Studio 1.13: "The Harriet Dinner: Part I"

Written by Aaron Sorkin and Eli Attie
Directed by Timothy Busfield

According to various sources, the previous episode was the first part of a three-episode arc. Now this episode is listed as the first part of a two-episode arc. Someone needs to make up their mind and figure out how they want to promote the current episodes, because this is only leading to confusion among the TV critic community.

On the other hand, the structure of this episode suggests that it is, in fact, the middle of a three-part story, regardless of how it is referenced. After all, the majority of the plot and character threads are directly dependent on the set-up from the previous episode, and all of those items remain unresolved at the end of the hour. That leaves the episode on somewhat shaky ground, as is the case for most middle chapters.

The most controversial element of the previous episode had to be Danny’s stalker-esque behavior. Many people objected to his methods and unapologetic manner, while others steadfastly refused to judge it beyond the confines of romanticism. This episode manages to correct some errors and compound others. While Danny recognizes that he stepped over the line, he still acts with an inflated sense of entitlement (which is, to be fair, inherent to his character). Unfortunately, the oldest trick in the romantic comedy book is employed to force Danny and Jordan into a bubble to work things out.

Now, it doesn’t count as clever just because Sorkin and the writing staff admitted to the fact that they were falling on cliché. It’s a fairly common way to gloss over the lack of originality: point out the cliché in a knowing fashion to make it seem less egregious. I’m hopeful that Sorkin is willing to avoid the most obvious resolution to this particular plot thread, though it is almost certainly going to end with Danny and Jordan in a relationship.

The only person who seemed to think Danny should stick to his guns was Matt, which is a fairly good sign of his own lack of perspective. Certainly no one would mistake his efforts for anything remotely mature (and he would likely be the first to admit it). It’s good to see him called on his ridiculous antics, even if it was painful to watch. Harriet finally came to the realization that she was aiding and abetting Matt’s jealousy through her own comfort with the behavior, and it was not a pretty sight.

Of course, this could lead to an interesting change of pace. Danny’s effectiveness is tied to his decisiveness. He’s all in on whatever he does (which, in turn, explains much about his addictive personality). He decided he wanted Jordan, so he went way over the top. He might very well succeed, which would put his universe back in order and make him that much more effective.

On the other hand, Matt’s creative flow is fueled by his antagonistic relationship with Harriet. He needs to be caught in that obsessive and jealous state to get his job done. It’s not even remotely healthy or sane, but it’s something inherent to the character. Without the hope of winning her affection, Matt doesn’t have that desire to raise the bar. If Harriet really is ready to shut Matt down once and for all, it could have a profound effect.

All that said, both Matt and Danny have been so open about their respective relationship-fueled neuroses that it’s hard to imagine that anyone would listen to their advice. Yet Tom walks right into the most obvious mistake in the book. Sure, Tom would have sounded like an idiot by telling the truth, absurd as it is, but at least he could have gathered witnesses and support to convince Lucy of his honesty. Now he’s been caught with his pants down (well, not quite yet, but Kim’s working on it rather persistently).

The remaining material is split between two minor subplots. Cal’s struggle to keep the snake situation under control is very funny, and surprisingly, it originates with an idea that I found quite amusing. The tension between Simon and Darius is far less entertaining. The point that Sorkin is trying to make is largely lost, because Simon is being a complete jerk in the process of making it. One gets the impression that this is an important statement about the minority voice in entertainment, but when it’s buried under all the relationship angst and dominated by a petulant attitude, I fear that message is being lost.

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

Final Rating: 7/10

Heroes 1.13: "The Fix"

Written by Natalie Chaidez
Directed by Terrence O’Hara

As the second half of the season marches on, more and more connections emerge. Mohinder points out the important of Peter right at the top of the hour: his particular ability holds the promise of understanding those with superhuman abilities. Presumably, Peter’s genetics shift (by some impossible process) to allow the abilities that have been absorbed to express themselves. That would explain his lack of control, but it also presents the opportunity, under controlled conditions, how different abilities work. All it would take is someone with the ability to see biology in a certain way, which makes Mohinder’s search all the more important.

Of course, Peter has little desire to be a lab rat, and with Claude willing to teach him and thing or two, that adds a serious complication. For one thing, there’s no assurance that Peter is in better hands with Claude, even if it gives him the impression of free will. While Nathan’s threats don’t help, Mohinder may have better resources in the long run for preventing Peter from his future meltdown.

Claire’s decision to recruit Zach to help dig up dirt on her father is ill-advised at best, especially since she knows that his life could be in danger if his “re-education” is discovered. That said, from her point of view, he’s someone she can trust. It may not have occurred to her that his personality might be different now that his memory has been adjusted.

Claire also gets more information about her birth parents. Her father is still alive, but her mother is supposedly dead. The circumstances make it sound like Mr. Bennett might have had something to do with the elaborate coverup, which would fit his overall pattern. Whatever the case, with just a scrap of information, Claire manages to get a name, something she can pursue, and she takes the first step towards contact.

Matt continues to find himself in something of a corner. His career is completely falling apart, his wife doesn’t really know how to react to his new ability, and his plans will probably only lead to more ruin. Even with his ability, he can’t fix everything, and the frustration is clearly rising. The news about his baby, however, should force the issue. Either he will become more focused, or he will be pushed into further desperation.

Hiro and Ando continue to run into improbable adventures, complete with the usual brand of humor unique to Hiro’s plot thread. Hiro continues to be the philosophical side of the series, delving into what it means to be a hero. Offered the chance to give up the game and lead a relatively normal life, he stands firm. It’s nothing new for his character, but his positive attitude is endearing. Of course, that attitude is likely to be tested by the arrival of his father, who is less than pleased!

For the first time, Niki is offered something of a solution to her Jessica problem. Of course, it’s not certain to work, because it’s not the normal multiple personality situation. However, it’s a lot more to the situation, thanks to the superhuman abilities exhibited by Jessica, so Niki is right to be wary. Still, this is the most likely road to control over Jessica and her power, and despite DL’s offer of escape, Niki knows where she can get the most help. Jessica, of course, has a rather different take on the situation, which ought to be fun.

Despite all the precautions, Sylar manages to feign death and escape his captivity. One would think that Mr. Bennett, with all his experience with the superhumans, would put some additional precautions and protocols in place. Then again, he’s made a number of mistakes, usually by underestimating the will of others.

When all is said and done, this is essentially a transitional episode, building off of the “mid-season premiere” format of the previous episode and leading into some of the larger events sure to come with February sweeps. Some may be tempted to call it “filler”, but clearly, advancing all of the plot threads is a necessary part of any tight arc structure, and episodes like this are the pleasant result.

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

Final Rating: 7/10

24 6.6: "Day 6: 11AM - 12PM"

Written by Joel Surnow and Michael Loceff
Directed by Milan Cheylov

In which the terrorist plot continues as President Palmer deals with conflicting advice and political maneuvering among his advisors and Jack deals with his family issues…

Status Report

In the previous episode, it wasn’t clear how Jack knew that his brother was up to something related to the terrorist attacks. Nor was it clear why Graem Bauer would want to see his brother dead. One reason is perhaps too obvious: his parents named him “Graem”. That would be enough for most people, especially when your brother is “Jack”. How did Jack end up with so few vowels?

Graem’s explanation for his connection to McCarthy sounds logical enough, but it’s obvious from the beginning that he’s being rather selective with what he reveals to Jack. Still, it goes a long way towards explaining what kind of business Graem and Papa Bauer had been involved with over the years, and why Jack might be seen as a threat. If Graem is ruthless enough to allow thousands of people to die for his own interests (in at least the past two seasons), why not eliminate his own brother?

For all that his perspective might have broad support, Tom’s activities do step over the line. He also continues to support the president while undermining his dictates. It certainly doesn’t speak well for his position that he conspires to remove someone who dares to keep his proposals within reasonable boundaries. More to the point, if his position is the correct one, why does he need to blackmail and attack his philosophical opponents? The answer is simple: he knows his position is untenable otherwise.

Ironically, if Karen had such a high regard for Wayne’s ethics and fair-minded thinking, she would have simply disclosed the situation about Bill and Fayed and let the chips fall where they may. Bowing down to Tom at this point only gives him the chance to use the information at a later time of his choosing, and the resignation would be seen as admission of guilt.

For once, the drama at CTU is related less to soap opera nonsense and more to the national security issues already on the table. It also draws the fine distinction between racial identity and religious identity, and how mistaking one for the other can be a disastrous error. (Leaving aside, for the moment, the recent trend of casting Latina women for Middle-Eastern roles, as on “NCIS”!)

Sandra Palmer continues to be ridiculously naïve regarding the needs of counter-terrorism efforts. One would expect that someone dedicated to protecting the rights of a beleaguered population would understand the nuances involved. Her concerns is naturally for Walid’s safety, but she should also be considering the benefit of cooperating under these circumstances and showing how valuable American Islamic support can be to anti-terrorism efforts. Even though the intelligence was ultimately incorrect, the due diligence of following that lead was necessary.

That said, Walid is not an undercover agent, and they never should have expected him to do anything requiring any measure of finesse. It was that miscalculation that led to his beating. Sandra Palmer, of course, sees it differently, as though they allowed Walid to be brutalized for nothing. She ought to know the simple concept of 20/20 hindsight.

This is the second episode in a row where the FOX promotional division spoiled the end of an episode. While this is nothing new for the idiots at FOX, it is incredibly annoying for fans looking for the most exciting and unspoiled experience each and every week. This complete and utter incompetence on the part of FOX, the latest in a laundry list of blunders, should be openly lambasted.

However, that is nothing compared to the major flaw creeping into the storyline. After establishing Jack’s lack of confidence over the course of the first four episodes, a psychological state that made sense within the context provided, the writers have seemingly abandoned that aspect of the character in favor of an immediate reversion to his usual cold-blooded efficiency. None of the self-doubt seems to remain, and so the potential for a long and revealing restoration has effectively vanished. It’s not too late for that to slip back into the story, but as the writers begin working on the fly again, it’s doubtful. Once again, the writers trade quality for expediency.

Final Analysis

Overall, this episode continued the slow but steady exploration of the consequences of the terrorist attack earlier in the season. While the drama at CTU is thankfully centered on more realistic and topical concerns, as opposed to tired relationship issues, some character choices remain hard to reconcile. Also, the writers have abandoned an important element of the earlier episodes, which takes something away from the depth of the arc.

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

Final Rating: 6/10

(Season Average: 7.5)

Prison Break 2.15: "The Message"

Written by Zack Estrin and Karyn Usher
Directed by Bobby Roth

In the previous episode, the main plot thread involving Michael and Lincoln was a bit too straightforward, hobbled by several other subplots that seemed to have little or nothing to do with the advancement of the season arc. It was, in many ways, symptomatic of the criticism leveled at the second season as a whole. In the first season, all of the character arcs were tightly connected to the main plot thread. In the second season, the characters all have their arcs, but the connections are often indirect or non-existent.

In this episode, the main plot thread is more complicated, and the writers restore one of the most interesting elements from earlier in the season. It was always a lot more fun when Mahone was unraveling Michael’s latest move, and that’s what happened in this episode. The various elements of the conspiracy were still in play, but Mahone’s careful and observant deconstruction of Michael’s message to Sara was the best part of the episode.

Connecting Bellick’s subplot to the main action again was another welcome development. This finally places his troubles in Fox River within a meaningful context. If he becomes Mahone’s bloodhound, everything leading up to that point in the story becomes Bellick’s motivation. And taking him back to Fox River reminds the audience of the dynamic in the first season, linking Bellick’s anger and resentment now to his more privileged position then.

As previously noted, Kellerman’s motivations are questionable at best, especially now that the object of his desire is possibly in his grasp. Up to this point, his resentment towards the president was his only logical reason for helping Michael and Lincoln. If that resentment no longer applies, his logical move is to get Michael and Sara together and eliminate all the threats at once. Once Sara sees him again, she’ll likely tell Michael that he tried to kill her. That should lead to some messy and interesting consequences. Even if Kellerman was genuinely ready to help, would he be forced into a corner by Michael’s reaction to his treatment of Sara?

Sucre’s subplot, on the other hand, seems completely disconnected from the main plot thread, and it’s hard to imagine how it could eventually come back into relevance. It’s entirely possible that it never will. There are shades of more familiar stories in this part of the episode. For example, I couldn’t help but think of the beginning of “Les Miserables”, with Sucre playing the part of Jean Valjean. Will this act of kindness push Sucre into a new way of life?

Even less connected to the main action is the subplot with Haywire, which seems designed to fill time, more than anything else. Haywire has been off the charts for so long that the writers might have been better served by ignoring him completely. This subplot seems to serve no other purpose than creeping out the audience. Then again, his act of murder could divert attention away at a critical moment.

It’s also hard to know how many of these subplots are meant to tie back into the main plot thread (as with Bellick), how many are meant to come to a close by the end of the season, and how many are meant to set the stage for a possible third season. Many speculated, at the beginning of the second season, that Michael and Lincoln would be exonerated by the end, leaving the third season to something very different: Michael’s struggle to repair the damage done by his fellow escapees. He might even be tasked with the unfortunate job of assisting the authorities with the capture of the rest of the Escape Squad in exchange for a pardon (as ludicrous as that may sound).

If so, then it makes a little more sense for the writers to spend so much time on subplots that have little or nothing to do with the conspiracy or Michael. The situations with Sucre, C-Note, T-Bag, and Haywire are all moving into unknown territory. There’s plenty of time left in the season to bring those to conclusion, but it’s also possible that they will remain open-ended. Only time will reveal these intentions.

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

Final Rating: 8/10

Battlestar: Galactica 3.13: "Taking a Break From All Your Worries"

Written by Michael Taylor
Directed by Edward James Olmos

The title of this episode apparently refers to the theme song from “Cheers”, which is relatively appropriate, given one of the two major plot threads. Seemingly out of nowhere, a bar emerges, where the various officers gather to complain about their relationships and get rip-roaring drunk. This is integral to the Love Polygon between Kara, Anders, Lee, and Dee, which certainly doesn’t help.

It’s hard to tell why the writers chose to add a makeshift bar to Galactica. One might assume that the underground establishments from “Black Market” were wiped out at the end of the second season, and they were never recreated on other surviving ships. Whatever the case, having a bar around implies that the crew has enough downtime to make it worthwhile, and that enough alcohol exists to keep the thing running. Perhaps it was addressed in passing in the episode, but does this really make much sense?

It does give Lee a source of alcohol, however, which provides him with the time-honored means of drowning his sorrows and self-pity. One can only hope that this is the end of the relationship issues for a while, because this plot thread was a mess. Unfortunately, Lee’s decision to save his marriage still feels temporary, and that means more excruciating scenes between Lee and Dee. Kara and Anders aren’t much better, but Anders’ unusual attitude regarding his wife makes it somewhat tolerable.

The lead writer for this episode also wrote “Unfinished Business”, and so he seems to be the one who writes episodes with heavy soap opera content. Michael Taylor has an interesting list of genre credits. He wrote some of the best episodes of “DS9” before taking a substantial role on “Voyager” as story editor and author of some of the most reviled episodes of that series. So far, his episodes of “BSG” have been loved or despised. There’s not much in the way of middle ground, and the strong focus on the agonizing Love Polygon.

That might change based on the other prominent plot thread. The interrogation of Baltar could have been the entire episode, as far as I’m concerned. This pays off the deep hostility and anger shown in “The Eye of Jupiter”, especially when it comes to Roslin and Adama. One doesn’t expect restraint from Tigh, after all. Roslin and Adama put Baltar through some serious torture, most of it psychological, and that’s rather revealing about everyone involved.

It’s always interesting to see the similarities between the Humans and the Cylons, and in this case, we see the Humans turning on one of their own in an especially brutal manner. Roslin’s “airlock” scene was one of the highlights of the hour, and it was far more visceral in its effect than the Cylon vote to keep Baltar alive. Plot elements from “Epiphanies” and “Collaborators” came back with a vengeance, with Roslin and Gaeta both grabbing a chance for their pound of flesh. The effect was a mixture of satisfaction and pity for Baltar. As Adama said, Baltar sees himself as the victim, despite the reality of his choices, and there’s enough truth in that to keep his fate in doubt.

The writer tries to draw a strong correlation between Baltar and Lee, and it doesn’t quite come together as well as one would hope. There’s a difference in scale and effect that cannot be surmounted. Baltar feels like the victim, but his choices led to his current torturous existence. The same may be true of Lee, but his choices didn’t lead to genocide or collaboration with the enemy. One might argue that both are devastating psychological states for these individuals, but it just doesn’t seem to work. That leaves the episode itself in a curious and frustrating middle ground.

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

Final Rating: 6/10

Supernatural 2.12: "Nightshifter"

Written by Ben Edlund
Directed by Phil Sgriccia

The mark of a strong television series is the ability to tell relatively isolated stories without losing sight of the big picture. Even successful shows like “X-Files” failed on that basic principle. Over the past few years, however, writers like JMS and Joss Whedon have demonstrated that working within a detailed and comprehensive mythology is not as limiting as some producers would like to believe.

Kripke started the show off on the right foot, and the second season has continued in the right direction. In this case, the episode was relative self-contained. One might argue that it was something of a bottle show, but it didn’t follow the conventions of that format in every aspect. Instead, it focused on perception: who is the real monster trapped in the bank with the civilians?

Other writers might have dropped the idea of the brothers as fugitives from the law, using it for one or two episodes as necessary and ignoring it as an inconvenience the rest of the time. This writing staff is using it as a surgical tool. In terms of the story, Dean and Sam have been forced into isolation from the rest of the hunters, thanks to Sam and his ability. This takes away a number of options from Dean, making his promise in the previous episode particularly complicated.

In this episode, the writers pay off a long-standing conceit: how could two young men roam the country with a cache of weapons and a string of fake IDs, in the era of the Patriot Act? Now we have an answer, and a more definitive one than seen in “The Usual Suspects”. Federal law enforcement is well aware of their history, and they are seen as dangerous and amoral predators. They’ve been playing the rogue since the very beginning, but the game is a lot more serious now.

The net effect is that the pressure on Dean and Sam increases dramatically. Any wrong move will draw the wrong kind of attention. Since other hunters would find themselves in the same crosshairs, like Gordon in “Hunted”, they might be less likely to step in and help them, even if they believe in Sam’s ability to resist demonic control. As a result, working each new case should be harder, forcing the brothers to consider the consequences of each and every move.

That would be bad enough, but should Sam begin to slip into darker territory, the resulting attention could be devastating. Dean’s ability to handle Sam’s behavior would be tempered by the need to avoid attention from the law. As self-contained as this episode might seem, it serves to add another layer of complication into the big picture. There’s every reason to believe that the FBI agent featured in this episode will be important to the season finale.

The writers solidify the importance of this episode as a step in the isolation of the Brothers Winchester by tying it directly to “The Usual Suspects”. The audience is reminded by the appearance of another shape-shifter that there was a previous incident that left Dean on the Most Wanted list. That makes it easier to recognize the escalation of their legal situation. It’s a simple but clever way to weave this thread into the overall tapestry.

The character of Ronald was especially important because it gives the audience a new perspective. From a certain point of view, Ronald is a madman spouting about killing a creature hiding in plain sight, tossing out bizarre theories and brandishing major firepower. The hostages have every reason to think he’s crazy, even if the Brothers Winchester know he has much of the situation worked out.

However, from the point of view of the FBI, how do the brothers look? They run around the country, telling people about demons and monsters, violating laws and burial rights on a regular basis. They toss out bizarre theories and carry enough weapons to take down a federal building. Ronald is a minor annoyance compared to the Brothers Winchester, and it’s no surprise that the FBI considers them to be the “monsters inside that bank”.

So the episode accomplished two important tasks. First and foremost, it increased the pressure on Sam and Dean, giving them less room to maneuver as things continue to get more complicated with the growing war. Equally important, there’s a long look at how the brothers are perceived by the world at large. Both ideas challenge the comfort zone of the audience, and the result is a solid and entertaining hour.

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

Final Rating: 8/10

Smallville 6.12: "Labyrinth"

Written by Al Septein and Turi Meyer
Directed by Whitney Ransick

Coming into this episode, I was expecting a retread of the sixth season “Buffy” episode “Normal Again”. After all, the general premise was almost exactly the same: the hero is fooled into believing that the unusual events of the past several years have been the result of delusion and mental illness. In fact, the premise is so similar that many felt that the episode was a complete rip-off of the “Buffy” episode. That ignores, of course, the long history of the plot device.

What made the “Buffy” episode work so well was the logic behind the concept. The writers managed to construct a new “reality” that fit the facts and felt like a viable possibility. This is where the concept often breaks down. Many shows will attempt to use the plot device, but they never manage to develop a strong alternate reality. The writers feel as though the inherent recognition on the part of the audience, that the “normal reality” must be false, is reason enough to skip the notion.

That is an error in judgment, however, because the entire point of placing a character in such a state is exploration of his or her mental state. The alternate reality must be compelling enough to convince the character that there is the possibility of its pertinence. In “Normal Again”, Buffy became convinced that her years as the Slayer were false because the alternative was far more pleasant and attractive. In fact, the alternate reality was so consistent and logical that many fans believed that it could have been used as a series finale as a final, crushing twist.

Without a doubt, the writers have taken a very similar approach. Clark is being attacked mentally, and within the resulting twisted reality, acceptance of his “illness” is a metaphor for submission to the true attack. Working from such a simple plot device, the quality of the episode is dependent on the depth of the illusion. From that standpoint, this episode succeeds without reservation. Clark is run through a gauntlet of his own making, as his hopes, desires, and fears meld within the notion of paranoid delusion.

I found myself wishing that this was a longer episode. In the previous episode, I was wishing for more time to realize the “Justice League” concept with more complexity. This time, it would have been fun to see some of the concepts play out longer. What little was seen in this episode gave some interesting insight into the darker side of Clark’s personality. The negative emotions heightened by red kryptonite aren’t buried so deeply as Clark would like to think.

From the standpoint of character exploration, Clark has always demonstrated a paternalistic streak, and he never seems to recognize the arrogance of his philosophy. Most of his history with Lana has been about doing things “for her own good”, dismissing her own desires and preferences. For that matter, Clark is so sure of what the right thing must be that he’s blind to his own hubris, which has been the source of much of his heartache over the past several years.

This episode seems to reveal the obvious. Clark realizes that he still wants Lana, and in his own mind, he sees her as a starry-eyed woman waiting for him to come back and reward her unending loyalty. Clark realizes that Chloe is possibly the best friend he could ever have, even as he treats her poorly for keeping everyone’s secrets with equal protection. He even realizes that his mother and Lionel Luthor are growing closer, even if he despises the idea.

Striking at the heart of the mythos, Clark also realizes, to a certain degree, that his fractured relationship with Lex is largely his own fault. While Lex and his troubled upbringing are a fundamental part of his desire for power and control, Clark has let that fester into personal resentment. Lana is at the center of that, and both men are treating her as an object to be won. Looking back on the series to date, it’s not hard to see where Clark’s choices contributed to Lex and his downfall. If Clark retains this ability to see past his own blinders when it comes to Lex, it could add a poignant element to their future conflict. Clark, as Superman, would feel a measure of responsibility for every act of villainy committed by Lex Luthor.

The episode is marred, ever so slightly, by the possible return of the Clark/Lana dynamic. This is a tired concept, and one that should be avoided. For better or worse, Lana has allowed herself to be the prize between Clark and Lex. That position is inevitably one of tragedy. However it plays out, Lana’s death would now have a more profound effect than anything else done with the character. Leaving Clark in relative isolation until that point would be the more interesting dramatic choice.

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

Final Rating: 8/10

Studio 60 1.12: "Monday"

Written by Aaron Sorkin
Directed by Lawrence Trilling

Like many shows this season, the first half of the season led into the winter break. While it wasn’t particularly long, the hiatus created an interesting effect on the audience. This plays more like the beginning of a new season than the continuation of the first season. For example, the teaser quickly covers the same amount of time that the show was off the air, as though the story has jumped forward from the previous run to the next phase.

All of the plot and character threads remain, of course, and they’re important enough to warrant a three-part mini-arc. That leaves most of the story in “set up” mode, which is another reason why it feels more like a season premiere. Four major plot threads are explored in the episode, and none of them are resolved in any way by the end of the episode. Oddly, there’s little frustration as a result; just anticipation for the next installment of the story.

Danny has followed through on his promise to pursue Jordan relentlessly, and at first, she seems to take it all rather well. She’s very patient with his constant advances, and in his defense, she never seems to shut him down in a definitive manner. As a result, his actions border on stalker territory, especially when he drums up support from high profile friends to press his suit. By the time that Jordan finally makes it clear that she wants him to let it go, things have gone far enough for Danny’s situation to get nasty if she feels the need to make a case out of it. Oddly, by refusing to stop, he’s discounting her feelings in the matter, which fairly close to the definition of sexual harassment (if not dead on).

Matt’s typical passive-aggressive approach with Harriet may be stoking his creative fires, but it leaves him an emotional wreck. It’s ironic that his methods might actually work better in the long run. Then again, considering the level of neurotic jealousy required to buy a date with a woman just to keep someone else from having the satisfaction, it still may be a hopeless gesture. Never mind the fact that he’s planning to denote an equal amount to a charity that Harriet would despise!

For all the relationship brouhaha, some of the best character work comes out of Jack, who gets to be the most sympathetic he’s ever been in this episode. Jack really is in a horrible bind, and his tactics display his more creative side. Even knowing that he’s often the devil, it’s hard not to like the guy and feel for his troubles. I was left hoping that he would succeed, even after his little stunt with the new girl.

Hallie comes storming into Jordan’s office like a political officer in the old Russian army: a necessary and dangerous evil. Jordan knows that reality TV is an unfortunate staple of the medium, but she doesn’t make any concessions. It’s the perfect opportunity for someone with equal ambition and less morality to present a challenge. The pregnancy attack was incredibly harsh, and it spoke volumes. Hallie could very well be the character we love to hate.

It’s practically a given that Jack’s major plot thread will intersect with Tom’s pursuit of Lucy, causing endless complications, and the tension between Simon and Darius will likely escalate into something far more substantial before the mini-arc is over. It’s good to see so many minor details from earlier episodes come back into play. The series has hit its stride, and though this is mostly a set-up episode, it still manages to remind the audience of all the good points from the first half of the season.

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

Final Rating: 8/10

Heroes 1.12: "Godsend"

While the winter hiatus left many fans less than pleased with the long wait, there does seem to be a certain value to the scheduling. One could almost see this as the beginning of a new season, considering how much of the episode is devoted to setting the stage for the next arc in the story. In fact, this is a good jumping-on point for the series, because there are a number of transitional elements that give the writers time to show the audience the state of play in the “Heroes” universe.

Nearly every single subplot moves forward to some degree, as the characters begin to interact more often and the dynamics shift. Once Nathan, Hiro, and Isaac are in the same room, the writers manage to connect some of the dots, widening the scope of the situation while further defining the future progression of the story. While Simone still feels like an odd distraction from the rest of the story, the implications overpower whatever problems might result from her lack of chemistry with everyone else in the room.

While the majority of the villainous behavior has been attributed to Mr. Bennett and Sylar, another troubling presence has been mentioned several times since the very beginning: Linderman. At first, he was presented as Nathan’s corrupt rival for political power (or the man behind the rival, as the case may be). His involvement in the Nathan/Niki situation, where Mr. Bennett managed to get into the hotel at just the right time, suggested a connection to the big picture. But what if Linderman is actually more of a threat than Mr. Bennett?

What struck me in this episode was the reinforcement of the fact that Linderman has been collecting Isaac’s paintings for some time. If Peter and Hiro could make the connection between Isaac’s paintings and prediction of the future, then why couldn’t Linderman make the same connection? And if Linderman is corrupt and willing to use that information to pursue his own interests, he could be positioning himself as a major threat.

Meanwhile, given the fact that this episode takes place two weeks after the previous episode, the majority of the time is setting up the new status quo. Hiro is still on his journey, and he is still the breakout character, delivering the majority of the comic material throughout the hour. Niki and Jessica appear to be vying for control of their mutual body more than ever, and Ali Larter manages to pull off the transitions very well. Claire struggles with the idea of keeping her ability secret, and her impulsive decision to show Zach the truth again could have horrific consequences.

Matt’s situation is particularly interesting because he has all but exhausted the legal resources to stop Sylar. Despite his earlier successes, his lack of progress since Sylar’s capture has destroyed his credibility. This should serve to test his heroism, especially if he think it would be more effective to take vigilante action. If Mohinder contacts him sooner rather than later, they could work together to gather others on the list to oppose Mr. Bennett’s organization. That’s a relatively simple solution, but it could serve as the trigger for the emergence of the eventual “team”, should one develop.

This episode also introduced the character of Claude, a man with the ability to turn himself (and apparently anything or anyone he touches) invisible. Thanks to a timely vision, Peter realizes that he will be an important element in his near future. Claude is still a complete mystery at this point, but it does bring up the question of Peter’s visions again. Where are the visions coming from, and are they connected to Isaac’s ability in any way? The answer to those questions could be of major importance to the “24” universe.

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

Final Rating: 8/10

Prison Break 2.14: "John Doe"

The general consensus, based on comments from the cast and production staff, is that the main plot arc of the series will end with the second season. As such, the conspiracy itself must be resolved within the final nine episodes of the season. This is not entirely surprising, since the writers have always noted that the concept for the second season included the resolution to the conspiracy and the situation that led to Michael’s gambit in the first season. At the very least, there is relative consistency.

So it’s not particularly surprising that this episode moves the story forward in a major way. There’s not much time to stall and play games, and sooner or later, Michael and Lincoln were going to get their chance to face down the man at the center. Surprisingly, the idea of Kellerman working with the two brothers is a good one. The resulting tension allows for reference to events earlier the series that felt forgotten or ignored.

Steadman’s decision to commit suicide was hardly surprising. In fact, it was on the edge of complete predictability. “Prison Break” has suffered from obvious plotting here and there in the second season, but predictability doesn’t necessarily translate into lack of satisfaction. Steadman’s suicide made sense as the final act of a coward, and it quickly rendered Kellerman’s plan moot. More to the point, Michael has rarely miscalculated so badly, and that plays nicely into his own complicated psychological issues.

Mahone has survived the shooting in the previous episode, which is something to celebrate. William Kim and his associates may have miscalculated in a major way. As much as Mahone might say that he’s working for the conspiracy again, there’s reason to believe that he’s playing a more dangerous game. Could Mahone be ready to help Kellerman, Michael, and Lincoln take down the conspiracy once and for all? Or will he become an even more dangerous adversary? Either way, Mahone’s role on the series has never been more important.

Unfortunately, the strength of the primary plot thread was diluted by some of the other subplots. Three subplots are explored during the course of the episode, and enjoyment of each depends entirely upon personal taste. The most substantial subplot belongs to T-Bag, who slowly but surely places Mrs. Hollander and her children hostage to his own twisted desires. Ever since the escape, T-Bag has revealed a streak of madness a mile long, and it’s fun to watch. (Of course, it could also be inconsistent writing, but I’ll give them the benefit of the doubt.)

C-Note’s situation has become a distraction, and it’s simply not very interesting. It’s a tragic enough story on its own, but it doesn’t mesh well with the rest of the series at this point. While Bellick’s situation is a nice example of just desserts, unless he manages to survive and regain some measure of freedom, all of this tempering of his character into something more dangerous will be moot. Right now, many of these side stories suffer from the fact that they don’t really impact the main story, and they are easily dismissed as a result.

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

Final Rating: 8/10

24 6.5: "Day 6: 10AM - 11AM"

Written by Joel Surnow and Michael Loceff
Directed by Milan Cheylov

In which President Palmer and CTU deal with the immediate ramifications of the terrorist’s nuclear attack, while Jack pursues intel from Assad that leads him to his own family…

Status Report

At the end of the season premiere, the writers changed the landscape of the “24” universe by setting off a nuclear bomb just miles away from Los Angeles. By allowing the terrorists to succeed on such a level, the writers gave themselves quite a job. Not only did they have to pick up the pieces of Jack Bauer’s psyche, but they had to give every single character a distinct but logical reaction to that event. More than that, the plot had to keep moving forward.

In the initial moments, Wayne Palmer presents the characteristics of a strong if shocked leader, recognizing the needs of the country as well as the needs of the government. Considering that this would be the fourth use of a nuclear weapon in history (the two in WW2 and the bomb detonated in the second season), it shouldn’t be hard to recognize that Wayne is keeping things together rather well. His brother would no doubt be proud.

As one would expect, the immediate suggestion is a show of force to likely Middle Eastern states supporting Fayid. Wayne keeps the response rational and measured. Most surprising is Tom’s open support of the president, despite his own feelings on the matter. Granted, his actions are designed to gain support for his hard-line security agenda. Wayne thankfully keeps a strong and steady course, despite his apparent inability to deliver a speech with conviction.

Fayid’s plans are held up by a relatively logical plot issue: the man meant to reprogram his bombs died in the nuclear blast. This takes the writers off the hook in terms of moving that plot thread forward too quickly. They get the chance to concentrate on the introduction of co-conspirators and the inevitable fallout (no pun intended). McCarthy and his annoying partner represent the worst elements of American society: the ones who would happily watch fellow Americans die for a little cash.

Jack is shocked back into action by the most noble of causes: the preservation of a single life. Considering the chaos all around him, it would have been easy to turn away and wallow in his self-pity a bit longer. Staring up at that expanding mushroom cloud (nicely kept within realistic proportions over the timeframe of the episode) would have been a simple enough excuse. But Jack fell back on instinct. It might have been a little too easy for him to get back in the game so quickly, but it’s reasonable to think that seeing the impact first-hand made him realize how much worse it could have been and might still be. One only hopes that his lack of confidence remains intact, so that the character can be meaningfully explored.

The tension between CTU and Assad is well played. After all, the agents at CTU had been tasked with Assad’s capture for weeks before the beginning of the season. Assad clearly has his own agenda in mind, and it’s quite possible that he will be revealed as a villain. But for now, his earnest complexity is one of the highlights of the season. It would have been a lot more fun to see him work with Jack, however, considering their chemistry.

Assad’s intel puts Jack on an unlikely collision course with his own family, which was an unexpected but welcome touch. We’ve had a very limited exposure to Jack’s personal world, and considering his recent history, this is a shocking development. Equally shocking is the off-hand revelation that Jack’s brother is one of the men responsible for sending him to ChinaLogan into everything that took place in the fifth season. and, more importantly, manipulating This is a major plot revelation, and it was neatly underplayed by the writers.

For all that, the writers fumbled some of the introductions for the Bauer family. Graham is a lot less imposing outside of his fifth season enclave, and the dialogue with his wife is about as painful as it gets. And it’s ridiculous for Graham to have married a woman that was, of course, in love with Jack years earlier. Considering how guilty Graham acts throughout the episode, it’s no surprise that Jack immediately suspects him of holding back information.

Similarly, Sandra Palmer continues to be a liability to her cause. As the FBI agent said quite plainly, she’s more than happy to abuse her relationship with the president while crying about the liberties taken by others. For all the rough treatment of Walid, he does the right thing by acting as a mole for the authorities. It should be interesting to see if Walid starts to disagree with Sandra and her theatrics.

Final Analysis

Overall, this episode was surprisingly strong, considering the tall order of following up on one of the most memorable events in the series’ history. This episode manages to drop a few bombs as well, even if the execution of an intriguing idea is not quite what one would have hoped. Still, some characters demonstrate unexpected strength, which is a welcome turn of events.

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

Final Rating: 8/10

(Season Average: 7.8)

Battlestar: Galactica 3.12: "Rapture"

Written by Bradley Thompson and David Weddle
Directed by Michael Rymer

The wait between seasons 3.0 and 3.5 was much shorter than in the past, much to the pleasure of BSG fans awaiting closure on the mid-season cliffhanger. Despite the short break, a number of changes have struck the Galactica universe. The most important change is the shift to Sunday nights, an attempt to capitalize on demographic gains and reverse an overall slump in ratings. It remains to be seen if this questionable strategy will yield positive results; the fact that the AFC Championship game spilled over into the same timeslot will certainly not help the ratings for the triumphant return.

The episode deals with the items open from the end of “The Eye of Jupiter” well enough, but some of the situations evolve in ways that seem watered down or lackluster. The most obvious example is the tension between Lee and Anders. For all the sniping and staring-down in the previous episode, they set it all aside quickly enough once Lee sends his wife to find Kara. If that writing choice deferred some of the Lee/Anders hostility for another day, it did lead into one of the more interesting subplots: Dee’s reaction to being sent to rescue her husband’s possible lover. It might feel like soap opera, but the show is all about broken character relationships, and love polygons come with the territory.

As predicted, the Eye of Jupiter was the super-nova, once again playing on the idea that “all of this has happened before”. Kara’s childhood premonitions and possible visions tie into her role at the end of the first season rather nicely, and it also presents some interesting possibilities. At the very least, one could wonder if Kara and Roslin are both fulfilling roles in ancient prophecy, but it could be something more ominous. What if Kara is, in fact, one of the final five Cylons?

Setting aside the oddity of the Cylons themselves referring to the “final five” in that particular way, D’Anna clearly recognized at least one of them during her religious experience. Looking back at the scene, her expression suggests that she recognized all of them to one degree or another, but that one fact in particular struck a chord. Her expression and plea for forgiveness suggests that one of the final five had been sorely mistreated by the Cylons during the genocide.

The implication fits with the possibility that Kara is a Cylon, because that might explain why the experiments with her ova have yet to yield much in terms of results (or so it would seem). But others fit the criteria. Baltar is another obvious possibility, as strongly suggested by the staging of the “vision” scene. But wouldn’t it also apply to someone like Saul Tigh? That would be incredibly ironic and a huge revelation. Right now, it’s all speculation, but the writers are doing an effective job of stringing out the mystery.

The other major subplot was Sharon’s rescue of Hera. I love how Sharon manages to get back among the Cylons, and that Caprica-Six is forced to choose between her previous co-conspirator (Boomer) and the more human Sharon. It would appear that Caprica-Six retains her stance that Cylons and Humans are meant to co-exist, while the rest of the Cylons are still unsure. Each model seems to be the embodiment of a certain philosophy. The Cavills want to destroy Humanity, the Boomers are pushing for going separate ways, the Sixes want to bring the species together. It’s still not entirely clear where the other models stand, but I expect them all to demonstrate similarities that serve to amplify the differences among them. (And, for that matter, how the Cylons among Humans have evolved as individuals.)

It should be exciting to see how Roslin reacts to the fact that Sharon was, in the end, apparently loyal. Will she continue to question Sharon’s motives, and if so, will those suspicions be rewarded? After all, Sharon’s loyalty might have been a function of Hera’s condition, and the fact that the Cylons couldn’t treat Hera correctly. What if the condition could have been treated on the Basestar? Whatever the case, Roslin’s suspicions, if they exist, will likely be undermined by her own deceptions regarding Hera. I expect this to be a thorny issue for the rest of the season.

There were a lot of other aspects that worked well. The final fate of the D’Anna model follows through on a concept introduced in “Downloaded”, and represents the most substantial shift in the Cylon mindset. What used to be a united front is now revealed as anything but unified, as models turn on one another. Perhaps it is the introduction of Human traits into the culture? Meanwhile, there’s the capture of Baltar, which ought to have unusual ramifications. Where exactly will Baltar’s desire for personal survival take him next?

Unfortunately, this installment also had many of the problems evident in “The Eye of Jupiter”. In particular, the pacing felt choppy, especially in the final act, as though the episode had to be cut for time. One has to wonder if a longer version will emerge on DVD. Also, the dialogue lacked a certain sophistication, as though the writers were simply trying to get through the plot points as efficiently as possible. Both of these items have been repeated offenses, however, so there’s no reason to focus on this episode alone.

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

Final Rating: 8/10

Supernatural 2.11: "Playthings"

Written by Mark Witten
Directed by Charles Beeson

In a very nice move on the part of the writers, this episode begins with the fallout from “Hunted”, focusing squarely on Sam’s reaction to Ava’s apparent murder of her fiancé. In fact, like so many episodes of this series, the scenario is designed to facilitate the exploration of Sam’s grief and guilt. The supporting story (in essence, a classic haunted house variation) manages to chart a parallel course.

The theme this week is self-sacrifice. In the first half of the season, Sam’s motivation has been slowly developing and evolving. Initially, it was simply a desire to take down the demon that killed his mother and Jessica. There were other influences and motivations at work, but they were at the forefront. By the end of the first season, it was clear that the situation had changed. Sam wanted to be a hunter, despite the chance to walk away. Now it’s becoming very clear: Sam is willing to sacrifice his happiness and freedom to prevent others like himself from destroying innocent lives.

With Ava’s apparent turn towards evil, Sam is no longer certain that his intentions will be enough to prevent his own slip into the dark side. If the core of his motivation is sacrifice for others, then his demands to Dean are the ultimate expression of that motivation. Sam would rather die than become a threat to the rest of the world. It puts Dean in a ever more horrible position, because he might have to make the choice on his own.

This is reflected in Rose’s sacrifice to save the rest of her family. She allows herself to become trapped in the house, forever a child, to appease her sister. On the whole, it’s unclear how long that will last. If the house is demolished, will Maggie and Rose be free? Besides, Rose didn’t look like she was particularly unhappy. The core idea, however, is the sacrifice that one sibling is willing to make for the other.

This being the midpoint of the season arc, there are some disturbing implications to the recent episodes. Nearly all of the signs point towards a dark turn for Sam in the near future, probably around episodes 14-16, if the typical arc structure applies. It could be a major turn, or just something that starts Sam down the wrong path. Whatever the case, the writers have set it up so openly that it would be a letdown if Sam wasn’t taken in that direction.

Speaking of direction, that was the one weakness of this episode. Some of the scenes worked well, but a number of key moments didn’t have the desired impact. Sam’s slow motion rescue in the final act is a painful example of overused slow-motion. Other scenes seem to be oddly edited, as if the director was trying for a more edgy style. Add to that some visual ideas straight out of “The Shining”, and it’s hardly a directorial showcase. Thankfully, the story and character work make up for some of the lost ground.

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

Final Rating: 7/10

Smallville 6.11: "Justice"

Written by Steven DeKnight
Directed by Steven DeKnight

This episode has received a lot of hype, and as such, it’s important to set as much of that aside as possible. Hype can lead to unreasonable expectation, or to the opposite extreme, the desire to overlook or excuse flaws. This episode is likely to suffer from both symptoms. Some people will wish for more, while others will stridently assert that the episode set the perfect tone.

For me, this episode was following in the perilous footsteps of nearly every other “special appearance” by one of the DC icons. Too often, when another future hero visits Smallville, the writers tend to rely on the legend of the character instead of establishing that legend within the series’ context. The exceptions (Lois and Green Arrow) have been hit or miss, but they typically succeed on the merits of long-term character building.

Had this episode aired a year ago, before the advent of “Heroes”, the concept might have worked better. As it is, we now have an example of how a team can slowly but surely come together to face a threat. The writers of “Smallville” had the usual constraints of budget and scheduling to deal with, since they couldn’t have three more recurring guest stars all season long, so the situation is not quite the same. However, this episode could have benefited from slow but steady build-up in the background (Oliver referring to larger operations and talking to his team remotely, for example).

That could have helped the writers with the slow escalation of “33.1” as a threat. The team could have been ready to operate earlier in the episode, for example, and the operation against Lex might have been more complicated. As it was, the team didn’t really work together. Oliver kept Clark in the dark for most of the episode, even when Clark was in the midst of the action. In essence, the problem here is that Clark is still an outsider in the gang, so the whole idea of the “team action shot” is a bit misleading.

Oliver’s decision to leave at the end of the episode is also ill-considered. While it is driven largely by contractual obligations, the rationale doesn’t quite work. Ostensibly, Oliver is leading the team on a global attack against “33.1”. All well and good, but hasn’t he been doing that from Metropolis anyway? If he were to stay, he could continue to push Clark into seeing the big picture. And wouldn’t it make more sense for Clark to ask Oliver and the others to help him with the zoners, since Oliver has better resources for tracking activities worldwide?

All of these criticisms shouldn’t take away from the fact that there were positive aspects to the episode. Chloe’s role was perfect as the team coordinator and tech-head, and it would have been fun to see her work more closely with Clark and Oliver as a mini-team in Metropolis. This episode also gives a rather interesting explanation for Lex’s plans for “33.1”. I really like the idea of Lex framing the heroes as terrorists and his actions as “preserving freedom and democracy”. If they play that card correctly, it would give a reasonable justification for Lex and his motives.

All that said, this episode suffers from the fact that the story relies on what the audience brings to it: the general knowledge of the DC universe and the nostalgic pleasure of seeing a super-team on screen. They simply didn’t earn it on their own, even taking into account the subtle suggestions here and there throughout the season. The result is an average episode, instead of the true winner they had promised.

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

Final Rating: 7/10

24 6.4: "Day 6: 9AM - 10AM"

Written by Robert Cochran
Directed by Brad Turner

In which Jack takes control of the operation to stop Fayed’s plan to detonate a nuclear device, while struggling with Curtis’ disagreement with Wayne’s decision to pardon Assad…

Status Report

(This review covers the second hour of the Monday night season premiere episodes; the first hour was covered in a previous review.)

The episode begins with long scene at CTU, aptly demonstrating why the entire organization needs a serious overhaul at this stage of the game. Immediately after Bill Buchanan rightfully tells the entire room to get their act together, a consideration that should have been dealt with much earlier in the game, the effectiveness of the entire anti-terrorism effort is undermined by petty posturing and self-interest. It’s little wonder that the terrorists this season have been so successful. As usual, without Chloe to set things straight, the world would go straight to hell.

Wayne Palmer faces down an immediate threat on a level that rivals anything his brother was forced to handle. He turns to the one person that he has been able to trust in the past, and the man that David would have turned to: Jack Bauer. Of course, this is made far more interesting by Jack’s current psychological crisis. The central question is raised: is Jack Bauer still the man for the job?

The previous episode established that Curtis is acting more like Jack than Jack, and there were hints of a personal issue between Curtis and Assad. While this is hardly surprising, it is an effective plot device for putting immediate, direct pressure on Jack during the course of his operation. Wayne’s decision to give Assad a pardon only serves to tighten the screws, and the result is one of the best twists in recent memory, largely because it makes sense within the context of the story (unlike, for example, Tony’s death in the fifth season). Jack’s inability to move past his decision to shoot Curtis has nothing to do with the eventual success of Fayed’s plan, but he will no doubt feel responsible.

The situation with Ray, his family, and Ahmed has just enough time to escalate into something truly tragic. It also provides Jack with the means to deal with the pressure on his shoulders and fight past his lack of confidence. Ahmed continues to provide insight into the mind of the terrorist recruit. Despite his friendships, he sees himself as a soldier, and he’s willing to turn on those willing to accept him. This is a frightening yet necessary counterpoint to the exploration of civil liberty abuses.

It’s hard to believe, however, that Sandra Palmer is the best spokesperson for the civil liberty aspect of the debate. Her willingness to ignore the current crisis and the need for the president to see to the protection of the American people is disturbing. It also seems disingenuous that Sandra would constantly use her relationship with Wayne to her advantage when she obviously had nothing to do with her brothers during any other major crisis in the past.

As anticipated, Walid’s situation as a detainee puts him in the perfect position to be contacted by the wrong element. Specifically, he gains the attention of terrorist recruiters. This is a natural progression of his subplot and one that should prove to be provocative if the writers take the unexpected path. It’s quite possible that his decision to pass on information through Sandra will make his situation far worse.

The detonation of the nuclear device in the middle of Los Angeles is a first for “24”, and the effect should be immediate and profound on nearly every character. It’s no longer a matter of preventing the deaths of hundreds of thousands of people, but keeping that number from escalating to millions. Jack now has a great deal of guilt and shame to overcome in addition to his lack of confidence. The writers have given themselves a lot of good material to work with for the rest of the season, and as they move into unplanned territory over the next few weeks, it remains to be seen if they can capitalize on that potential.

Final Analysis

Overall, this episode brings the sixth season premiere event to a close in thrilling fashion. The writers managed to earn the plot twists in the final act, and as a result, the twists were far more satisfying than they would have been otherwise. The writers have given themselves more than enough material to explore for the rest of the season, if they can avoid some of the pitfalls that come with their chosen writing process.

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

Final Rating: 9/10

(Season Average: 7.8)

24 6.3: "Day 6: 8AM - 9AM"

Written by Evan Katz and David Fury
Directed by Brad Turner

In which Jack and Assad race against time to locate Fayed before a deadline to release terrorist prisoners, while Ray is forced into a difficult decision by Ahmed…

Status Report

(This review covers the first hour of the Monday night season premiere episodes; the second hour will be covered in a subsequent review.)

The episode begins with the standard “24” tactic: identify an action to be completed within a short-term deadline and let Jack do everything possible to prevent that from happening. And as usual, the best iterations of that familiar plot come with unusual and interesting interactions. In this case, Jack and Assad, men who should be enemies, work together in relatively clever and effective fashion.

Once Curtis is in the mix, the main plot improves. Curtis has been a character in need of further definition, and this episode provides some of that. The conversation between Jack and Curtis reveals much about both men. Curtis seems to have the kind of certainty that Jack once had, and Jack seems uncomfortable facing that truth. Jack may be wondering, in that moment, where his own certainty has gone.

Ahmed’s decision to use his friend as a hostage, forcing Ray to betray his own country to save his family, adds an interesting aspect to the episode. Though the audience never had the chance to see Scott and Ahmed in happier times, it’s still riveting to see them face each other down. It makes what is effectively a short delaying action for the writers a lot more tense and effective. There’s no question that Ahmed will follow through on his threat, which in turn makes it believable that Ray would be forced into murderous action to save his family.

Though some may feel that Wayne Palmer is demonstrating weakness, he is taking the same kind of action that David had to make on more than one occasion. If Wayne is less confident, it’s likely the combination of his lack of political experience and the besieged history of his short presidency. It should also be noted that his character, if he should survive, will probably become more confident over the course of the season. If so, his apparent weakness would be designed to help provide contrast to his strength in the future.

It certainly doesn’t help that his sister seems hell-bent on distracting him at the worst possible moment. Her own tactics leave much to be desired, since they make a difficult situation a lot worse. Walid in particular ends up as a detainee, despite his previous attempts at cooperation, and Sandra bears much of the blame for that. It would be quite a twist, however, if Walid’s experience led him towards a more negative opinion of the United States.

Once again, the weak point is the ridiculous relationship antics between Chloe and Morris. Anyone with Morris’ petulant attitude should have been fired long before this point in the story, if he had been problematic during the terror response over the past few months. Then again, CTU is hardly known for dealing with personnel issues at the right time!

Despite being part of the overall introductory premiere, this has the feel of a transitional episode. Characters and plot threads are moving into position over the course of the hour, and given Fayed’s deadline, it’s clear that nothing particularly earth-shattering will happen before the end. The point is to reveal Fayed’s possession of a nuclear weapon and his ability, quite soon, to detonate it. To that end, the episode accomplishes its task.

Final Analysis

Overall, this episode is largely transitional in nature, despite introducing some of the long-term plot and character threads to be explored over the next several episodes. The writers use this opportunity to explore some of the minor characters while setting the stage for something a lot more action-packed in the next episode.

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

Final Rating: 7/10

24 6.2: "Day 6: 7AM - 8AM"

Written by Manny Coto
Directed by Jon Cassar

In which Jack teams up with an unlikely ally to prevent another suicide bombing, while efforts to combat further terrorism put the president’s sister in a precarious position…

Status Report

(Note: This review covers the second hour of the Sunday night premiere; a previous review covered the first hour.)

As expected, this episode begins with Jack taking the first steps towards his true heroic form, despite the fact that he’s courting disaster by acting outside of the desires of CTU and the president. Even with his confidence shattered, Jack is the only one who seems to see the truth of a complex situation.

At the same time, the writers follow through on the promise of a more haunted Jack Bauer. In a critical scene, Jack finds himself interrogating one of the enemy, and while he starts the job without much hesitation, he falters. Immediately, the audience is reminded that Jack has been the victim of similar treatment for well over a year, and it’s impossible for him to overcome that in the space of days.

Jack’s struggle is likely to be an early highlight of the season, but it could be matched by Alexander Siddig’s portrayal of Assad. The writers of “24” have created an interesting connection to organizations like Sinn Fein, the political arm of the IRA in Northern Ireland. This is actually quite clever, because it highlights the fact that such a man (or movement) is completely absent from the “real world” scenario. Never mind that Assad is a man with a deeply violent past and present, making it very possible that his apparent goals are not what they seem.

This episode once again tries to strike a balance in the civil liberty/national security debate, and it generally works well. While the subplot involving Sandra Palmer (the sibling nobody discussed for a decade) is annoying, especially given the inclusion of yet another inter-office romance, it’s also necessary. After all, within the story itself, there are good arguments for and against handing over that information, given where it could lead. Sandra Palmer destroys the integrity of their side of the debate by destroying the information that she was required to provide. It’s a classic case of undermining one’s position through ill-conceived action.

On the other side of the debate, there are the clear actions of terrorism and fanaticism. Ahmed was initially shown as a young man conflicted, but by the end of this episode, his true colors are revealed. Much like the fourth season, the writers have given themselves an opportunity to explore the mindset of a terrorist. It remains to be seen if Ahmed will be around long enough for them to explore his rationale. Hopefully, the writers will avoid the ridiculous cliché that there is no rationale and that the terrorists are beyond reason; all humans who commit premeditated acts are acting out of reasoned motivation, however misguided or incorrect that reason may be.

The suicide bombing, foiled by Jack, was provocative for a number of reasons. First and foremost, it removes the remoteness of the exposition given in the newscasts. It’s one thing to say that terrorists coordinated suicide bombings in two other locations; it’s another to show people who barely escaped the same fate. It makes the audience think about the possibility of such a situation. In short, it strikes at the heart of the national security argument. Jack was there to save the day, but in two other cities, the damage was done. Doesn’t that justify the arguments of Tom Maddox?

If the writers remain true to form, the situation will continue to escalate until the debate becomes much more than an intellectual exercise. The plan to inter Muslims should remain on the table, and civil liberties should continue to be abused, so that the audience can consider whether or not a line has been crossed. Equally, the reality of Islamic terrorism should not be avoided. So far, the only complaint is that the civil liberty aspect has been hampered by cliché and silly plot devices.

One other weakness comes to mind. In the premiere episode, Chloe and Morris both broke protocol in a misguided attempt to save Jack. That decision was a horrible miscalculation, and it should have resulted in terrible legal and personal consequences. Instead, Chloe and Bill conspire to help Jack in this episode, despite the similar implications. That doesn’t quite track, and it makes CTU security and protocol even less impressive than in previous seasons.

Final Analysis

Overall, this episode continues to flesh out the central debate of civil liberty vs. national security, taking both arguments into certain extremes. While some aspects of this debate fall into realms of cliché, the writers are doing a better job of maintaining a balance between both sides than one might have expected. In some key aspects, the character exploration is better than anticipated.

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

Final Rating: 7/10

24 6.1: "Day 6: 6AM - 7AM"

Written by Howard Gordon
Directed by Jon Cassar

In which a bargain with the Chinese returns Jack Bauer to the United States, where he is asked to sacrifice himself to help bring a devastating series of terrorist attacks to an end…

Status Report

(Note: This review covers the first hour of the Sunday night premiere; a subsequent review will cover the second hour.)

And so another horrible day begins for Jack Bauer. All things considered, this story begins in a rather unconventional fashion. For one thing, it’s not about stopping a terrorist attack, which is the usual excuse for pulling Jack out of the arsenal. Instead, the country has been the victim of a string of small but psychologically devastating attacks, and CTU has run out of options. Sacrificing Jack for the chance to get the apparent ringleader of the terrorists is seen as a terrible but necessary tactic.

By approaching the season in this fashion, the writers introduce a few major themes of interest right from the beginning. First and foremost, Jack has been beaten down to the point where he’s staying alive so his death can have meaning. He’s looking for something worth dying for, and that’s never a good motivation. That said, it’s the most interesting starting point for Jack in quite a long time. He’s not starting as the reluctant hero; he’s starting as the willing sacrificial lamb.

That’s interesting in and of itself, but imagine where this will allow the writers to go, if they have the ability to make it work. By the end of this episode, Jack is taking the first step towards finding something worth living for, even if it’s just for a little while. He needs to find himself again, and if the writers can resist making that a quick process, it should be more than rewarding.

The writers also set the stage for a debate on the price of security, which is topical, to say the least. Neither side of the debate is portrayed as the “right” side. While there does seem to be a lot of objection from popular characters to the idea of sacrificing civil liberty for the sake of national security, the writers undermine the simple interpretation by having the most obvious victim of such a policy be, in fact, one of the terrorists. In other words, what if the unpopular and possibly immoral choice is also the most effective?

Karen Hayes and Thomas Lennox make good representatives for their sides of the debate, and by making Wayne Palmer a relatively new and besieged president, it’s easy to believe that he would have many advisors and that they would disagree. It should be interesting to discover more about Wayne and his rise to political power, considering what kind of trouble he’s had in the past. Given the timing of the first attacks, wouldn’t it be interesting if Wayne himself was the target of the attacks in such fashion?

As with most seasons of “24”, the best material is sometimes overshadowed by the silly relationship issues. (The other mistake, the inclusion of idiotic non-CTU characters, has thus far been avoided.) This season already has a slew of annoying interpersonal conflicts. Morris was a nuisance from the moment he appeared out of nowhere in the previous season, and there was little reason to bring Milo back in his current incarnation. Nadia seems to lack the gravitas of a Tony or Michelle, and even the possibility of a strong mature relationship between Karen and Bill doesn’t overcome the tedious nature of the subplot.

And while the revelation about Ahmed does give balance to the episode by proving the strengths and weaknesses of both sides of the civil liberty/national security argument, the story might have been more interesting if Ahmed had been completely innocent. Imagine a scenario where the most dangerous terrorist is the one who is driven into that fanaticism by the effects of an overly aggressive anti-terrorism policy. Considering how far they’ve strayed from the usual template with Jack this season, it wouldn’t have been that large a gamble.

Final Analysis

Overall, this episode was an unexpectedly unique start for the season. Breaking format somewhat, the writers gave themselves a lot more freedom to tell their story. While some of the perennial weaknesses remain, and some aspects of the core concept aren’t explored to their full potential, this is still one of the more inventive beginnings for a season of “24”.

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

Final Rating: 8/10

Supernatural 2.10: "Hunted"

Written by Raelle Tucker
Directed by Rachel Taladay

Once again, the writers for “Supernatural” demonstrate how a focus on character can lead to the best plot twists. None of what happens in this episode would have the impact it has without the long, methodical psychological exploration that came before it. We needed to see Dean’s conflict and emotional strife so that this revelation about his father’s final request could be understood. In fact, Dean has been living with that duty long enough (and plainly enough) that it doesn’t feel like a revelation at all.

More to the point, the writers could have given Dean the full story, direct from his father, and he could have explained everything about the demon’s plans right then and there. Other shows have fallen into that kind of exposition trap, and it can be hard to avoid. Instead, the writers give the expected information by letting it come out naturally. The result is a massive complication in the world of the Brothers Winchester.

A number of things that could have been simple have become far more questionable. Up to this point, Dean had his suspicions about Sam and his supposed destiny, but he had good reasons to object to Sam’s assumption that he was inherently pre-disposed to an evil purpose. Since we’ve seen Sam do positive things and work for the side of the angels, usually with more compassion than his brother, it’s hard to think of him as a pawn of the demon.

This would naturally make Gordon the villain of the piece. In his initial appearance, he was seen as a hunter with a very cut-and-dry point of view on his craft: anything in league with the demons is fair game, regardless of good or bad intentions. Personal considerations don’t come into it. The audience, predisposed to Sam and Dean as the “good guys”, see Gordon and his actions in a negative light.

In a clever move, the writers introduced Ava, who comes across as a cute and spunky civilian with little or no predisposition for violence at all. Before long, you actually worry that she could be killed by Gordon, or more likely, dumped by her fiancé for running off to see Sam. This makes her the perfect plot device for communicating the true danger of the “demon pawns”. Seemingly normal and peaceful people can turn into killers, if they have that legacy hanging over their heads.

This means, in the long run, that Gordon might have been right. Sam may not intend harm, but he could be some kind of demonic sleeper agent. Sam may not be able to control himself when the time comes. Dean’s promise can now be seen as the curse that it is, paying off his emotional strife since the season premiere. The writers don’t need to communicate the implications, because they’ve been etched on Dean’s pained expression several times already.

Along the way, the writers also twist the knife for the Brother Winchester by leaving their support system in doubt. The Roadhouse may not be the safe haven they thought it could be, because Gordon got his information from someone there. For that matter, Ellen and Jo could be seen as “collaborators” if things get nasty. Jo’s presence out in the field as a hunter could lead to a reunion down the road, but it may not be pleasant if she’s come to the same conclusions as Gordon. All in all, the circumstances will force Dean into a corner if Sam begins to show signs of turning.

The episode ultimately tightens the screws on the Brothers Winchester while setting the stage for a massive plot bomb later in the series. While the war mentioned in this episode may not be coming just yet (there is a benefit to keeping it just off the horizon), Sam and Dean are caught in the middle. As sides are chosen, it will be increasingly harder for the brothers to stay out of the line of fire. And since the more they fight with other hunters, the less they hunt demons themselves, it should be an interesting balancing act.

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

Final Rating: 8/10

Smallville 6.10: "Hydro"

Written by Brian Peterson and Kelly Souders
Directed by Tom Welling

The best episodes of the season have focused on Clark’s development as a hero for the people and how his personal issues stand in the way of that process. When the writers stray from that character evolution, the results tend to be less satisfying. The previous episode was the worst of the season because it failed to resonate with the theme of the season as a whole. This episode manages to stay on course despite an annoying guest star.

Tori Spelling attacks her role with a campy, over-the-top style that threatens to undermine the credibility of the story from the moment she steps on screen. Ironically, her character represents a somewhat reasonable threat. With Lana stalling on her answer to Lex’s proposal, it makes sense for her relationship to Clark to come under scrutiny as a possible cause. And since gossip reporters have few moral objections to violation of privacy, it makes sense that Clark’s background would be fair game.

All of which puts Chloe in a difficult position, giving her the chance to vent when her ability to keep secrets is questioned. Her rant against Clark has been a long time coming, and it was perhaps the most satisfying scene in the entire episode. Chloe has always been one of the most important elements of the series, but her central function as all-around confidante is a difficult and thankless one.

Clark’s personal isolation and resulting bitterness has done nothing for his sense of perspective. His interpretation of events, particularly in terms of Lex and his relationship with Lana, bears little resemblance to the truth. This petulant anger and resentment gives Lex plenty of ammunition, and it makes Lex more sympathetic. Most frustrating is the simple fact that Clark could easily defuse the tension with a slightly different attitude and approach. Instead, with both Lex and Lana, his actions and choices only reinforce their anger with him.

This episode once again sets the stage for the future relationship between Lois and Clark, which is alternatively amusing and annoying, depending on the scene. To a certain extent, everything Lois is saying and doing with respect to Oliver and Green Arrow is reinforcing Clark’s decision to hide his abilities and isolate himself from his loved ones. If anything were to happen to Chloe because of her knowledge, that would further reinforce those decisions. Considering how much of that played into the breakdown of his relationship to Lana, which in turn cemented his rivalry with Lex, the factors that drive Clark towards heroism also feed into his least heroic tendencies.

Still, if one reconciles the fact that Lois and Clark will be together in the long run, it’s hard not to smile at some of the interactions in this episode. The constant bickering has given way to something a bit more comfortable. As Lois says, Clark knows her all too well at this point, and her reaction to their kiss was cute, if a little overdone. (In all honesty, Chloe’s part in that conversation made the scene work.)

Like many episodes this season, the villain felt like an afterthought, especially in terms of her eventual defeat. It was interesting to see Chloe and Lana taking on one of the super-powered villains, but the resolution was weak, to say the least. In this case, the interpersonal issues were far more interesting than the “freak of the week”, which could be a good sign. The series could benefit from the approach of a series like “Supernatural”, where the focus is squarely on the psychology and development of the lead characters. This season is a step in the right direction, but they’re not quite there yet.

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

Final Rating: 7/10

X-Files 6.14: "Monday"

Written by Vince Gilligan and John Shiban
Directed by Kim Manners

In which Mulder finds himself experiencing the same day over and over again, always leading to his death in a bank robbery…

Status Report

For many fans, this is a highlight of the sixth season. Despite the obvious comparisons to “Groundhog Day”, the concept is an old one. As with many tried-and-true plot devices, the question is how well the idea is used within the existing context of the series. In this case, the end result is an episode that somehow manages to exceed the limitations of its parts.

One might have expected this episode to expose something about Mulder’s character. After all, one of the head writers on the episode was Vince Gilligan, best known for focusing on consistent character development over the course of the series. This is the first of many unusual surprises for the episode: there is precious little development.

Who wouldn’t expect Mulder, at this point, to be a proponent of free will, after all? He may understand that his life has been manipulated by others, but he also has reason to believe that his decisions changed the course of the future. One of the deep ironies of “X-Files” is how little freedom Mulder has in his existence, since even his apparent free agency is taken into account by higher authorities.

Similarly, Scully treads the kind of fine line between God’s plan for the world and individual free will that many religious followers recognize. As a scientist, especially one with a strong background in relativity and quantum theory, Scully would be familiar with the idea of chance at the heart of deterministic order. So her philosophy is hardly a surprise.

What is surprising is the lack of any explanation for the events of the episode. No attempt is made to explain why this loop in time is taking place. It is as inexplicable as the continued existence of the waterbed in Mulder’s apartment. Some have theorized that this suggests a connection between “Dreamland” and “Monday”, explaining the temporal loop as a lingering effect of the situation around Area 51. But this does nothing to explain why the loop was established and how it was ultimately broken.

Unfortunately, this means that a large chunk of the X-Files premise is missing. Beyond a short affirmation of their opinions on fate and free will, Mulder and Scully have no theories to offer. There are a couple lines here and there, hinting at dueling interpretations, but Mulder is still only flying by the seat of his apparent intuition when he tries to change events. Scully never tries to understand what might be happening.

In a sense, not even Mulder takes specific and directed action to resolve the crisis. While he does ultimately interfere in the flow of events, changing things enough to result in an outcome that breaks the temporal loop, this is as much a matter of luck as it is a matter of observation. This lack of definitive action takes something away from the episode as a whole.

The story itself depends on a specific sequence of events, leading to the moment when the bomb explodes and time recurs. The eventual solution is, as mentioned, more a question of luck. Surprisingly, there was a quick and simple solution that could have been legally implemented on several occasions: shooting Bernard in the head as soon as it’s clear that the bomb needs to be triggered with a switch to explode. Mulder and Scully both end up watching Bernard slowly slip his hand down and flick the switch, and it happens enough to highlight the fact that it’s a massive plot hole.

Many also point out that this episode is the first return to the basement office, and while things are still in flux since Spender’s shooting and Diana Fowley’s off-screen reassignment, Scully still doesn’t have a desk of her own or her name on the door. Previously, this was somewhat easier to overlook, but if Spender and Fowley could share billing, why not Mulder and Scully? It sounds like a silly thing to hold against the episode, but it actually serves as an obvious example of how the writers never addressed the post-“One Son” situation.

If the episode does succeed, it does so with relatively subtle comedy. The humor in this episode is kept within realistic boundaries, grounded within the mundane reality that the audience can appreciate. Duchovny manages to play Mulder’s recurring ordeal with the waterbed with deft timing. Skinner’s meeting is another example of how something so mundane can be deeply amusing without taking over the episode.

Despite all of the weaknesses, the episode succeeds because the audience can watch the episode and get into the concept without needing any of the elements that are missing. It simply doesn’t stand up to close inspection. While that can be a problem for episodes that require the audience to overlook the problems to buy into the premise, in this case, the episode is essentially the equivalent of an “X-Files” popcorn movie.

Memorable Quotes

MULDER: “You ever have one of those days, Scully?”
SCULLY: “Since I’ve been working here? Yeah…”

MULDER: “I know, I missed the meeting.”
SCULLY: “Well, not yet, but only because it’s the longest in FBI history.”

Final Analysis

Overall, this episode is often considered one of the more popular episodes of the season, despite some of the obvious plot holes and contrivances. Upon close inspection, the resolution of the story is not entirely satisfying and the writers cheat to keep the premise running, but none of that matters in the end. This is designed to be a crowd-pleaser, and that’s ultimately what it is.

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

Final Rating: 7/10