Heroes 1.17: "Company Man"

Written by Bryan Fuller
Directed by Allan Arkush

Considering all the comparisons, it’s neat to see “Heroes” attempt its own version of “Lost”. This definitely fit the classic “Lost” mold in terms of format, and this should finally give a true basis of comparison. Can “Heroes” succeed in the same kind of narrative territory that has made “Lost” so unique? And can “Heroes” retain its flavor in the process?

Choosing Mr. Bennett as the focus of the episode was a smart move. Mr. Bennett is one of the best characters on the show, and his history is central to the entire mythology. The framing story is perfectly suited to this review of Mr. Bennett’s history. Ted adds an unpredictable pressure on the situation, Matt can read minds, and Claire wants answers. And of course, this is the perfect chance for Matt and Claire to discuss their personal experiences and put together connections among the superhumans.

Very quickly, pieces of the puzzle come together. Hiro’s father has a direct connection the initial exploration and cataloguing of those with abilities, a process that was already underway more than 15 years earlier. It’s not entirely clear whether Hiro’s father and his associates are the ones running the Company or if they are independent contractors. The possibility of a connection to Linderman is likely.

Claire’s “death” did a great job of ratcheting up the tension, forcing Mr. Bennett into the right position to explain himself. It’s now quite clear that Mr. Bennett is trying to keep Claire from being victimized by his own organization. Victimized, it seems, in the same way that Matt and Ted were. As with the best villains, Mr. Bennett truly believes that he is doing the right thing, both for his family and the world.

This is given scope and depth by every action that Mr. Bennett takes, past and present. So much has been done to keep the truth concealed, but now the situation is spiraling out of his control. That’s the kind of circumstance that reveals character, good or bad. Of course, it reveals something very important: Mr. Bennett, as bad as he might be, is holding back out of love for his family. What would someone without those dueling loyalties?

There is one small problem with the resolution to the episode. Ted’s ability is based in the release of nuclear radiation. If he loses control of his ability, it shouldn’t simply start a fire. Ted should be releasing massive bursts of radiation. And that should be ripping anyone near him apart, or short of that, giving them serious radiation exposure. Claire was badly hurt, but everyone else should have been equally damaged.

In the end, Mr. Bennett is no longer in control of the situation. He’s managed to save himself, but the genie’s out of the bottle. Mr. Bennett’s attempt to save his family has failed, and he may not be able to save Claire from the Company in the future. His only chance of survival is to throw himself into his work without further hesitation. And that should reveal what it’s like when someone like Mr. Bennett no longer feels conflicted about his work.

Like the best episodes of “Lost”, the flashbacks and “present day” segments of this episode answer a number of questions while producing new ones, without generating the wrong kind of frustration in the process. In fact, like the best episodes of “Lost”, this managed to give a highly consistent history for Mr. Bennett while revealing layers that were only hinted at in the past. It’s not the sort of thing that “Heroes” should do every week, but it was the perfect way to end the complication phase of the season arc and start the road towards resolution.

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

Final Rating: 9/10

24 6.11: "Day 6: 4PM - 5PM"

Written by Manny Coto
Directed by Tim Iacofano

In which the plot to assassinate President Palmer comes to a head, while Jack comes face to face with an old enemy and Chloe begins to suspect that Morris is unfit for duty…

Status Report

Coming into this episode, the writers put themselves in a bit of a bind. Philip Bauer’s motivations have been all over the map, and ex-President Logan is now part of the story. With the mid-point of the season rapidly approaching, can the plot be brought back into some semblance of cohesion? With Manny Coto as the primary writer for the episode, there’s at least some measure of hope.

The explanation for Logan’s house arrest is rather ridiculous considering the end of the fifth season, but considering how hard it is to believe that Logan is involved in the first place, it’s an effort that’s appreciated. Unfortunately, no attempt is made to explain why Philip would connect Jack with Logan, which is a gaping plot hole that needs to be addressed as soon as possible.

As usual, circumstances are contrived to force Jack to make a deal with this season’s devil, and Logan gets back on his feet after token resistance. Why they couldn’t make a videotape explaining the terms of the deal for Markov’s benefit is hard to reconcile; it would have taken moments, and Logan (and his knowledge) would have remained safely behind Secret Service protection.

The confrontation between Logan and Wayne Palmer was a lot of fun, but it’s quite possible that the writers have missed the mark on why Logan was such a successful character in the first place. It was the mixture of bruised dignity and amorality that kept his character from descending into complete farce. This episode is missing that dynamic, but it’s quite possible that this supposed journey to redemption will transform into something a bit more substantial.

It’s rather nice of Reed to keep Tom Lennox alive long enough to hear every little detail of the plan to assassinate President Palmer. That justification is a bit harder to swallow. The primary weakness of any conspiracy is the human element. Why take the risk, especially if the suspected links to the Bauer company and the conspiracy from the fifth season are valid? They ought to know better from recent history.

CTU continues to be a drain on the season as a whole. Morris’ personal issues are getting old, especially since Chloe should have punted him into a new and better incarnation hours ago. The time being taken to keep Morris’ secret is completely ridiculous. If he’s even a small distraction, he should be removed. And he certainly shouldn’t be given free reign to question Buchanan’s judgment.

As many fans noted after the previous episode, it’s getting very hard to care about the people in CTU when they seem far less interesting than previous CTU teams. In particular, Nadia seems far too soft for her position, and Chloe seems to have lost a lot of her edge, despite the scene in the men’s room. Unfortunately, this subplot is progressing in an utterly predictable fashion, highlighting everything that’s lacking in the CTU this season.

The end of the episode is the attempted assassination of President Palmer, placing Assad squarely in the same crosshairs as the scapegoat. It’s not a bad final act, and it plays out with a good deal of tension. Because it was the inevitable culmination of established plot elements, it came together rather well. With Palmer out of the picture for a while, his enemies could reveal some details about the conspiracy against him, the current terrorism, and Philip Bauer. And perhaps that could finally lead into an explanation of Philip Bauer’s activities since the beginning of the season. At this point, the success or failure of the season could very well depend on resolution of that gaping plot hole.

Final Analysis

Overall, this episode was saved by a final act that managed to deliver on a well-developed plot thread. Otherwise, there are still some glaring plot holes, one in particular, and they detract greatly from the overall quality of the season. It’s not a good sign when the subplots are more consistent than the main storyline.

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

Final Rating: 6/10

(Season Average: 7.0)

Prison Break 2.18: "Wash"

The resolution phase of this season’s arc is just full of surprises. The past few episodes have been a lot of fun, as plot threads continue to collapse back into the main story in surprising ways, and character fates continue to be unpredictable. At this point, it’s not hard to see how the various plot threads are going to overlap, which is a very good sign. With four episodes left to go, the endgame is definitely in sight.

The writers pulled one last surprise out of the bag regarding the evidence exonerating Lincoln: it’s a copy and inadmissible in court. Learning that is less than obvious, since Michael and Lincoln try to contact one of their father’s allies and nearly get caught in a trap. Kudos to Sara for being the one to work out the truth, even if she took an enormous chance by visiting her father’s grave. (It was a nice touch for the ground at her father’s grave to be so fresh; it’s easy to forget how little time has passed since the escape.)

In the end, the only way to use the recorded conversation on the thumb drive is confrontation of President Reynolds, which ties in very nicely with Kellerman’s decision to kill his former employer and romantic target. It’s a very nice touch to have Kellerman inadvertently become a threat to Michael’s last ditch effort to end the whole nightmare. And his little scene with his sister made him a little more human, even though it’s probably going to be the reason why he gets caught before the assassination, if that’s how it plays out.

With the conspiracy gaining on Michael and Lincoln, Mahone’s deal with C-Note takes a tragic turn. Once again, we get to see Mahone’s human side, even if it comes at a moment that is rather inhuman at its core. Mahone looks incredibly shaken by his order to kill C-Note, and the resulting subplot with C-Note’s reaction to the choice dropped in his lap is very well done. It’s possible that C-Note will survive in the end, but it was an unexpected turn for the plot to take.

Bellick is sent to bring in Sucre, who is finally getting a few moments of happiness with Maricruz. Things always seem to go badly once a member of the Escape Squad has that kind of moment, so there’s little doubt that Sucre’s safe haven is about to fall apart. In fact, knowing Bellick, Maricruz and the baby are hardly out of the line of fire.

The wild card in all of this is T-Bag. After his misadventures in the middle of nowhere, seemingly as far away from the rest of the world as one could get from the rest of the Escape Squad, his fortunes take him back to Chicago and on the same flight as Bellick. It shouldn’t be long before T-Bag ends up right in the middle of the mess at the end of the season.

Perhaps the most impressive aspect of the episode takes place in the final act. Usually, when someone is in a room and another character is hunting them down, the editing will imply that the hunter is converging on the location of the prey. Typically, the prey is safely elsewhere, having fooled the hunter once again. This time, it could still happen that way, but the likelihood is that Mahone will finally catch up with Michael. That confrontation will certainly be worth the wait.

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

Final Rating: 8/10

Battlestar: Galactica 3.16: "Dirty Hands"

Written by Jane Espenson and Anne Cofell Saunders
Directed by Wayne Rose

Over the past two seasons, one of my main comments on “Galactica” was the somewhat shallow exploration of the day-to-day struggles for survival. There were the broad actions involving the Cylons and the issues explored on New Caprica, but the situations within the Colonial Fleet as a whole were either vague or ham-fisted in nature. The Colonials seemed to have a fairly reasonable way of life, given the tense nature of the exodus.

This episode goes a long way towards changing that impression, and I love it all the more for it. Perhaps the best element is the growing sense of a caste system based on colony of origin. We see, for the first time, a difference between wealthy colonies and poor colonies and how that translates into the upkeep of the fleet. Questions of entitlement vs. necessity are directly raised and addressed, and the ensuing agreements are simply part of a long-term process of change. This is a far better look at the tensions within the fleet than, say, “Black Market” or “The Woman King”.

At the heart of the discontent is Baltar, who has apparently learned a little something from his former Vice President, Tom Zarek. In fact, Baltar’s new message and method is so close to the Zarek model that Zarek’s absence is the one major sticking point for the episode. Of course, one might assume that Zarek was working behind the scenes in some fashion. He could have defused the situation easily by supporting the current government, but he chose to stay out of it. That could be translated as silent approval of the worker revolt. (The reality, of course, is that Richard Hatch was probably unavailable for the episode and couldn’t be written in.)

Whatever the case, this probably pertains more to Baltar’s trial than the abortive Sagittaron plot that made such a mess of “The Woman King”. Baltar is using the growing tension in the fleet to divert attention from his own crimes against humanity. If anything, he’s shifting the blame to an “aristocracy” led by Roslin, Adama, and their Caprican ruling class. Those stuck in blue-collar jobs under horrifying conditions already resent those living in clean, spacious quarters, and Baltar knows that. And of course, he knows very well how heavy-handed Roslin and Adama can be when their authority is questioned and the needs of the military are threatened.

Baltar has now positioned himself as a grass-roots champion of the working class. Never mind that he was the one in charge when so many of the New Capricans were ravaged and abused by the Cylons. The fact that Tyrol was able to restore a sense of worker rights to the fleet can now be traced directly to Baltar’s visionary “book”. Like Zarek, Baltar might be staging a comeback for himself. For Baltar, it’s a desperation move, but one in keeping with his genius.

This episode also dismisses the notion that the events of New Caprica are a thing of the past. Tyrol’s character motivations are still firmly rooted in his role as union organizer on New Caprica, and much of his dissatisfaction since the Second Exodus had to derive from the attempt to pretend everything was back to status quo. For that matter, looking back on many of the so-called “filler” episodes this season, they are all linked by the subtle awareness that the fleet has yet to really deal with the New Caprica legacy. Roslin and Adama have been dealing with the cracks in the “everything’s normal again” façade, but it’s building towards something major. Zarek’s warning about Baltar’s upcoming trial is precisely in line with this undertone.

Because this episode is as much about attitude and selective interpretation of information as it is about the issues within the fleet, we get to see sides of characters that are consistent yet unusual. This is in contrast to “The Woman King”, where many character shadings felt forced or unearned. It’s unfortunate that other characters were left out of the story. For that reason alone, this might have worked even better as part of a season arc. Rather than focusing on relationship issues (which seem awfully silly in comparison), the writers could have focused on the dynamic interplay of fleet tensions and conflict with the Cylons.

As it is, this is still a great episode that should play into the rest of the season rather well. It even ties into the larger series concerns in a subtle, indirect manner. It shouldn’t take long to consider that the vital importance of one refinery ship should make it an easy target for the Cylons, especially those still hidden in the fleet. Other ships are equally vital to basic survival. The fact that such ships have not been targeted or destroyed could be another hint that the Cylons need the Rag-Tag Fleet to exist, at least for a little while. It might also be a plot hole, but considering how well everything else in the episode worked, I’m willing to give the writers credit.

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

Final Rating: 8/10

Lost 3.9: "Stranger in a Strange Land"

Written by Elizabeth Sarnoff and Christina Kim
Directed by Paris Barclay

In which Jack becomes embroiled in the power struggle within the Others’ camp when Juliet is slated for execution, while Sawyer and Kate argue over saving Jack and dealing with Karl…

Status Report

Some episodes manage to balance the present and past with a strong sense of metaphor. At the very least, the connection between past decisions and “present” conditions should be strong enough for the audience to appreciate the point being made. When the metaphor or parallel is forced, the episode typically suffers as a result. And when the writers try too hard to build up connections that are obtuse for the audience, the episode doesn’t have a prayer.

It’s not entirely clear what the goal was coming into this episode. Jack’s flashback reveals that his true self is a leader of men, good and noble. And that has been shown over the course of the series to some degree. The flashbacks also seem to demonstrate how that positive aspect of Jack’s character is continually undermined by the most negative aspects of his personality. And this has also been aptly demonstrated over the course of the series. Jack is stubborn, impatient, entitled, and angry. Jack is also deeply troubled by that which defies logic and reasoning.

Of course, all of that has been established already. Now it feels redundant. The goal of this episode should have been progress towards that hidden nobility or a clear signal that his inability to move past his negativity will lead to something terrible. That’s been the hallmark of “Lost” since the first season. That’s where the episode fails to do anything new.

The writers use Jack’s mark, an indication of his true self, as an analogue to Juliet’s situation. Jack’s tattoo states “he walks amongst us, but he is not one of us”. The Others’ sheriff, for lack of a better term, interprets that as an ironic statement, applicable to his current situation. But it’s a rather clever way to refer to a leader. A leader is often forced to stand apart from the rest.

So what does this mean in conjunction with Juliet’s “mark”. Any kind of analysis is hampered by the fact that the meaning of the mark is only implied, not fully explained. Juliet appears to be some kind of social pariah, no longer trusted and barely tolerated. So in a sense, Juliet walks among the Others, but she is not one of them. If that literal meaning is wrong in Jack’s case, however, then is it also incorrect in Juliet’s situation? Perhaps the connection is that Jack and Juliet are perceived as outsiders, but they will ultimately emerge as the ones in control. Whatever the case, the writers were reaching for something there, and it’s quite possible that they missed.

There also seems to be a parallel between Jack and Sawyer. Sawyer appears to make choices that undermine his relatively new relationship with Kate. Jack seems to have something simple with Achara, but he can’t leave well enough alone and his choices destroy the delicate balance between them. Delving into the details, of course, the parallel doesn’t quite hold up.

For one thing, Sawyer’s problem with Kate has less to do with his insistence on survival and sympathy for Karl than Kate’s lingering feelings for Jack. Kate is the one feeling guilty about leaving Jack behind, even though Jack insisted on it. Kate is the one who wants to use Karl to pull together an attack plan. Sawyer may be insensitive to her emotions over the whole ordeal (and characteristically willing to screw things up with her), but he’s not creating a situation out of nothing.

On the other hand, Jack let his own insecurities and control issues get in the way of his free-spirited affair with Achara. Granted, her characterization was bizarre enough to test the patience and understanding of any reasonable man on the planet. Her personal style was one step short of exhibitionism. But this seems like a case of trying too hard to give Jack some small justification. The writers make Achara so over the top that the depth of Jack’s psychological damage is somewhat mitigated.

It’s fairly clear that Jack suspects Achara might be a prostitute. Her overall appearance is suggestive of a life on the fringe; she actually looked like the personification of an anime character. The comment about tasting something salty was, quite possibly, a thinly veiled reference to a certain sex act on her part. His decision to follow her into one of the less savory parts of town, complete with her barely-there red dress, was reinforcement of his assumption. It would have been a bit more intriguing if Achara’s questionable behavior was more subtle. It still ends with Jack acting like Achara’s entire life was his to question and dominate, so his issues were laid bare and the consequences were justly severe, but it wasn’t as effective as it could have been.

The point being that Sawyer’s situation with Kate was more about Kate, and Jack’s situation was all about Jack. So the parallel doesn’t quite hold water. The writers have also tried one final connection between the three relationships under study in the “present”, but that conclusion is based on assumption. The final act seems to draw a connection between Jack/Juliet, Sawyer/Kate, and Alex/Karl. One relationship possibly blooming, one relationship on the rocks, the last relationship in the midst of idealism. If that was the intended conclusion, then the rest of the episode wasn’t framed to lead into that or provide insight.

So ultimately the episode feels like a lost opportunity, revealing the origin and apparent meaning of Jack’s tattoo but little else of note. More than that, there’s no apparent progress in Jack’s development. It’s not clear when Jack’s trip to Bangkok took place, why he felt the need to find himself, or why he was so angry. And the trip to Thailand seemed rather extraneous and clichéd.

It certainly didn’t help that the ABC promotional department made the claim that three major questions would be answered during the episode. One has to wonder how they came to that conclusion (especially since the producers asked the same question). Yes, the mystery behind Jack’s tattoo was solved, but was that really a major question? The fate of those abducted by the Others is revealed, but only in the sense that they are alive and part of the Others’ community in some way. That still only counts as two possible questions to be answered. So what the hell were they talking about?

In the end, this episode simply didn’t come together. It couldn’t have happened at a worse time. “Lost” is struggling, thanks to the timeslot move and the dissatisfaction with the focus on the Others. This episode once again pertains to the Others and Jack’s unusual captivity, and that may continue to frustrate the audience. On the other hand, this is part of the complication phase of the season arc, so this is building towards something that might change the status quo in a major way. Hopefully this will be a momentary setback along the path.

Final Analysis

Overall, this episode seemed to have a lack of focus. None of the attempted parallels seem to come together by the end, which makes the episode somewhat unsatisfying. It also doesn’t help that the episode was promoted as something that it clearly wasn’t. This will hopefully be a temporary setback for the season.

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

Final Rating: 6/10

(Season Average: 7.3)

Heroes 1.16: "Unexpected"

Written by Jeph Loeb
Directed by Greg Beeman

Right off the bat, we meet the newest addition to the superhuman gang: Hana. Hana is more than happy to use Ted the Nuclear Man as a weapon against Mr. Bennett’s organization, which serves to bring him back into the story at just the right time. Matt continues to struggle with his personal predicament, caught between wanting to do what’s right and wanting to protect what’s left of his tattered world. His choices drive a wedge between him and his wife. This simply adds to his desire to find some outlet for his frustration, and Mr. Bennett is the perfect target. Ted and Hana give him one more reason and the perfect opportunity.

Faced with her mother’s worsening condition, Claire may be gathering the desire to fight her father’s agenda directly. That fits right into the Haitian’s plans for a resistance, which in turn may mesh with the developments with Ted and Hana. She’s run out of nearly every other option she can think of, so who else could she turn to? Considering how the episode ended, it looks like she’ll be caught between her family and her desire for answers.

For his part, at the beginning of the episode, Mr. Bennett is sent after Peter and Claude by Isaac, who seems to be operating out of less than altruistic motivations. It also doesn’t help that Isaac’s jealous of someone as mind-numbingly boring as Simone. It still doesn’t make sense that Peter and Isaac would be so taken by Simone, given her utter lack of energy. She’s also not particularly smart. Nathan’s the last person who would lead the charge to expose the super-humans to the public, given his political aspirations and his fear that Peter could become a liability. She was well aware of that fact, so why expect Nathan to change his mind at this stage of the game?

Whatever the case, Peter has managed to learn enough to save himself and Claude when it counts. And of course, that all comes together during the fight in the final act. Frankly, it was fun to watch Peter take out his anger on Isaac, because he was finally starting to use his multiple abilities in concert. Simone’s death should serve to divide them further, but it’s hard to feel bad about her admittedly shocking demise. That love triangle was one of the least interesting aspects of the series.

Somewhat apart from the rest of the interconnected action, Mohinder and Sylar find someone else from his father’s list, a woman in Montana with the ability of “super hearing”. This particular ability threatens to expose Sylar’s dishonesty, which is an unexpected twist. For that matter, Mohinder’s potential inhibitor presents a threat to Sylar’s plans. This episode gives us a better understanding of Sylar’s ability to take on new abilities and adjust to the effect. In this case, after several hours, Sylar was still having difficulty with Dale’s ability. If Mohinder hadn’t been distracted by Dale’s murder, he might have put two and two together. It certainly seems as though it won’t be long.

Hiro’s attempt to act tough is awfully amusing, but it’s a nice bit of character development. It’s just another expression of his emerging heroism and confidence. His assumptions are also challenged by Mr. Grumpy Agent. At least his abilities kicked in when the time was right. That’s an interesting connection to Peter’s situation. Hiro’s decision to leave Ando behind is a test for both of them. (Nice cameo by Stan Lee in the final act!)

In the typical arc driven series, the complication phase of the season arc comes to an end with a major twist, leading into the resolution phase, around episodes 16-18. Certainly the events of this episode point to something major in the very near future. The situation at the Bennett house would be the most sensible place for that to happen, though one would also expect something equally explosive for Peter and Hiro. Things are definitely coming together, and there’s been no end to the surprises along the way. The final six episodes should be one hell of a ride!

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

Final Rating: 8/10

Studio 60 1.16: "4AM Miracle"

The drop-off from Tom Schlamme’s directorial effort last week is evident from the very first frame. This is “Studio 60” back to the usual grind, and it’s simply not as compelling. It doesn’t help that the episode feels scattershot and disconnected. A number of plot threads are explored in the episode, but there’s never a true sense of cohesion.

The main plot is a follow-up to Matt’s downward spiral in the previous episode. Matt continues to struggle with his muse, especially now that she’s put him in his place and left him for metaphorical dead. Without the tension that comes with Harriet tightly in orbit, Matt is unable to function. It’s starting to become noticeable. If he’s still abusing pills (something not seen in this episode) and his depression remains, it’s hard to imagine that he’ll be able to hide it much longer. After all, Danny is a recovering addict and should know the signs.

His conversation with the sexual harassment lawyer didn’t seem to gel in the way implied by the dialogue. There was certainly a purpose to pushing Matt’s buttons, but it might have been too subtle. The idea, if I understood it correctly, is that Matt was willing to stand up for the sanctity of the writer’s room even when the topic at hand was debauching his soulmate, which in turn makes him a good witness against the claim that the writing room was a hostile work environment. If that was the point, then it was a little obtuse.

The attraction to Matt, of course, fits perfectly within the odd world of “Studio 60”, where sexual harassment lawyers can point out how damaging an office relationship can be to overall effectiveness, yet solicit a date from a future witness for the defense. As good as this might have been for Matt, it makes Harriet’s apparent slide back into his life more complicated. The episode leaves Matt in a precarious emotional situation.

A lot of time was spent on Harriet’s time on set with Luke, and it also hit an odd note for me. Perhaps this is part of the cycle that keeps Matt and Harriet in their eternal struggle, but why would Harriet feel guilty about telling Matt how he acts? His sense of entitlement is disturbing, and they’re simply not good for each other. Yet instead of forcing Matt to get his act together and moving on with Luke, she sabotages her relationship with Luke and comes running back to Matt. Sure, Luke was being a jealous fool, but he’s not playing to co-dependency game.

The Matt/Harriet relationship manages to make Danny and Jordan look sane in comparison. The two of them are still being very cute together, but this episode does suggest that juggling a baby (hopefully in the metaphorical sense) will be harder than they realize. Danny is far too cavalier about the demands that they will face. Any parent can dredge up the war stories from that first child’s early years, when everything was new and incredibly daunting. All the assurances in the world won’t make things easier if Matt can’t get the show out of a tailspin and even more stress hits at the same time as the birth.

This is the last episode to run before the hiatus for “The Black Donnellys”, and apparently it also had the worst ratings for the series’ run to date. Everyone but the core audience is abandoning this ship before it sinks completely, and that’s unfortunate. More unfortunate is the probability that this episode was representative of the series as a whole. It had plenty of promise and potential and interesting characters, but at the end of the day, it just never came together.

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

Final Rating: 6/10

24 6.10: "Day 6: 3PM - 4PM"

Written by Howard Gordon and Evan Katz
Directed by Brad Turner

Status Report

The previous episode brought the calamitous introductory phase of the season arc to a close in the best fashion possible, linking together the various plot threads into the suggestion of a more intriguing whole. At the same time, it also emphasized the sloppy writing that has plagued the season since the premiere. In particular, some of the dialogue has lacked a certain honesty.

Situations have seemed ridiculous in the past, but recently, characters have said things that wouldn’t be found in standard melodrama. So coming into this episode, the question was relatively simple: which version of “24” would hit the air this week? The impressive version with the wide yet interwoven scope? Or the disappointing version with the silly dialogue?

Philip’s active role in preserving his company’s viability is clearly an important part of the complication phase of the arc, and that’s where much of the problem resides. James Cromwell is a good actor, but he may not be the right man to hold this role. His delivery seems to lack the gravitas of a major villain.

It doesn’t take long for Jack to be told that his father is the enemy, which keeps this particular plot thread from dragging out. Jack is forced to choose between Josh, who might be his son (though he doesn’t seem to realize it), and hunting down Gredenko. As noted in the review for the previous episode, Jack’s decision to deal with his father directly as another step in his restoration as a hero, paralleling developments earlier in his life. It makes perfect sense for Jack to be forced to face his father one on one. Jack’s willingness to let himself be executed is a sign that his journey is far from over.

Of course, the disappointment arises when Philip reveals that he wasn’t the one behind Gredenko and Fayid. He was simply trying to keep his role in the fifth season’s plot from being exposed by Gredenko. Not only does this water down some of the implications from the previous episode, but it takes away some of the power of Philip Bauer’s motivations. Instead of preserving a current agenda, Philip is protecting himself from past indiscretions. It’s not quite as compelling as it could have been (assuming, of course, that Philip is being honest).

The conspiracy against Wayne Palmer takes another major step forward as Tom is led further down the path towards his fateful decision. He makes the right call, but too late to stop the plot to assassinate the President. It is rather fitting that he become the victim of a frame after what he did to Karen Hayes, and it’s what he deserves after considering treason in the first place.

Apparently the writers didn’t get the message about how annoying the drama at CTU can be, because they found a way to make Morris even less appealing. It’s becoming harder and harder to believe that Chloe would cover for someone like Morris, regardless of their history. She’s certainly written off people for less in the past. It’s hard to imagine that Bill Buchanan wouldn’t let Morris stay on the job after what he endured. This simply puts Morris in the position to screw up when it’s convenient for the writers to have someone drop the ball.

The episode ends with Philip inexplicably letting Jack live, despite already trying to kill him, and leaving Jack a cell phone with ex-President Logan’s number waiting. For some unexplainable reason, Logan offers to help Jack find Gredenko, but only if they talk alone at Logan’s location. This turn of events is hard to swallow, and unless the writers make sense of it in the next episode, it will simply be another addition to the list of reasons why this season has been a missed opportunity.

In the end, this was a transitional episode, which is what one would expect at this stage of the game. If the usual pattern holds, the next big shock should hit right around episode 12, the mid-point of the season. Logan’s involvement is obviously a part of that. If the writers can make this revelation something more than an attempt at shock value, it could be worth the wait.

Final Analysis

Overall, this episode was a necessary transitional episode, moving characters into new positions as the race towards the mid-point of the season begins. Some of the more intriguing implications from previous episodes are rendered moot, which is a disappointment, but the final act is, by far, the hardest to swallow. If anything, the season is struggling to gel, and the writers have a lot of work ahead of them.

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

Final Rating: 6/10

(Season Average: 7.1)

Prison Break 2.17: "Bad Blood"

The race to the season finale is on, and the writers are definitely stepping up to the plate. Though many of the developments are generally proceeding as predicted, the details continue to be surprising. Anything that promises to bring the disparate threads of the season together in a logical manner is welcome, after all, and this episode continues that process. In fact, like so much of last season, “Prison Break” is back to showing “24” how serialized storytelling should be done.

Pope’s return to the story was hardly shocking to anyone paying attention to press releases, but it made sense within the context of the story. Kellerman pointed out the fact that Michael and Sara were recognized faces, and sure enough, that became an issue. One might quibble over the idea that they would make such a mistake, but under the circumstances, they’re desperate enough to make it reasonable. Whatever the case, the subsequent plot developments feel natural.

I like the fact that Michael and Pope had a few moments to work out their issues, even if many of them were left unresolved. It closes the door for Pope’s time on the series far better than his original exit. More importantly, the conspiracy is becoming more unhinged and therefore more unpredictable. It made Michael’s victory worth the cost to see Lincoln beating the hell out of William Kim.

Now that Michael has the evidence needed to prove Lincoln’s innocence, the endgame has truly begun. It’s a question of getting that evidence into the right hands before the conspiracy can close the net. This is where the subplots seem to come into play. While Bellick had nothing to do with C-Note’s capture in this episode, his involvement with Mahone and his personal history with Michael makes him the perfect bloodhound.

C-Note’s story had been off in left field for too long, but now it comes together with the main story in a way that makes it easy to overlook earlier issues with the subplot. C-Note needed to be pushed into a corner with no other option but to cut a deal, and based on his personality and history, his family’s survival was the logical source of leverage. It’s unclear how C-Note’s knowledge of the website that Michael mentioned to Sucre will play into the overall resolution to the season, but clearly that’s the intent.

Speaking of Sucre, his subplot was amusing enough, but it’s still relatively isolated. Without the reminder of the website (europeangoldfinch.net) in the recap at the beginning of the episode, his entire story would seem like a needless distraction. Now, in conjunction with C-Note’s deal with Mahone, it emerges as a clever way for Sucre and C-Note to come back into the main plot thread. Kudos to the writers for planting that clue and paying it off!

T-Bag’s subplot is now the only one still dangling in the middle of nowhere, but now that the ridiculous hostage situation is resolved, there’s no telling where he’ll end up. He’s still the poster boy for everything bad that’s come of Michael’s good intentions, so it makes sense for him to be out and about for as long as possible. With nearly everyone else working for Mahone or serving as bait, T-Bag could make an effective wild card. He could see the death of his dreams in this episode as the consequence of meeting Michael Scofield, and dreams of revenge could ensue.

Dreams of revenge will surely be the order of the day for Kellerman. I always thought that Sara’s experience with Kellerman would lead to trouble when they were all working together to uncover the conspiracy, and sure enough, it finally comes to pass. Hasn’t Sara heard the saying “keep your friend close, and your enemies closer”? Kellerman is a lot more dangerous as a free agent, and they could have used someone with inside knowledge of the conspiracy.

Whatever the case, things are really beginning to come together as the season comes to a close, and I couldn’t be happier. That said, I still think that the series would be best served if it were to end with this season’s finale. The writers may have managed to pull out of the terminal dive this time around, but this is a concept that works better as a short-term event than an open-ended series. I would hate to see the series wear out its welcome.

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

Final Rating: 8/10

Battlestar Galactica 3.15: "A Day in the Life"

Written by Mark Verheiden
Directed by Rod Hardy

As of the writing of this review, “Battlestar: Galactica” has been renewed for a fourth season. The number of episodes for the fourth season seems to be unclear; David Eick has indicated that it will be 13 to 22, with the final number under negotiation with Sci-Fi Channel. The slump in ratings, largely due to the inexplicable move to late Sunday night, probably will factor into that decision. Whatever the case, fans need not be concerned yet; unlike “Farscape”, this series has too high a profile for it to be cancelled in the middle of the night on a sleepy weekend.

This is of interest because episodes like “A Day in the Life” wouldn’t happen in a 13-episode arc. Or rather, they tend to be rare. The writers are usually forced to focus on stronger season arc elements and tighter character threads. An episode devoted to character exploration is usually left out of the cut, or the content is watered down as a minor subplot. There’s less time to get caught in blind alleys (like the previous episode, “The Woman King”), but there’s also less time for intriguing character study.

Interestingly enough, all of the promotion for the episode seemed to focus on the airlock situation with Tyrol and Callie. Yet it quickly occurred to me, watching the episode the first time through, that their story was there to support the real action: the struggle within Adama’s mind. And that led me to the realization that we haven’t learned much about Adama from his point of view. We’ve gotten a lot of exposition, and a lot of opinions about “the old man”, but this is direct information.

If some of this is old information, particularly in terms of the Adama family dynamic and the effect of Bill’s absenteeism, it’s given new life through unique presentation. More to the point, father and son find a new level of respect for each other as a result. While Adama’s planet might hit this spot in its orbit year after year, circumstances bring Lee into the right place at the right time for a bit of rapprochement. It’s good to see the character move out of the Polygon of Tortured Love and into something that should challenge his moral assumptions.

The other nice touch to the episode is the treatment of Adama and Roslin’s unusual but incredibly sweet relationship. Their personal theme is one of my favorites pieces by Bear McCreary, and it is used well in this episode. Had the two of them agreed to a relationship at the end of the episode (or acknowledged openly the one they have), it would have been far less satisfying. Instead, they take an incremental step forward, with Adama still unable (or unwilling) to let go of past regrets. Unlike the Polygon of Tortured Love, this is a relationship that can be savored for its maturity.

While it was hardly as elegant, the struggles between Galen and Callie were at least realistic and give a bit more credence to Tyrol’s sudden aggravation in “Taking a Break From All Your Worries”. It’s interesting to see characters suffer through the typical issues that come with parenthood under the strained conditions of the Rag-Tag Fleet, and since they were tangential to the episode, they didn’t become a major distraction.

Episodes like this manage to communicate one of the more difficult aspects of the series’ premise: how does one live when civilization has been stripped away and every day might be the last? The overwhelming nature of humanity’s ordeal is easy to forget, but it is front and center in this episode. Consider for a moment the discussion, however brief, on the effect of the genocide and exodus on the legal system. Roslin openly admits that it has been a mess, and that the trial of Gaius Baltar now brings every shortcoming of the current status quo to light.

Shortening the fourth season may help the series survive through tighter plotting and active pacing, but it would be a shame to lose episodes like this in the process. More than that, this episode is an example of using existing situations and continuity elements as foundation for a something new. If the writers managed to do this more often with the non-arc episodes, longer seasons would hardly be a problem.

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

Final Rating: 8/10

Supernatural 2.15: "Tall Tales"

Written by John Shiban
Directed by Brad May

If previous episodes haven’t made the connections between “X-Files” and “Supernatural” abundantly clear, this installment should seal the deal. This episode is basically the “Supernatural” version of “Bad Blood”, one of the best comedic episodes of “X-Files” and one of the most beloved in the entire nine season run. Or perhaps it would be more appropriate to point back to “Jose Chung’s ‘From Outer Space’”, at least thematically. Despite the similarities, this is a solid episode that takes the spirit of its ancestors well in hand.

After all, those episodes were less about the absurdity and more about revelation and perception. The same applies to this episode, both in how the brothers see each other through the twisted lens of the Trickster and how the Trickster messes with the brothers directly. As with all things “Supernatural”, even an amusing episode with plenty of hilarious jokes is more about character than anything else.

Very early in the season, Sam and Dean were adrift in the aftermath of the confrontation with the demon. Sam had lost his computer, and Dean had lost the Impala. The restoration of both over the course of the first few episodes was a metaphor for the restoration of their confidence in themselves. The Trickster uses each item as a means of gaining power, almost as if Sam and Dean had sacred totems stolen away in the night. It’s a concept that works very well and on many levels.

This opens the door to each brother’s perception of the other, which is where much of the comedy is found. Sam’s impression of Dean may be exaggerated, but it’s not far from the truth. Dean sees himself as a clever ladies’ man, irresistible to the opposite sex. Sam sees Dean as desperate for any female attention. Sam also sees Dean as an uncultured slob, which leads to one of the best visual gags in recent memory. The mental image of Dean stuffed with nuts will be hard to forget!

Sam hardly escapes the same treatment. If Sam sees Dean as a bit of a typical manly brute, Dean sees Sam as an effeminate nerd with absolutely no sense of women. In total keeping with Dean’s macho exterior, his less-than-charitable view of Sam includes an undertone of homosexuality. Of course, Dean has always believed that Sam ran off to escape the hands-on world of hunting to become a mild-mannered, touchy-feely intellectual. If Sam sees Dean as someone without a sense of personal dignity, Dean sees Sam as someone with no sense of fun.

As with most good examples of self-parody, there’s a grain of truth in every exaggeration. After all, both brothers see the other as their personal totems would suggest: Dean as the typical blue-collar tough, Sam as the typical intellectual nerd. Bring those two extremes closer to a common center, and you have the Brothers Winchester. The more time they spend together, the more they rub off on each other. And of course, they see that as strange and a little disconcerting, which the Trickster happily uses to his advantage.

The use of the Trickster is a nice touch. It’s especially interesting that he’s using his abilities for what one might call “just desserts”. He’s not randomly killing people; he’s choosing his victims based on their own decision to commit immoral acts (from his point of view, at least). Someone with his kind of power could certainly do worse. While some might be displeased with the open-ended nature of the episode, it makes sense for the Trickster to survive. After all, if the Winchesters could take down a demigod, why would the demon be a problem?

The Trickster’s survival also provides the potential for a future re-appearance. If the writers manage to come up with a concept as entertaining and insightful as seen in this episode, then such a prospect is more than welcome. This was the perfect episode for the end of February sweeps for the Brothers Winchester.

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

Final Rating: 9/10

Smallville 6.15: "Freak"

Written by Todd Slavkin and Darren Swimmer
Directed by Michael Rosenbaum

It was hard not to notice that the pacing in this episode was far more frantic than usual. At first, it was a little annoying, since the writers seemed to be rushing past some of the story details. Before long, it began to make sense. The pace added to the tension within the story, which was already palpable and well-developed. I think this is the first time in months that I’ve felt so engaged by an episode of “Smallville”. I must credit Rosenbaum for a strong directorial effort, overcoming some of the limitations of the script.

The main improvement this season has been tighter continuity. Lana’s usual ignorance has disappeared, at least in terms of putting together the evidence that Clark has some kind of ability related to the meteor showers. Even faced with apparent evidence against her conclusion, Lana is sure that Clark has abilities. This is pulling her into some interesting territory.

Lana has shown a lot less tolerance towards “meteor freaks” in the past. This has led Clark to believe that telling the truth would be a very bad idea. Surprisingly, now that Lana is making the assumption that Clark has been infected by the meteors, she’s rather sympathetic. She probably believes that this has been his secret, and that it explains all his behavioral issues over the years. Based on her lingering love for him, she probably wants to rationalize his reasons for being secretive to justify her own resurging attraction. (Setting aside, of course, that she still has good reason to be angry at him.)

This gives Clark even more reason to consider making a play for Lana, and of course, it continues to put her in a precarious position between Clark and Lex. The plot arc is driving towards a complex confrontation. Clark, through his connections to Oliver Queen, could gradually develop evidence against Lex and his experimentation of “meteor freaks”. Lana has been operating on the assumption that Lex has been more honest to her than Clark. If Clark reveals some measure of the truth about his nature, in concert with evidence against Lex, Lana could attempt to leave Lex and return to Clark. As noted in many previous episodes this season, the implications are not good for Lana or her unborn child.

If that advancement in the story had been the only twist in the episode, it might have been enough. Certainly it would have been par for the course this season. But that was simply the underlying implication of the episode. The other primary plot thread held a number of surprises for Chloe. This episode introduces some shocking revelations about Chloe and her true nature.

This is a bit of a risk for the writing staff. Revealing Chloe as a “meteor freak” will drive countless fans to go back through the past five seasons worth of episodes and hunt for each and every contradictory piece of dialogue. Ultimately, that may not be very important. At any point, Chloe could have been infected, and it’s far more important to focus on the implications for Chloe now. As she points out herself, the fate of previous “meteor freaks” has rarely been positive. Those worried about Chloe and her longevity have a new reason to be nervous. Then again, her ability could be rendered positive by Clark’s influence, thus adding to his growing sense of heroism.

I’ve rarely been stunned by the plot twists on “Smallville”, but the writers are very quickly breaking out of certain conventional barriers and taking the story in unusual directions. This is the best run of episodes for “Smallville” in quite some time. Even the dynamic between Clark and Lana is interesting again. That kind of creative infusion is rare for a series this long in the tooth; see “Buffy”, “X-Files”, and “Stargate SG-1” at a similar point in their respective runs, for less successful examples. I’m quite pleased with how well the season has progressed. One can only hope that the final third of the season keeps to the same standard.

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

Final Rating: 8/10

Lost 3.8: "Flashes Before Your Eyes"

Written by Damon Lindelof and Drew Goddard
Directed by Jack Bender

In which Desmond saves Claire a second time, which makes Charlie suspicious, and the ensuing argument prompts Desmond to remember what happened when the Swan Station exploded…

Status Report

The producers of “Lost” must have an advanced sense of humor. After promising to return to the beach after several episodes focusing on the Others, they so exactly that. And then they proceed to spend most of the episode in an extended flashback for Desmond, who isn’t even one of the original cast! Thankfully, the episode was good enough to expose any complaints as lack of patience.

The producers had promised that answers would be coming after the introductory phase of the season arc was over, and they certainly delivered in this installment. Desmond’s status after the explosion of the Swan Station may not top the list of mysteries, but it does pertain directly to his relationship to the rest of the survivors. By the end of this episode, that much is abundantly clear: his new-found ability ties into the fate of at least two characters (Charlie and Claire), if not many more.

Of course, this being “Lost”, the answers are hardly complete. The writers would rather avoid an exposition dump, if it can be helped. Besides, the answers are a lot more fun when they arrive through the filters and perceptions of the characters themselves. If the audience is wondering how reliable the conclusions and assumptions might be, then they can understand how the characters feel.

The events of this episode are, in essence, an explanation of what happened while Desmond was unconscious after the explosion of Swan Station. It doesn’t delve into the possible meaning or the implications to the rest of the survivors on the island, and it’s not necessarily an accurate description of what happened. After all, Desmond could have simply been unconscious, reliving the past in some kind of lucid dream.

This ties back into the question of perception raised in the second season finale (“Live Together, Die Alone”). Reason would suggest that Desmond was experiencing a soul-crushing lucid dream in which he had the chance to change the past, yet his subconscious inserted a rationale to explain why the past could not be changed. So when he awakens on the island again, his “destiny” has not changed at all. But as with so much on the island, that leaves several issues without explanation.

If that experience was all a complex creation of his mind, generated by the effects of a close-proximity EM burst, how would that explain his ability to “see the future”? Up to this point, Desmond’s visions could have been dismissed as luck of the draw, however unlikely. In this episode, however, the situation is too specific to ignore the likelihood of precognition. Desmond acts well in advance to Claire’s crisis, making a point to have Charlie leave the beach so he wouldn’t be the one to die. It wasn’t that Charlie might die trying to save Claire at some point and Desmond was simply hedging his bets; he knew that Claire would be in danger at that moment and what it would mean to Charlie.

So in this case, there are two aspects that may or may not be related: Desmond’s experience and Desmond’s ability. It’s possible that Desmond’s mind was adjusting to the change in his perception, and thus triggered the dreamlike experience. In that case, Desmond would be the one making the assumption that the experience and the precognition are related, and that rules from one apply to the other. Charlie may not, in fact, be living on borrowed time.

At the same time, admission that Desmond has such an ability opens the door to more unusual considerations. While it’s true that Desmond’s experience and ability may be distinct, it’s equally possible that they are linked. And if that’s the case, then it’s possible that the circumstances of Desmond’s journey into the past can explain his ability.

If Desmond did leap back into the past, reliving a couple of days that were critical to his future, what is the implication? At the very least, there are now two timelines that may exist. In one timeline, Desmond broke up with Penny, joined the armed forces, found himself dishonorably discharged, and then tried to win back Penny by winning the Widmore race around the world. In the other timeline, it’s unclear how Desmond arrived at the island.

One possibility is that Desmond always had this experience in the existing timeline. The experience was bookended by two situations that would lead to concussion and probable memory loss. Desmond might remember what happened during those two days, but not completely. He might have recovered from the smack to the head, remembered the previous two days as he originally recounted them to his friend, and then joined the armed forces. Until the explosion of Swan Station, he would never have a reason to think things had happened differently than he remembered.

However, if Desmond’s trip into the past did change events, then it begs the question: how many of the flashbacks took place in the original timeline (before the failsafe was activated), and how many took place in the “new” timeline that was created by Desmond’s trip into his own past? This concept opens the door to complications that may never be resolved.

Adding to the complication is the presence of someone in the past (Mrs. Hawking) with explicit knowledge of the future. Not just Desmond’s future, but apparently, everyone’s destiny. If the experience was all in Desmond’s head, then such a figure would represent his own psychological process of rationalizing his emerging ability. But if it was real, then Mrs. Hawking represents the strongest argument for a guiding force behind everything that happens on “Lost”.

Mrs. Hawking is something of a Death figure. She makes it very clear that there is a time appointed for all things, and that kind of destiny cannot be avoided. If a person is meant to die, then they will die. If they are meant to go to the island, then they will go to the island. On the surface of it, it seems like a good fit for Locke’s faith in the island as a godlike intelligence.

At the same time, the island has been a crucible from the very beginning. One way or another, each survivor is faced with the opportunity to change and find redemption. Those who make the change seem to survive, while those who reject the change seem to perish. That implies a component of free will, which Mrs. Hawking directly contradicts. In essence, the two concepts are mutually exclusive: either there is an appointed time for everything, or the survivors can change their fate based on their choices. Unless, of course, the decision to change and find redemption is, in fact, part of the appointed destiny!

So despite the emphasis on Desmond, much of the meaning in this episode points to a major character thread for Charlie. Thus far, Charlie has resisted a deep and redeeming change in his life. He’s traded addiction to heroin for addiction to Claire and Aaron, as seen in “Fire + Water”. That addictive cycle is inherently self-destructive, and following the pattern of the island thus far, he would in fact be heading for an unfortunate demise.

At this point, however, Charlie knows that he’s supposed to die, at least in terms of Desmond’s interpretation. That could be the necessary trigger for Charlie to make a change in his life and find true redemption. This sets the stage for a true battle between the concepts of predestination and free will, which would provide the answer to the riddle of Desmond’s experience. If Charlie’s fate cannot be changed, then Desmond probably did slip back into the past. If Charlie eludes this fate, then it was probably a construct of Desmond’s mind.

On top of all the philosophical implications, there’s also the possibility that Desmond’s time in the past somehow translates into an overall shift in time for the island. Some have noted a discrepancy in the continuity of the third season timeline. This discrepancy is as large as roughly two days, which is roughly the amount of time that Desmond experienced in the past. This could translate into his apparent ability to see events within that rough time period. More information will be needed, however, to see if those connections hold water.

In the end, the writers managed to take the typical format of a “Lost” episode and give it a fascinating and intriguing twist. The result was an episode that should have long-term implications and should provide no end to philosophical speculation. If nothing else, the new information provided in this episode will need to be placed in context with the nature of the island itself. It should be interesting to see if Desmond’s experience is just the tip of the iceberg.

Final Analysis

Overall, this episode was an unusual look at a character’s past history, this time with more than just a metaphorical link to the action on the island. The writers play with the familiar format in a way that is unexpected and thought-provoking. The implications of this episode are fairly complex, and if handled properly, this should delve into the heart of the meaning behind the series.

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

Final Rating: 8/10

Studio 60 1.15: "The Friday Night Slaughter"

Written by Aaron Sorkin
Directed by Thomas Schlamme

According to several sources, “Studio 60” is leaving the air earlier than intended to allow “The Black Donnellys” to start at the end of the sweeps period. This is in response to the continued loss of viewers since the slight surge in ratings at the beginning of the year. Unlike some of the other series on NBC hitting a mid-season hiatus, “Studio 60” is in a dangerous limbo. If “Studio 60” was a hospital patient, the doctor would be advising the family to gather together at this point.

This is unfortunate, because the series has always held so much potential. Nearly two-thirds of the way into the season, however, it’s hard not to wonder if that potential was squandered. For a good chunk of the fall, the series was hammered for being a thinly-veiled version of Sorkin’s life and a mouthpiece for anti-Christian ranting. This was followed by a plot thread for Danny and Jordan that left a sizable chunk of the remaining audience turned off by the implications. At this point, it hardly matters if the allegations and interpretations were fair or not; the effect has already done the damage.

And so it goes that this episode, a mesmerizing study of a character suffering from self-inflicted depression and escalating drug addiction, garnered the lowest viewer totals in series history. It would be easy to point to the grim subject matter as the culprit, but the ratings for this episode are more a response to “The Harriet Dinner: Part II” and the sweeps episodes of “CSI: Miami”. Some viewers chose not to return based on the Danny/Jordan relationship (if online discussion is any indication) and some viewers are jumping to safer waters.

What they missed was a classic Sorkin/Schlamme collaboration. The tone of this episode was much more in line with the pilot than some of the more recent episodes. That’s not to say that the direction was lacking in those installments; it’s more of an indication that Schlamme has a style that lends itself very well to Sorkin’s vision.

In many ways, this episode is the flip side to “The West Coast Delay”, which was another atmospheric treat (and equally unappreciated). Both episodes inhabited a darkly romantic space that was reflective of Matt’s emotional state. The structure of this episode was fluid and dreamy, often slightly disjointed, suggestive of Matt’s mental state under the influence of the pain medication.

Critics will no doubt charge Sorkin with mining Matthew Perry’s history with addiction to painkillers to compensate for a lack of original thinking. Then again, it is a time-honored practice of good television writers to use an actor’s personal life as grist for the character exploration mill. After all, it allows the actor to mine genuine emotional and psychological knowledge to give the performance authenticity. Perry should be given a great deal of respect for this episode.

Matt Albie is not the only character living in an unusual state of mind. After all the hand-wringing over the past few episodes, Danny and Jordan seem to be living in that ecstatic haze that comes with fresh and somewhat secret love. It’s a bit jarring at first, but after reflection, it feels more like the calm before the storm. Over time, one would expect all the issues surrounding the relationship to come crashing down on their shoulders.

Thanks to the various flashbacks, giving important context to the love triangle between Matt, Luke, and Harriet, there were some opportunities to look into the history of Studio 60. It’s actually hard to imagine how Matt won Harriet over, considering where he started. But it does serve as a good reminder of how Matt’s pursuit of Harriet led to creative inspiration, which in turn reinforces the effect that this latest break will have on his ability to run the show. One can only hope that the series manages to stay on the air long enough to explore this fertile ground.

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

Final Rating: 8/10

Heroes 1.15: "Run!"

Written by Adam Armus and Kay Foster
Directed by Roxann Dawson

It’s comforting to know that Nathan was apparently unaware of Claire’s existence. The writers immediately take the story in a logical direction: Nathan sees this news as a threat to his election hopes. That should make things rather interesting if he should discover that Claire and Peter are friends. It could drive more of a wedge between the two brothers. It’s certainly a test of Nathan’s character, especially when his mother is dispensing such negative advice.

Claire should have expected that her gambit would be uncovered, given her knowledge of her father’s unusual activities. This addresses one of the apparent plot holes in the previous episode, where it seemed like Claire was having too easy a time dodging detection. Under the current circumstances, especially her biological mother’s attitude, she must be wondering if she made a mistake. It would be interesting if Mr. Bennett destroyed his wife’s memory to punish Claire.

Unfortunately, the promotion arm of NBC did this episode a disservice by stating, quite clearly, that Claire would meet her biological father within the hour. That didn’t happen, which was a little disappointing, though she manages to see him from a distance. The plot thread brings up some great elements for future exploration, especially given the confrontation between Nathan and Meredith.

Jessica’s control over Niki’s body is an intriguing shift in that plot thread. Jessica’s instability makes her a more interesting character overall, and her connections to Linderman make her an interesting potential villain. Ali Larter plays the bad girl extremely well, and it’s always fun to see her toy with those expecting an easy mark.

With his own life at a crossroads, it only seems fitting that Matt would be tested yet again. Just the thought of Matt squaring off against Jessica brings up some interesting potentials. Niki’s presence presented an interesting issue, even if the possibilities weren’t fully explored in the limited amount of time afforded that plot thread. That said, this experience might be a reason for Matt to search out other with abilities, especially if he doesn’t think his future is very bright. The fact that Jessica is coming for Nathan could lead into those portentous meetings.

As one would imagine, based on his father’s experience, Mohinder has a difficult time getting people on the list to respond. It certainly moves the story along to have Sylar come and visit the first person to call Mohinder back. Now he’s in the perfect position to find others with abilities, all in the name of “helping” Mohinder. This episode also seems to bear out the idea that Sylar is able to gain control over a newly acquired ability very quickly.

It’s great to see Ando taking such a direct role in helping Hiro find his heroic calling. All things being equal, it’s not just about saving the world. It’s about protecting the powerless from the powerful, even for something as minor as a dancing girl’s handbag. Of course, this being Ando and Hiro, it’s not quite that simple. It’s a little disappointing to think of Hiro and Ando being split apart for a while, but in all fairness, Ando could use a chance to shine.

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

Final Rating: 7/10

24 6.9: "Day 6: 2PM - 3PM"

Written by Adam Fierro
Directed by Brad Turner

In which more details emerge regarding those behind the terrorist attacks, which prompts Phillip to take direct measures to cover his tracks, while the conspiracy against Wayne continues…

Status Report

As the episode begins, Fayed has escaped another CTU dragnet with the three remaining suitcase nukes and the device required to activate them for detonation. As expected, Fayed is working with others to maximize the extent of the damage caused by the remaining devices. This ally is revealed as Grenenko, the man who was working with Graem and Phillip to get the nukes on United States soil in the first place. Whatever sloppiness might have plagued the previous few episodes, the beginning of this installment provides some potential for something more cohesive.

That said, it seems hard to believe that Phillip Bauer wouldn’t be under some measure of surveillance, given the connections between the Bauer company and the terrorist activity. While Phillip does a rather thorough job of manipulating Jack, there’s little reason why the rest of CTU would adopt a hands-off policy. And one would think that CTU would know to intercept calls from cell phones out of their own building by now!

In a surprising move, the writers finally bring back Jack’s lack of confidence in his abilities. Instead of questioning the circumstances of Graem’s death, he considers the possibility of his own complicity and offers himself up to the consequences. Contrast this to Jack during the third season, when he was clearly in the wrong with his heroin addiction and felt that those consequences were an unnecessary impediment to his operational duty. While the previous episodes themselves don’t quite bear out Jack’s reaction in this installment, it’s nice to see that the writers didn’t drop that layer of the arc completely.

While Wayne tries to work with Assad on a compromise statement, he faces growing opposition from his own vice president and other members of the government. It’s nice that the writers addressed the question of why Wayne would choose someone with such a divergent point of view, but it still doesn’t make sense that Wayne would fail to vet his allies. Wouldn’t he have learned from the experiences and death of his brother?

As mentioned in the review for the previous episode, the actions of those supporting strict national security measures undermine the virtues of that side of the argument. From the perspective of the plot, however, this is actually a fairly logical move. This provides a ready connection between Phillip Bauer’s allies in industry and government and those seeking to take control. More stringent national security and a climate of fear play into the hands of Phillip’s commercial enterprise.

This would represent an interesting evolution of the plot arc from the fifth season. Coming in the wake of President Logan’s debacle, how would the controlling interests respond? Perhaps they would try to find another candidate who might be persuaded to implement their agenda, someone with popular support but a lack of experience. This would explain why the terrorist attacks began precisely at the beginning of Wayne’s term in office, and why plans were already in place to eliminate him if he failed to give in to the demand for strict national security. And it would be sensible that Phillip’s company, if implicated in the events of the fifth season, would also be responsible for those contingencies as well.

This also explains why the writers would introduce Graem’s wife as someone Jack has loved and the possibility that Josh is Jack’s son. These characters would be easy pawns for Phillip to use against Jack, should Jack get too close to the truth. That plot progression begins in this episode, and without much subtlety. For all the plot possibilities introduced by the various threads currently in play, it seems a bit too obvious for Phillip to reveal his true colors to Marilyn in such a heavy-handed fashion. How did Phillip remain in the clear for so long, if his methods were so obvious?

As noted previously, the overwhelming thrust of this season appears to be an exploration of why Jack is who he is. It’s not just about the process of restoring his confidence in himself after his time in China; it’s also about revealing the origins of his sense of duty in the first place. One would assume that the intention is to put Jack in a position to face the same emotional challenges in the present that influenced him in the past. Hence the clumsy dialogue about how Jack’s issues with his father and his company led him to the military and intelligence work, and how Marilyn was also a part of that.

If that is the intention of the writers, then they should be given credit. This is the culmination of plot threads that began, essentially, in the fourth season. Perhaps this is the influence of writers such as David Fury and Manny Coto, who are known for their ability to identify long-term plot potentials. The trick would be avoiding the temptation to attribute everything in the past decade of Jack’s life to Phillip’s manipulations. A more reasonable approach would be to suggest, in a relatively broad sense, that Jack’s rise and success within the intelligence community eventually placed him at odds with his father’s interests in a more direct fashion, thus precipitating the past few seasons worth of intrigue (at least the elements that now appear to be connected by a common source).

It’s an impressive concept, and one that the producers and writers should be congratulated for, if that was their endgame. Yet certain concerns remain. If that was the guiding plan for the past couple of seasons, then one cannot help but note that the execution of that broad design was less than perfect. In fact, one must inevitably remember that the writers are often making things up as they go along. So perhaps this is an example of a writing staff managing to overcome the limitations of their own flawed process. Whatever the case, the success of these concepts will depend greatly on how the endgame, pre-planned or cobbled together, is ultimately achieved.

Final Analysis

Overall, this episode takes a number of plot elements from the first third of the season and suggests a common thread. While all of the pieces are beginning to fit together into an impressive whole, there are still some fundamental flaws in the execution of that design. That said, if the writers manage to capitalize on the framework they have set in place, the season could be ready for a major swing in the right direction.

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

Final Rating: 8/10

(Season Average: 7.2)

24 6.8: "Day 6: 1PM - 2PM"

Written by Evan Katz and David Fury
Directed by Jon Cassar

In which Jack attempts to rescue Morris from Fayed before the terrorists can activate the remaining nuclear devices, while Tom is contacted by those displeased with President Palmer…

Status Report

The episode begins with the attempt to rescue Morris from McCarthy. This leads into a ten minute chase sequence that leaves Morris in the hands of a throw-away character trying to make a buck. As ludicrous as it sounds, it’s actually rather amusing. Morris looks supremely pissed that he’s been abducted by people working out of half-baked self-interest.

One gets the feeling that the writers made Morris intensely annoying at the beginning of the season so that he could be rendered more heroic at some point later in the season. After all, how likely was it that Morris would put up resistance when it counted, when he seemed so mercenary? It took a lot for him to give up the goods. Then again, when the time came, he seemed a bit too capable. If he wasn’t an expert on those systems, how could he simply program the device in a matter of minutes? And why wouldn’t he try to sabotage the device and buy time?

Just when it appeared that the drama at CTU would be over, Chloe is relieved for apparent lack of judgment and cooperation. Clearly none of these people remember working with Chloe before. When hasn’t she been annoyed with interference and questions about her judgment? And of course, it appears that Milo is unable to provide Jack with perfect tech support. Hasn’t everyone learned to trust Chloe by now? That’s two people CTU should always listen to: Jack Bauer and Chloe O’Brian.

With a little technobabble at the right time, Chloe gets Jack the right information. This, of course, is designed to give Fayed more than enough time to torture Morris. That was certainly creative use for a power drill! Did it ever occur to Fayed that Morris might need to use fine motor control to serve his purpose? It’s hard to believe that such a large drill bit would cause relatively minor damage, but there we are.

After his decision to forgo Tom’s plan for stringent changes to national security policy, Wayne seems rather clueless about the likely consequences. If he knew Tom so well from the campaign days, how could he miss the fact that Tom is a whiny pain in the ass. More to the point, he’s another figurehead for a conspiracy at the highest levels of government. After the Logan administration, wouldn’t some additional measures be put into place to prevent anything like that from happening again?

The problem, of course, is that it destroys the concept of a civil liberty/national security debate, which was one of the more intriguing elements of the premiere. At this point, forces are gathering to eliminate a president who stands in the way of massive changes to national security policy, including measures that would be illegal under nearly every circumstance. It would have been far better for the national security measures to be questioned on their own merits, rather than the methods of those supporting the measures.

This episode marks the return of Assad to the series, after a brief but palpable absence. The meeting between Wayne and Assad may not be as entertaining as the Assad/Jack partnership, but it still had its moments. Wayne makes his intentions very clear, and it helps to clarify Assad’s position. It brings more question to Assad’s endgame, which was somewhat hazy in the first place. This was one of the highlights of the episode.

The purpose of the episode, of course, was to get Jack in a room with an armed suitcase nuke. The rest of the episode was a means to that end, and unfortunately, it was relatively threadbare as a result. Was anyone under the impression that Jack would fail to disarm the bomb? The final act was left without a shred of tension as a result.

This had all the standard features of a “24” episode, but it simply wasn’t very satisfying. As the season marches on, a lot of the layers featured in the premiere are stripping away, and the loss of substance is alarmingly noticeable.

Final Analysis

Overall, this episode was another disappointment, largely because another intriguing layer of the story introduced in the season premiere was undermined. Equally troublesome, the entire episode led to a final act with little or no tension, despite a clear attempt towards escalation. While “24” has always required a willing suspension of disbelief and a modicum of patience, this season is beginning to feel cobbled together and scattershot.

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

Final Rating: 6/10

(Season Average: 7.1)

Battlestar Galactica 3.14: "The Woman King"

Written by Michael Angeli
Directed by Michael Rymer

Writing is always an organic process. This is definitely true when dealing with a medium like television. Long-range plans are changed based on external factors and the realization that certain ideas don’t necessarily pan out as one might have hoped. In the case of “Battlestar: Galactica”, we happen to be witness to one such situation.

As Ron Moore and others have already mentioned in podcasts and elsewhere, the original plan was to center the upcoming trial of Gaius Baltar on a messy situation involving a group of Sagittarons on New Caprica. Gaeta, Zarek, and others would be implicated. Scenes had been filmed in earlier episodes to develop and lead into the circumstances of the trial. However, when the time came to work out the details, the writers realized that the Sagittaron subplot wasn’t panned out as intended.

This led to an interesting revision of existing, completed episodes. For example, in “Taking a Break From All Your Worries”, Baltar confronts Gaeta with something in his cell; this was originally supposed to be related to the Sagittaron subplot. Similarly, this episode contains a number of references to Sagittarons that seem out of place, as if the issues had been gathering steam over time.

In fact, many of the scenes in the recap in the teaser related to Helo’s current assignment and the bigotry towards Sagittarons never made it into previous episodes. This tactic is quite annoying, because it doesn’t play fair with the audience. It creates the impression that the issues in this episode were developing over time, when they were purposefully cut out of the story. That starts the audience off on the wrong foot.

All of that said, the episode itself manages to recover from this lack of context. Sure, the negativity towards religious Sagittarons feels like something out of left field, because in essence, that’s what it is. Why there would be an influx of Sagittaron refugees this long after the flight from New Caprica is never explained. More to the point, the most religious colony had previously been Geminon. All we know about Sagittara is that Zarek and Dualla come from that colony. (For that matter, it should be interesting to go back to the first issue of the recent “Zarek” comic mini-series to see if the details are remotely similar.)

The Sagittarons in this episode are similar to extreme versions of Christian Scientists who reject modern medicine. As mentioned already, the venomous bigotry that results is a bit awkward because this detail was never discussed in previous episodes. But this does present Helo with a particularly simple case of right vs. wrong, a situation where his unpopular moral fortitude can be justified. As someone clearly sidelined for violating orders in previous situations, Helo gets a simple opportunity to play the hero and uncover something to restore his standing in the fleet.

Because of all the changes to the overall story arc, the episode seems a bit out of place. Bereft of any real connections with the overall progression of the story, it becomes an isolated character piece for Helo. His character development doesn’t particular go anywhere, either, since the story relies on a fairly conventional plot about exposing hidden prejudices. It’s interesting enough to see that applied along religious or ideological lines rather than simple racial or gender lines, but it does come across as overdone. Ultimately, the episode has some interesting and worthwhile scenes, but the end effect of too many rewrites left it less than satisfying.

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

Final Rating: 6/10

Supernatural 2.14: "Born Under a Bad Sign"

Written by Cathryn Humphris
Directed by J. Miller Tobin

Once again, the writers for “Supernatural” have managed to surprise me with a willingness to go into dark territory and step into more and more dangerous ground. Just when things couldn’t have seemed worse for the Brothers Winchester, the situation gets even more complicated. If things continue along these lines, the brothers won’t have many allies at all going into the Big War.

Sooner or later, the writers were going to have to address Dean’s promise to take down Sammy if he went “darkside”, and this episode takes the subject on rather directly. From Dean’s point of view, this could have been the beginning of Sam’s descent into evil. After all, thanks to Gordon, he’s had to have the whole “demonic sleeper agent” theory in the back of his mind. So if Dean was ready to keep that promise, the evidence against Sam was there.

Presumably, “Meg” was using that against Dean. Would the yellow-eyed demon have allowed Meg to get Sam killed? Whatever plans might exist for using Sam, it may be a win-win for the demons in either case. If he stays alive, he’s a potential player for the team; if he dies, he’s no longer a potential roadblock. For that matter, Meg might have been testing Dean’s resolve on behalf of that higher authority, and just decided to play her own game instead. Since Meg survived, the dynamics of the demon world remain an open subject for future exploration.

Whatever Meg’s motivations might have been, it’s now clear that Dean won’t give up on Sam quickly, and that’s a source of tension. Sam doesn’t want to hurt anyone, but now it’s too late. He was aware of Meg’s actions, and to a certain extent, he has to wonder if he’ll start doing the same without possession as a part of it. He has to wonder how high the body count will get before Dean will fulfill his vow. Dean’s made it rather clear that it will have to be a lost cause in every respect before he’ll act, and that should add even more weight on their shoulders.

Looking at the big picture, previous episodes indicated that some hunters were beginning to view the Brothers Winchester as a problem to be solved. That situation just became worse by several orders of magnitude. Sam has killed or attacked hunters, and some of them will find out about it. The demon has managed to destabilize the hunter community, and the brothers will be targets. As mentioned before, this serves to isolate Dean, increasing the pressure on him to resolve the issues with Sam.

This episode also ties Meg and the demon to the situation with the Winchesters and Ellen/Jo, which is a good enough excuse for bringing Jo back into the story. Unfortunately, the writers felt the need to resolve some pre-existing relationship elements in the process. As annoying as it was, it’s probably better that the writers addressed what they introduced earlier in the season, rather than pretending that it never happened. Jo was interested in Dean, Dean saw her as a little sister. It makes sense, just as it makes sense that Meg would use that against Jo as a means of hurting the Winchesters.

That said, I was a little annoyed with how easily Jo was overpowered. In most of the episode, Jo was a lot stronger and determined than she had been in earlier situations, which was a nice evolution. But she made some incredibly stupid decisions in service to the plot. For one thing, she didn’t notice Sam’s unusual behavior, which should have been an easy read. But once it was clear that Sam was out of control, Jo should have known better than to turn her back to him. It’s Self-Defense 101.

The fact that it left her vulnerable to possible sexual assault just makes it worse. Frankly, given her background, she should have known better; she’s a young hottie who worked in a bar for years. Her introduction made it sound like she knew a thing or two about how men saw her and how to keep a handle on the situation. I would have expected Ellen to teach her daughter a few simple lessons on constant awareness of surroundings, if nothing else. Thankfully, the writers didn’t go there, because I’m not sure it would have been easy for the audience to forgive.

On the positive side, this is probably meant as a sign that Jo will be included in the season finale event. This episode gives her plenty of reason to take a personal stake in the situation, and with the relationship elements effectively addressed, the writers can focus on her feelings of betrayal. I’d love to see Jo even stronger and more determined when she appears again.

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

Final Rating: 8/10

Smallville 6.14: "Trespass"

Written by Tracy Bellomo
Directed by Rick Rosenthal

For more than five seasons, Clark Kent has kept his secret from Lana Lang, despite the odds and countless opportunities for truth or exposure. Even taking into account Clark’s active decision to hide his abilities, Lana is supposed to be intelligent. She’s been saved by Clark enough for realization to kick in a million times over. In fact, for many, her inability to make the connection made Lana look like a fool, especially when the secret itself became the killing blow to Clark and Lana’s relationship.

Ostensibly, Lex wins over Lana because he is more or less honest about his activities and goals. It doesn’t matter if he has an ulterior motive or if she lives in a gilded cage most of the time. Lana appreciates someone who can, to even a limited degree, admit both positive and negative truths. Clark was always honest in the positive sense, in terms of telling Lana how he felt, but the issue of trust was too much to overcome.

Starting with the end of the previous episode, and continuing into this installment, we see a remarkable change in Lana. For the first time in a very long time, Lana becomes proactive. Her choices derive from a consistent and driven design. And while her decision to hide that design from Lex contradicts her supposed desire for trust and truth, it does put her in a position to own her actions.

I was particularly pleased with the moment when Lex told his men to take Lana to the LuthorCorp building. Lex was ensuring the protection of a possession, from a certain point of view. Lana directly contradicted Lex’s will and ordered the men to take her to the Kent farm. Not only was that a reasonable choice, based on what she understood as the threat, but it was designed to give her access to Clark’s world with minimal penalty. I practically sat up and cheered.

Of course, it’s still a matter of incremental progress. Lana still made some silly choices, primarily in service to the plot. How many times did Lana leave the relatively safe confines of a locked room, despite the obvious danger? That isn’t just a problem for Lana, though, since a lot of characters make odd choices to allow for the stalker plot. In fact, the identity of the stalker becomes obvious by the end of the second act because he is the only common denominator involved.

None of this changes the fact that Lana is being positioned for something brutal. Lex makes it very clear that Lana is as much an instrument of attack against Clark as a symbol of his bruised innocence. Clark still loves Lana, but without the element of trust, it’s not clear that he respects her judgment. The only one able to change that now is Lana, and with her renewed obsession with Clark, it will shift the equilibrium. It’s unlikely to end up well; the writers would have to pull off quite a feat for anything less than tragedy to be the natural consequence. After all, Clark ends up with Lois in the end.

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

Final Rating: 7/10

Lost 3.7: "Not in Portland"

Written by Carlton Cuse and Jeff Pinkner
Directed by Stephen Williams

In which Jack’s gambit to save Kate and Sawyer hits a roadblock when Juliet’s motivations become more and more suspect, as more information emerges about the Others…

Status Report

“Lost” has been off the air for approximately three months. Based on the amount of complaining rampant in the fandom, one would have thought that the show was a victim of the “Sopranos” scheduling nightmare. At least some comfort can be taken from the press releases that have been posted in the interim. A fourth season is a virtual certainty, as such things go, and the producers are discussing an end date for the series with the network. (One gets the feeling that Abrams and Co. wanted to avoid the sad fate that destroyed “Alias” in its final season.)

Whatever the case, the conventional wisdom is that the new schedule, chosen based on fan feedback, was a massive mistake. As usual, many fans conveniently forgot that the schedule was designed for their benefit. Instead, the producers were all but hung from the rafters as responsible for bringing the issue to the attention of the network scheduling department. It wouldn’t be wrong for them to never listen to a fan complaint again, when this is the thanks they get.

In fact, the content of the first six episodes got equally bad reactions out of the fans, despite the fact that it was, as always, an introduction to the situations that would be explored in the season arc. The first 6 episodes of an arc-driven season are always introductory. Granted, the writers chose to focus on isolated characters, but this resistance to change is disturbing. Whatever happened to letting the writers tell the story they want to tell? Like it, don’t like it, but don’t tell them that they screwed up for taking chances.

With that sure-to-be-popular sentiment out of the way, there’s more than enough episode content to cover, despite a relatively narrow focus. The resolution of Jack’s ultimatum was designed to fall into Juliet’s hands, and so naturally, this episode is all about mining her motivations to shed light on her choices. The result is a complex and fascinating look into the recruitment process for the Others.

Juliet is revealed to be a brilliant research scientist with plenty of medical knowledge, even if that doesn’t include surgery (a point still not entirely clarified). In fact, her research prowess has yielded something rather revolutionary: the ability to render a biological entity pregnant without the usual process of exchanging bodily fluids. That means pregnant males and the possibility of pregnancy for women otherwise without the ability. As it turns out, Juliet’s sister is suffering from what appears to be cancer, and Juliet wants to give her a full life again, including motherhood.

As motivations go, it makes sense. Juliet is victimized by those willing to use her talents to their own ends, and she has allowed it to keep her options for helping her sister alive. But within that context, she’s far from weak. If anything, she demonstrates the willingness to set aside conventional ethics when they get in the way of her personal goals. That very quickly establishes Juliet as someone equally as dangerous as Ben, and someone more than willing to screw over potential allies when a better opportunity arises. (Why Juliet’s sister is worthy of this constant sacrifice and ethical relativity remains an open question.)

While it’s been obvious for quite some time, this episode underscores the fact that the Dharma Initiative is still alive and well, even if it has evolved into something else. Juliet visits her sister in a Dharma facility that may or may not be in Miami. Juliet was taken to the island and the Dharma compound run by Ben for the purposes of experimentation related to human reproduction. This connects rather nicely with Claire’s experience and the observation that the Others make acquisition of children a priority. Juliet’s very presence is a confirmation that the Others have a plan and a goal.

If Hanso (and therefore, the Widmore family) is involved in this process, then this episode hints at the scope of their influence and power throughout the world. Juliet’s ex-husband is removed from the picture with almost casual precision. More to the point, the timing of Juliet’s arrival on the island is incredibly disturbing. Recalling that this episode takes place in late fall 2004, her arrival on the island coincides very closely with the terrorist attacks of September 11, 2001. That connection is completely indirect, and definitely speculation, but what if the attacks were designed to hide Juliet’s trip to the island? And why would something like that need to happen, if there is a connection?

This makes it very easy to believe that the passengers of Oceanic 815 were chosen and manipulated to be on the flight by a worldwide operation, one of the undercurrents of the first season. It also makes it easy to believe that someone sent Jack to the island to save Ben, and that the plane was off course by 1000 miles due to outside manipulation. And it also supports the idea that Desmond was manipulated into letting the countdown expire at just the right time, since whoever was controlling Kelvin could time that manipulation to a specific 108 minute time period. Ben and the Others may not have known about the plane or Jack’s presence thereof, but that is still relatively unclear.

In essence, Juliet takes each step through this episode towards the goal of advancing her personal agenda. Everyone else is trying the same thing, but the story centers on her because she’s the most successful. Jack is trapped by her choices, Kate, Sawyer, and Karl get away based on her direct intervention, and Alex is forced to bend to her will. All of this is based on her acceptance that Ben will honor his agreement.

Ironically, this might have been a major mistake. As it was, escaping the island was hardly a simple matter before the detonation of the Swan Station. Now it sounds like escape is impossible, if Tom’s comment was accurate. So was Juliet informed of this minor complication, or was Ben promising something that he knew couldn’t happen, just to manipulate Juliet into saving his life? It’s a critical point, because if Juliet finds herself stuck on the island and betrayed, her own considerable talents of manipulation could work to Jack’s favor.

The episode also touched on other interesting details. Alex, it seems, believes that Ben is her father, which is likely a matter of deception on his part. How many children would be brainwashed into believing that they were the progeny of the Others, and how does that play into the overall plan? They certainly have the technology, since they seem to be using it on Karl to “reform” him. That particular scene was so bizarre an example of psychological brainwashing that it brought the classic “Prisoner” to mind.

The end of the episode effectively provides a connection between the JackLocke Tribe and the Others. If they can help Karl recover enough to give them solid intel, and if the brainwashing was halted before he could be returned to loyalty, then he could have enough incentive to help stage a rescue attempt for Jack. This could meld very nicely with the idea of Alex and her potential resistance movement. That would be a logical means of exploring the goals and methods of the Others.

This episode should mark the end of the installments with a narrow focus on the Others, which should end some of the complaints about the third season. That said, this ends a stretch of episodes setting the stage for a complicated conflict between the two groups. Given that the rest of the season should play out with few interruptions, that conflict should evolve quickly. There’s every reason to believe that a lot of the fans unhappy with the beginning of the season will have plenty of time to return to the fold.

Final Analysis

Overall, this episode provided a neat conclusion to the introductory phase of the season arc by bringing many issues to a head through exploration of a single character. More information is revealed about the goals and scope of the Others and the parent organization behind them, which is always welcome. The stage is set for some serious complications in the near future.

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

Final Rating: 8/10

Heroes 1.14: "Distractions"

Written by Michael Green
Directed by Jeannot Szwarc

Despite all of his socially unacceptable choices, Claude clearly has enough experience with his abilities to understand what Peter needs to control his own talent. Fifteen years of experience, in fact, which confirms that the superhumans have been around for at least one generation, and long enough to think of himself as something above and beyond normal human society. His training methods also leave something to be desired, even if one can’t argue the results.

While it’s still not entirely clear how Peter’s ability works, it’s definitely similar to what Sylar has accomplished by other means. Peter seems to have the ability to establish an underlying rapport with other people with superhuman abilities, and that connection never entirely fades. This would explain why he was able to control Nathan on the night of the accident, several months earlier. Peter’s control over an ability is more than simple mimicking.

Sylar, on the other hand, seems to physically, on a genetic level, alter himself to allow each new ability to be “absorbed”. He either needs to study the brain chemistry to see how it works, not unlike his clockworks, or he ingests the genetic material more directly. This would appear to give Peter the edge over time, because Peter could work in concert with a group of others and take on new abilities more quickly. On the other hand, Sylar seems to have control over each new ability much more quickly and thoroughly.

Isaac and Simone continue to be the least interesting character on the show, despite Isaac’s purpose as a touchstone on the progress of the effort to stop New York’s destruction. I have absolutely no interest in the supposed love triangle between those two and Peter. Peter’s a lot more interesting with Claude than around either of them.

Niki’s therapist may not have a clue what she’s dealing with, but she is correct. Niki’s best chance of survival is integration with Jessica as a well-adjusted whole, regardless of Jessica’s origins. Unfortunately, Jessica is less than enthused at the idea. It also seems Linderman is more interested in keeping Jessica around and, perhaps, available for manipulation. That said, Jessica should be a lot more interesting to follow around, given her unpredictability.

Without his resources in hand, Mr. Bennett has no chance of stopping Sylar. And of course, now the whole “save the cheerleader, save the world” question comes back into the equation. It’s great to see Sylar in action, using his acquired abilities and his keen mind. He’s quite good at pouring on the charm, at least as long as it serves his purposes. Mr. Bennett’s arrival was a bit too convenient, and quite frankly, it doesn’t make much sense for Sylar to reveal his abilities before that point. He couldn’t have known that time was short, so why not maintain his relatively low profile?

Claire’s gambit may have been too easy, but given how quickly Mr. Bennett was sidelined, it’s not particularly surprising. Claire needs to get away to make it more difficult for Sylar. Claire’s discussion with her biological mother is revealing, especially when they reveal their abilities to each other. One has to wonder if Claire’s birth mother was responsible for the fire that supposedly took her life.

It’s about time that Hiro’s decision to leave work for weeks comes up in the plot. His father, played by the always enjoyable George Takei, has a very traditional set of expectations. Clearly his sister is more than happy to manipulate the situation within the same boundaries and definitions of honor and duty. It provides Hiro with a strong and meaningful challenge to his own sense of destiny. Hiro’s solution is hardly surprising, and it does seem a bit too easy, given some of the cultural issues involved.

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

Final Rating: 7/10

Studio 60 1.14: "The Harriet Dinner: Part II"

This is effectively the final part of a long arc that deals with the evolution of Danny’s relationship with Jordan and the concurrent breakdown of Matt’s relationship with Harriet. While the changes in one relationship make sense, given the situation and the characters involved, the other plot thread seems almost inexplicable. The result is an unsatisfying hour that does not bode well for the future of the series.

Bradley Whitford is very good at playing arrogant authoritative characters, as his stint on “West Wing” clearly indicates. His long relationship with Donna was marked by a seemingly unending string of comments regarding his superiority and a sense of entitlement a mile long. That’s not to say that the crazy kids weren’t meant for each other. It just means that we’re used to seeing Whitford play the role rather well, and there’s a simply basis for comparison.

The difference in this case is an important detail. Josh was Donna’s superior, which meant that there was no relationship until they were working for other people and conflicts of interest were resolved. Now, Whitford plays the subordinate, even if he’s a highly paid executive producer. Jordan is his boss, and as she deftly points out, there are issues involved with any potential relationship.

Jordan actually outlines a long list of reasons why the relationship should never, ever happen, Those particular reasons are still valid by the end of the episode. Nothing Danny says is a good counter-argument to the massive amount of trouble that any relationship between them would create. And more to the point, Danny doesn’t seem all that sincere in his repentant about his methods, which crossed the line. (Yes, he apologized, but it had gone beyond that point.)

So when Jordan chose to reveal her own interest in Danny at the end of the episode, it doesn’t feel earned. In fact, it seems deeply contradictory to everything leading up to that point. Either we’re meant to believe that Danny won her over through persistence, or that Jordan was testing Danny all along. None of that makes the relationship particularly healthy.

At least Harriet managed to give Matt the crushing blow to his ego that he so desperately deserved. Matt may have a number of good qualities, but they seldom seem to come out where Harriet becomes involved. This should be interesting because Matt is creatively driven by his unusual relationship with Harriet. So long as he’s struggling to win her heart and respect, he pushes himself. With none of that hope remaining at this point, just how will his ability to write for the show be affected?

Three other subplots get a sense of resolution before the end. Perhaps the most important is Jack’s attempt to use Kim to get something from her father. After some amusing complications in the previous episode, this falls apart well before the end. The only moment remotely satisfying was the revelation that Kim’s father could speak English. Otherwise, Jack manages to win without really earning it. In that respect, it’s very similar to Danny’s win with Jordan. (Even Tom manages to win with Lucy in a spectacularly unlikely manner.)

Simon’s issue with Darius gets some minor clarification, but it still feels like Sorkin and the rest of the writing staff tried to tell a story without actually bringing up the topic at the center of the story. I’m also still wondering why Simon needed to be such a massive jerk while making his point, and while Darius thought it was acceptable to be treated so badly. Simon may have had a point, and might have been feeling responsible for getting Darius to step up, but something organic was missing from the execution.

The final subplot is Cal’s attempt to hide the truth about the snake, ferret, and coyote. While there are some funny moments here and there, especially when Cal starts saying anything off the top of his head. But like the subplot with Kim, it seemed to fizzle out by the end. It led to an interesting enough montage at the end, with an odd song choice (another Christmas selection?), but when the credits finally rolled, it was all less than satisfying.

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

Final Rating: 6/10

24 6.7: "Day 6: 12PM - 1PM"

Written by Howard Gordon and Manny Coto
Directed by Jon Cassar

In which Jack escapes Graem’s trap, leading to a difficult and revealing interrogation of his wayward brother, while Wayne struggles with Tom’s proposal for national security…

Status Report

This episode was co-written by Howard Gordon and Manny Coto. This is an unusual combination, but perhaps a good one. After all, Gordon is infamous for bringing good ideas to the table, but falling short on execution. Coto has gained a great deal of respect for his ability to take good ideas and make them better. The question is: which side of the partnership will dominate?

The Bauer family politics are still convoluted and astonishingly weak. The writers appear to be asking the fans to accept that Jack has always been the favorite son, but his withdrawal from his family after Teri’s death in the first season led to Graem’s rise as the Bauer heir apparent. So how many of Jack’s incredibly bad days were orchestrated behind the scenes by his own brother? Will this finally be the glue that ties the series together, given all the hints and innuendo of such connections?

Allowing Jack to question members of his own family, even under the time-sensitive circumstances, is a ludicrous idea. The personal relationship between Jack and Graem makes the interrogation incredibly hard for Jack, and that dynamic is mined for all its worth. It’s also precisely the reason why it would never be allowed. Jack might be on hand, but someone else should have been leading the effort.

Things get a lot more interesting when Graem starts confessing for his implication in the events of the fifth season. For just a moment, there’s a glimpse of the loss and grief that should have been more consistently depicted in the fifth season, and it’s entirely genuine. But it leads to the anticipated moment when Jack steps over the line, in essence, proving Graem’s assertion that he and Jack are willing to do whatever it takes from what they believe. Had the writers taken more time to build up Graem’s rationale, making him less of a two-dimensional villain, that might have held more water and generated stronger drama.

Thankfully they didn’t have Jack interrogating Graem with the rest of the family in earshot. Of course, no one thinks to keep Phillip Bauer from walking into the middle of the situation, which is rather hard to believe. One might suspect that Phillip’s silent role in stopping Jack was evidence of Coto’s superior writing ability, giving more credence to Gordon’s likely idea of the interrogation. Unfortunately, nothing was going to salvage the predictable scene at the end. Phillip’s involvement, and his decision to take out Graem, was telegraphed from the moment he walked back into the house.

One problem with this plot twist is the lack of proper build-up to the reveal. This episode cements the idea that the multi-national interest Graem was running in the fifth season was, in fact, the Bauer family legacy, masterminded by Phillip. Yet there’s not one shred of detail in previous episodes to suggest such a thing. It all seems very contrived, as if scribbled out on the back of an envelope. In fact, it’s hard to internalize the implications, because the audience was never given the time to process the possibilities. This is one of the worst plot progressions on the show in quite some time.

For all the faults in the characterization of CTU agents this season, in just a handful of episodes, there is a solid core of competence. Bill is canny enough to recognize when things aren’t adding up with Jack, and he didn’t question Jack’s advice (though he could use those instincts more often). The rest of the team is also working together well, at least before the personal issue retread. The situation with Morris’ brother is remarkably similar to the situation with Edgar’s mother in the fourth season, and it was played up in much the same manner. Thankfully, the final result was far more interesting.

The revelation that Morris is the engineer with the skills necessary to assist Fayed with the next stage of the plan is relatively predictable, but it does offer the potential of some dramatic twists in the next few episodes. Certainly Chloe should be in a different frame of mind than usual. Hopefully this won’t lead to any accusations based on the silly love triangle theatrics in the premiere.

It’s surprising that some in the TV critic community have chosen to disparage DB Woodside as President Wayne Palmer. No, he’s not David Palmer, but he shouldn’t be. He manages to project his own set of strengths and weaknesses without seeming like a simple copy from his brother’s mold. It may have been an unlikely choice for president, but I think it gives the writers interesting material to work with, and that’s a necessary element at this point in the season.

For once, Sandra Palmer’s subplot is placed in reasonable perspective. Instead of foaming at the mouth, Sandra makes a good argument for why Tom’s initiatives violate the principles of the nation. Wayne makes an interesting call, and it will place him in direct conflict with the Vice President and Tom’s other allies. Wayne may not be the best speaker in the world, but he has plenty of gravitas in his own way.

The first major turn in the season arc usually comes around episode 8, and sure enough, the next installment is a two-episode event. Most likely, this will focus on saving Morris and preventing the next nuclear attack. One would also expect the fallout from Graem’s death to play an important part in the story. Given how easily Phillip seems to manipulate Jack, it would be interesting to see if Phillip starts to play on Jack’s lack of confidence, something dropped since episode 4.

More to the point, if the writers manage to salvage this plot thread, they will have to keep Phillip alive and in the middle of the action for as long as possible. The writers need to establish a clear and reasonable rationale for why Phillip would sacrifice Jack and Graem for the sake of the family business. They also need to develop a strong conflict for Jack within that context. The elements are there, but so far, they haven’t been developed as well as they could have.

Final Analysis

Overall, this episode continues the disappointing trend of the previous two installments. The current direction of the plot does not feel earned, and it already feels like the writers are making things up as they go along. Despite some interesting ideas, the execution falls short of expectation. One can only hope that this is a momentary lull and that the excellence of the premiere can once again be achieved.

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

Final Rating: 6/10

(Season Average: 7.3)

Prison Break 2.16: "Chicago"

Whatever else might have happened in the middle of the season, when the writers seemed to be struggling for direction, the episodes have taken a much stronger turn as the season winds down. Even this installment, which is largely transitional in nature, sets the stage for a lot of interesting and unexpected interactions. Some predictable elements remain, but they are given weight by strong performances.

First and foremost, we now see how the writers intend to bring all the various subplots with the rest of the Escape Squad into the main arc. As the conspiracy feels the noose around its own neck, it wants as much closure and control as possible. That means the elimination of loose ends, and Mahone is charged with the task of taking down the survivors while other avenues are explored with Michael and Lincoln.

That adds a new dimension to Bellick’s plot thread. Instead of sending him after Michael and Lincoln from the get-go, he’s sent after the rest of the Escape Squad. This gives him a taste of his new position and the bloody work he will be asked to do. This also provides a simple means for each and every subplot to find resolution before the end. They may be distractions, but it gives the writers time to play out the main plot thread for a few episodes before focusing on the big resolution.

This is Haywire’s final moment, and while the subplot itself was threadbare and unsatisfying, it does serve to put more pressure on Mahone. One would expect that the next three episodes (17-19) will deal with C-Note, T-Bag, and Sucre, probably in that order. Which leave three episodes for the resolution of the conspiracy, and frankly, I like that idea. It worked well for the first season, where they played out the big finale over more than one episode.

This being a transitional episode, the focus is on character. As anticipated, Sara’s reaction to Kellerman was violent and a trigger for his potential return to the conspiracy’s fold. This led to Sara’s reflection on how much had changed in her life in less than a month. It really does bring a lot into focus, and Michael’s expression is a nice reaction and recognition of the consequences of his actions. Once again, this adds to the potential of a third season focused on Michael’s attempt to repair all the consequences of his original scheme.

A lot of fans had predicted that Kellerman would cut a deal with the President and turn on Michael and the others. And in fact, that expectation was used to deliver a clever twist. It makes sense that William Kim would use Kellerman’s relationship to the president as leverage, on the hopes that desperation will overcome paranoia. It has now backfired, and while Kellerman is still far from trustworthy, he’s definitely invested in taking down the conspiracy and getting his life back.

While the writers are starting to pull the subplots into the big picture, there’s still a lot of time needed to lay the groundwork for each confrontation. As such, a lot of screen time is devoted to C-Note and T-Bag. Both subplots seem a bit scattered and disjointed. C-Note is suddenly dealing with his daughter’s illness again, which seems designed to add drama to the unlikely holdup at the diner. The only benefit to that subplot was the confirmation of C-Note’s heroic side, which should add to the tragedy when all is said and done. C-Note has gotten a raw deal from the very beginning, and it doesn’t look like things will change.

T-Bag’s subplot is even worse. As delightful a character as Teddy might be, the last few episodes have been a mess. This hostage situation is ridiculous, and feels more like one of the half-baked ideas from “Desperate Housewives” than a story worthy of T-Bag’s depravity. It’s hard to imagine that this character might end on a low note. Of course, with T-Bag, things can always change on a dime, so there is hope.

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

Final Rating: 7/10

Supernatural 2.13: "Houses of the Holy"

Written by Sera Gamble
Directed by Kim Manners

This episode picks up on the implications of the previous installment, though some of the more obvious consequences are glossed over in the interests of keeping the show intact. For one thing, the Impala should be a huge liability, given how distinctive it is, and Sam shouldn’t be any less recognizable as a target after being identified as Dean’s accomplice.

All that said, this episode (despite being largely stand-alone in nature) shifts back into the tried and true territory of character development. As usual, the writers manage to follow through on a minor point of interest from earlier episodes and make it a major cause for consideration. In this case, it’s the role of religion in the lives of the Brothers Winchester, and to a lesser degree, in the lives of the hunters as a whole.

Dean takes a strong atheist stance on the whole business, which is quite consistent with his previous philosophy. It may be more strongly stated in this episode, but that could be a function of his stress level regarding Sam. After all, if Dean doesn’t believe that there’s anyone else out there to grant divine intervention, then it all comes down to him to save Sammy. And that’s a tough road to travel.

In essence, Dean approaches the world in the classic atheist sense: if nothing we do matters, because there is no divine plan, then all that matters is what we do. Under this philosophy, our choices and intentions should be devoted to making the best condition for the living and those to follow. Dean sacrifices his own normality and happiness for the sake of everyone else’s ability to live without fear. It’s a profound concept for the character, and it aligns strongly with Sam’s personal philosophy.

Sam’s religious side, however muted and off-screen, makes perfect sense under the circumstances. He needs to believe that there’s something out there willing and able to help him resist whatever the demon will drive him to do, despite the fact that there’s little to no proof for that belief. This religious background also gives his overall sense of compassion a deeper context. He would be a lot more concerned about his methods and the implications of their choices, because for him, there would be a price to pay in the afterlife.

If the episode had ended with just this level of disclosure, it would have been worth it. Instead, it serves as a starting point to something more intriguing and potentially devastating for Dean. He didn’t really understand why Sam needed to believe, and so he was more than happy to press his point of view. The end effect is that Dean, because he was right, gave Sam reason to question his spiritual safety net. Should Sam fall into the thought that he has no support, and nothing stands in the way of his destined descent, Dean just help to kill Sam’s hope for redemption.

The effect on Sam was so profound that Dean’s interpretation of possible divine intervention comes across as less substantial in comparison. Sam’s faith seems almost dashed by the events of the episode, while Dean seems to grant only a possibility of something unusual or divine. This disparity is possibly due to the somewhat mundane nature of the rapist’s death. It was strange, certainly, but nothing so profound that it would lead someone to believe in God. Even so, if it is equally profound for Dean, then it might give him enough spiritual reinforcement to deal with Sam’s destiny.

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

Final Rating: 8/10

Smallville 6.13: "Crimson"

Written by Kelly Souders and Brian Peterson
Directed by Glen Winter

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

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

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

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

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

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

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

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

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

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

Final Rating: 8/10