Critical Myth

All Good Things...

2007-07-02T16:48:00.000-07:00

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"

2007-06-29T15:42:00.000-07:00

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"

2007-06-24T18:02:00.000-07:00

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"

2007-06-23T09:15:00.001-07:00

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"

2007-06-22T14:57:00.000-07:00

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"

2007-06-17T08:19:00.000-07:00

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"

2007-06-16T18:07:00.000-07:00

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

Studio 60 1.20: "K&R: Part II"

2007-06-15T12:47:00.001-07:00

This is the middle of a trilogy, and as such, the name of the game is escalation. Situations need to get more and more complicated driving into the conclusion, and that thought process drives both time periods explored in this story. In fact, the stories are so compelling that I was screaming at my television in frustration at the end.

Some found my comments in the previous review somewhat naïve and ridiculous. After all, they said, “we already know how Matt lost his job, why would you need more context”? At it turns out, there’s a lot more to it than supporting Bill Maher, and we’re getting to see that process unfold. In fact, this time around, the writers beat the audience over the head with the message: this is not going to end well, because it didn’t end well last time, either.

In the past, Matt and Danny were left with the burden of doing something they didn’t want to do: put on a season premiere right after the initiation of the War on Terror and with their writers’ hands tied behind their backs. Matt wants to play it safe, but as reinforced on many occasions, he also recognizes when a sketch will work and should be allowed to happen. This was the case with “Crazy Christians”, as seen earlier in the series. That brings everything to a head, with Matt allowing the “wrong” content to leave the writers’ room and Danny in charge when it’s about to happen. We already know how the story will end, but now there’s a lot more context.

The situation in the present is not quite a parallel in terms of putting on content that Jack doesn’t want on the screen. It’s tonally parallel in that Matt and Danny are in charge when the situation gets beyond Jack’s control. Like Wes in the past, Jordan is in the hospital, so there’s nothing between Jack and Matt and Danny. Both of them are distracted by so many personal issues that they miss the crucial matter of keeping Simon away from the press. And considering how hard Jack was trying to keep the network and Studio 60 from being even more of a target, that’s really the final straw.

The connective tissue is the war, which again helps to place the series in a more consistent context. This is interesting, because while some fans probably caught the undertones from the very beginning, this trilogy makes it abundantly clear. This was never a show about how television works. This has been a show about how television works in wartime. And that adds a sense of nuance to every episode, every scene, and every line. It compels the audience to go back and watch again from the beginning, because placed in context, scenes that once sounded like Sorkin ranting to the audience now sound like characters speaking from the heart.

The inevitable effect of this trilogy, and the series-capper that will follow, will be the acknowledgment from many of the critics who dismissed the series in the first place. The series still has its flaws, but looking back, this “Lost”-esque look at how the characters have come full circle is more than worth the effort.

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

Final Rating: 8/10

Stargate: Atlantis 3.18: "Submersion"

2007-06-13T16:39:00.000-07:00

Written by Ken Cuperus
Directed by Brenton Spencer

First, there was the “SGA” version of “Flowers for Algernon”. That was quickly followed by the “SGA” version of “Ender’s Game” meets “Civilization”. Now, we have this series’ version of “The Abyss”. Even Sheppard points that out early in the episode! Thankfully, that’s not an automatic negative, since the purpose of the episode is exploration of the Wraith. Or, at the very least, a reminder of how creepifying the Wraith can be, even after being sidelined for what seems like ages.

At the end of the day, this is a “bottle show”, which means the order of the day should be psychological character exploration, brought out by the insanity of the situation. Previous “bottle shows” in the Stargate franchise have been hit or miss. This episode seems to fall somewhere in the middle. It gives the writers a chance to focus on Teyla for once, but in the end, there’s the unfortunate feeling that an opportunity has been wasted.

Teyla ultimately gets to vanquish an enemy that is otherwise nearly impossible to beat, all based on her connection to the Wraith hivemind, granted to her in a first season episode by an infusion of Wraith DNA. The struggle of wills is the highlight of her plot thread, revealing her inner strength in a way that hasn’t been evident in quite some time. That makes the resolution of the episode too simple and pat in comparison; it also serves to put Sheppard and McKay in position, once again, to save the day.

Speaking of McKay, after the previous episode, it’s hard to imagine him displaying his trademark sarcasm in quite the same way. This has become an ongoing concern, because it’s another sign that the writers struggle with the concept of letting characters grow and evolve. If the movements are too subtle, then they easily fall into the range of variation from writer to writer, and seem less like planned character evolution than planned stagnation.

As entertaining as the episode is as an underwater struggle against the most powerful Wraith yet, it fails to deliver as a solid Teyla episode, which is what I had hoped it would be. The character has massive potential, but for it to be realized, she needs a strong and non-relationship-driven arc. Perhaps something that emphasizes her role as the leader of her people in contrast to her role with Team Atlantis, as a follow-up to her arc in the first season, would be the right direction.

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

Final Rating: 6/10

Stargate SG-1 10.18: "Family Ties"

2007-06-11T16:28:00.000-07:00

Written by Joseph Mallozzi and Paul Mullie
Directed by Peter DeLuise

At this point, it’s expected that the writers will avoid the Ori arc completely until the last couple episodes. Just judging by the description of this episode, it was apparent that this would be another stand-alone effort. It’s not a question of disappointment or dashed expectations anymore; it comes down to finding some measure of contentment with what the producers chose to drop into the second half of this incredibly uneven season.

The theme is relatively simple: the divergent fortunes of two fathers and daughters with a lot of bad feeling between them. The “A” plot is the conflict between Vala and her father, who has come to Earth with the news that Arkad’s fleet (from the previous episode) is still on its way. In reality, he’s even more of a con artist than his daughter, and he’s there to make a few rotten deals and move on.

The writers attempt to make Jacek amusing, and given how ridiculous the various schemes and plot turns become, there’s little doubt that the intentions are right there on the screen. That makes the lack of hilarity a major stumbling block. Some moments were amusing, like Teal’c’s final moments in the “Vagina Monologues” (wouldn’t Teal’c check the name of the show on the tickets, at least?), but most of the interplay and the scheming was too smarmy to accept.

The issue here was Fred Willard, who never communicated enough seriousness to be convincing as anything but a poor con artist. Every time the camera hits his face, his expression reveals the snake-oil salesman at the heart of the character. That makes it impossible to accept that anyone would be fooled by him, which undercuts the effectiveness of the concept. Vala, despite being over the top on most occasions, can switch on the charm and sincerity when the situation demands it.

With the “A” plot failing on so many levels, the “B” plot hasn’t got a chance. In this case, General Landry is trying a bit of rapprochement with his ex-wife, and he recruits his daughter, Dr. Lam, to facilitate the process. When things get crazy with Jacek, Landry comes close to pulling out of the planned dinner, thus threatening to ruin whatever ground he’s gained with his daughter. In the end, he makes the right call, in counterpoint to Jacek’s choices.

This might have been more effective, however, if the writers had included Dr. Lam more often in the tenth season, beyond the occasional medical crisis. The details of her relationship with her father, never explored in any depth, are so far out of mind that one is left wondering why it needed to be addressed at all.

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

Final Rating: 5/10

Studio 60 1.19: "K&R"

2007-06-08T10:57:00.001-07:00

This episode continues the final major arc of the series, and as such, the time has come to bring the plot and character threads closer to resolution. As such, it’s not particularly surprising that the major relationships would be inching towards a sense of closure. What is surprising, under the circumstances, is how well this arc is pulling together all the pieces and giving the entire series a feeling of planned cohesion.

While it should have been obvious that Matt and Danny left Studio 60 in the fall of 2001, it was never emphasized. Yet taking that into consideration explains so much about the tone and topicality of the series, including its constant focus on political, social, and religious issues. Matt and Danny’s exit from Studio 60 was tied into the conflicting demands of the post-9/11 world, and that changes the context of their return. If, as hinted in this episode, they were forced out because of tensions over content related to politics and religion in the wake of the beginning of the War on Terror, those thoughts and memories would be inexorably tied into the circumstances of their restoration to the show.

It’s hard to say if that was always something in the back of Sorkin’s mind, but if it was, it’s a damn shame that it was never apparent at the very beginning. There were some indirect comments regarding Matt’s religious humor being an issue, particularly “Crazy Christians”, but now the implications are a bit more accessible. The timing was always there on the page, but now that it’s been explicitly spelled out, I think it really paints the picture. It certainly made me appreciate and understand some of the subtext from earlier in the season!

The flashbacks also demonstrate how the series is coming full circle in terms of the story. Jack’s present actions are colored by his assumptions and errors in the past. Tom’s current crisis is seen as the culmination of six years worth of accumulated worry and family dysfunction. The montage of Matt and Harriet’s relationship over the years, all coming down and arriving at this particular point in time, is one of the most gratifying moments thus far.

As much as I found the initiation of the Jordan/Danny relationship to be forced, with the wrong message about Danny’s behavior being sent in the process, I couldn’t help but be pleased when Danny proposed. I still think it will be a contentious relationship, especially if Studio 60 pulls out of the ratings dive, but something tells me that will be directly addressed in the finale.

At this point, it almost feels like the series should end with Studio 60 being cancelled, Jordan fulfilling her “one year” prophecy, and the entire tale being about how this last-ditch effort to save a sketch comedy show changed the lives of those struggling to keep it afloat. It wouldn’t be the happy ending everyone expects, but it would give the audience one last chance at catharsis.

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

Final Rating: 8/10

Stargate: Atlantis 3.17: "Sunday"

2007-06-04T16:52:00.000-07:00

Written by Martin Gero
Directed by William Waring

Without question, this is an episode designed to stir up fandom. The entire situation is contrived to bring about the death of Dr. Carson Beckett, a fan favorite who has rarely been given the time or depth deserved. One could argue that the episode serves the purpose of setting other plot thread in motion as well, but the flow of the episode makes it more likely that the end goal was in mind and the rest came after.

All things being equal, the body count has never matches the inherent dangers faced by Team Atlantis. They’ve lost Ford, but that was mostly an issue of cast chemistry. Frankly, I’m shocked that the character was given the kind of long-term exit he was given. Minor characters have been killed here and there, but like most episodic genre series, the longevity of the cast becomes a liability to any sense of realism.

Sooner or later, a main character has to die when so many dangers abound. The trick is to make the death seem organic in the storytelling, the logical consequence of statistics or personal destiny. Even the best writers run into trouble when that moment comes. This is actually not a bad attempt at giving a character a strong send-off, as he’s actually doing what he does best: saving lives that would otherwise be lost.

The structure of the episode gives it a “lower decks” feeling. The writers don’t try to build too much plot around Beckett’s death; they take the time to explore what the characters were doing in the quiet moments before the crisis comes. Some of that time is even spent on characters other than Sheppard and McKay, which is a nice touch.

Once again, it seems like McKay is acting without a shred of consideration to the events of “The Tao of Rodney”, especially at the beginning of the episode. He also seems to forget the incidents, earlier in the series, where his ability to work his way out of a deadly situation was only marginally successful. Whatever the case, this is another episode that should leave McKay with lasting consequences, and it will be disappointing if that doesn’t happen. (The romance angle could also help humanize him, though it’s disappointing to have this apparent long-term development come seemingly out of nowhere.)

Sheppard’s growing rapport with Ronon is always fun to see. I’d like to see more depth to Ronon (which is pretty much a constant complaint at this point), but this sets up the possibility of John and Ronon vying for Teyla’s affections. It’s about time that the writers recalled that John and Teyla had been dancing around each other in the first season, and while I’m usually annoyed by inane relationship drama, it may lead to character development. As rare as that can be, it’s a welcome possibility.

There’s also the possibility of romance for Weir, though that’s more of a negative for her than a positive. If there’s one long-term character arc that has been sporadically building this season, it’s Weir and her embattled position as the head of Team Atlantis. On several occasions, I’ve wondered if Weir’s choices would come back to haunt her, and the writers have never taken it as far as they could (or should) have. Questions could come up regarding Weir’s activities during the time leading to Beckett’s death, and it could add to the long list of reasons why the IOA might want someone else in the leadership role.

This will probably never be listed as anyone’s favorite episode, since it is overwhelmed by the seemingly unnecessary death of Dr. Beckett. It had its moments, however, and if certain character elements remain in the forefront after coming up in this hour, then the episode might make better sense in the long run. The worst thing that could happen is the most obvious, given the history of the “Stargate” franchise: that Beckett’s death would be largely ignored and barely referenced.

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

Final Rating: 8/10

Stargate: SG-1 10.17: "Talion"

2007-06-04T16:41:00.000-07:00

Written by Damien Kindler
Directed by Andy Mikita

With the season and series rapidly drawing to a close, each and every stand-alone episode becomes a new source of frustration. The battle against the Ori must inevitably continue, yet since “The Shroud”, very little movement has been evident. This episode, at first, seemed to be the perfect opportunity to meld character exploration with plot progression. In the end, however, neither aspect was meaningfully explored.

Ever since the liberation of the Jaffa Nation, the Jaffa have struggled with the concept of freedom. As is often the case historically, those brought together against a common oppressor in the name of revolution will ultimately turn on each other within the resulting power vacuum. And as already seen in the ninth season, other powers will inevitably attempt to support one or more factions in the hope of taking control, or at the very least, destabilizing a weakened people.

Enter Arkad, a previously unseen figure among the Jaffa, who seems to be allying with the Ori and opposing a supposed violent and self-enslaving Jaffa Council. Arkad claims to be battling these violent factions, including one planning to attack Earth. It’s fairly obvious that Arkad is the one planning the attack, and his attempts to sound reasonable and legitimate are ridiculous.

This is meant to complicate what is a fairly conventional revenge tale, and one that feels tacked on to Teal’c’s character. Granted, Teal’c and Bra’tac have a fairly intricate past, so it’s not unreasonable to suspect that vendettas exist with other Jaffa, but this seems to come out of nowhere, given its importance. It’s far more likely that the writers wanted to turn back to the tensions among the Jaffa and felt the need to personalize the situation for Teal’c, thus prompting this story about Arkad as the man who engineered his mother’s death.

This is unnecessary for the purpose of complication. If Arkad’s actions had simply resulted in IOA orders to stay out of Arkad’s ways, yet Teal’c was willing to go after the enemy because of Bra’tac’s near-death, it would have been sufficient and consistent with previous episodes. The sentimental ending between Teal’c and Bra’tac would have still made sense (even it it does feel incredibly redundant), and the writers would still have the rationale for Teal’c and the rest of the team to face off against each other.

While this situation continues to set up Teal’c and Bra’tac as the de facto leaders of the Jaffa, that wasn’t really necessary at this point. That concept has been on the table for quite some time, as has the idea of Teal’c leading the charge to clean out the Jaffa of traitors. It would have been better if the episode had been centered on that process rather than yet another reason for its initiation.

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

Final Rating: 6/10

Studio 60 1.18: "Breaking News"

2007-06-01T12:18:00.001-07:00

If the previous episode emphasized the farcical aspects of the series, then this episode is all about the drama. There are some funny moments throughout the hour, particularly in terms of some great character beats, but the goal is escalation of tension. With the fate of the series sealed, Sorkin is moving towards an endgame, and this is clearly the beginning of that process.

This is a more organic follow-up to “4AM Miracle”, but “The Disaster Show” fits into the broad statement that Studio 60 has been in a creative tailspin for several weeks. The ratings are dropping into dangerous territory, and by whatever measure Jack determines his support for Jordan, that line is being approached at a vastly accelerated rate. That ratings issue hangs over the episode like black cloud, and while it gives Sorkin a chance to toss some attitude at those who harped over the ratings of his own show, it also provides a clear and concise case for the show’s cancellation.

The business pressure precipitates and enhances much of the remaining drama. Matt’s situation is absolutely soul-crushing. Having fallen into addiction (and his journey out better not be as easy as he wants it to be), he’s taken the show with him, and it’s affecting everyone else around him. The situation with Karen and her lawsuit, complete with the hottie lawyer with the contradictory personality, just supplies more pressure. He’s trying to convince himself that he’s over Harriet, but he’s not, and the show itself has put forward the idea that he works best when trying to impress her.

I would have rather seen Danny confront Matt without Suzanne’s help. The eventual confrontation was quite satisfying (if a bit didactic), but it might have been better without the additional layer. That said, it’s good to see Suzanne getting some screen time, given how little there is left to share. But given how the ratings issue built between Danny and Jordan over the hour, the timing was perfect. This was the very last thing Danny needed when the ship is sinking and he’s trying all too hard to pretend it’s not.

Jordan’s character beats were interesting in that her thoughts must be dominated by the fact that she can’t feel the baby kicking (always a bad sign in fiction, it seems), yet she’s trying to keep things together and deal with her faltering career and the strain it’s putting on her relationship with Danny. That serves to highlight all of the obvious issues with this office romance, and that’s something I applaud. It will never end as badly as it should, but it’s great to see the obstacles come up. (So they can, of course, overcome them by the finale.)

Had the story focused on the three main characters alone, it would have been worth the time. But this was an incredibly dense hour, and the subplot involving Tom’s brother exploded at just the right moment to take the episode into unexpected and gripping territory. I’ve been critical of the plot and character arcs for the series, and I still think they were the cause of the show’s downfall. The actors and the characters themselves have been the draw for me, and the final act demonstrates why. Given powerful material, the cast steps up to the plate in a huge way. I was left wanting more, and considering where “Studio 60” stands at this point, it’s quite the achievement.

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

Final Rating: 8/10

Studio 60 1.17: "The Disaster Show"

2007-05-25T17:10:00.000-07:00

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

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

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

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

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

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

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

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

Final Rating: 7/10

Lost 3.22/3.23: "Through the Looking Glass"

2007-05-24T16:25:00.000-07:00

Written by Damon Lindelof and Carlton Cuse
Directed by Jack Bender

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

Status Report

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Analysis

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

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

Final Rating: 10/10

(Season 3 Final Average: 7.9)

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

2007-05-22T16:36:00.000-07:00

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

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

Status Report

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

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

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

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

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

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

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

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

Final Analysis

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

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

Final Rating: 5/10

(Season 6 Final Average: 6.7)

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

2007-05-22T15:58:00.001-07:00

Written by Joel Surnow and Michael Loceff
Directed by Brad Turner

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

Status Report

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

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

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

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

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

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

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

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

Final Analysis

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

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

Final Rating: 6/10

(Season 6 Average: 6.7)

Heroes 1.23: "How to Stop an Exploding Man"

2007-05-22T15:36:00.000-07:00

Written by Tim Kring
Directed by Allan Arkush

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

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

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

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

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

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

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

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

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

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

Final Rating: 6/10

(Season 1 Final Average: 7.7)

Stargate: Atlantis 3.16: "The Ark"

2007-05-20T17:52:00.001-07:00

Written by Ken Cuperus and Scott Nimerfro
Directed by Martin Wood

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

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

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

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

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

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

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

Final Rating: 7/10

Stargate SG-1 10.16: "Bad Guys"

2007-05-20T17:39:00.000-07:00

Written by Martin Gero
Directed by Peter DeLuise

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

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

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

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

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

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

Final Rating: 7/10

Smallville 6.22: "Phantom"

2007-05-18T11:03:00.001-07:00

Written by Darren Swimmer and Todd Slavkin
Directed by James Marshall

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Final Rating: 7/10

(Season 6 Final Average: 6.9)

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

2007-05-18T07:35:00.000-07:00

Written by Eric Kripke and Michael Moore
Directed by Kim Manners

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

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

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

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

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

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

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

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

Final Rating: 10/10

(Season 2 Final Average: 7.9)

Lost 3.21: "Greatest Hits"

2007-05-17T18:26:00.001-07:00

Written by Edward Kitsis and Adam Horowitz
Directed by Stephen Williams

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

Status Report

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

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

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

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

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

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

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

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

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

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

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

Final Analysis

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

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

Final Rating: 8/10

(Season Average: 7.7)

Heroes 1.22: "Landslide"

2007-05-15T18:13:00.001-07:00

Written by Jesse Alexander
Directed by Greg Beeman

This episode picks up right where the previous installment left off, with things coming to a head on several levels. Sylar is still a major threat, Linderman’s plan is still on track, and destinies are in question. What better way to start a finale for the most impressive freshman series of the season?

With Nathan trailing the polls, Linderman is ready to take matters into his own hands. Or rather, into Micah’s hands, which was somewhat predictable (though in a good way). It all serves to put Nathan in the hot seat, especially when Linderman hands him a restored wife as something of a bribe. His scene with Hiro was particularly telling. At this point, Nathan seems to agree that the ends justify the means.

Nathan’s victory is almost an afterthought, especially since his plot involving Jessica and DL begins immediately thereafter. Out of all the scenes in the episode, I think this is the least effective and most poorly acted, just because the build to this moment has not been as steady. For all the faults with those characters, however, the showdown with Linderman was quite interesting. DL’s contribution to the arc now seems to be revealed, beyond his influence on Niki and Jessica (if Linderman is indeed dead).

The intersection of Mr. Bennett and Matt with Mohinder and Molly is just another example of a clever plotting move and a nice bit of symmetry. It makes sense that Sylar would want to take the abilities of a natural tracking system for superhumans. It also should allow the heroes to track down Sylar. That aspect of her ability could give Mr. Bennett a reason to let her live.

The scenes between Micah and Candice were interesting, particular the hint that Candice is really larger than she appears. In fact, that’s not surprising, in retrospect, because someone with the ability to alter their appearance would naturally choose a personally-pleasing aspect. (And if she really is an overweight black woman, that certainly opens a number of interesting doors for exploring social perception issues. Not to mention criticism for the message it might send.)

In keeping with the generational theme that has emerged in the latter half of the season, Hiro must once again face his father to achieve his destiny. As expected, Hiro’s father was one of Linderman’s allies in the past. However, the interesting twist is that Hiro’s father has been working against Linderman from within the system, waiting for one of his heirs to emerge as a true hero. This is some of the best material for George Takei in his entire career, and the growth of Hiro’s resolve is more than worth the wait.

Watching Peter, Claire, and Ted walk around figuring out how to be a team was a lot of fun. That’s the kind of scene that fans have wanted to see since the pilot! And Sylar’s clever takedown of Ted continues to demonstrate how strong a villain he really is. He’s not just powerful; he’s also intelligent. My impression is that he sees opposition as another system to be understood and solved, and he acts accordingly (which probably works best on a thematic rather than literal level).

The episode was all about the final stages of setup, and while much of it depends on coincidence, that’s practically a comic book staple and more than appropriate for a series such as “Heroes”. In fact, if nothing else, this episode demonstrates how completely the writers and producers have embraced the conventions of the genre without apology, and the finale to come has definitely been earned.

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

Final Rating: 8/10