All Good Things...

This was the first blog for my reviews, back in late 2004, and a lot has changed since the beginning of this journey. But now my reviews are run in several other venues, not the least of which is the new archive site for all things Critical Myth. As such, this blog is no longer necessary. Moving forward, all material will be available at:

http://www.criticalmyth.com

Thanks to everyone who has been a faithful reader over the past three years, and I hope that all of you will come join us!!!

John Keegan

Studio 60 1.22: "What Kind of Day Has It Been"

Written by Aaron Sorkin
Directed by Bradley Whitford

When I noticed that this episode was written by Sorkin and directed by Whitford, I was well pleased. Both Sorkin and Whitford were two of my top reasons for watching the show in the first place, and while Tommy Schlamme would have been a good contender for the final director as well, this felt right. As did most of the series finale, for that matter, though I found it ever so slightly predictable.

It would have been hard for Sorkin to avoid the predictability, to be honest, and that’s why I can’t take too much away from him in that regard. I thought it would be satisfying on a metaphorical level for the series’ version of “Studio 60” to be canceled for low ratings, even as each character found peace with their respective demons. After watching the finale, I came to the conclusion that such an ending would only be satisfying in the short term. Taking the long view, Sorkin’s more positive and hopeful ending will stand the test of time.

After all, this series is about selling comedy in wartime, and more than that, the right and need to express irreverent perspectives and ideas during wartime. It strikes right at the heart of the cultural war spawned by the Patriot Act. It’s told from a perspective that is easy to dismiss as arrogant and privileged, and thankfully, Sorkin has taken on that notion directly in these last few moments. We’ve come to see that these “Hollywood liberals” are living and breathing the same struggles as the rest of the human race. And what we all need, in the darkest hour, is hope.

So “Studio 60 on the Sunset Strip”, within the series, had to survive. It had to endure, because if it endures, then free expression endures and our characters have a place to share their personal victories together. The ratings problem won’t go away, the couples will bicker and rage, but in the end, we know it will all work out. And that’s the message at the heart of the series, now that it’s over.

Thankfully, Sorkin manages to make the last steps of the journey to victory as difficult as it should be. We’re taken through hell and back with Jordan’s chance of survival (including one of the most evil act breaks in recent memory), and Whitford plays Danny’s angst beautifully. He’s very prominent in this episode, and that had to be a challenge. Tom’s situation was equally well done, including and beyond the moment where he unleashes a nickname for the Commander-in-Chief that could haunt him until the end of time.

The conversation between Simon and jack evolved almost perfectly, right up until the end, where Jack comes to his personal epiphany about Matt and Danny’s departure five years earlier. Had the series continued, this moment might have been more dangerous, since the character’s hard-line nature was one of the most enjoyable aspects of the character. This is one reason why the single-season lifespan of the series is ultimately acceptable: the character arcs were given enough time to come together in a satisfying manner.

If there’s one relationship that doesn’t quite get realistic closure, it’s the dynamic between Matt and Harriet. In the end, it’s a story that would have needed several seasons to evolve and shift towards common ground in the most satisfying manner, just based on the massive philosophical and ideological gap between them. Sorkin did his best to make it work, however, by turning to the universal truth of “love conquers all”. Knowing that this is the end, that this is the final statement on the relationship, I couldn’t think of a better way to bring their conflicts to momentary rest.

In short, despite all the flaws, I felt this finale (and the massive mini-arc that fed into it) gave the series a strong sense of purpose and relevance. Knowing the writing was on the wall, Sorkin took the time to give his story an ending that expressed, very well, why the series was such a great idea in the first place.

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

Final Rating: 9/10

(Series Final Average: 7.5)

Stargate: Atlantis 3.20: "First Strike"

Written by Martin Gero
Directed by Martin Wood

After introducing the Asurans as a formidable new enemy earlier in the season, the writers have kept them out of the picture for quite some time. Thankfully, that gap is covered early in this episode, which is just the beginning of the deep satisfaction this installment delivers. Not only does this pay off some of the plot threads left dangling in the middle of the season, it propels the series (no pun intended) into uncharted territory.

The “first strike” policy touches on Weir’s struggle to maintain her leadership, a plot point that has been sidelined for far too long. Caldwell’s arrival in the second season seemed to hallmark a challenge to Weir’s authority and position, but despite her many mistakes over the years, her status has only been mildly threatened. This season could have taken the topic head-on, but it remained unaddressed until now.

This still isn’t a direct attack on her leadership, but by emphasizing how easily the military and IOA can undercut her decision-making, it feels like the beginning of the end. Let’s set aside the reality that Samantha Carter from SG-1 will be taking over command, according to the press releases and the promo at the end of the episode; the story needs to establish the logic of that transfer, and it’s already been coming together. This is another step in that process, so even if it was sporadic, the arc exists.

Character-wise, there’s still only minimal change out of McKay, which continues to be a major sticking point for me. After three major episodes this season, all of which should have resulted in some discernable measure of change in McKay, it just hasn’t happened. In fact, beyond the welcome addition of the gorgeous Jewel Staite to the series, “Sunday” seems to have had little effect, including the various character subplots introduced. It’s not anything to be applied against this episode in particular, but it’s deeply disappointing.

In fact, beyond the challenges to Weir’s authority, the character development/exploration is set aside in favor of the plot. And as I said at the top, the plot works very well. It could easily been seen as an excuse for a number of truly impressive special effects sequences, but it actually followed a certain measure of logic. This was one of those satisfying cases where I anticipate the next possible turn in the story and the writers are already right there, making it happen.

I’ve watched the episode twice so far, largely to determine whether or not the action was glossing over problems in the story. I was just as impressed the second time around. I would have liked more character shading, but the mid-season cliffhanger (“The Return”) tackled that approach, so this is a nice bit of variation. The situation simply didn’t call for it. This was about changing the game, and it fulfilled that function very well. It’s going to be a long wait until September!

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

Final Rating: 9/10

(Season 3 Final Average: 7.2)

Stargate: SG-1 10.20: "Unending"

Written by Robert C. Cooper
Directed by Robert C. Cooper

And so it ends, the unlikely and impressive ten-year run of “Stargate SG-1”. Considering the fact that the series had been declared over after nearly every season since it’s initial Showtime cancellation after the fifth season, it’s hard to reconcile the fact that this series finale is relatively self-contained. No doubt some fans will wonder why the series didn’t wrap up the major plot threads before the end of the series.

The answer, of course, is that the series is not really over in the traditional sense. The series is spinning off into at least two direct-to-DVD films, one of which will be the resolution of the Ori plot arc. In fact, that film (“The Ark of Truth”) will cover much of the ground originally intended for this season’s finale; plans were changed when the cancellation order and film offer came down. Knowing that they could just delay the resolution to the films, the producers felt no need to manufacture a final episode with true closure.

On the one hand, this could be seen as slight to the fans, who may now be required to buy (or rent) a separate DVD just to see how the story ends. Since the decision to delay resolution was made by the producers, it could be interpreted as a marketing ploy. It’s a fair criticism, because not every fan out there is going to understand or know what the films represent. They’ll just see the series finale as a frustrating cop-out.

On the other hand, any series with such a long history (and a distinct lack of planning) will struggle with a truly satisfying and all-encompassing finale. There’s always one more element that “should have been there”. Looming large over this finale is the memory of Jack O’Neill and the almost-perfect eighth season finale “Moebius”; a number of fans still consider that to be the true ending of the series. So this finale was never going to be universally satisfying with the weight of so much expectation.

The result was an episode that could have run at any time, with very little in the way of closure. Perhaps that was for the best. Some might say that the episode provided emotional closure, but with the reset button firmly in place by the end, it’s elusive at best. If there’s a sense of anything in this series finale, it’s that the team carries on like they always have. There really is no end. The mission continues. It’s the kind of non-ending that only works because we know, as fans, that there’s more on the way. Who needs closure when the story isn’t over?

Once has to wonder, though, if the character development (such as it is) will now disappear. Character has always been somewhat expendable in the “Stargate” franchise, with a simple set of quirks in place of true progression and growth. The films will be more about plot than delving into character depths. So we’re unlikely to get insight into Mitchell, for instance, which quite a shame, as it will feed into the impression that he was an unnecessary addition.

The relationship between Daniel and Vala gets a tentative payoff, which was a nice touch. The two of them have been dancing around each other for a while, and this was a capable enough way to show that they could ultimately find a life together, The reset button keeps that from getting in the way in the future, of course, so the satisfaction is tenuous. (One might also find fault in Daniel’s harshness with Vala, which was not redeemed by his recognition of how badly he hurt her.)

All in all, this just didn’t feel like a real series finale, because the elements that would have been present were shifted to the films and some of the characters (Carter, at least) will move to “Stargate: Atlantis” or the proposed new series. This just didn’t feel like the end of a ten-year saga; it was just another episode. And while that made sense from a certain perspective, I couldn’t help but feel that it send off the series with a bit of a whimper.

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

Final Rating: 7/10

Studio 60 1.21: "K&R: Part III"

When I heard this was a trilogy spanning one single dark night of the soul, I was thrilled by the idea. When I saw that it was essentially the “Studio 60” version of “Lost”, right down to drawing parallels between past and present with flashbacks, I was even more thrilled. Bringing the series full circle and grounding its themes in “television during wartime” was the icing on the already incredibly rich cake.

To say that I will miss this series when it’s gone is a massive understatement. For the past few weeks, I’ve been screaming at my TV in happy frustration at the end of every hour. Knowing that the end is near is making it that much harder. It’s like getting towards the last couple of chapters of a book that took a while to get going, but was worth the patience by the end.

I was a little surprised by the lack of resolution, because when you think of a trilogy, you think that the third act would bring the pieces together. Structurally, though, this is more of the classic five-act form: introduction, rising action, complication, climax, resolution/denouement. And that’s pretty much what we have with the final five episodes.

That makes this the climax, for all intent purposes, and from a character perspective, it’s true. Everyone gets to a point of personal crossroads at the end of the hour. Danny is placed in the most hopeless of situations, left with nothing but faith to pull him (and in a sense, Jordan) through. Harriet faces faith on her own terms and helps Danny understand humility, perhaps getting a sense of where Matt’s coming from in the process. I was expecting that dynamic to happen with Matt and Harriet after the first part of the trilogy, but this was a better execution.

Matt’s moment was really with Jack, bringing him towards closure with all the issues brought up in the pilot. Jack, in turn, must face down his own decisions while dealing with the fallout of Simon’s outburst. I don’t recall if they’ve touched on Jack’s sexuality before, but it was an interesting direction to take; without a second season, however, it could be seen as extraneous. Whatever the case, I found Jack’s attitude and restraint with Simon to be a telling contrast to his tactics with Matt and Danny.

Since the trilogy includes a number of dramatic elements in threes (Danny/Harriet/Matt on faith, Matt/Jack/Simon on truth vs. perception), there’s the third crisis with Tom and his brother. This is more plot driven as a necessity, but there’s the struggle between Tom and his two “advisors”, Mary and Captain Boyle. Tom is caught between the percentages and the difference between personal and global moral concerns. It’s a bit more abstract for the audience, since the other dramatic threads are more directly relatable, but it’s still compelling.

All of the characters dance and weave around these three threads, contributing to each character triptych in turn, and those minor shadings make it all more cohesive. As concluding arcs go, this is a stunner, and the effort taken to connect the continuity dots (finally bringing the Bill Maher item in line with this retelling of Matt and Danny’s exit in 2001) is well appreciated. If Sorkin and his staff can pull off a solid dismount for the finale, this series will go down in the books as true missed opportunity.

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

Final Rating: 8/10

Stargate: Atlantis 3.19: "Vengeance"

Written by Carl Binder
Directed by Andy Mikita

The second half of this season of “SGA” has been riddled with apparent homages to well-known science fiction staples. This is at least the fourth such episode, and the second in which Sheppard actually points out the film that the show is emulating. This does have a lot of similarities to “Alien”, but the nice touch here is that the episode actually has long-term implications. That has been rare, especially in terms of McKay’s character development.

This time, it’s the return of Michael, who has somehow survived after being blown to all hell in “Misbegotten”, a turn of events that is never explained. In the end, it doesn’t really matter: this is a story about consequences. Everything Michael does in this episode, and will do in the future, is the consequence of the decision to experiment on him at the end of the second season. When it comes to the list of questionable decisions under Weir’s tenure, that has to be near the top of the list.

Michael is now creating Super-Wraith, which is a major problem. Just about the only good thing about them, at this point, is their somewhat mindless state. They attack and follow Michael’s orders, but they don’t seem to coordinate very well. Ronon and the others discovered at least two basic methods of killing the Super-Wraiths, and that was under less-than-ideal conditions. The real problem was a question of numerical superiority; there were too many to kill.

If the Super-Wraith were to act like the more familiar version of Wraith, complete with intelligence and the desire to feed rather than kill, the situation would be a lot more terrifying for Team Atlantis. As it is, they’re dealing with their own version of “Alien”, which is bad enough. The tension made this a good episode to watch, but for me, it all came down to the confrontations with Michael and Weir’s recognition that this is largely her responsibility.

It highlights what had been a major undercurrent of the series and what may finally be coming into the forefront: the question of whether or not Team Atlantis has been a good thing for the Pegasus Galaxy and, for that matter, the Milky Way. The awakening of the Wraith, the issues with the Genii, the unleashing of the Asurans, Michael and his new legion of Super-Wraith, the list goes on. Sooner or later, authorities on Earth are going to hold someone accountable.

This episode introduces an element that could bring a sense of cohesion to the fourth season, if it’s utilized well. Michael and his legion can now be added to the list of Pegasus Galaxy enemies: Wraith, Asurans, and the Genii. With so many enemies, the writers have more than enough opportunity to choose a couple of them and develop an arc that will be satisfying. After all, “SGA” will soon be the only series on the air, and the stakes will be raised.

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

Final Rating: 8/10

Stargate: SG-1 10.19: "Dominion"

Written by Alan McCullough and Alex Levine
Directed by William Waring

After a number of episodes focusing on stand-alone concepts, the season arc comes back in a big way in this penultimate episode for the series. The name of the game, as usual, is plot progression, even when it requires severe willful suspension of disbelief to accept the logic that allows for that progression.

No matter how well they leave the door open, this felt like a way to take the ridiculous Ba’al plot thread and bring it under control. The ending mitigated that measure of control, but we now have less Ba’al clones to worry about, and that’s a good thing. Given the age of the series and the constant possibility of cancellation (which is now coming to pass), having such a massively open-ended plot element lingering the background was simply not a good idea.

That’s why bringing Ba’al into the prelude to the conclusion of the Ori arc was a genius move. It helps make sense of Ba’al’s actions since the fall of the System Lords, and it’s the kind of leverage he would try to find and utilize. It also allows the writers to complicate the capture of Adria, which might otherwise have been a bit too easy.

Unfortunately, after setting the stage for a final showdown over the solution to the Adria problem, the writers toss a major plot convenience into the mix. Despite taking precautions on more than one occasion to keep an anti-Prior device around Adria, they completely blow it during the most important moment. If one of those devices had been in the room when the toxin was being administered, Adria would have been gone and, if Ba’al and Adria are to be believed, the Ori fleet would be without Ori and Orisi.

Instead, Adria is able to ascend, which is a nice set up for the conclusion of the arc in “The Ark of Truth” film, if nothing else. I’m just not sure that the writers took the most logical path to that end. More than once, the characters mentioned Adria’s eventual ability to overcome the anti-Prior device; why not use that plot point to explain her ability to ascend at the end, even with one of the devices in the room? A minor change, but one that switches plot convenience with plot payoff.

That final act is really the only weak link in the episode, despite my annoyance that the Ba’al plot thread was kept open when it could have been easily closed. It’s enough, however, to keep the episode from achieving its full potential.

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

Final Rating: 8/10