Manny Coto has died at the age of 62 following a 13 month long battle with pancreatic cancer. He passed away while surrounded by his loved ones.

Coto joined 24 for the fifth season which received critical acclaim and won the 2006 Primetime Emmy award for Outstanding Drama Series. He continued with the show through the eighth and final season in 2010. Afterwards Coto joined Showtime’s Dexter as an executive producer and won the Primetime Emmy award for Outstanding Drama Series in 2011.

In 2014, Manny Coto served as co-creator and showrunner on the limited series 24: Live Another Day which received critical acclaim and was nominated for three Emmy awards. In 2017 he co-created 24: Legacy and served as showrunner alongside Evan Katz.

Besides 24, Coto had an illustrious career of contributing to acclaimed television shows like Star Trek: Enterprise, American Horror Story, Tales from the Crypt and more. Our deepest condolences go out to Manny Coto’s family and friends.

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Actor Julian Sands who played Russian terrorist Vladimir Bierko in 24‘s fifth season was found dead in the Mount Baldy area of the San Gabriel Mountains. He was 65 years old.

The actor was reported missing on January 13th after not returning from a hiking trip. His car was discovered a week after he was reported missing, but search and rescue efforts on the ground were hampered by severe winter weather conditions and dangerous trail conditions.

Hikers in the area found human remains on Saturday June 24th and today the police have officially identified those remains as Julian Sands. He leaves behind a wife and three kids.

Source: BBC

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Annie Wersching who played fan favorite Renee Walker on 24 Season 7 and 8 has passed away this morning at the age of 45 from a private battle with cancer.

Jon Cassar, director and executive producer of 24, paid tribute with the following message:

My heart is broken in more pieces than I can count. Annie came into my world with an open heart and a contagious smile. Brandishing such talent, she took my breath away. Annie became more than a workmate, she became a real friend to me, my family and every cast and crew member that worked with her. She’ll be truly missed by them and the fans she always found time to interact with. Annie you’ll be missed, you left your mark, and we’re all the better for it.

Other 24 stars have paid their respects on social media:

The world lost a light today @Wersching was one of the greatest actors I’ve ever had the pleasure of working with, and my friend. My heart breaks for her young family. May she be remembered for the beautiful person that she was.

— Kiefer Sutherland (@RealKiefer) January 30, 2023

I’m heartbroken at the loss of such a fantastic actress and person. Kind hearted, funny, caring and dedicated to her craft. My condolences to her family. So so sorry for your loss https://t.co/6SudLlWSq6

— Mary Lynn Rajskub (@MaryLynnRajskub) January 30, 2023

Heartbroken by the news of Annie Wersching’s passing. She was such a special soul, who lit up every room with her smile, sense of humor, and laugh. She was one of those rare people who just made everything more fun. Sending prayers of strength and peace to her family. @Wersching

— Carlos Bernard (@CBernardsbull) January 31, 2023

Our “24” family is saddened by the news of Annie Wersching’s passing. Such a great talent who will always be remembered by friends, family, and peers. https://t.co/PGdjB0f9N6 pic.twitter.com/SNQgj70CY0

— Dennis Haysbert (@DennisHaysbert) January 30, 2023

I don’t know how or where to begin.
A devastating gut punch to the core.
Annie is, was a beautiful, bright, love filled source of light. She was kind and generous. I wish I had more to give .

For Annie's Boys Freddie, Ozzie and Archie
https://t.co/gwPK810PDS

— Sprague Grayden (@spragueg) January 29, 2023

@Wersching you were a lovely person and an incredible actress. You will be missed beautiful lady.

— Sarah Wynter (@sarahwynter) January 29, 2023

I can’t even wrap my head around this loss. Annie was a beautiful human, abundantly devoted mother, so kind, so hard working, funny and a wee bit nuts. I will miss our banter but grateful for so many fucking fantastic memories. @Wersching pic.twitter.com/kHY4fT04Nj

— marci michelle (@marcimichelle) January 29, 2023

We lost a beautiful soul today, a friend, a incredible talent, and the best mom and wife. @anniewershing you left your mark and you'll be missed. This is my favorite picture of the many I took, from the time we spent together on 24. pic.twitter.com/AQXtzTFH7O

— Jon Cassar (@joncassar) January 29, 2023

Annie will be greatly missed. A Go Fund Me fundraiser has been set up to help pay for funeral expenses and support Wersching’s family – husband Stephen Full, and her three sons – Freddie (age 12), Ozzie (age 9) and Archie (age 4).

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Gregory Itzin, a prolific character actor best known for playing the oily President Charles Logan on Fox’s 24, has died.

Itzin died Friday at the age of 74 due to complications during an emergency surgery, his rep confirms to The Hollywood Reporter.

Itzin earned two Emmy nominations, in 2006 and 2010, for playing Logan on the Fox thriller. At first a seemingly spineless vice president, the character grew to become one of the longest-running antagonists for counterterrorism agent Jack Bauer (Kiefer Sutherland).

24 executive producer Jon Cassar shared a message on Twitter:

My friend Greg Itzin passed away today.He was one of the most talented actors I had the honor to work with, but more than that he was an all around great guy. He’ll be missed by his 24 family who had nothing but love & respect for him. You made your mark, now Rest In Peace friend pic.twitter.com/IbrhAQXix2

— Jon Cassar (@joncassar) July 8, 2022

Source: The Hollywood Reporter

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In celebration of the 20th anniversary of 24, series lead Kiefer Sutherland and many fan-favorite cast and crew members will be reuniting for a very special virtual reunion and discussion over Zoom. They will appear together on a classic 24-style split screen, interact with fans, and share their experiences of working on the iconic action series.

“24 fans were the greatest I’ve ever experienced. I can’t wait to talk to you all,” said Kiefer Sutherland about the upcoming event.

Tickets are on sale for $24 USD at 24Convention.com with a portion of the proceeds being donated to Operation Smile. The 24 Virtual Convention is produced by GoTellSomeOne Podcasts, Mimetic Productions and the 24 Universe Team.

An edited highlight reel will be available later this month, with further footage being released exclusively to ticket holders first.

Below is a list of the confirmed guests, subject to change based on availability.

Cast Members Attending

• Kiefer Sutherland (Jack Bauer himself!)
• Mary Lynn Rajskub (Chloe O’Brian, Seasons 3-9)
• Annie Wersching (Renee Walker, Seasons 7-8)
• Elisha Cuthbert (Kim Bauer, Seasons 1-8)
• Sarah Clarke (Nina Myers, Seasons 1-3)
• Xander Berkeley (George Mason, Seasons 1-2)
• Louis Lombardi (Edgar Stiles, Seasons 4-5)
• Gregory Itzin (Charles Logan, Seasons 4-8)
• Glenn Morshower (Aaron Pierce, Seasons 1-7)
• Leslie Hope (Teri Bauer, Season 1)
• Tzi Ma (Cheng Zhi, Seasons 4-6, 9)
• Eric Balfour (Milo Pressman, Season 1 & 6)
• Kim Raver (Audrey Raines, Seasons 4-6, 9)
• Anil Kapoor (Omar Hassan, Season 8)
• Necar Zadegan (Dalia Hassan, Season 8)
• Nazneen Contractor (Kayla Hassan, Season 8)
• Nestor Serrano (Navi Araz, Season 4)
• Shohreh Aghdashloo (Dina Araz, Season 4)
• Laura Harris (Marie Warner, Season 2)
• Sarah Wynter (Kate Warner, Seasons 2-3)
• Carlo Rota (Morris O’Brian, Seasons 5-7)
• Cameron Daddo (Mitchell Hayworth, Season 7)
• Sprague Grayden (Olivia Taylor, Season 7)
• Chris Diamantopoulos (Rob Weiss, Season 8)

Crew Members Attending

• Joel Surnow (co-creator)
• Robert Cochran (co-creator)
• Jon Cassar (director, Seasons 1-10)
• Howard Gordon (showrunner, Seasons 5-9)
• Sean Callery (composer, Seasons 1-10)
• Brad Turner (director, Seasons 3-8)
• Michael Loceff (writer, Seasons 1-7)
• Rodney Charters (director of photography, Seasons 1-8)
• Joseph Hodges (production designer, Seasons 1-7)
• Jim Lapidus (costume designer, Seasons 1-8)
• Debi Manwiller (casting director, Seasons 1-9)
• Scott Powell (editor, Seasons 1-10)

Authors Attending

• David Mack (author, 24: Rogue novel)
• James Swallow (author, 24: Deadline novel)
• Dayton Ward (author, 24: Trial by Fire novel)
• Steven Keslowitz (author, The Tao Of Jack Bauer)
• Tara Bennett (author, 24: The Official Companion book series)

Source: 24 Convention

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Lucifer is staging two family reunions with one divine casting choice. EW can exclusively reveal that Dennis Haysbert is joining the Netflix-Warner Bros. TV drama as God — yes, the God — and will appear throughout the fifth and final season.

Of course, this isn’t the first time Haysbert and Woodside have played family on TV. They previously starred as brothers (and presidents) David and Wayne Palmer, respectively, on Fox’s 24. In fact, Woodside played a small part in helping Lucifer land Haysbert for this heavenly role.

“D.B. had actually come up to us and said, ‘Have you thought about Dennis?’ We were like, ‘Do you think he’d actually do it?’ And he’s like, ‘Well, I’ve already talked to him and sort of brought it up.’ And so we just went straight on at him,” says Henderson.

Getting to work with Woodside again was one of the reasons Haysbert said yes to the part. “Every time I see D.B., there’s always this fondness and this connection…We worked on a show that was arguably one of the best shows ever produced in television, so you’re going to have a kind of camaraderie,” says Haysbert, before adding with a laugh, “I don’t know how I went from brothers to father. We’re celestial. We can do that.”

Source: Entertainment Weekly

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Longtime collaborators, Homeland co-creators/executive producers Howard Gordon and Alex Gansa, have partnered and set up shop at Sony Pictures Television Studios with a rich four-year overall deal, leaving their longtime studio home at 20th Century Fox TV where Gordon has been for a quarter century, and Gansa for a decade.

Gordon is a three-time Emmy winner who also won for co-writing the pilot of Homeland. He shared his two Emmys for Homeland with Gansa. I hear leaving 20th TV after a long and successful run there was not an an easy decision for the duo but the Sony TV deal was too good to pass up.

Earlier this year Fox decided to pass on both 24 projects that were in development. At that time Fox Entertainment CEO Charlie Collier said “I’d be very open to working with Howard and everyone else but nothing new to report.” Now less than three months later Howard Gordon is no longer with the company.

Although this doesn’t necessarily mean the end of 24, it’s a major setback for the franchise since Howard Gordon has been the mastermind behind the previous revivals. With the Fox executive shakeup last month after the Disney acquisition, and now the loss of Howard Gordon, it seems likely that any efforts to revive 24 will be put on the backburner for the time being.

Source: Deadline

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Fox had been developing two potential new 24 series: a real-time legal thriller written by 24 executive showrunner Howard Gordon and Jeremy Doner and a prequel that traces the origin story of CTU agent Jack Bauer, from Gordon and 24 co-creators Joel Surnow and Bob Cochran.

Of the two, the legal drama progressed beyond the initial script and went through further development and reworking. But in the end, neither project made it to a pilot order this season.

During the TCA executive session Wednesday, Fox Entertainment CEO Charlie Collier called it “a blessing” to have the 24 “legacy and a responsibility to bring it back.”

He acknowledged that the network is “not announcing anything.” He expressed admiration for the creative auspices behind 24, from Imagine TV and 20th TV, but he stressed that “when we get it right,” the network takes bringing the franchise back “very seriously.”

The 24 producers now are expected to go back to the drawing board.

“The power of these franchises is not to be toyed with, and 24 was an iconic moment in television, and when and if we bring it back, it will be because the creators and writers feel like they have the right story to tell, they can honor the franchise and the studio and the network feel the same way,” Collier told Deadline after the session. “I’d be very open to working with Howard and everyone else but nothing new to report.”

Source: Deadline

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Some 24 fans noticed that the series disappeared from Amazon Prime Video a few days ago without warning, with many losing access during the middle of a rewatch. Not good! But now we know why – the streaming rights have transferred exclusively to Hulu beginning today.

Hulu has the first eight seasons of the original run, including the two hour prequel movie 24: Redemption, the 24: Live Another Day limited series, and the failed reboot 24: Legacy.

24 on Hulu Links:

• 24: Complete Series
• 24: Legacy

This marks the third time 24 has moved streaming homes. Netflix gained exclusive streaming rights to the series in April 2010, then it moved to Amazon exactly four years later in April 2014 where it’s been since. If history is any indication, this move to Hulu is is likely another longterm multi-year exclusive.

Hulu currently offers two monthly pricing plans to choose from: a “Limited Commercials” option for $7.99 and a “No Commercials” option that costs $11.99 a month. There are special discounts available to students.

But the best part is the free one month trial to all new subscribers. If you’re fast enough, you could watch (or rewatch) the entire series without needing to pay – as long as you remember to cancel before your first bill date. Happy streaming 24 fans!

Source: 24 on Hulu

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Jack Bauer’s next chapter may be an early one.

Sources tell The Hollywood Reporter that the next chapter in the 24 franchise will be an ongoing prequel series that tells the origin story of how Jack Bauer became Jack Bauer. Original series creators Joel Surnow and Bob Cochran are said to be teaming on an idea for the character originally played by Kiefer Sutherland. Executive producer Howard Gordon is attached to the project and is working with Surnow and Cochran on the idea.

Surnow and Cochran are co-writing the script for what sources say could be an ongoing series rather than a closed-ended limited series like the most recent incarnations in the franchise, 24: Legacy or 24: Live Another Day. It’s unclear when the series could be on the air, though there had been some rumors in May that Fox could launch the new installment for midseason. Casting has not begun.

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Disney announced today they have finalized a deal to buy out most of 21st Century Fox for a whopping $52.4 billion. What exactly does this mean for the future of the “24” franchise?

Although the FOX broadcast channel is staying put, Disney has taken over the 20th Century Fox Television studio where “24” was produced. So essentially the future of the franchise is now entirely in Disney’s hands.

The Los Angeles Times reports that the deal might cause high-level Fox executives to either jump ship or be laid off. Fox Television Group Chairman Dana Walden who worked at Fox for more than 20 years is said to have already been approached by Amazon to become chief executive of Amazon Studios.

Anxiety has spread beyond the executive ranks. Producers who make shows for the broadcast network are uncertain how their businesses will be affected. “No one really knows what’s going to happen,” one producer said Monday.

Company insiders have been hearing that the broadcast network will become more dependent on sports events, news programs and unscripted reality series. Such programming is largely watched live at the time it airs — which means viewers are more likely to see the commercials.

We’ll have to see how things shake out in the following months, but in short, this does not seem promising for those wanting more “24” in the near future.

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EXCLUSIVE: Fox is developing a potential new incarnation of its Emmy-winning drama series that would have a female lead and take the real-time format of the terrorism-themed original and apply is to a different arena, criminal justice.

The project, which has received a script commitment, hails from 24 franchise executive producers Howard Gordon and Imagine’s Brian Grazer, as well as former The Killing writer-producer Jeremy Doner and the franchise’s production companies, 20th Century Fox TV and Imagine TV. Doner will write the script with Gordon, who ran the original series.

Details about the premise are sketchy, but I hear that the potential new 24 series centers on a female prosecutor who uncovers a legal conspiracy and has to work against the clock to save a death row inmate facing imminent execution whom she had helped prosecute but may be innocent. I hear this is part of an anthological take on 24 that would tackle a new world with new characters each season.

Source: Deadline

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During the Fox executive session at the Summer TCA press tour, we learned a few small details about the planned reboot of 24 which is currently in the early stages of development. Here’s what you need to know.

It’s probably going to be very different

Fox Entertainment president David Madden said “The next version of 24 will probably not be CTU, American counterintelligence. We want to take that same sort of ticking clock, incredible urgency and apply it to something else. It will have same style and urgency but in a different venue.”

Besides moving away from CTU, it appears that they might ditch the terrorism aspect entirely.

“The idea I’m excited about currently is not [an end-of-the-world story],” said Fox TV chairman Dana Walden. “Partly what is exciting, we’re opening up the possibility of it being anything. Anything where that 24-hour clock hits at the most critical period in a story. I don’t want to limit them that it should only be an action-oriented show. Maybe not. Maybe it’s emotional action. But we’re keeping the opportunity for them to keep their thoughts open.”

Fun fact: the initial concept for 24 was centered around the 24 hours leading up to a wedding.

Joel Surnow is back

Co-creator Joel Surnow is returning to 24 after a nearly ten year absence. Surnow stepped down as showrunner after the fourth season and eventually left the series entirely during the seventh season in order to pursue other projects. Neither 24: Live Another Day nor 24: Legacy enticed him to return to the writers room, so his involvement here is perhaps the best indication that they’re attempting something creatively different.

Two versions are being developed

According to Deadline, there are actually two different ideas for the upcoming reboot, with Joel Surnow writing one version and Howard Gordon working on another version alongside other (unnamed) writers.

Deadline reports that Fox “may put the two ideas on parallel tracks, developing both, with one of the projects possibly going to pilot before the official pilot season next year.”

It’s still early

The Fox executives emphasized that it’s very early in the creative process. Many of these details can (and probably will) change over the next few months. But it’s clear that Fox wants to extend the life of the 24 franchise further and are open to experimenting with new ideas.

Here are all the various articles written about the news: Deadline, TVLine, Entertainment Weekly, IndieWire, TV Guide, SlashFilm, Screen Rant, and Cinema Blend.

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“I was abandoned by the people I worked for…as you will be someday.”

The third season of 24 lacks consistency and cohesiveness, but is nevertheless a very strong entry that achieves a better balance between the character driven stories of season one and the large scale threats of season two. The story is elevated by excellent character development and well characterised villains as well as thematically interesting content, but is undermined by several lethargic episodes and melodramatic subplots.

The entire season is framed around the Cordilla virus – a virulent biological weapon that various factions attempt to secure for their own ends. Whereas the nuclear bomb in season two threatened an entire city, the Cordilla virus has the capability of killing innumerable people across the entire country. Season three takes place across both a literal and figurative battleground for control of the virus.

Compared to other seasons of the show, season three is ambitious and unconventional. A significant amount of the action takes place outside of the United States and the motivations of important characters like Jack Bauer are kept hidden from the audience for multiple episodes. This has made season three more divisive than others, but these creative decisions represent the first attempt to permute the formula of the show.

24 and World-Building

In the closing moments of season two, the mercenary known as Mandy used a biological weapon to carry out an assassination attempt on David Palmer. A phone call immediately afterwards revealed that she was affiliated with Max, the German arms dealer who was responsible for the events of that day. Season three was expected to continue this storyline and further explore the oil consortium conspiracy whose scope was only briefly glimpsed.

Unfortunately, season three failed to meet those expectations. The implications were hand-waved with a few lines of dialogue in the opening episode. Chief of Staff Wayne Palmer explains that David has more or less fully recovered from the attack and that the people responsible have been apprehended or eliminated. The significance of these events is reduced to merely signposting the nature of the terrorist threat for the next season.

24: The Game, which takes place between seasons two and three, retroactively resolves this storyline but this is a poor substitute for the show itself. The failure to develop unresolved plot threads and address lingering questions from a previous season demonstrates one of the major shortcomings of the series. The show lacks credible world-building and seems incapable of developing multi-season storylines.

Numerous terrorist attacks are successfully carried out over the course of the series, most of which have occurred in the city of Los Angeles. Although the number of casualties has exceeded well beyond ten thousand in less than ten years, the attacks largely exist in a vacuum and have a negligible impact on the world. There is no attempt to show the cumulative effect that these attacks would have on the social and political landscape.

Additionally, ten heads of state have occupied the office over the course of just nineteen years in the show. Only one has completed a full term, three have been incapacitated or assassinated, three have been unelected inheritors, and two have been removed from office for engaging in conspiratorial activities. The United States should resemble a dystopian society by the end of the series, but it looks only superficially different from our own.

Although they exist in the same continuity, each season is effectively a soft reboot. Unresolved cliff-hangers and lingering plot threads are discarded in favour of starting with something almost entirely fresh. Each season premiere acts as a faux pilot, reintroducing the audience to the status and whereabouts of Jack Bauer as well as the new or returning characters at C.T.U and the White House.

This is simultaneously frustrating and understandable. There has been great potential for multi-season storylines and it has been a shame to see the more exciting opportunities go unrealized. However, in fairness, the show is already difficult enough to create without imposing additional restrictions for the writers to navigate. Resetting the chessboard every year gives the show freedom to rejuvenate itself aesthetically if not functionally.

Terrorism as a McGuffin

Despite this, 24 has consistently excelled at character continuity. Past events are only sparingly referenced, but what the characters experience in one season always implicitly informs who they are and what they do in the next. For example, the Jack Bauer of season one is almost unrecognisable from the Jack of season nine. Likewise, the Tony Almeida of season one is completely unrecognisable from the Tony of season seven.

The focus on characters is what gives the show its resonance and permanence. The real-time format is just a gimmick that attracts interest and the terrorist attacks are just glorified McGuffins that serve as exciting plot devices motivating the characters, but they are not the real story of 24. They simply create the situations and circumstances that facilitate the desired character development as well as the exploration of relevant themes and ideas.

The real story is about the cumulative cost of political and intelligence work. The show explores how characters, either by upholding or compromising their principles, respond to extreme situations where countless lives are at risk. It also explores the extent to which their involvement can lead to suffering and great personal sacrifices that isolate them from other people and the world around them.

Structurally Ambitious

The opening episodes of season three are erratic. The first episode does an efficient job of establishing the threat and getting viewers up to speed on the various dynamics of the cast. Jack is Director of Field Operations and has a heroin addiction incurred during an undercover operation. Kim is working at C.T.U under the watchful eye of her father while secretly pursuing a relationship with Chase. Meanwhile, Tony and Michelle are married.

However, the next few episodes feature poorly conceived detours. The Kyler Singer and Anne Packard stories are less engaging than desired and, retrospectively, their irrelevance to the larger story arc only weakens them further. Fortunately, the story improves when Tony is critically injured while pursuing Singer and Jack stages an exhilarating prison break. These events lead the season in a more interesting and less conventional direction.

Season three is more structurally ambitious than the first two seasons. Jack and Tony secretly devise a complex sting operation to recover the Cordilla virus without informing their colleagues or the White House. The audience is completely oblivious until the seventh episode. The writers deserve credit for successfully withholding important story information from the audience for such a long period of time and without breaking plausibility.

On one hand, this is a great twist that forces the audience to re-evaluate and re-contextualise what has happened in the past seven hours. On the other hand, the revelation gives those episodes a deceptive and manipulative quality that makes them difficult to re-watch. Mileage will vary on the effectiveness of the twist, but the show should at least be commended for choosing to take such a bold direction.

It also allowed the writers to cleverly subvert audience expectations. Agent Gael Ortega is initially presumed to be a mole feeding information to the Salazar drug cartel, but the sting operation twist reveals that he has been working with Jack as a triple agent to re-establish his cover with the Salazar brothers. This is essentially the opposite of Nina in season one and the only other time the show delivers a mole-related twist that lands with any impact.

The sting operation revelation is followed by a brief interbellum in which the Cordilla virus is auctioned by Michael Amador. This marks the return of Nina Myers, who has been tasked with purchasing the virus for an unidentified client. Her involvement is improbable, but her status as a mercenary and her history with Jack makes her return irresistibly compelling. The contrivance can be forgiven for the palpable tension that her presence immediately elicits.

Nina Myers returned to make more trouble

Although the action slows down considerably during the evening hours after Jack arrives in Mexico, they set the stage for a thrilling second half of the season. The auction turns out to be a ruse orchestrated by Amador, whose intention was to sell the virus to another client the entire time. The sting operation is unsuccessful in its goal to secure the virus, the Salazar brothers are killed, and Nina is captured by C.T.U for further questioning.

Continual Momentum

The action subsequently returns to Los Angeles, where the person responsible for the threat is revealed to be former MI6 agent Stephen Saunders. Saunders was a member of the Delta Force team that Jack Bauer led to eliminate Victor Drazen during Operation: Nightfall. Presumed dead, he was instead captured and tortured by the Bosnian secret police for years. The United States refused to negotiate his release.

This backstory is an example of retroactive continuity, but it nonetheless establishes an immediate connection with Jack Bauer and David Palmer. It also links back to season one, the events of which kick-started their respective stories in the series. Saunders uses the virus to hold the country hostage and make demands which includes, among other things, murdering Regional Division Director Ryan Chappelle.

From the moment Saunders is revealed as the mastermind, the narrative gathers continual momentum. The Chandler Plaza Hotel is the first site that Saunders targets in his pursuit of vengeance. Both Gael and Michelle Dessler are among the thousand people who are exposed to the virus. While Michelle eventually discovers that she is immune, Gael quickly starts exhibiting symptoms and ultimately succumbs to the virus.

Some highlights of the back half of 24 Season 3

This storyline delivers extremely tense and haunting moments. Among these, Michelle is forced to shoot one of the guests as they try to leave the building and, later, suicide capsules are offered to everyone inside for a less painful death. These are emotionally powerful precisely because they represent one of the few occasions that 24 focuses on how terrorist attacks can affect normal civilians.

The remainder of the season has no shortage of equally powerful scenes. Jack is forced to murder Ryan Chappelle in one of the most disturbing moments of the series and later amputate one of Chase’s hands to prevent the dispersal of the virus in a high school. Michelle is also captured to guarantee the cooperation of her husband in a sequence that closely mirrors what Jack experienced in season one.

Whereas the first half of season three lacks energy and focus, the second half of the season is universally lauded for good reason. From the harrowing Chandler Plaza crisis and the explosive confrontation at the 6th Street Bridge through to the relatively subdued resolution outside St. Thomas Hospital, the second half of the season features some of the most memorable character interactions and action set-pieces of the series.

The Downside

Despite the strength of the aforementioned material, season three is fragmented by myriad subplots that are poorly integrated at best and completely pointless at worst. Whereas the subplots of the first two seasons were salvaged by their thematic relevance, season three has little such luck. They more closely resemble soap opera dramatics, moving from one absurdity to another in an effort to fill out time and give characters something to do.

The interoffice politics at C.T.U are especially tiresome this season. Hostility is exchanged between Kim Bauer and Adam Kaufman for petty reasons while conflict ignites over the romantic relationship between Kim and Chase. Although Kim is better integrated into the action this season, she still feels like window dressing that has a nasty habit of inciting unnecessary drama and getting into trouble.

Meanwhile, Chloe O’Brian is forced to look after a baby in secret for multiple episodes. In addition to her awkward and combative personality, her introduction does not immediately endear her to the audience. In retrospect, it seems extraordinary that Mary Lynn Rajskub’s initially quirky and unlikeable intelligence analyst became the second longest-running character in the series after Jack Bauer.

The political storyline is the most egregious subplot. David Palmer faces yet more scandals, the biggest of which involves his brother and the wife of his financial supporter. This jeopardises his re-election campaign, compelling him to contact Sherry for assistance. Her intervention leads to the death of Alan Milliken, forcing David to cover up the murder and make previously unfathomable compromises to protect both his ex-wife and his brother.

David Palmer seeks assistance from Sherry

The situation only continues to deteriorate. David casts Sherry out of his inner circle once again which turns her against him once again. She approaches Senator John Keeler with evidence that implicates Palmer in the cover up, hoping to secure a position in the Keeler administration. When David is blackmailed by Keeler to drop out of the race, he attempts to trick Sherry while Wayne retrieves the evidence from her house.

The political storyline of season three is among the worst of the series, failing to match the quality of the previous season in every conceivable way. Convoluted and melodramatic, the story rehashes the scandals of season one and the treachery of season two without any of the intrigue and with only minimal thematic relevance. Unlike Nina Myers, the contrived return of Sherry Palmer is far less forgivable given the quality of the end result.

The failure to craft a compelling political storyline for Palmer this season may explain why the writing team ultimately decided to withdraw him from the re-election campaign. They may have felt that the story of David Palmer as President of the United States was exhausted, necessitating a change in season four to refresh the dynamics. It is unfortunate that the final appearance of Dennis Haysbert as a principal character was handled so poorly.

Unheroic Heroes

Season three is tonally darker than the first two seasons. By its very nature, the Cordilla virus is chaotic and insidious in ways that even the nuclear bomb of season two was not. Rather than requiring specific components that need assembling and complicated methods of deployment, the virus can be unleashed using relatively innocuous bags of powder. Even the symptoms exhibited by infected characters such as Gael are more viscerally disturbing.

Season three is also thematically darker, featuring characters whose actions are more questionable. For example, Jack is forced to execute an innocent Chappelle to appease a vengeful Saunders and delay the dispersal of the virus. This is one of several major examples where heroic characters are forced to act in ways that are decidedly unheroic, blurring the rules of engagement as well as the boundaries between what is and is not acceptable.

David Palmer is an excellent example of this idea. He engages in uncharacteristically deceitful behaviour, covering up sex and murder scandals to protect members of his family as well as safeguard his chances of re-election. These represent increasingly serious breaches of power that lead to disastrous consequences. Sherry is gunned down by an inconsolable Julia Milliken, who subsequently turns the gun on herself and commits suicide.

The first two seasons portrayed David as a man with unflinching honesty and integrity. Season three corrupts the character, intentionally or unintentionally tapping into the recurring theme of compromise that has become a common denominator for the series. Fortunately, David prevents himself from descending further into self-inflicted oblivion. He withdraws from the election, choosing to uphold his principles rather than maintain power.

Despite his moral fortitude, David demonstrates that he is capable of the very human failings that plague us all, especially in times of crisis. His decision to withdraw from the election not only illustrates his quality as both a leader and a person, but also offers a lesson for everyone in positions of power where compromise can seem so tempting. This is a fantastic moment of idealism in a show otherwise swathed in cynicism.

In a Mirror, Darkly

Season three firmly establishes the mirroring trajectories of Jack Bauer and Tony Almeida. Both are highly capable individuals, both have devoted themselves to protecting their country, both have occupied the position of Special Agent in Charge, and both have been betrayed by a woman they trusted. Their shared experiences have developed an unspoken camaraderie, creating one of the strongest yet most complicated relationships of the series.

Despite these parallels, the fundamental point of difference between the characters is the extent to which their emotions dictate their actions. On one hand, Jack has learned that romantic entanglements can be compromising and that working as a field agent necessitates detachment. On the other hand, Tony struggles to bury his emotions and make necessary sacrifices even when innocent people may pay the price.

Before season three, Tony was mostly a supporting character who provided assistance and intelligence when necessary. He rarely left the office and only occasionally went out into the field. By season three, his direct involvement has become much more prominent. He coordinates a complicated sting operation, suffers a serious injury while tracking down a suspect, and temporarily believes his wife will perish from the Cordilla virus.

His actions also have a larger impact on proceedings. When Michelle is captured as leverage, Tony commits treason by helping Saunders escape the authorities. He tampers with surveillance footage and collaborates with Saunders to facilitate a hostage exchange. This is a direct parallel of season one, in which Jack was forced to compromise his position at C.T.U and cooperate with terrorists to protect his family.

These are watershed moments for Tony, who refuses to sacrifice his wife for the sake of the mission. Jack sympathises, but refuses to endanger millions of lives for the well-being of a single individual. A fiery exchange between the two characters ensues, with Tony berating Jack for failing to save his wife when she was similarly imperilled. These are some of the most compelling scenes of the season, offering excellent drama and character development.

Ultimately, Michelle is rescued and Saunders is apprehended. This does not absolve Tony, who must face the consequences for his treasonous actions. These events lay the groundwork for the next two seasons and set a precedent for the reprehensible actions he commits in season seven. The parallels between Jack and Tony will continue to inform their relationship and their stories for the remainder of the series.

The Denouement

Whereas the first two seasons of the show ended with cliff-hangers, the third season concludes in a much quieter and less dramatic fashion. There are no last-minute twists, no shocking revelations, and no major action set pieces. The biological threat has been contained, the various subplots are resolved, the major villains are eliminated, and the characters reach a natural end point in their current iterations.

These signify both the conclusion of season three and the first trilogy of the series. The shadow of Operation: Nightfall dissipates with the death of Saunders, David decides against running for a second term after recent scandals, Tony ceases working as a permanent agent of the Counter Terrorist Unit after being charged with treason, and Kim completes her transition into adulthood by choosing to leave her father’s immediate sphere of influence.

Furthermore, season three marks the end of Ryan Chappelle, Nina Myers and Sherry Palmer as major recurring characters. Sherry is murdered by Julia Milliken as retribution for her nefarious machinations, which have been mounting for some time. Meanwhile, Nina is fittingly executed by Jack in the same room she murdered Teri several years earlier. Their deaths conclude some of the few story arcs that have continued across all three seasons.

As expected, the final moments revolve around Jack. The last three seasons have taken a tremendous toll on him. When Teri was murdered, he isolated himself from the world and he struggled to reassemble the shattered pieces of his family. Eighteen months later, he was willing to sacrifice himself to save millions of lives but was compelled to continue living and reconnect with his estranged daughter.

But the pain of losing Teri did not subside. While undercover with the Salazar family, he became addicted to heroin not only to maintain his cover but also to bury that overwhelming sorrow. Afterwards, he not only prevents a biological terrorist attack of unimaginable proportions but is forced to murder an innocent colleague and commits a horrible act of violence against his field partner to save lives.

These are just a handful of the hardships Jack has faced in the last five years. In the final moments of season three, their cumulative weight finally catches up to him. Outside St. Thomas Hospital, he breaks down and openly weeps. This is a powerful moment of humanity from a man who has become increasingly disconnected from it. More importantly, it is a much needed moment of catharsis that allows Jack to move forward with his life.

But the story does not end here. Saunders warns Jack that his government will inevitably abandon him, foreshadowing future events where the institutions Jack has loyally serviced and sacrificed so much to protect turn against him. Throughout the second trilogy, Jack will become increasingly disillusioned and his suffering will worsen exponentially as the extent of the corruption around him deepens.

For now, however, Jack can enjoy some relative peace. It will be a long time before things are as good for him as they are now.

He has certainly earned it. ?

About the Author
Bradley Hinds is a professional copywriter and 24 enthusiast. He has a passion for various storytelling mediums, an unhealthy obsession with Pink Floyd, and enjoys writing accessible long-form analysis when he isn’t spending half the day playing a Mass Effect game.

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“There are things in this world that are just out of our control. Sometimes we like to blame ourselves for them so we can try to make sense out of them.”

The second season of 24 fails to reach the heights of the first season, but is nonetheless a competent and consistent effort that consolidates the template that season one introduced. It solidifies the focus on counter-terrorism and reaffirms its commitment to Jack Bauer as the protagonist. Although the formula is occasionally altered hereafter, the fundamental premise remains unchanged for the duration of the series.

In doing so, the show essentially forfeits the opportunity to tell an entirely different story. 24 could easily have been an anthology series, presenting days in the life of various protagonists who deal with different environments, situations and circumstances. Instead, the show maintains the ‘race against time’ and ‘ticking time bomb’ approach that is anchored by the turbulent journey of its magnetic lead character.

This is not a criticism, but an interesting observation. Whether due to a lack of ideas or a reluctance to change the series too drastically after a successful debut, the writers and producers responsible for creating 24 made a conscious decision to keep the status quo intact. They made a decision to keep telling a thriller story about terrorism and political conspiracies, including the myriad physical challenges and emotional hardships therein.

A Prescient Threat

The first hour of season two quickly establishes that an Islamic terrorist organisation known as Second Wave plans to detonate a nuclear device somewhere in Los Angeles at some point in the next 24 hours. The magnitude of the threat is a noticeable shift from the relatively small-scale assassination plot of season one. Millions of lives are now at risk as opposed to a handful of specific individuals.

This is an important benchmark for the series – every season hereafter features weapons of mass destruction in some way or another. In hindsight, the show may have raised the stakes too high too early. This may have hampered its ability to tell compelling stories in later seasons where the trend of escalation started crossing into absurdity. On the other hand, it was arguably a natural stepping stone given the state of the real world at the time.

Season two was the first to be conceived after 9/11, allowing it to more closely reflect the fears and anxieties sweeping American society. When the season premiered in late-2002, the most prevalent fear was the possibility that terrorists could acquire a nuclear device and detonate it on American soil. The show responded by presenting a hypothetical situation where that fear becomes a reality.

Season two also demonstrated a remarkable prescience, anticipating real-world events before or as they happened. For example, the story arc involving the Cyprus recording that falsely implicates three Middle Eastern countries in the detonation of the nuclear device in Los Angeles began just days after the United States invaded Iraq based on faulty intelligence pertaining to weapons of mass destruction.

This was almost certainly an unintentional coincidence, given that the scripts for those episodes would have been written weeks or months in advance. This was neither the first nor the last time that 24 seemed to predict and influence the future. Indeed, the successful election of Barack Obama in 2008 has been partially attributed to David Palmer, a character whose integrity made people enamoured with the idea of an African-American president.

The Curious Case of Season Two

Like season one, season two focuses on a single issue that generates a 24-hour response. The first fifteen hours focus on locating and securing the bomb while the remaining nine hours deal with the consequences of its detonation. A number of antagonists attempt to complicate the process for the heroes, including obstructionist bureaucrats, warmongering politicians, militant Islamic fundamentalists, and opportunistic oil tycoons.

Season two is well plotted, avoiding the issues that plagued the second half of season one. The plot develops unpredictably yet naturally, fluidly transitioning from one crisis to the next without losing sight of the central threat. This is an improvement over season one, which was forced to revitalise story arcs after the thirteenth episode. Generally, season two is less clumsy and contrived with its developments than other seasons.

The Kim storyline is an exception. Her melodramatic trials and tribulations grow tiresome, but they are a necessary evil that places the nuclear threat in a more human context. While other characters deal with the threat directly, Kim is an ordinary person whose escape from the city emphasises the urgency of the situation. Her interaction with other ordinary people, including Lonnie and Ramon, also highlights the volatile nature of the situation.

Fortunately, the weakest moments of the season are almost exclusively contained to this storyline. This one weak thread allows the rest of the story to maintain focus and intensity without wandering off and getting distracted by dozens of smaller things. It also fills out time, sustains the more important storylines, and gives Jack something personal to worry about without necessitating his involvement.

However, despite the strength of its plotting, season two is strangely unmemorable and uninteresting. The reasons for this are not easily discernible. Aside from Kim Bauer and her antics, there are few obvious low points and the rest of the story is remarkably consistent in quality. This requires us to deepen our understanding of what constitutes a strong and memorable season of 24.

A Deficiency of Interesting Characters

I consider the first season to be the benchmark which every other season of the show should be measured against. Three major components working in tandem contributed to its success; focused storytelling, clear themes, and interesting characters. Season two is deficient in one of these; characters. Their backstories are less weaved into the story, their relationships have less importance, and their motivations are explored less extensively.

Season two seems less concerned with three dimensional characters and more with how they service the machinations of the plot. This is especially true for the villains who are mostly poorly drawn caricatures. Syed Ali wants to kill Americans but his beliefs and ideologies are barely examined. Marie Warner is an extremist whose radicalisation is waved away. Peter Kingsley and his fellow conspirators seek profit simply for the sake of profit.

These antagonists are not fighting for anything the audience can even remotely identify with. They also have no personal connection to the protagonist or any of the supporting characters. The one exception is Nina, and it is no coincidence that her episodes are some of the most memorable of the season. The Drazens, though entirely unsympathetic and reprehensible, were at least humanised and motivated by the deaths of family members.

Not even the main characters are immune to this shift away from character-driven storytelling. For example, an initially reluctant Jack Bauer is eventually compelled to save lives because he could never live with himself if something happened that he may have had the power to stop. This is a selfless and noble reason to get involved, but that is the extent of his motivations throughout the season and they are not particularly interesting.

The problem is exacerbated by villains with superficial or non-existent connections to Jack. Eddie Grant and Jonathan Wallace appear in only a handful of episodes, preventing any meaningful development or interplay. Furthermore, they have only met him on brief occasions or worked with him in limited capacities. Neither of these characters elicit strong feelings or pose a significant challenge – they are shallow and forgettable.

Jack versus Nina was a highlight of the season.

Conversely, the episodes with Nina feature fantastic tension and drama. These episodes engage and resonate precisely because of the rich and deeply personal history between them. Jack is forced to bury his feelings and cooperate with Nina while she manipulates the situation to guarantee her freedom and survival. This culminates in an incredibly tense hour where Nina takes Jack hostage, offering the location of the bomb in exchange for immunity.

When Jack has a personal reason for being involved and has personal connections with the villains, the show can be irresistibly compelling. Everyone remembers when Jack rescues his family from Ira Gaines or saves Audrey and her father from execution. Everyone remembers when Jack slaughters the Drazens to avenge his daughter, apprehends Stephen Saunders, executes Christopher Henderson, interrogates Charles Logan, and beheads Cheng Zhi.

These are characters that have threatened people Jack loves. These are characters that have betrayed him and taken something important away from him. These are characters that he has developed feuds with over multiple episodes and seasons. Season two is mostly devoid of these characters, removing the personal dimensions that explore different aspects of his character as well as the substance that helps establish a truly memorable season of 24.

The Upside

In fairness, season two is a lot better than this analysis makes it seem. The political storyline is probably the best in the series. The intrigue and sense of paranoia that sweeps through the Palmer administration as layers of the conspiracy are unravelled is exceptional. This culminates in Palmer being stripped of his presidency due to perceived inaction in the face of aggression, further heightening the tensions surrounding an impending world war.

Sherry returns and her Machiavellian compulsions are even more entertaining than the first season. Alongside Nina, she is the only other antagonist of the season with any impact. Her bitterness at being shut out of the White House creates an interesting dynamic with her ex-husband as the crisis unfolds. Novick also has an opportunity to shine, becoming another example of the dangers of compromise when he betrays David and endangers Lynne Kresge.

George Mason is, unexpectedly, one of the highlights of the season. His transition from untrustworthy bureaucrat to tragic hero is a surprising yet natural development catalysed by his lethal exposure to radiation, culminating in one of the most affecting moments in the history of the show. The brief reunion with his son and his silent clock again showcases 24’s ability to offer genuine character moments against a backdrop of high-octane action.

George Mason takes the plane down in Mojave Desert, saving thousands of lives. This episode received four Emmy nominations.

This illustrates another important aspect of the show. Character development is compressed, occurring in hours instead of weeks or months. 24 does not have the luxury of jumping ahead in time, so it subjects characters to extreme situations and circumstances that propel their growth more rapidly. George Mason becomes a barely recognisable character in the space of fifteen hours, but it makes sense given what he has experienced.

The fifteenth episode is the best of the season and, arguably, one of the very best of the series. Jack jumps at the opportunity to transport the bomb outside of Los Angeles, preferring to sacrifice himself for the good of others than continue living an empty life without his family. The emotional farewell to his daughter is especially heartbreaking, emphasising the gravity of his sacrifice and the importance of their relationship.

Of course, Jack is a consummate survivor. Whether through his own strength of will or the intervention of external forces, Jack has been able to cheat death on countless occasions and survive another day. In this case, Mason reveals himself after having sneaked onto the plane using his CTU credentials. He manages to talk Jack down from sacrificing himself, sparking enough courage for him to continue living and make things right with his daughter.

It is a touching scene that highlights how much George has developed in a relatively short space of time. He offers Jack a parachute and takes control of the plane, sending it into a dive at the right moment and saving millions of lives. A once cowardly and corrupt character ends his life as one of the greatest heroes the series has ever known. The detonation of the bomb is a haunting moment that caps off one of the most memorable episodes of 24.

The Rise of Tony Almeida

Tony Almeida is elevated to the main cast in the second season, signalling the start of a journey that will see him become the second most important character in the show. Initially an unlikeable and relatively inexperienced senior analyst, Tony develops into a deeply complicated and damaged individual who embodies many of the themes that permeate the show. Few other characters experience as much change or endure as much suffering.

The seeds for his development were planted almost immediately. Tony is someone whose feelings often get the better of him – his relationship with Nina as well as his distrust of Jack negatively affects his objectivity and his judgement on numerous occasions throughout the first season. This continues in season two, when his personal feelings for Michelle Dessler again affect his judgement and hampers the mission.

When George Mason steps down, Tony becomes director of the Counter Terrorist Unit while Michelle assumes the role of second-in-command. These promotions not only place them in positions of importance, but also develop the fledgling romantic relationship between them. This is a pivotal moment in the overarching story of 24, kick-starting their respective journeys and sending them down a path from which they can never turn back.

The first and second seasons serve as a prologue for Tony. The shared betrayal that he and Jack experience after Nina is revealed as the mole ignites a connection that binds them together in ways they cannot yet imagine. Their disagreements in season two further strengthen rather than weaken the camaraderie they end up sharing. This sets the stage for season three, when Tony has the longest day of his life and becomes a mirror image of Jack.

The Response to Trauma

Thematically, season two is about how people deal with physical and emotional trauma. Jack sinks into depression after the death of his wife, Kim avoids her father to bury the pain of losing her mother, Sherry becomes complicit in a conspiracy to sabotage David and his presidency after their divorce, Tony struggles to trust his colleagues after Nina’s betrayal, and Marie Warner is radicalised after the death of her mother.

These are wildly different reactions and responses, but they each demonstrate a failure or refusal to cope with trauma. This can have dire ramifications in the world of 24, where thousands or millions of lives are routinely at risk. For example, a radicalised Marie secretly funnels money to Second Wave and facilitates a nuclear detonation. Meanwhile, an embittered Sherry jeopardises national security by conspiring with Roger Stanton.

George Mason is a notable exception. He quickly accepts the inevitability of his death rather than denies it. He decides to remain at CTU for as long as possible rather than run away. He also attempts to make amends with his estranged son, offers heartfelt advice for Michelle, and successfully appeals to Jack on the plane before the bomb explodes. Mason chooses to respond to trauma in noble and honourable ways that ultimately saves lives.

Jack does not waste the opportunity that Mason gives him. In the process of averting a third world war, he re-establishes a connection with his daughter and discovers a renewed enthusiasm for life. It will take several more years and another long day before the pain of losing Teri numbs entirely, but season two lays the necessary groundwork for his emotional recovery which is at the heart of his journey throughout the first trilogy.

Jack repairs his relationship with his daughter

Season two also ends with the unusual distinction of Jack gaining rather than losing something. The day has no shortage of physically challenging and morally questionable conundrums for him to surmount, but Jack finishes the day without having to make personal sacrifices. Instead, he restores the damaged relationship with his daughter and forges a genuine, if short-lived, connection with Kate Warner.

Conclusion

As the second entry in the first trilogy of the series, season two develops existing characters and conflicts that sets the stage for their resolution in season three. Despite its myriad strengths, season two lacks the peaks or valleys that distinguish other seasons and is less memorable as a result. ?

About the Author
Bradley Hinds is a professional copywriter and 24 enthusiast. He has a passion for various storytelling mediums, an unhealthy obsession with Pink Floyd, and enjoys writing accessible long-form analysis when he isn’t spending half the day playing a Mass Effect game.

RSS readers - 24: Under the Microscope – Season Two was originally posted on 24 Spoilers. Visit our site for full content. Also be sure to follow us on Twitter, Facebook, and Google+!