Stargate: Atlantis 3.13: "Irresponsible"

Written by Paul Mullie and Joseph Mallozzi
Directed by Martin Wood

When the character of Lucius was originally introduced in “Irresistible”, it was quite possibly one of the worst miscues in recent memory. The “Harry Mudd” of the Stargate franchise was far less amusing than his forebear. In fact, many decried his casual rape of young nubile women and the suggestion that it was worth a few laughs. Many considered the episode (and the character) to be the low point of the series. So when this follow-up episode was announced, most fans were wary, to say the least.

Lucius is playing hero by using an Ancient personal shield to appear invincible. This time, his con is fairly simple: he hires men to threaten the village that gives him everything he wants, and he comes to the rescue, keeping up his legendary status. The charade is actually quite transparent, and it’s difficult to believe that the villagers would fall for it, especially when Lucius does very little to hide the personal shield device!

It doesn’t help the episode at all that the treatment of the personal shield is completely inconsistent. In the original appearance of the technology, the shield wouldn’t allow the wearer to eat or drink, let alone get stuck with needles. In this episode, the shield works when the plot needs the shield to work, and simply doesn’t when it would be inconvenient. That’s beyond sloppy, by anyone’s measure.

Lucius screws over his accomplices, which is when certain interesting connections emerge. Those accomplices turn out to be former members of the persona guard for Genii exile Kolya, who has been a far more formidable adversary to Team Atlantis than Lucius ever could be. And when the Genii return, they don’t care about Lucius and his money; they want to get their hands on Sheppard and his team.

Lucius is willing to stand up for the continuance of his own scam, but it doesn’t take long for Kolya to convince him otherwise. The episode very quickly shifts from a semi-comedy with Lucius as the main antagonist to a deadly personal battle between Sheppard and Kolya. No doubt, the writers thought this would be a clever and unexpected twist in the story. Unfortunately, it serves only to undermine whatever is gained by inserting the final showdown between these two men in an episode tainted by the worst character in the franchise.

Too much time is spent dealing with Lucius and his false heroics, when the story should focus on a more complex cat-and-mouse game with Sheppard and Kolya. Instead, it’s very simple: Kolya has Sheppard’s team, and Sheppard has to face Kolya to save them. It’s the exact opposite of complexity. Watching Lucius try to keep his pampered life becomes a grating annoyance, when one is constantly reminded that the time could have been used for something more satisfying.

Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 0/4

Final Rating: 4/10

Stargate: SG-1 10.13: "The Road Not Taken"

Written by Alan McCullough
Directed by Andy Mikita

When it comes to the “Stargate” franchise (and much of televised science fiction, for that matter), stories involved alternate realities have become a massive cliché. Many times, they tend to be self-contained attempts to shake things up when the usual storytelling grind gets stale. Many fans still enjoy them for the chance to see old friends, but when overused, the plot device can be incredibly annoying. For seasoned veterans of the genre, it usually only works when the trip through the looking glass reveals something hidden in the “real world”, such as character motivation or impending threats. In other words, when the story manages to fit into an existing story arc.

There’s a nice attempt to toss out some actual theoretical basis for the existence of alternate realities (those theories are actually real areas of research), and it makes sense that experimentation with Merlin’s device from the previous episode might have the effect seen in this installment. That connection between episodes is an important step towards making this episode contextually satisfying.

There are some nice differences in this alternate reality, and it’s great to see Hammond back in the saddle. Landry as President is a bit harder to swallow, but when it comes to alternate realities, just about anything is considered possible. The response to the revelation of the Stargate program sounds a lot more realistic in this universe.

Carter’s plan to hide Earth behind an Ori-proof forcefield is certainly impressive. Having the ability to tell the American public about the needs of the SGC for the defense of the planet is certainly better than playing political games. On the other hand, the public relations fallout from Carter’s success is completely new to her (and us, for that matter). Have we ever seen Carter in such a revealing dress?

In an unexpected twist, the writers shift focus from the Ori threat to the world that Carter has managed to save. And that world has some interesting ideas about resolving the international issues that arose from the public unveiling of the Stargate program. It’s not a pretty sight. Dissention is put down brutally, and SGC resources are used against “terrorists” rather than the enemies off-world. Resources, like Carter herself, are forced into service.

Considering that Carter is the character at the center of this particular storm, it’s a given that the writers would bring McKay into the picture. As one would expect, McKay is pretty much the same in every reality, and when a theoretical challenge (and a little ego-stroking) is dangled in his face, he can’t resist. That’s not nearly as distressing as Mitchell’s fate in this reality; Ben Browder sells the role incredibly well.

Carter decides to speak out against the suppression of civil liberties, and in no time at all, she’s persona non grata. Considering what we’re told about the alternate reality, the decision to let Carter go is a bit convenient (and not at all surprising). However, the upshot is that Carter has something to think about when it comes to using Merlin’s device on a large scale. There’s no certainty that this “lesson” will stick, but in the end, this iteration of the time-worn plot device avoids the usual pitfalls and tells a solid story.

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

Final Rating: 7/10

Supernatural 2.18: "Folsom Prison Blues"

Written by John Shiban
Directed by Mike Rohl

The previous episode was something of a departure for the series, and while a number of fans praised the self-mockery, others (like myself) felt that the emphasis wasn’t in the right place. This episode is a course correction back into the usual strong continuity and character exploration. While no one would mistake this for the best episode of the season, it does deliver a solid story and some interesting insight.

Getting to the solid story, of course, is a bit of a stretch. The Brothers Winchester are contacted by another friend of their father’s, a man named Deacon, and Dean concocts a plan to get them into the prison. All well and good, except the fact that the FBI has been chasing them like mad all season and it’s a rather stupid mistake to think that they wouldn’t monitor every backwater police station for a sign to their whereabouts.

While the opportunity to see Agent Henricksen is greatly appreciated, it all comes down to how those opportunities are exploited. In this case, Henricksen has the advantage and enough support to keep the pressure on the Winchesters and their relatively inexperienced court-appointed representation. Knowing what he knows about Dean and Sam, it’s hard to believe that he wouldn’t take measures to keep anything and everything under surveillance until the brothers were safely behind bars. Add his unnecessary attitude with the prosecutor, and it’s a bit of a blow to Henricksen’s credibility.

It’s also possible that being a fan of “Prison Break” makes this a difficult episode to accept. In terms of the complications to the case itself, the prison settling is interesting and even fun. It certainly works for the character exploration side of things. But the prisoners seem to have too much latitude, especially when Sam manages to roam the old cell block and burn things without getting caught. And the escape, even accounting for Deacon’s assistance, felt far too easy.

All that said, this situation allows for some unusual character development. Dean finds himself rather comfortable in the prison element, which is not entirely shocking. Dean may not be as empathetic as Sam, but he does make a clear distinction between the guilty and the innocent when it comes to demonic attacks. In his mind, the prisoners are victims of the haunting, and they deserve to be saved. More than that, Dean has been a hunter all his life, and many of the people in that prison must seem familiar. More familiar, at least, than people in the “normal” world.

Sam, on the other hand, looks at the situation. As mentioned previously, Sam’s personal situation makes it difficult to draw a clear distinction between good and evil. So for him, it’s not about one’s species; it’s about intentions. And from that perspective, the vast majority of the inmates chose to commit violent crime. Thus his priority is deliverance from prison and escape from Henricksen.

That tension between Sam and Dean, based on their divergent philosophies, is the strength of the episode. The writers also manage to keep the episode from getting too dark by inserting some humorous moments, many of which work better than the “comedy” in “Hollywood Babylon”. Dean has some great lines and his usual swagger, and Sam’s expressions are often priceless. Considering the darkness to come for the rest of the season, this was a very nice touch.

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

Final Rating: 7/10

Smallville 6.18: "Nemesis"

Written by Caroline Dries
Directed by Mairzee Almas

Some fans lament the repetitive complaints that come after every new episode of “Smallville”. They know that the writing is often mediocre, that the acting can be forced, and that the show has failed to live up to its potential for quite some time. The main complaint now, it seems, is that they don’t want to hear it. They’d rather the flaws never be discussed. This is usually a sign that a show is failing on enough levels that the fans fear that mentioning it will undermine the series’ future.

“Smallville”, of course, is in little danger this season. It’s still one of the highest rated shows on the CW Network, and they can ill afford removal of a recognized franchise. More than that, the producers and cast are ready to bring the series to a close in the next season. Survival is not the issue, so much as the ability of the production staff to make it worth the time to watch it.

This episode, in particular, had a great deal of potential. The idea of Clark Kent and Lex Luthor, caught underground and forced to work together to survive, is itself rather promising. One can envision pages and pages of recriminations and revelations. At the very least, one would expect Clark to reveal some of his darker impulses, while Lex might attempt to justify his decisions in a way that blurs the line between good and evil.

Unfortunately, the final product fell somewhat short of that. Lex managed to get a few shots in, particularly in terms of how Clark was the only friend he had, but his constant machinations make most of his comments moot. It’s hard for him to claim that Clark’s decision to end the friendship contributed to his downfall, when that was the result of his choices. Never mind the fact that Lex has yet to provide a clear motivation for his experiments (other than a fleeting justification based on the need to protect the world from super-powered threats).

Clark has the opportunity to confront Lex about those choices and drill down to the motivations, but he continues to focus on Lex and his marriage to Lana. There are good reasons for this, but one of the early plot threads for the season was Clark’s moral development: looking beyond the personal to the global. Clark may not understand what happened with Lana, in terms of still marrying Lex, but why would that be his sole concern? Especially in light of Project 33.1?

Speaking of Lana, her character gets motivated, and it’s a nice change of pace. This could actually lead into some interesting character conflict, if the writers have enough ambition. Lana’s experience with Lex has changed her, and in this episode, she’s willing to take Luthorian measures to achieve her goals. She would have let Lex die, if Clark hadn’t been in the tunnels as well.

This is significant because Clark is still in love with Lana as she was. He may not find the new Lana as attractive. This would be the one reason for the writers to keep Lana beyond this season and into the final year: as a constant reminder, from Clark’s point of view, of something he loved that Lex destroyed. The trick, of course, is getting the writers to remain consistent with Lana’s character, long enough for this dynamic to work.

This is not to say that the episode was a complete waste of time. There were some solid scenes throughout, and despite my reservations about how the character has been handled over the years, this is the second episode in a row where I liked the Lana plot thread more than the main story. In the end, however, the show is still struggling to tell a superior story, largely because of depths that remain untouched.

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

Final Rating: 7/10

Lost 3.18: "D.O.C."

Written by Adam Horowitz and Edward Kitsis
Directed by Frederick Toye

In which Sun becomes aware of the problems for pregnant women on the island, and takes Juliet up on her offer to help, while Desmond makes an unusual choice to save the new arrival…

Status Report

It has become popular among critics and former fans to portray “Lost” as a series without a plan or purpose, tossing out mysteries with no intention of resolution. Most recently, a critic for Entertainment Weekly even went so far as to insult the remaining fans for “making excuses”, pointing to the ratings as proof that the emperor has no clothes.

Of course, ever since “One of Us”, the season has been ripping through one of the best resolution phases in recent memory, answering long-term and short-term questions while giving the “Lost” world better definition. Just in this episode alone, several items are clarified and resolved, and the writers are operating on a first-season level. Interpreting these episodes as “too little, too late” sounds more like petulance than objectivity.

Usually the Jin/Sun episodes are something of a break in the action, a chance to pause and reflect on some of the less prominent characters. This was likely by design. Looking back on the series as a whole, Jin and Sun have had several flashback episodes. This particular episode puts their entire history into context, and reveals a long-term strategy on the part of the writers. Sun’s pregnancy wasn’t an example of “reaching for straws”; it was crucial setup of an important step in the show’s progression.

This is one of the inherent strengths of “Lost”. The writers take the time to build up information and context over time, so when the payoff comes, it makes sense and feels genuine. Sun’s pregnancy and the circumstances thereof would have had little impact without the initial knowledge of what the couple had overcome on the island. That took some time to develop. Now that minor plot thread intersects with the larger issue of the Others and the plans they have for the survivors.

Not to mention, of course, the connections to the unusual properties of the island itself. Mikhail’s reappearance will, no doubt, be labeled a “jump the shark” moment by those who believe themselves clever by using the term. However, it pertains directly to the amount of damage that a human being can experience on the island, yet survive. Mikhail states it clearly: healing is enhanced on the island, and they’ve all experienced it.

On the one hand, this is a clever way to get around situations where a character is wounded. Given the slow progression of time, characters would be out of commission for a season or more (think Locke after “Lockdown”). This gives the writers a chance to get the characters back in action sooner rather than later. The genius comes in making that convenience a direct plot point, something vital to the Others and the island itself.

Juliet now reveals that the island makes men super-virile, and most likely, it makes women super-fertile. This enhances the possibility of reproduction, which would be useful for an island with a relatively low population. If there was an indigenous population dating back thousands of years, replenished by vessels lured to the island by unusual means, then the hyper-reproductive qualities would keep the culture viable.

However, this also underscores the fact that something on the island has changed. Ben was able to get a life-threatening tumor, which shouldn’t have happened. Women have been dying, but only if the child is conceived on the island (something that eliminates Claire and Danielle from the list). The operative question is why the island would foster fertility, yet affect a fetus in a way that kills mother and child. And that points back to the relationship between the Others and the Dharma Initiative.

It also explains, rather elegantly, Ben’s decision to bring Kate and Sawyer along with Jack at the end of the second season. On the one hand, they were manipulated into a relationship that would push Jack into compliance. But much of what they experienced themselves was about pushing them closer, driving them towards a relationship. Ben was monitoring them, right down to the moment of consummation. Now, in retrospect, the reasons make perfect sense: they wanted pregnant women for their fertility research, without the risk to their own people.

If this is the case, then it’s in the Others’ best interests to stage another attack on the JackLocke tribe to take possession of the pregnant women (and probably Aaron). Other members of the tribe might be pregnant as well. Whatever the case, Ben must see this as the pragmatic solution to their problem, much as the abduction of the children serves a rational purpose.

So many issues are clarified by Sun’s plot thread that it could have dominated the hour. Instead, the subplot involving the lovely Naomi, the parachutist from the previous episode, delivers something even more shocking. Apparently the world believes that Oceanic 815 crashed in the middle of the ocean with no survivors, based on physical evidence.

This revives the theory that the crash was a planned event. Even if Ben honestly didn’t know about his medical condition, it doesn’t preclude the possibility that he was ready to bring in new blood. With the right kind of resources (say, the Hanso Foundation and the Widmores), a plane crash could have been faked. This one piece of information suggests that there was a reason why the plane was off-course by 1000 miles, something not explained by the “chance” mishap with the Swan Station.

Within the density of the episode, it’s easy to miss the little things. Sun follows up on Sayid’s scene in “One of Us” by hitting Juliet with several important questions, and Juliet’s reaction is priceless. In fact, Juliet shines in this episode, because her motivations remain complex and conflicted. The dynamic between Desmond and Charlie is also noteworthy, because it reveals how far Charlie still has to go. After all, he’s no longer trusting the one person who has repeatedly risked his own life to save his.

Yunjin Kim is always beautiful, but her range in this episode is astonishing. It’s easy to see why the producers wanted to give her a prominent role. Andrew Divoff adds his usual perfect shading to Mikhail. Even Hurley’s scenes have an intriguing context. The complexity and depth is the key to “Lost”, and this season, it has definitively returned.

Final Analysis

Overall, this episode is another success for the resurgent third season. Several mysteries are clarified and connected in this installment, defying the popular stance that the series is adrift. The resulting character turns are more than worth the time, and the writers are building a solid case for the season finale.

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

Final Rating: 8/10

(Season Average: 7.6)

Heroes 1.19: ".07%"

Written by Chuck Kim
Directed by Adam Kane

Though the hiatus was relatively short, it certainly felt long. Thankfully, the producers understood the value of a quick, concise recap at the beginning of the hour. It quickly reminded me of all the plot threads still up in the air and the impressive potential for a thrilling climax to the season arc. This episode is all about building to that moment, but that doesn’t mean that the writers are resting on their laurels. After all, given the intentions to resolve the majority of plot threads in a given season (think “Lost” meets “24”), there’s a lot still to cover.

Linderman’s central role in the plot to destroy New York is finally revealed, and his reasons are classic “comic book villain” logic. He was one of a handful of powered individuals in his generation, and despite all the best intentions, they fell to the wayside without making a difference. Linderman, a healer, determined that his methods were wrong, not his goals. So he went criminal, built an empire, and now seeks to give the world a reason to come together under a new brand of leadership.

Hence his support for Nathan, who finds himself with a difficult choice. Whatever he might think of Linderman’s plan, he still believes that his leadership can make a difference. And he has clear ambitions. He now believes that Peter could survive his explosion in New York, so the personal loss element is somewhat mitigated. This is an intriguing direction to take with Nathan, with no end to the possible character development.

Niki/Jessica is also caught in Linderman’s web, and Micah’s purpose in the season arc is now revealed. This should push Niki/Jessica towards some sense of common purpose, should Micah be threatened, and if she has a substantial effect on Linderman’s plans in the process, it could help her transition into a hero in the end.

One also gets the impression that Mrs. Petrelli might have been one of Linderman’s previous associates. This would be an interesting twist, because it would help to answer one of the open questions: why wouldn’t Linderman’s former allies try to stop his diabolical plan? He said that they were more focused on personal gains and interests, and Mrs. Petrelli would be a potent example of that.

While it’s hard to imagine how Mohinder managed to get Peter’s body into New York and into the Petrelli residence without anyone batting an eye, this gives Nathan, Peter, and Claire the chance to catch up and discover a few things about each other. As mentioned earlier, Peter might survive his explosion, just as he is the only one to survive a direct assault from Sylar (that we know of). Claire would also be a formidable member of any team fighting Sylar. Even though the body count is rising, the right people are getting together.

Ironically, despite his plan to destroy New York, Linderman and his Company might represent the most useful means of bringing the right resources to bear against a threat like Sylar. After all, they’ve been cataloguing powered individuals for years. Unless Linderman comes to believe that Sylar might be useful, he’s a threat to be eliminated. This is one of the interesting complications in the story: there are two major threats to be resolved, and neither one can be ignored.

Beyond the major themes and plot progressions at play, there were the smaller character moments that worked very well. Candice is an interesting character that deserves more time to develop. Matt’s realization that Mr. Bennett is little more than middle management is a priceless scene. Mohinder’s ongoing attempt to fight Sylar, despite having no apparent ability, shows his heroic side. And Malcolm McDowell’s performance is always worth the time. “Heroes” is certainly living up to expectation as the first season drives to its conclusion.

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

Final Rating: 8/10

24 6.19: "Day 6: 12AM - 1AM"

Written by Joel Surnow and Michael Loceff
Directed by Brad Turner

In which Jack goes rogue to save Audrey from his former Chinese captors, while the fallout of the terrorist attacks falls squarely on the shoulders of an unexpected CTU agent…

Status Report

The previous episode left Jack on his own, operating as a rogue, with Vice President Daniels firmly in charge of the nation following President Palmer’s collapse. Unfortunately, the episode was also another episode with a number of fundamental weaknesses. Many hopeful fans were willing to set aside the flaws in hopes that the season would manage to come together in the end. With only five episodes left, the damage is done, but can the season go out with some measure of dignity?

Once again, Mike Doyle appears to be more like the old Jack than Jack has in the recent past, but this time, Jack is closer than ever to his normal modus operandi. Jack is often at his best when working his own angle on a situation, and though his goals might be all too personal, he’s still thinking outside the box. It’s a good test of Doyle’s abilities.

Jack uses the CTU manhunt as a pretext for taking control of the situation with Cheng and Audrey. It’s hard to believe that Cheng would allow Jack that much latitude under the circumstances, but very little about this plot twist has made sense. Why this situation wasn’t used to expose the deal between the Chinese and the Palmer administration is hard to reconcile.

Daniels wastes little time to call out Tom for what he knows and what he might do with that information, and Tom appears to back down. Daniels also seems to be happy with his ability to spend more time with his treacherous aide. Meanwhile, the information that Tom and Reed had hanging over Karen’s neck comes out, just in time to cause trouble for Bill at a particularly bad time. It’s not quite logical for Bill to become a scapegoat, but then, how would Karen be placed in a personal moral quandary? And how would enough time be wasted to ensure that Jack’s confrontation with Cheng doesn’t happen until the end of the hour?

Karen’s decision to speak with Tom is an interesting twist. For all of Tom’s soul-searching earlier in the season, he snaps right back into listening to the lesser angels of his nature. His advice to Karen still doesn’t quite explain her inability to speak to Bill without starting with the implications for her career first and their marriage second. One might have hoped for a better end to Bill Buchanan’s career at CTU; hopefully this is not the end for the character.

With a possible national security crisis erupting, the drama at CTU jumps up a notch, with Morris back to his previous obnoxious self. At least it’s a chance for Chloe to show some spunk again, even if she still ends up apologizing for it. This coincides with the transfer of command over CTU to Nadia, who has yet to display enough of a personality to make the circumstances meaningful.

Cheng lets Jack spend far too much time with Audrey, considering the fact that he held full advantage at the top of the hour. Nadia’s supposed indecision forced Doyle to do something decidedly Jack-like. Somehow Cheng and his people make short work of the CTU assault teams (something that defies logic completely) and he gets the circuit board in the process.

It seems rather odd that Jack would be shocked at Audrey’s state of mind. He was held in Cheng’s facilities for quite a bit longer than Audrey, and he was psychological damaged himself. Perhaps the idea is that Jack’s gradual recognition of what happened to Audrey will help him purge the remnants of his own doubt, but as spotty as Jack’s restoration has been this season, that’s not likely to happen.

Final Analysis

Overall, this episode is an incremental improvement over the previous installment, but there are still some fundamental issues that refuse to go away. In particular, it feels as though certain elements were contrived to fill time, and considering the end effect on one character, that’s unfortunate. It still feels like the season is somewhat aimless, but at least the writers are keeping things interesting.

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

Final Rating: 7/10

(Season Average: 6.8)

Stargate: Atlantis 3.12: "Echoes"

Written by Carl Binder
Directed by William Waring

Coming out of the hiatus, “SGA” was going strong, riding on a string of solid episodes and marked improvements over the second season. The key has been a renewed focus on character and stronger plot arcs. Even the stand-alone episodes, sometimes problematic in the second season, have been a touch better (though some have still missed the mark). The goal of this episode, then, is to keep up the momentum.

Very quickly, the lingering questions about power, raised in “McKay and Mrs. Miller”, are answered in perfect detail. Questions about the recent Ancient and Asuran occupation of Atlantis are answered. This has been a problem in the past, so it’s a good sign that the writers are putting the pieces together in a more connective package.

Teyla and Ronon continue to get closer, which continues to be a matter of minor annoyance. It seems too convenient for the two “primitives” to be progressing towards a relationship. The jury is still out on that, however. For now, it seems to tie into Teyla’s meditative practices (long established) or, indirectly, her Wraith-originated abilities. Either one is a good reason for her to experience the “ghosts” before everyone else.

It doesn’t take long to figure out that the proximity of the “whales” and the “ghosts” are related in some way; the fun is watching the characters figure out the connections and peel back the layers of the planet’s past. It highlights the fact that Team Atlantis knows very little about the city and the planet. For that matter, there’s a massive Ancient history that is almost completely unknown. Touching on that history puts this episode within a fascinating perspective.

The episode quickly becomes the usual race to find a technical problem to the whole “sunburst” problem. The solution itself is the usual technobabble mixed with Rodney’s trademark caustic wit, but it was a great excuse for some impressive special effects. It certainly looks as though the effects, money, and effort is going to “SGA” these days!

It’s unlikely that anything from this episode will have lasting consequences, and beyond the relationship between Teyla and Ronon, very little in the way of character development takes place. But this does touch on a number of items lingering from earlier episodes, and on that basis alone, this was a successful stand-alone effort.

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

Final Rating: 7/10

Stargate: SG-1 10.12: "Line in the Sand"

Written by Alan McCullough
Directed by Peter DeLuise

The episode starts with the SGC making strides in hiding troops and materiel from the advancing Ori forces using a device from Merlin, setting the stage for a confrontation. An entire village is under the gun, and a device that can make things disappear into a different dimension sounds like a great idea. It’s a bit annoying for Daniel’s situation to be completely ignored, but with the conflict against the Ori taking center stage, at least it’s relevant to the season arc.

Of course, it doesn’t take long for things to go wrong, and SG-1 is forced into a defensive position when the village chooses to stand their ground. The actual battle begins very quickly, which is a nice touch, and the village falls remarkably fast. It’s a nice touch for Tobin to be the commander of the Ori force, especially once he orders the execution of the village’s defenders.

It’s unusual for one of the team to be injured badly, so Carter’s wound is a nice touch. It gives Mitchell another chance to display his field experience. It’s a bit odd that Carter would give up so easily, but they have dealt with the Ori enough to know how overwhelming their forces can be. Mitchell’s campaign to keep Carter’s faith going is a nice bit of characterization.

Considering Vala’s initial characterization, it’s always great to see her interact with Tobin and struggle with her role as the mother of the Orisi. Vala’s argument with Tobin is a strong depiction of resistance to religion gone horribly wrong. Tobin’s reaction does much to prove Vala’s point. Tobin’s subsequent argument with the Prior is also reflective of those who preach violence through perversion of traditional interpretation of religious parable. Holy words become a pretext for abomination. As always, the nature of Origin has interesting analogues to fundamentalist movements in the real world.

The villagers are left to choose submission to another set of false gods or perish by the sword (or really odd-looking spear), and that speaks well to T’ealc’s character. It’s not surprising that some of the villagers would come to the conclusion that giving up is the only means of survival. But that begs the question: is survival enough, if it means giving up everything that makes survival meaningful?

The ending is somewhat predictable, right down to Tobin’s sacrifice for Vala’s survival and the last-minute deliverance of the village. Even so, as with many of the episodes that deal with the allegorical aspects of the Ori crusade, this delves into the kind of material that helps the episode rise above the simplicity of the typical stand-alone episode.

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

Final Rating: 8/10

Supernatural 2.18: "Hollywood Babylon"

Written by Ben Edlund
Directed by Philip Sgriccia

As I’ve mentioned on several occasions, the best aspect of “Supernatural” is the psychological and emotional development of the Brothers Winchester. Just about every self-contained situation relates in some fashion to the internal struggles plaguing Sam and Dean as they continue their travels. This gives the writers a unique benefit: they can explore long-term character arcs and themes while dedicating episodes to very specific “scary” concepts.

This is where “Supernatural” has exceeded its “X-Files” forebear. As mentioned in the review for “Tall Tales”, I noted that it matched the best self-mocking episodes of that classic by taking the absurdity and relating it directly to the mindset and perception of each brother. There is a cautionary side to the comparison, however. “X-Files” had more than a few “humorous” episodes that never really came together as anything more than a failed attempt to poke fun at someone.

This episode of “Supernatural” is poised on the edge of falling into that abyss, and that’s rather unfortunate. The main complaint is the lack of psychological and emotional context. Granted, Dean is trying to give Sam a kind of vacation, but it feels more like a knowing send-up of “Scream” or its many derivatives than something that fits into the “Supernatural” mode.

From a certain point of view, the writer (who is actually one of my favorite writers in the business) is focusing more on the producers and the people making “Supernatural” than the characters themselves. There’s a lot of talk about the ruthless creative process and how misfortunes are transformed into opportunities, and as a general commentary on the business, that’s great. But what does it tell us about the Winchesters?

It almost feels like the network had been giving the producers a note for months, saying that they wanted to lighten things up, and the writing room came up with this as the solution. I’m just not sure that it’s enough to make it a strong episode of “Supernatural”. The tone is remarkably bland for even a dry send-up of Hollywood nonsense, and there’s very little to tie these events into the larger context of the second season.

On that note, we do see Dean in a lighter moment, taking full advantage of the opportunity to set aside his angst. He gets to bed a hot young “starlet” and meet some of the most obscure bit-part actors in the horror genre. All of that makes sense under the circumstances. Similarly, Sam is frustrated with his brother’s apparent lack of seriousness and dedication. Since he sees service to others as his best path to deliverance from a dark destiny, “vacation” is practically a four-letter word.

Had some of those aspects been more prominent, in favor of the focus on mocking the production staff, the episode might have felt less contrived. Perhaps this simply was a case of bad timing, or a reflection of personal tastes not aligning. It was a competent enough episode that seemed to hit its target well enough, but I’m not entirely sure that it was a solid entry for “Supernatural”.

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

Final Rating: 6/10

Smallville 6.18: "Progeny"

Written by Genevieve Sparling
Directed by Terrence O’Hara

If there’s one plot thread that I’ve been looking forward to, it’s the exploration of Chloe’s “meteor freak” status. Even though it points towards a likely swift and unfortunate end, it is one of the best twists on the show in quite some time. So far, there’s no indication that this violates anything that has come before, which makes this apparent last-minute consideration more than workable.

In contrast, I’ve been less than enthusiastic about the ongoing Clark-Lex-Lana triangle. I’m quite bored with the constant relationship issues of Clark and Lana, and if that plot element wasn’t still front and center, I wouldn’t talk about it at all. As a reviewer, of course, I’m somewhat obligated to discuss critical aspects of a series, even when I find them less than palatable.

It’s ironic, then, that I found the main plot thread disappointing on several levels, while I found the relatively minor plot thread involving Lana far more intriguing.

Part of the problem is the writing. From the very beginning of the episode, something about the writing bothered me. The dialogue didn’t quite sound right, and some of the plot points didn’t quite track. If the usual online sources are correct, then this is the primary writer’s debut effort, so that’s not necessarily surprising. In one moment, Chloe and the others are freely accepting the idea that her mother has controlled her actions in the past; the next, it’s a major revelation. To my knowledge, this facet of the relationship between mother and daughter was never mentioned in the past, and its implications are vast. (Never mind that this episode also contradicts much of the established history between them.)

Sometimes getting a recognizable name is a major coup, but in this case, Lynda Carter was incredibly weak as Chloe’s mother. While the character was supposed to be off-kilter, the wooden line deliveries varied from bad to worse. In combination with the sloppy writing, it consistently pulled me out of the story. Nostalgia can lead me to forgive a number of sins, but this time, it wasn’t enough.

Perhaps because of the writing issues, Lex was a lot more overtly evil. I prefer the more conflicted Lex to the full-tilt maniacal version, but since much of the episode was a wash, this was a lot of fun. When Lex threatens Chloe near the end, there’s a certain thematic connection to moments earlier in the series, when Lionel would do much the same. And of course, it fits very well into the picture painted for Lana.

If Lana’s baby was, in fact, something that was the result of drug adulteration, then it is one hell of a plot twist. I was ready to believe that Lex would experiment on Lana’s child, if he thought it could be Clark’s, but I never considered the possibility that Lana’s entire pregnancy was some sort of ruse to manipulate her affections. It would, however, confirm my long-held opinion that Lex sees Lana, in the end, as an object to be used and acquired, not as someone with hopes and dreams of her own.

Despite a main plot that doesn’t quite make sense, there’s enough progression in the various plot threads to keep it from failing completely. Hopefully, if future episodes focus on Chloe, it will be a bit more impressive.

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

Final Rating: 5/10

Lost 3.17: "Catch-22"

Written by Jeff Pinkner and Brian K. Vaughn
Directed by Stephen Williams

In which Desmond receives a vision that seems to have great personal importance, but to get what he wants, he may have to sacrifice Charlie…

Status Report

While Juliet and Ben have proven to be excellent additions to the cast, another character has been around longer and has been equally impressive. That character, of course, is Desmond. Initially dismissed as a minor addition along with the rest of the Swan Station, Desmond has become critical to the dynamic of the JackLocke tribe, taking on Locke’s visionary status since the beginning of the season.

Desmond represents a substantial contrast to the backlash against new characters on “Lost”. New characters tend to fall into two categories: the embraced and the loathed. Desmond stands with Juliet, Ben, and Eko as characters that have ultimately been accepted by the majority of fans. Others, like Ana Lucia, Nikki, and Paulo, were a constant source of contention.

This is a good thing, because Desmond is clearly connected to larger themes and concepts within the mythology, and without him, the story would be a lot less interesting. If one considers Locke to be aligned spiritually with the island, either in his own mind or in truth, then Desmond appears to be aligned with the undercurrent of unexplained phenomena beyond the island. Desmond’s experiences fall within the same realm as the psychic from “Raised by Another”, for example.

Desmond’s character has a complicated background, yet his psychology is very simple. Despite moments of apparent bravery and dedication, he is crippled by a deep cowardice. He also feels trapped by some vague sense of predestination. He’s constantly searching for meaning in his life, not unlike John Locke. The difference is that Desmond has never really felt that sense of purpose. In his own way, he reflects back on his own regrets through a filter that blinds him to the truth.

Like Juliet, Desmond wants to find a way to a specific individual: Penny. Desmond’s cowardice nearly drove her from his life, but she refused to accept that limitation. The end result was a complicated moment for Desmond. The choice to enter the race around the world was, in and of itself, an act of courage. Yet it was also another expression of his cowardice. In trying to win her father’s respect, Desmond was still running away from Penny.

This episode poses the interesting flip side to that idea. Desmond is, in fact, always running away from something. But as Brother Campbell astutely notes, whenever someone is running away from something, they are inevitably running towards something else. And if one takes predestination into account, both interpretations are part of a larger scheme.

Locke has come to believe that his destination was the island itself (though his interpretations have changed over time). Desmond has come to recognize, on some level, that he was destined to come to the island, but he’s no longer sure that the island is the final step in the journey. Taken in context with the connections to the mythology and the focus of each character, there appears to be a clear transition between Locke’s part of the story and Desmond’s part of the story. (Indeed, one is left wondering if Locke will survive the end of the season, given the signs and portents.)

All of that plays into Desmond’s mindset in this episode. Desmond’s visions present him with a difficult choice. He believes that Penny has come to the island to find him, and that his trek into the jungle will lead him to her. Unfortunately, for that to happen, Charlie must die. For whatever reason, Desmond is compelled to save Charlie from his appointed fate. Thus Desmond is forced to choose between his own happiness and the happiness of another. His choice, from a certain point of view, fits into the overall redemption model.

While the episode itself is relatively straightforward in terms of the concept’s exploration, there are interesting implications. After all, from Desmond’s point of view, he may have changed things enough that the parachutist’s identity changed because he saved Charlie. A more pragmatic interpretation would be that Desmond was making assumptions and that the identity of the new arrival was always the same, but his reaction will be consistent with his psychology.

This would appear to suggest that events can be changed. However, that wasn’t the lesson of “Flashes Before Your Eyes”. In that episode, the rule was “course correction”: minor changes might take place, but in the end, everything happens the way it was meant to happen. In other words, Desmond’s choice to save Charlie wouldn’t prevent Penny from coming to the island or acting to find and save him. It would just change how that process evolves.

That idea is subtly reinforced by the fact that Brother Campbell was in some way associated with the mysterious woman from “Flashes Before Your Eyes”. This might have been a mere thematic association on the part of the producers, since Brother Campbell’s message was not unlike Ms. Hawkings’ message, but the similarities might be deliberate. Beyond Dharma and the Others, and whatever organization stands behind all of that, there may be something far more mystical driving a “course correction” on a larger scale. The parachutist mentions Desmond by name, which suggests that the tapestry is still coming together in some fashion.

Naomi’s arrival, coming so soon after the initiation of Ben’s latest plan, is rather suspicious. On the other hand, Desmond was not one of the original survivors of Oceanic 815, so it’s unlikely that Ben would have a sense of how to manipulate Desmond at this stage of the game. If Naomi was sent by Penny to find Desmond, it would finally bring the scene at the end of the second season into context with the rest of the season. (Indeed, it has only been a couple weeks since the EMP was detected; it’s logical to assume that any operation to find Desmond would take several days to put together.)

Desmond’s choice (well described by the title of the episode) dominated the episode, but there was one relatively significant subplot. After everything they went through, Jack, Kate, and Sawyer are trying to find a new comfort zone, and Juliet is not making that easy. Despite the potential for Kate-inspired tension, Jack and Sawyer seem to have a lot more respect for each other. They may be rivals, after a fashion, but they do care about each other’s welfare.

The Jack/Sawyer dynamic was good enough to counter the disappointing turn for Kate. Once again, Kate’s actions are defined by her relationship to Jack and Sawyer, which is not a good sign. While this does reinforce the idea that her insecurities drive a need for a man’s love, the one aspect of her character that has been relatively consistent over the course of the series, it’s disappointing to see a supposedly strong female character resort to such measures. Sawyer may not object to being used (too much), but it doesn’t make it palatable.

Final Analysis

Overall, this episode is another success for the third season, continuing the recent trend of strong material coming into the final stretch. The character at the center of the episode drives a compelling storyline that looks to factor heavily into the end of the season and beyond. “Lost” is definitely experiencing a resurgence, and the timing couldn’t be better.

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

Final Rating: 8/10

(Season Average: 7.5)