on the CW Network was hardly something to look forward to, and the promos provided little to believe otherwise.

So I was a bit surprised to discover that half the episode was worthy the time. Quite against expectation, the season’s exploration of Clark’s development as a hero became part of the episode. Clark’s beginning to look past the borders of his relatively small world, working with the nascent Justice League. While they take down the resources of Project 33.1, Clark takes out the “zoners”. It still doesn’t quite make sense for Clark to work on his own on that problem, but at least there’s continuity.

There’s also more of Clark’s dark side, which is always a nice touch. Clark has sometimes been too perfect, and that’s not interesting for a protagonist. Like it or not, Lana’s marriage to Lex and her apparent rejection of him is a logical reason for him to shut down his emotions and take solace in the “purity” of dispensing justice. That it threatens to drive Clark towards questionable moral judgments is a bonus.

Less impressive, but still interesting, was the subplot involving Lex, Lana, and the apparent miscarriage. Put me down as skeptical of the miscarriage as a whole. There’s ample evidence to suggest that Lex drugged Lana so that his “personal doctor” could take the baby for whatever nefarious plan Lex has in mind. Most of that subplot is annoying, but watching Michael Rosenbaum play out these odd character beats is always fun.

The main conceit of the episode, the underground fight club for meteor freaks, is the major weak point. Titan was there to smash things and little else, beyond the aforementioned cross-promotion. Clark struggled nicely in the fight, which was an improvement over some of the quick and easy resolutions this season. Even so, the overall concept never felt genuine.

To gloss over that fact, the episode was full of fan service. Athena was a walking male fantasy, between the admittedly hot Catholic schoolgirl outfit, the stripping down, and the interest in Lois. As a character, she contributed very little to the story. Erica Durance is usually the one used when playing to the cheap seats, and this is no exception. While she looks great in tight red vinyl, there was literally no reason for her to infiltrate the fight club while wearing such an outfit. It was clearly a matter of getting the guys to drool, especially at the thought of Athena and Lois locking lips (the tease was especially gratuitous), and even as a red-blooded American male, I found it ridiculous.

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

Final Rating: 5/10

Lost 3.13: "The Man From Tallahassee"

Written by Drew Goddard and Jeff Pinkner
Directed by Jack Bender

In which the mission to rescue Jack hits an unexpected snag, which gives Locke the opportunity to pursue his own agenda, a situation that is more than favorable for Ben…

Status Report

Unlike the past few episodes, the flashbacks in this installment are not a question of emotional resonance. When it comes to John Locke, such flashbacks tend to be less impressive. He’s too close to his previous mistakes and experiences to draw indirect motivations from some past hurt or regret; he carries each and every ounce of pain and suffering and entitlement with him, right at the forefront of his mind.

So the flashbacks in this episode are directly applicable to his decisions. He’s working from a clear agenda, and even if he acts otherwise, he knows his own mind in that regard. He wants to stay on the island because of its apparent ability to restore his motor functions, but it’s also the isolation. Locke believes in his role on the island. He believes in his place as the voice and will of the island. Why would he risk losing that sense of identity again?

And of course, he knows that his father is still out there. As mentioned in the review for “Tricia Tanaka is Dead”, so much of American fiction is about the generational struggle between fathers and sons. Locke definitely fits that mold. His need for a sense of special destiny is a product of his relationship with his father: a man who ignored him for decades, used him when he needed a kidney, and then brutally attempted to murder him.

Locke is also a man who falls into manipulation all too easily, especially when it appears to serve his own aims. This episode is a perfect example. He wants to destroy the submarine to prevent access to the outside world. He wants to remain on the island, and in his own mind, he believes that the rest of the survivors should be there as well. After all, they were brought to the island as a part of his destiny.

The fact that Ben also wants to keep his people on the island is quite beside the point. Ben gets a solution to his leadership problem delivered on a platter of C4. Ben clarifies the world of the Others, from a certain point of view, by making it clear that he doesn’t like the idea of letting anyone on the island leave. He admits that many of the Others chose to come to the island or were recruited, but he’s equally clear that some of the Others were born on the island. The fact that Ben gets his way, thanks to Locke, is a sure sign that this overall agenda will be unveiled. After all, Ben now has Jack, Juliet, Locke, Kate, and Sayid exactly where he wants them.

On the other hand, Ben’s also manipulating Locke into believing that he might work with the Others to get answers about the island. While they may be true, since Locke seems to have a different kind of connection to the island than those born there (a distinction they gloss over in the episode), it’s a potential problem for Ben. Those anticipating the ability to leave the island might not respond favorably to the idea of working so closely and happily with the saboteur.

That would represent an interesting prospect, now that the season is approaching the turn from the “complication” phase of the season arc to the “resolution” phase. Jack and Juliet were both promised a return to the “real world”, and Ben ensured that it would not happen. Ben and Locke could easily end up on the opposite side of a major conflict. Not only is there a potential for a civil war among the Others, attempting a coup against Ben, but the JackLocke tribe could experience a similar split.

Whatever the case may be, the situation with the Others is becoming more and more complicated, because there’s little chance that the rest of the JackLocke tribe will be able to track the rescue squad’s movements. They’re on their own, and the vacuum of leadership has been taking its toll, little by little. That doesn’t factor into this episode, but with so many of the prominent members of the tribe in the custody of the Others, it needs to be addressed.

This might be where Danielle comes into the picture, since she’s still within striking distance of the Others. Proximity to Alex could change her perspective on a few things, especially if she finds out that Ben was raising Alex as his own daughter. Interaction between Danielle and Alex could serve to unveil some of the practices of the Others, and in essence, some of their motivations.

All of these various plot directions, if given the proper follow-through, would serve to answer a massive number of questions about the Others and the island. It’s a lot more interesting and satisfying than the kind of information dump that some impatient viewers would prefer. Ben’s psychological prowess is just plain fun to behold, and it’s fitting that Locke, one of the best characters on the show, would have such a critical part in escalating the island tension. One could easily conclude that Jack’s experience with the Others was designed specifically to place him in direct opposition to the restored Locke. It provides the proper thematic context for what so many people called “boring” and “meaningless”.

Many of the nuances of this episode may be lost in the reaction to one of the major hooks of the story: how Locke wound up in a wheelchair. It was well done, though I suspect there will be many who feel underwhelmed by the revelation. Nothing would have met the full expectation, though in retrospect, it would have had more impact (no pun intended) if it wasn’t known that this episode would answer that question. With that question out of the way, though, the focus can be on Locke’s impact on the future of the series.

This episode also confirmed the idea that Jack was playing along with the Others to ensure his safe passage off the island. There’s no chance that he had converted completely, especially in the space of a few days, and he would want to honor his end of the deal. Jack being who he is, there’s every reason to believe that he would come back for the rest of the tribe. Having sacrificed himself to save Kate and Sawyer, why wouldn’t he continue with his usual single-mindedness?

The relationship between Jack and Kate was also addressed, and as usual, it looks like Kate doesn’t know who she wants. If the staging earlier in the series holds true, then Kate will end up with Jack. That said, the constant focus on that love triangle is tedious, which is why they pretended to resolve it in the first place.

Final Analysis

Overall, this episode took the season arc into an interesting and unexpected direction, positioning two characters into a potential conflict that could have long-term ramifications. There’s also a revelation or two along the way, and more information about the Others. In other words, this was another solid episode, maintaining the standard of quality since the return from hiatus.

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

Final Rating: 8/10

(Season Average: 7.5)

Prison Break 2.20: "Panama"

Written by Zack Estrin
Directed by Vincent Misiano

When last we left off with Michael and Lincoln, their last ditch effort to blackmail President Reynolds into clearing Lincoln failed miserably. Their only recourse was to get as far away from Chicago as possible, which as Lincoln stated, was the plan from the beginning. Of course, since then, Sara has become a bit of a complication to the plan. Sara takes one for Michael’s sake, which is just about the greatest sacrifice she could make under the circumstances. That doesn’t make Michael any less cranky.

As anticipated, Michael has been counting the cost of the lives necessary to complete his plan. Given his psychological makeup, it’s impossible for him not to feel responsible, and he knows that the body count continues to rise with every day that T-Bag remains free. That’s a conflict that has been lingering in the background since the very beginning of the series.

This leaves Mahone in a compromised position, because while he spins his wheels, Internal Affairs is working with C-Note. With William Kim under fire from the corporate power behind the conspiracy, it’s both a source of distraction and focus. Mahone has to deal with a nagging problem, but he is finally pushed into a corner where he has nothing left to lose.

Mahone’s manic deconstruction of Michael’s tattoo, particularly his complex analysis reminds us that he is effectively as intelligent, if his own way, as Michael. And it never hurts to bring back that symmetry, even if it means that the tattoo will no longer be applicable beyond this season. (Unfortunately, that element hasn’t been present much at all this season, anyway.)

Down in Mexico, Bellick and Sucre continue to hunt down T-Bag and Westmoreland’s money. With Maricruz in the balance, Sucre has no choice but to work with the bastard. This allows for a useful sleight of hand. T-Bag’s particular brand of insanity doesn’t quite afford him a low profile, and sure enough, that becomes a weapon against Michael. The internal investigation against Mahone pushes him to the point where he’ll allow T-Bag to kill to bring an end to the chase.

With two episodes left, the series has yet to be renewed for a third season, but that seems like a sure bet. Who might survive to see the third season is a completely different question. I hate to say it, but I don’t think Mahone will make it past the finale. The writers seem to be wrapping up his character arc, which is unfortunate. It would be a lot more interesting if Michael and Mahone were working together in some fashion in the third season.

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

Final Rating: 8/10

24 6.14: "Day 6: 7PM - 8PM"

Written by Howard Gordon, Evan Katz, Manny Coto, and David Fury
Directed by Jon Cassar

In which the terrorists launch a nuclear device in a remote drone against another city, forcing CTU to overcome internal issues to resolve the crisis, while international tensions mount…

Status Report

As usual for this series, it can become difficult to divorce the issues emerging in the season arc from the specific strengths and weaknesses of an individual episode. This is especially true when each new episode carries the weight of repairing previous miscues and avoiding familiar patterns. Many of the episodes thus far have been average at best, which is an unfortunate symptom of the writing woes that have plagued the series for the past couple of seasons. With less than half a season left, can the writers deliver a strong episode and begin turning the tide? With four writers involved in developing the script, it’s not a likely prospect.

After a long stint in the background, Gredenko and Fayed return to prominence as one of the nuclear bombs is ready for launch in a remote drone. The remaining two bombs, of course, are kept for a later time. In the short term, of course, there’s a target to identify and an attack to thwart.

Just as the audience had hope that the drama at CTU might finally slip into the quiet background, Milo’s decision to allow Nadia to use his access codes comes back into the picture. This feels like a plot element dropped earlier in the season to emerge when it was convenient to complicate things for CTU when the story needed a bit of a jolt. Similarly, the idea of a mole within CTU comes back into the picture. It would be an interesting twist if it wasn’t so damned familiar and tedious. As if that’s not enough, Morris and his drinking history rears its ugly head again. It was bad enough the first time, and a waste of time now.

Unfortunately, the revelation of a leak and the effect on CTU can only be dramatic and meaningful if the audience has reason to care about the characters involved. That’s simply not the case. Nadia’s gets as much screen time in this episode as she has the entire season to this point, and at no point does the audience get to know her beyond a pretty face and a few factoids.

As annoying as it is to see Mike Doyle taking on Jack’s typical role (with some nasty racism along for the ride), it makes a certain amount of sense. Jack can’t be the primary hero of the day quite yet, because he’s still dealing with his fractured self-confidence. His reaction to Audrey’s death is a perfect example of that. As with the idea of a country under siege, Jack’s personal crisis could have been handled better, but it’s good to see more of that struggle back in the spotlight. With Doyle looking more and more like Jack without a conscience, the part of him that he’s always had to keep under strict control, a showdown feels like a matter of time.

With the drone in the air, Vice President Daniels is more than ready to proceed with his aggressive plans for retaliation in the Middle East. If nothing else, he makes things interesting and makes a massive escalation more than a possibility. Had the intensity of the terrorist activity in the premiere been maintained, this mentality might be more frightening.

Karen Hayes’ return to the political picture isn’t well explained, but it makes sense that she and Tom would get a chance to spar from their respective corners with a new executive in command. Wayne was more predisposed to Karen’s point of view, which forced Tom into desperate action. Now Karen faces Daniels, who is more predisposed to Tom’s point of view. This poses an interesting question: how far will Karen go to prevent an action she deems beyond extreme?

Planned or unplanned, this is an interesting direction for the season arc to take, even if it doesn’t quite fall along the national security/civil liberty lines that were established early in the season. Now the debate is retaliation vs. diplomacy. Still, putting the president’s life at risk is the kind of extreme measure that puts her into uneasy territory, not unlike Tom and his blackmail schemes.

Just like the previous episode where Jack defused the second nuclear device, there’s never a moment of doubt that Jack will stop the drone from detonating over San Francisco. In fact, it’s such a given that it would have been more intense and shocking if he had failed. The end result is the same in terms of Daniels’ reaction, however, so it just makes his decision more questionable.

Part of the problem is that the initial detonation in Valencia is now beginning to feel like the climax of the season, with the rest of the story as an extended and fragmented denouement. Some ongoing concepts are still viable, but other plot elements seem tossed on the wind. For example, whatever happened with Logan at the end of the previous episode? It’s as if Logan was never involved in the story at all! That’s why it’s so hard to judge individual episodes this season; the glaring issues with the whole are impossible to ignore.

Final Analysis

Overall, this episode has some good points, particularly in terms of the tension surrounding the response to the terrorist threat, but some overly familiar elements get in the way of progress. The CTU drama has been done before and far better, and a rather important plot point is completely ignored. Jack’s personal issues get some screen time, but his latest heroic effort is practically devoid of tension, which is not a good sign.

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

Final Rating: 7/10

(Season Average: 7.0)