Studio 60 1.17: "The Disaster Show"

Considering how long it’s been since the last original episode of the series hit air, it was wise to slip this relatively self-contained episode into the order. Giving the story a little more time to breathe and the supporting cast a chance to shine had to be the operative thought, considering that the three main cast members are nowhere to be found.

At the end of the previous episode, Matt was searching for the “4AM miracle”, something that would break his writer’s block in just enough time to allow the show to work. Harriet’s break with Luke was the apparent catalyst, and one might have assumed that the show went off without a hitch. It seems like the miracle was rather short lived, given how the show actually progressed.

Because of the stakes for Matt, seen in the previous episode, it’s a bit off-putting that he’s not reacting to the meltdown. That said, I’m not sure that there was time in the episode for Matt, Danny, or Jordan to add a substantial contribution. I suspect that the next episode will deal with their reaction to the show in some fashion. At least it should, because with Matt on a downward spiral with drug addiction, this apparent failure feeds into his suspicion that any trouble with the show is the fault of his writing.

Jordan’s absence is covered nicely by Jack’s presence. Jordan is under heavy fire for her choices, and Jack can only protect her so far. Danny’s mistake with the propmaster union, by virtue of his relationship with Jordan, could have disastrous consequences should the program take a ratings hit from the subsequent problems. I would hope that all of this would play into the final arc.

It’s great to see Cal in the spotlight, because his frenetic production style is one of the highlights of the series. Busfield has a wonderful sense of comic timing, and despite the fact that it could be well over the top, he keeps it reined in just enough to make it viable and believable. It’s also great to see him work with Alison Janney again; they have a comfortable chemistry that works regardless of what characters they play.

It’s also interesting to get a glimpse of how the rest of the cast is dealing with the Matt/Harriet issue. There is that real world reaction to the person who’s been in a long-term on/off relationship, where everyone else around that person just gets sick of the routine. Some members of the audience are in the same frame of mind, so it was good to see the characters themselves struggle with it.

There was also a subplot involving Simon, which focused on a less-than-admirable side of his personality. With so many characters searching for a meaningful relationship, it’s interesting to see someone with more of a reputation for playing the field. That said, it’s unfortunate that the “player” is the most prominent African-American character, since it seems a bit stereotypical. It’s still an amusing if predictable subplot, but it’s hard to ignore the implications.

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

Final Rating: 7/10

Lost 3.22/3.23: "Through the Looking Glass"

Written by Damon Lindelof and Carlton Cuse
Directed by Jack Bender

In which the plan against the Others is unleashed, Jack attempts to lead the tribe to safety and rescue, Charlie makes a critical choice, and by the end, everything changes…

Status Report

As mentioned previously, this episode represents the 60% completion point for the “Lost” epic. In terms of a novel, this is when the plot usually gets rather complicated. This is when the unexpected twists and revelations begin, when choices and consequences are most important. Since the series is more or less five seasons long (in terms of the number of episodes), there’s an interesting basis for comparison.

Some might remember the series “Babylon 5”, a science fiction series from the 1990s that had a unique structure. It had a planned beginning, middle, and end, stretched across five seasons, with a measured progression of plot and character arcs along the way. Without getting into details, the third season of “Babylon 5” involved a rising conflict with a mysterious enemy, with the season finale bringing that conflict to an important crossroads. Unexpectedly, early in the fourth season, this conflict (which had been building since the middle of the first season) came to a definitive end, though this led to a series of other important revelations and consequences. (Fans of both shows might see other parallels as well.)

This was brought to mind by this episode, because the Others have been the mysterious enemy since roughly the middle of the first season, and in this episode, Ben begins to explain his rationale. It’s not particularly new, for those paying attention over the stretch of the third season, but it does point to the possibility (predicted previously) that the JackLocke Tribe and the Others might have a common enemy.

Ben has insisted for quite some time that contact with the outside world should be limited at best. He’s taken measures to keep people on the island against their will, and he has contact with assets in the outside world to ensure that people learn about the island on his terms. On one level, his association with Jacob give him reason. On another level, it appears that he might have good reason to want the island to be preserved.

The tale of Desmond and Penelope has suggested an interesting and complex scenario. As previously speculated in the review for “Live Together, Die Alone” (the second season finale), Desmond’s arrival on the island and his effective imprisonment in the Swan Station seems to have its origins with Penny’s father. If so, Charles Widmore might have known the general location of the island, but not its exact location.

After the end of the second season, Penny’s people had found evidence of the island’s location, and as this episode proves out, her efforts over the subsequent weeks to contact someone on the island to find Desmond had been substantial. Surely, this would have been discovered by her father, who might see an upside to finding Desmond, the island, and taking control before Penny can make her own move.

This would be in keeping with the producers’ comments regarding the deep importance of the tale of Desmond and Penelope, and how it sits at the heart of the series’ mythology. It also justifies Ben and his draconian measures. All the evidence suggests that the Widmore machine is substantial and destructive, and if anyone would want to find and exploit the island and its properties, it would be Widmore. And Widmore would be able to send someone with a picture of Desmond and a satellite phone along with a small fleet of mercenaries to find and occupy the island.

This is what Ben is trying to prevent, and with a potential threat on the horizon, his tactics need to change. Previously, he’s seen the JackLocke tribe as grist for the mill, a source of replenishment of his population and further biological tests to solve the fertility problem. Now, he needs them, and oddly enough, the JackLocke tribe may need him, especially if his warnings come true.

This places the flash-forward in this episode in an interesting context. One might assume that Jack, Kate, and the other rescued survivors in that unknown future time period were rescued by Naomi’s group. However, the evidence suggests something far more complex and deadly. If Ben is correct, the island will be coming under assault by those with little interest in rescuing anyone.

Jack, in the future, was seen as a hero “twice over” after he saved a woman from a car accident that he, indirectly, brought to pass. The first incidence of heroism, it seems, had been his effort to get the JackLocke tribe rescued. At least some of the main characters survived to that point, and it was an open and positive enough rescue process for the media and public to see him as heroic well after the fact. More than that, Jack was trying to find the island again, suggesting that whatever was profound about the island was still present and unspoiled.

It is also suggested that Jack had to make some difficult and morally questionable choices to ensure rescue, and nothing that happens on the island in this particular episode meets that level of psychological duress. Had Sayid, Bernard, and Jin died, it might have been another story. But the only major casualty was Charlie, who chose his own fate.

What this points to is a major arc, perhaps stretching over the entire fourth season, where the island is invaded by Naomi’s group and Jack realizes that it was a massive mistake. The only means of survival might be an alliance with the Others, who have now lost some of their best operatives. Presumably, this would eventually end with effective resistance against the invaders, but would end with Penny and her people rescuing the survivors.

If true, then Jack’s story in the “future” would represent a fifth or sixth season boundary point, not the end of the series. The full measure of the story may require that the survivors be rescued and then, in some lesser fashion, find their way back to the island to finish what was started. Stepping back into the outside world, as mentioned in the review for “Greatest Hits”, would give the writers a way to explore the various connections to the island and its history beyond the island itself, as Jack and those willing to return with him look into how to do so.

To keep the story powerful and unusual, this could all happen concurrently, much as this episode accomplishes. The story of what happened leading up to and beyond the flash-forward in this episode, seen from the point of view of several key characters, could weave into the story of how the invaders were repelled and the subsequent rescue took place. And this would allow the writers, at some future point, to spend very little time in the outside world before returning to the island. (At that point, one would expect the narrative to shift again.)

This is all speculation, of course, and the series could take a completely different path. But this would facilitate the concept of redemption. If the island demands that people change, on some fundamental level, then it’s more than just a shift of psychology on the island. The survivors must follow through on those choices. In essence, the way of the island (taking down those who cannot change and redeem themselves) continues. For example, if Sawyer comes to terms with his past on the island, following “The Brig”, then he must inevitably follow through on the potential for change after leaving the island.

Speaking of relationships, this is another aspect suggesting a time period between this finale and the actual rescue. The suggestion is that Kate and Sawyer found a life together after the rescue (though this is intentionally vague, and might be completely different than expected). As of this episode, however, Sawyer is pushing Kate away. Jack also has a budding relationship with Juliet, but she’s nowhere to be seen in the flash-forward. (This aspect is, quite possibly, the only redeeming quality of the Polygon of Tortured Love.)

Taking that and the redemptive concept in mind, Jack’s future trouble is in keeping with the idea that his progression was incomplete. He wasn’t meant to leave yet. Perhaps none of them were, but he certainly wasn’t. It may be that return to the island would be fatal, but it’s also possible that he needs to uncover the truth about the island to complete his journey. His “future” difficulties are indicative of a self-destructive transition from the man of science and reason to a man of faith, not unlike Locke. This episode suggests that Locke’s death, unnoted by everyone but Jack, triggers Jack into taking on that destiny.

Some might balk at the need for using Jack as the POV character for the future, but for better or worse, he is the central character as seen in the pilot. Jack and Locke represent two important philosophies on the show, and one would expect that Jack’s journey would be a through-line for the series as a whole. The fact that Jack is reviled is not necessarily a reason to avoid his point of view; if anything, it would make his potential redemption upon return to the island more compelling. That said, it would be expected that the “future” time period would be seen again from other perspectives.

In the “present” on the island, Locke hits yet another crisis of faith, as evidenced by his inability to walk and his decision to commit suicide. Walt’s apparent appearance changes that, restoring his faith. Though some might interpret Walt as a return of the character, this is unlikely. Looking back on “The Cost of Living”, this is more likely a manifestation of the “monster”, taking on a form that Locke would find meaningful. This once again suggests, in light of the speculation above, a link between Jacob, the “monster”, and the central mystery of the island. With the future of the island at stake, Locke is sent to eliminate that threat.

The flash-forward and Jack’s mission to the radio tower includes the long-awaited reunion between Danielle and Alex. This could lead to the revelation of how Ben came to be Alex’s adoptive father and what happened 16 years earlier. Even without those answers, this plot point pays off some of the lingering questions from the first season.

The other major subplot of the episode involves Charlie and Desmond. As expected, Desmond’s vision comes true, even if not in the expected manner. Charlie’s choice is just as selfless as ever, with his concern being Desmond’s survival and the salvation of his friends. More than the previous episode, Charlie’s sacrificial choice is an active decision. He could have run out the door, but he understood that Desmond heard Penny’s voice and would happily let himself drown to speak with her.

Some criticized the notion that this sacrificial moment is a progression for Charlie, but it’s a subtle distinction from his former behavior. While Charlie has nearly died on several occasions, and he’s been willing to toss himself into harm’s way to save Claire and others, that’s a reactive decision. It’s been a matter of personal gain or spur of the moment. In this case, Charlie made the decision to sacrifice himself, took steps towards that end, and mentally prepared himself for his own end. All that matters was the mission. That represents Charlie’s redemption: making a familiar choice, but this time, for the right reasons.

The subplot on the beach may have been less substantial than the flash-forward, the road to rescue, or Charlie’s sacrifice, but it managed to pull off the most satisfying moment of the finale. Hurley’s unexpected rescue, using the van from “Tricia Tanaka is Dead”, once again proved that the character has depth and purpose. He was also present for one of Sawyer’s less heroic moments.

For all that Sawyer’s killing of Tom plays off yet another element of the first season, it also speaks to the darkness that is eating at Sawyer’s soul. This is entirely appropriate. Sawyer may have the opportunity to redeem himself and find a life beyond Sawyer and revenge, but that doesn’t mean that finding himself will be a quick and easy process. James Ford has a great deal of potential, but days after killing his nemesis, he’s still Sawyer.

Beyond that, the episode is full of little moments of near perfection. Juliet’s attitude is spot on, making her survival to this point all the more satisfying. Speaking of satisfying, there’s Sayid and his Bauer-esque dispatch of his captor. There’s Mikhail and his unrelenting habit of surviving just about anything (and he probably survived the damn grenade, too!). There’s Bonnie and Greta, two characters that would have been fun to see again. There’s Ben and his rising panic, completely consistent with his character to date. And there’s the inherent tone of the episode, which makes it feel more like a film than a simple television episode.

Yet it all comes back to the “game changing” decision to open the narrative into the “future”, widening the scope in a powerful way and generating an entirely new realm of speculation and creativity. Those who read spoilers were probably underwhelmed, but familiarity does breed contempt, and one must have perspective. This gives the writers a means of keeping the series fresh while implementing an interesting and character-rich twist.

At the beginning of the review, “Babylon 5” was mentioned. As some fans might recall, shortly after the end of the third season, when the major conflict ended earlier than expected, some considered the rest of the series to be a matter of diminishing returns. Some might wonder if “Lost” will suffer the same fate. One must point out that there was a major contributor to the “Babylon 5” downturn (overstated as it is): an incredibly messy conflict over renewal and the likelihood of finishing out the series as intended.

“Lost”, unlike “Babylon 5”, has been given a clear timetable. The path to the end is in hand. The writers should not have to concern themselves with adjusting the narrative in anticipation of cancellation. As such, the plot and character arcs can unfold as desired. For those willing to let the story be told on the creators’ terms, this episode represents a promise that it will be more than worth the wait.

Final Analysis

Overall, this episode was a powerful season finale, changing the face of “Lost” in a major way while preserving the underlying elements that make the series unique. Fans will be discussing and debating this episode right up until the fourth season premiere, which feels all too far away for comfort. This is the perfect ending to a season that brought “Lost” back to its former glory.

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

Final Rating: 10/10

(Season 3 Final Average: 7.9)

24 6.24: "Day 6: 5AM - 6AM"

Written by Robert Cochran, Manny Coto, and David Fury
Directed by Brad Turner

In which Vice President Daniels sets in motion a plan to stop Philip Bauer, which puts Jack on a short timetable for rescuing Josh…

Status Report

(This review covers the second half of the sixth season finale; the first half was covered under a separate review.)

The penultimate hour of the sixth season ended with Chloe collapsing as a final showdown between Jack and Philip Bauer approached. It was practically the perfect mixture for the end of the sixth season: the combination of squandered potential and unnecessary drama. That said, the producers chose three of the best writers on staff to bring the season to a close. The question is whether or not the effort is too little, too late.

Right from the beginning, a timetable is set: Jack has less than 30 minutes to rescue his nephew and defeat his father. Despite the urgency of the situation with Jack, Morris has more than enough time to worry over Chloe. As far as the Daniels’ administration is concerned, taking out the oil platform with an air strike is the best option, because the Russians expect nothing less. It puts Jack in a high pressure situation without Chloe to provide him the usual backup.

Jack’s only assistance comes from Bill Buchanan, who fulfills the role filled by Tony Almeida and Wayne Palmer before him: Jack’s right-hand man in the final struggle. Nadia gives Jack nominal support from CTU, but it’s not the same as having Chloe leading the technical charge. If nothing else, Jack’s assault on the oil platform is explosive, and it gives him the chance to take some measure of revenge from Cheng.

After setting up the confrontation between Jack and his father, it’s unexpected for Josh to be the one to shoot Philip and bring the whole mess to an end. Jack doesn’t have to face down his father to restore himself; he simply has to walk away. It’s a pitiful ending that apparently eliminates any chance of satisfactory answers to several key questions. (Of course, it must be noted that Philip was sitting right next to an operable boat, and he could have conceivably escaped.)

With most of the action done and over with, attention turns to giving the season a semi-dignified ending. Tom pleads for Karen Hayes’ release from custody, which probably extends to Bill Buchanan. Chloe predictably reveals her pregnancy, which is a moment that will live in series infamy and will probably bring about more than its share of “jump the shark” claims. And after all he’s been through, Jack is given the chance to determine his own fate.

Jack’s confrontation with Heller was interesting, because it was completely unexpected. That said, it’s a bit too much given how little setup was involved. Jack is absolutely right: he’s become what people like Heller needed him to be, and it’s unfair of them to act with less loyalty than they demanded. All that said, Heller is also right: Jack cannot protect Audrey the way he wants to, and it will tear him up inside when he fails. And ultimately, Jack makes the right call for Audrey, if not necessarily for himself. With that decision, the realization that he cannot be with someone while doing what he does best, Jack’s personal journey back to himself comes to a conclusion.

The stage is set for the series to take a different direction in the next season, and if this finale is any indication, it will be absolutely necessary. This brings Jack to a point not unlike his personal crisis at the end of the third season, which is actually rather appropriate, considering how similar the seasons were. The writers took a good swing at a satisfying ending, but with so much left unresolved and inexplicable plot twists right up until the final hour, this was, in fact, too little, too late.

Final Analysis

Overall, this season finale is as disappointing as most of the season that came before it. Because so little time remains to bring resolution to the laundry list of lingering plot threads, what is covered seems all the more important. Because most of that falls flat, the episode fails on both levels. By the end of this installment, it’s more obvious than ever that the series needs a fresh approach.

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

Final Rating: 5/10

(Season 6 Final Average: 6.7)

24 6.23: "Day 6: 4AM - 5AM"

Written by Joel Surnow and Michael Loceff
Directed by Brad Turner

In which Doyle tries to outmatch Philip Bauer while Jack is out of commission and in custody, but maneuvering behind the scenes at CTU and the White House continues…

Status Report

(This review covers the first half of the sixth season finale; the second half will be covered under a separate review.)

Coming into this season finale, the writers left themselves quite a difficult task. Character motivations were all over the map, several lingering plot threads were left unresolved, and most fans were fed up with the lack of forethought. With so much sloppy storytelling this season, a strong ending was too much to hope for; it was a matter of letting things end with some measure of dignity.

Daniels has once again led the country to the brink of war, and this time, it comes down to Jack’s “replacement” Mike Doyle and his plan to recover Josh from Philip Bauer. Philip seems to want a way out of responsibility for his past actions, and that means relocating his business interests to China. How this meshes with what has come before is hard to reconcile, but it is what it is.

The writers may have understood their mistake with Bill Buchanan, as they bring him into the finale after a mishandled previous exit. One might wonder why the agents on site fail to monitor Bill’s phone calls when everything else is fair game, but at this point, it’s all about moving the plot along and delivering as much excitement as possible.

Much of the drama in this episode plods along, especially once Mike is left to decide where his conscience lies. The issues with Marilyn Bauer seem like a waste of time, especially once it becomes grist for the Chloe/Morris mill. The business with Milo’s brother is another such example. It’s designed, it seems, to make it sensible for Bill to have enough time to get to Jack. How he gets to the point where he can ambush Jack’s driver is impossible to accept, but that’s what the writers are reduced to this season.

More time is spent wallowing over Karen Hayes and her decision to help break Jack out of custody. It gives the audience more than enough time to consider how far the season has strayed from its origins. The issue of Fayed’s attacks on the nation seems rather far removed from the posturing of the possible hostilities with Russia and China. The terrorism was an immediate, clear and present danger; Daniels’ state of play is too remote and academic to have even a fraction of the impact.

Philip’s double-cross is hardly a shock, though it’s too bad that Doyle had to pay the price. Of course, with his replacement out of commission, Jack must either admit failure or fully commit to his own retrieval mission. There’s really no question. As poorly executed as it might have been, Jack’s personal journey back to his particular brand of heroism can end no other way.

With a single hour left to the sixth season, a final showdown between father and son is waiting in the wings. Of course, that’s not enough; there must also be a completely random issue with Chloe (knowing this season, probably the first signs of pregnancy). Rather than focus the final hour on providing some answers, the writers apparently feel the need to insert more needless CTU drama. Then again, given how the season has turned out, this is not much of a surprise.

Final Analysis

Overall, this episode feels like another transitional installment, which is surprising, given that this was the beginning of the season finale. It’s more than a little obvious that the writers are grasping at some kind of vague sense of satisfaction for the audience, but for many, this will only add to the frustrations.

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

Final Rating: 6/10

(Season 6 Average: 6.7)

Heroes 1.23: "How to Stop an Exploding Man"

Written by Tim Kring
Directed by Allan Arkush

The entire season has come to this: the showdown between Sylar and the assembled heroes. From the opening montage, the full measure of the season’s progress becomes plain. It’s amazing to think that so much has happened this season, and how much of it has been built slowly but steadily since the very first episode.

As the episode opens, Nathan is preparing to leave New York before the storm comes crashing down. With Linderman dead, it all comes down on his shoulders to continue the plan, and his mother is happy to remind him of it. That choice pits brother against brother, which is a nice bit of symmetry. It also represents a nice crossroads for Claire, who must choose between her biological family and her adoptive family. The Petrelli clan has been at the heart of the story since the pilot, so this focus makes a great deal of sense.

It also leads to another link to the past, and an unexpected one at that. Who expected Simone’s father to be part of Linderman’s old team? As seen in many recent episodes, there is a consistent generational aspect to the series. This makes one wonder what ability, if any, Simone might have had. Like Molly, it’s another strong link to the beginning of the season. It definitely feels like the end of one volume, with several threads coming together.

With DL dying and Micah missing, it comes down to Niki and Jessica to find a way to get out of Dodge. For all the fun we’ve had with Candice before, she becomes quite important to the Niki/Jessica character arc in the end. The fight is over far too quickly, and the integration of the two sides of Niki’s psyche feels like an afterthought.

Mohinder and Mr. Bennett battle over Molly’s fate, a matter complicated by Claire’s involvement with Peter and his battle with Sylar. Despite her medical condition, Molly is the most obvious means for finding Sylar, and Mr. Bennett knows it. As seen in “Five Years Gone”, Mr. Bennett will make all kinds of unusual and unexpected choices when Claire’s fate is at stake.

Throughout it all, Hiro is there, looking for Ando, hoping for the chance to save his friend while still saving the world. The initial showdown with Sylar is a nice taste of things to come, and sets Hiro on the final step of his journey to heroism. It comes just in time for Peter to come out of his vision quest, with Mr. Bennett (revealed as “Noah”) at his side.

Much like Niki’s integration, Sylar’s defeat comes far too quickly and easily (as does his survival). It feels incredibly anti-climactic after everything that has come before it, though it was interesting to discover that Sylar ultimately saw himself as the hero, facing down Peter to save the world from the exploding Peter! It’s always better when the villain can justify his or her actions on some reasonable level.

The resolution to Peter’s dilemma is more unexpected, and brings the conflict between the Petrelli brothers to a close for the moment, since it’s unlikely that they both died in the explosion. Claire and Mr. Bennett find common ground, Niki’s family appears to be together and relatively well, and while Matt’s fate is uncertain, the death toll is rather slim. It appears that the plan to clear the decks and focus on new heroes in the second season may have been misdirection.

All things being equal, two things come to mind. First, the generational nature of the series, tied together with the unusual symbol and the eclipse, will come to define the next volume of the story. That seems fitting. Second, Molly mentioned that there was something far worse than Sylar out there, which will hopefully lead into something more substantial and satisfying than this season finale. As it stands, this particular conclusion is a startling disappointment.

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

Final Rating: 6/10

(Season 1 Final Average: 7.7)

Stargate: Atlantis 3.16: "The Ark"

Written by Ken Cuperus and Scott Nimerfro
Directed by Martin Wood

“Stargate: Atlantis” is approaching an interesting crossroads. While the flagship “SG-1” is approaching the end of its run, “SGA” is coming to the end of its current incarnation. After this season, cast changes will take place as characters from “SG-1” are absorbed. So while the series is not ending this season, for many, the feeling is much the same. Any episode that seems extraneous or self-contained is an episode that doesn’t deal with the big picture as originally conceived with the current cast.

Of course, the series is hardly a stranger to cast changes, and there’s no reason to think that the series will suddenly fall apart at the seams. It’s possible to enjoy the material on its own merits. Similarly, this episode can be enjoyed for what it is, warts and all. There are some flaws, and it lacks much connection to the current plot threads, but it’s still a competent stand-alone.

In essence, this episode gets back to some of the earliest episodes, where the team would encounter the legacy of the Ancient-Wraith war on world after world. The incursions of the Wraith are always a matter of tragedy, and this episode’s situation is no exception. In fact, by the time Jamis gives his confession to Teyla, the level of sacrifice is staggering.

For the most part, this is another Sheppard/McKay show, with a liberal dose of Ronon and Teyla tossed in for fun. It’s great to see Teyla get more screen time, even if her character continues to be relatively simple and a bit of a stereotype. Ronon, on the other hand, continues to be fun but offers nothing new. There are some good McKay moments (despite a seeming lack of change after the previous episode), and Sheppard is heroic, but this is not an episode devoted to character.

For me, the episode was elevated by Kenneth Welsh, an actor that has been on my radar since his time on “Twin Peaks”. If nothing else, he’s demonstrated an ability to transcend some questionable writing with a committed performance. This time around, he’s given a fairly meaty role and he sells it.

It’s not a perfect episode. There are few odd plot conveniences and logic problems. My favorite is the scene where Sheppard and Ronon struggle to seal the room they’re in as the moon base vents atmosphere. They struggle to close one door, and then struggle to close the other door in the opposite direction. That makes absolutely no sense at all, but despite those writing woes, I was quite entertained.

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

Final Rating: 7/10

Stargate SG-1 10.16: "Bad Guys"

Written by Martin Gero
Directed by Peter DeLuise

The main issue with the tenth and final season of “SG-1” has been consistency. While many were shocked when the end of the series was announced, that was more a matter of timing. The series had managed to avoid the chopping block for half its life, after initial cancellation at the end of the fifth season on Showtime. Knowing all of that, it’s surprising how little time has been spent clearing the decks and wrapping up plot threads.

For instance, who expected the producers, with only a handful of episodes left, to trot out a stand-alone installment with only the most tenuous links to the overall season arc? Granted, this was the problem with the ninth season as well, and a problem with the second half of nearly every season for shows given this “split season” format. The first half seems to be dominated by plot-heavy material, and the second half seems to deviate into stand-alone territory.

Knowing all of this, it would be easy to dismiss this episode and let frustration take its toll. That would be an unfortunate mistake, because taken on its own, this is a fairly amusing episode. No matter how serious the situation seems to get, there’s an underlying comic touch. This has been the hallmark of the series since its inception (though it was once a bit more subtle), and this episode keeps the tradition alive.

Beyond its surprising entertainment value, the episode is notable for its unusual guest star. Joshua Malina is better known for his dramatic work (“West Wing”, “A Few Good Men”) and his dry comic delivery than his appearances in genre television. At first, I thought my eyes and ears were deceiving me! Malina’s presence is both positive and negative. It’s positive in that it lends a certain legitimacy to the series, even at this late hour, but negative in that his character lacks depth and his performance pales to his better-known work.

That said, this is “SG-1”, and few members of the audience are looking for scripts on the level of an Aaron Sorkin. It’s all about the entertainment value, and the episode delivers that (and some twists and turns) rather well. If one can overcome the frustration of yet another stand-alone episode when so little time remains until the end, this is a pleasant hour’s worth of diversion.

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

Final Rating: 7/10

Smallville 6.22: "Phantom"

Written by Darren Swimmer and Todd Slavkin
Directed by James Marshall

A number of fans get upset when I compare “Smallville” to “Heroes”. However, in this case, there’s an important point to be made, relevant to this season finale and why it doesn’t quite come together as it could have.

Both shows have delved into the promotional aspects of online storytelling aids. “Heroes”, for example, has a massive amount of official online content, most of which is within continuity and adds to the depth of the show. “Smallville” has introduced a contest and advertising partnership that allows tales of the recent Justice League to be told, in pseudo-comic book form, during commercial breaks.

The difference is in how the two shows use and incorporate the online information. “Heroes” may have a massive online component, but it’s not necessary to read or watch any of it to understand or appreciate the show. Someone could watch “Heroes”, never go any further, and get a complete story. The online content simply explores the “Heroes” world in more depth.

“Smallville”, on the other hand, seems to advance its story in fits and starts, sometimes in contradictory fashion, with little or no hint of an overall series arc or mythology, beyond what is already more or less set in stone. The online component, however, has in short order introduced a mythology that ultimately changes and informs the interpretation of the entire series up to this point.

While I admittedly have yet to see the full range of information, here’s the gist: Virgil Swann, Genevieve Teague, Robert Queen, and Lionel Luthor came together, before the original meteor shower, to deal with the discovery of alien technology/artifacts on Earth, heralding an upcoming invasion by General Zod. While the team worked for many years on the issue, setting up programs to develop a human army to repel the threat, Luthor and Teague went “rogue”. The genesis of nearly every aspect of LuthorCorp’s ongoing attempt to study “meteor freaks” and alter humanity, right up to the current Project 33.1/Ares, is a product of that original mandate.

Here’s my point: why would the writers leave something so vast, promising, and mind-blowing out of the main series and relegate it to an optional online promotional game? And why only hint at it in commercials that look more like ads than additional and vital content? Looking back on the season finale and everything leading up to it, how hard would it have been to weave this information into the season arc and justify several seasons of apparent non-advancement?

Suddenly Lex’s justifications about Project 33.1 make more sense; they are his corrupted version of the army the original team came together to create and manage. Lionel’s interest in Clark and his welfare, especially over time, fits into the framework of a man seeking redemption for the result of his own greed. Add the context of his connection to Jor-El, and Lionel’s character arc emerges.

None of that, however, can repair the damage done to Lex over the course of his marriage to Lana. At this point, the writers clearly have no intention of explaining the pregnancy retcon of recent episodes, and so his personal motivations are a mess. It’s gotten to the point where the context of any dialogue between Lex and Clark is so vague and hard to interpret that the conversations seem tossed together at random.

I’ve been saying all along that Lana must die for the season arc to conclude in a logical fashion; this is effectively accomplished in this episode, even if it’s clear that Lana manufactured her own apparent demise. The circumstances of her fake death were blatant; the question is whether or not Lana will return. If she does, her knowledge regarding Clark will become a major issue.

Whatever the case, with few people left to offer solid guidance, Clark is struggling with his moral compass. He was ready to kill Lionel, and that’s a major step into dark territory. If circumstances hadn’t changed, what would he have done to Lex? Clark is letting his temper get the better of his judgment. It would be interesting for the writers to explore this in the final season, but given their track record, it’s hard to imagine that they will.

The most egregious error, however, is the apparent loss of Chloe, who seemed to use her meteor-freak ability to resurrect Lois, at the cost of her own life. A very similar plot twist took place on “Supernatural”, and the difference was startling. This felt like it came out of nowhere, especially since the nature of Chloe’s ability was never explored. Also, Chloe was an important part of what made the series work. Hopefully this too will be a red herring.

The showdown between Clark and Bizarro (for those who missed the complete non-sequitur reference in the episode’s final line) was impressive enough, and the final Zoner was actually quite creepy. As action set pieces go, that was a good one, and it left the episode with a serviceable cliffhanger.

Ironically, taken on its own merits, this is not a bad season finale. It offered up a number of important changes and set the stage for an interesting final season, if the writers manage to capitalize on the potential.

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

Final Rating: 7/10

(Season 6 Final Average: 6.9)

Supernatural 2.22: "All Hell Breaks Loose: Part II"

Written by Eric Kripke and Michael Moore
Directed by Kim Manners

Since the beginning of the series, and in nearly every single review in between, I’ve pointed out that two key factors give “Supernatural” a solid and powerful foundation: deep character development and strong continuity. Both come into play in this season finale, and the results are stunning and entirely satisfying.

As noted in the review for the previous episode, the entire season arc and the nature of the first half of the story necessitates that this finale focus on Dean and his psychological reaction to Sam’s death. The question has always been: how far will Dean go to save his brother, and at what cost? That question is now answered. Dean offered his immortal soul to hell to bring Sammy back to life, and the consequences are going to be brutal.

As pointed out in the episode on several occasions, this is the end result of Dean’s belief that he was supposed to die. He sees himself as completely expendable, especially in comparison to Sam, and his decision to step back into the crossroads (a wonderful example of continuity) is in keeping with that psychology. It’s the difference between having something to die for and having something to live for; Dean, in essence, has been harboring a death wish since John’s deal with the demon.

Unfortunately, in his desire to cut a deal, Dean may not have thought of all the potential problems. What is the assurance that Sam is still completely Sam? Already in the course of the series, the lesson has been reinforced: bringing people back from the dead is a very bad idea. There’s no telling what will really come back, and with the demonic legacy already in play, Sam’s behavior could be troublesome.

Both Dean’s damnation sentence and Sam’s post-resurrection status should play into the character arcs of the third season, beyond the simple plot arc implications. Looking at the big picture, the demon may be dead (more on that in a second), but the demon’s army has been unleashed. The hunters are in disarray, the Winchesters are still fugitives, and Sam is still the potential leader for the demonic horde. Those issues and connections keep a more vague and open-ended situation from becoming impersonal.

As noted, beyond the character development, continuity is a high point of the episode. Elements that were critical to the first season finale get further clarification and play directly into the culmination of this season (namely, the Colt). John Winchester’s involvement may have been a bit of a “deus ex machina” situation, with a slight excess of sentiment for good measure, but it made sense for John to be there to help take down the demon once and for all.

Unlike the first season finale, which ended on a major cliffhanger despite some worries of a second season pickup, this was a masterful demonstration of how a season finale can be crafted as a potential series finale. Major arcs were resolved, a new status quo results, and seeds are planted for potential third season story and character advancements. If the series had ended here, it would have been satisfying, but the fact that the series will continue makes this the perfect climax to a superior season.

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

Final Rating: 10/10

(Season 2 Final Average: 7.9)

Lost 3.21: "Greatest Hits"

Written by Edward Kitsis and Adam Horowitz
Directed by Stephen Williams

In which Desmond presents Charlie with an unfortunate choice, Jack asserts his leadership and presents a plan to defend against the Others, while the prospect of rescue looms over all…

Status Report

Throughout the third season, the writers have presented a case for Charlie’s demise. Desmond has saved him at least four times, sometimes at apparent personal cost. That knowledge has pushed Charlie into consideration of his life and his choices, and while the self-centeredness remains, it’s not quite so prominent. Sooner or later, of course, Charlie was going to have to face up to fate, and that moment comes in this episode.

Coming into this episode, Charlie had resisted true redemption at least twice. He had the opportunity early in the series with Locke, who thought that the island would make his guidance a simple matter. That wasn’t quite true, and Charlie was tempted by his past. Eko was something of a mentor for Charlie, but that situation was borne out of dishonest intentions, and so nothing came of it. Now with Desmond, Charlie has a compelling reason to consider his choices and his self-worth.

The way of the island has been fairly consistent: those who embrace change live, those who resist change die. Charlie has been resisting change, and so his fate has apparently been sealed. Faced with the possibility of saving Claire and Aaron through the ultimate self-sacrifice, one could argue that Charlie finally makes a critical psychological change, placing the interests of others above his own. And in the way of the island, that presents the possibility of salvation.

That possibility doesn’t present itself until the very end, which is a nice touch. The writers take it far enough to ensure that Charlie is willing and ready to die for Claire and Aaron, so his psychological choice is made and committed. Selling that reality is an important element of the episode’s success. He earns redemption in a manner that feels satisfying to the audience, and it’s possible that his capture is the result of that possible reprieve. On the other hand, Desmond’s vision could still come true. Charlie is hardly out of the woods yet!

This is important, because without this important step in Charlie’s character arc, this transitional episode would have been a lot less satisfying. This was really a matter of staging the pieces on the board in the positions necessary for the season finale, and Charlie’s part was just one of several important movements. The writers did an excellent job of letting the character arc drive what could have been rather impersonal.

Beyond Charlie, there was the reestablishment of Jack as the warrior chieftain of the JackLocke tribe. With Sawyer and Sayid reaffirming their own roles over the past several episodes, this was an important consideration. One might quibble over Jack’s abrasive (and almost petulant) attitude, but faced with stiff opposition, he had to assert his control. It’s practically impossible for Jack to do otherwise, given his psychology. (And in fact, in light of the way of the island, Jack has been in the crosshairs for quite some time for that very reason.) It’s also excellent that Sayid, as the tribal sheriff, takes command of the military action.

That said, Jack’s plan is hard to argue against, and it’s great to see some of the lingering plot threads coming together. Danielle has been a resource waiting to be employed, and previous episodes this season have hinted at this larger role. This ties in nicely with her scene in “The Brig”, and given that her repeating radio signal from the pilot is getting in the way, the radio tower she mentioned back in the first season comes into play. Together with the underwater station, something that was all but revealed in “Enter Seven Seven”, the radio tower represents a payoff for minor plot points that have gathered for years.

In terms of the Others, there’s more of a parallel between Ben and Jack than has been shown in previous episodes. In retrospect, of course, it’s all right there on the screen. Just like Jack, Ben has been facing resistance by other sources of leadership in his camp. And like Jack, Ben asserts his control by proposing a plan of action, dismissing potential conflicts of personal interest in the process.

The difference, of course, is that Jack finds a way to bring his alliance with Juliet in line with the demands of the tribe’s survival. Juliet’s knowledge, while given for unknown reasons, is useful to the survival of the JackLocke tribe, especially with the potential for rescue. Ben, on the other hand, saw his own turncoat as a threat and took him out of the equation. It remains to be seen if that difference plays into the circumstances of the season finale.

The potential for rescue should not be seen as a red herring; after all, Penny Widmore has the resources and the willpower to see it through, if a signal can be sent. And wouldn’t that be a “game changer” on a level beyond simple speculation? Especially when one considers that the rescue could seem to be going off without a hitch and run into massive complications. It could come down to some of the characters getting off the island, trying to work out a way to rescue those remaining behind. That would provide the writers with a mechanism for exploring the big picture surrounding the island and the Others.

For now, of course, massive questions remain. Will Charlie be able to escape his captors and stop the signal from being jammed? Will the JackLocke tribe manage to hold off the Others’ latest kidnapping campaign? Will the mission to the radio tower be successful? What about Locke and his current status? Beyond that, there are personal issues to be explored, which more than justifies a two-hour finale.

Final Analysis

Overall, this episode is a powerful prelude to the season finale, setting the stage for the culmination of plot threads that have been building for the past year. By allowing the plot elements to take place within the backdrop of a satisfying character moment, the writers avoided the typical letdown of pre-finale installments. Once again, the writers prove that “Lost” is still at the top of its game.

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

Final Rating: 8/10

(Season Average: 7.7)