This one is a bit of a puzzler. I've seen really good reactions to it, really bad reactions to it, and absolute indifference. I suppose that's better than the polarized nature of the "Others arc", which seems to be greatly appreciated or greatly despised. I think my own reaction was somewhat muted. I liked it, it was fun, but it wasn't nearly as good for me as, say, "Flashes Before Your Eyes" or "The Cost of Living". At least it was more entertaining than the previous episode!
Here's my review for Lost 3.10: "Tricia Tanaka is Dead":
http://www.entil2001.com/series/lost/season3/lost3-10.html
Overall, this episode took on one of the central philosophical ideas at the heart of "Lost" and explored it in an unusual manner. This was definitely the most light-hearted episode of the season to date, and it's hard to imagine that anything could top it. There are some minor nitpicks along the way, and the episode could feel a bit like filler, but it's a fine addition to the third season.
Here's my review for Lost 3.10: "Tricia Tanaka is Dead":
http://www.entil2001.com/series/lost/season3/lost3-10.html
Overall, this episode took on one of the central philosophical ideas at the heart of "Lost" and explored it in an unusual manner. This was definitely the most light-hearted episode of the season to date, and it's hard to imagine that anything could top it. There are some minor nitpicks along the way, and the episode could feel a bit like filler, but it's a fine addition to the third season.
HEROES 1.17: "Company Man"
Considering all the comparisons, it's neat to see "Heroes" attempt its own version of "Lost". This definitely fit the classic "Lost" mold in terms of format, and this should finally give a true basis of comparison. Can "Heroes" succeed in the same kind of narrative territory that has made "Lost" so unique? And can "Heroes" retain its flavor in the process?
Choosing Mr. Bennett as the focus of the episode was a smart move. Mr. Bennett is one of the best characters on the show, and his history is central to the entire mythology. The framing story is perfectly suited to this review of Mr. Bennett's history. Ted adds an unpredictable pressure on the situation, Matt can read minds, and Claire wants answers. And of course, this is the perfect chance for Matt and Claire to discuss their personal experiences and put together connections among the superhumans.
Very quickly, pieces of the puzzle come together. Hiro's father has a direct connection the initial exploration and cataloguing of those with abilities, a process that was already underway more than 15 years earlier. It's not entirely clear whether Hiro's father and his associates are the ones running the Company or if they are independent contractors. The possibility of a connection to Linderman is likely.
Claire's "death" did a great job of ratcheting up the tension, forcing Mr. Bennett into the right position to explain himself. It's now quite clear that Mr. Bennett is trying to keep Claire from being victimized by his own organization. Victimized, it seems, in the same way that Matt and Ted were. As with the best villains, Mr. Bennett truly believes that he is doing the right thing, both for his family and the world.
This is given scope and depth by every action that Mr. Bennett takes, past and present. So much has been done to keep the truth concealed, but now the situation is spiraling out of his control. That's the kind of circumstance that reveals character, good or bad. Of course, it reveals something very important: Mr. Bennett, as bad as he might be, is holding back out of love for his family. What would someone without those dueling loyalties?
There is one small problem with the resolution to the episode. Ted's ability is based in the release of nuclear radiation. If he loses control of his ability, it shouldn't simply start a fire. Ted should be releasing massive bursts of radiation. And that should be ripping anyone near him apart, or short of that, giving them serious radiation exposure. Claire was badly hurt, but everyone else should have been equally damaged.
In the end, Mr. Bennett is no longer in control of the situation. He's managed to save himself, but the genie's out of the bottle. Mr. Bennett's attempt to save his family has failed, and he may not be able to save Claire from the Company in the future. His only chance of survival is to throw himself into his work without further hesitation. And that should reveal what it's like when someone like Mr. Bennett no longer feels conflicted about his work.
Like the best episodes of "Lost", the flashbacks and "present day" segments of this episode answer a number of questions while producing new ones, without generating the wrong kind of frustration in the process. In fact, like the best episodes of "Lost", this managed to give a highly consistent history for Mr. Bennett while revealing layers that were only hinted at in the past. It's not the sort of thing that "Heroes" should do every week, but it was the perfect way to end the complication phase of the season arc and start the road towards resolution.
Considering all the comparisons, it's neat to see "Heroes" attempt its own version of "Lost". This definitely fit the classic "Lost" mold in terms of format, and this should finally give a true basis of comparison. Can "Heroes" succeed in the same kind of narrative territory that has made "Lost" so unique? And can "Heroes" retain its flavor in the process?
Choosing Mr. Bennett as the focus of the episode was a smart move. Mr. Bennett is one of the best characters on the show, and his history is central to the entire mythology. The framing story is perfectly suited to this review of Mr. Bennett's history. Ted adds an unpredictable pressure on the situation, Matt can read minds, and Claire wants answers. And of course, this is the perfect chance for Matt and Claire to discuss their personal experiences and put together connections among the superhumans.
Very quickly, pieces of the puzzle come together. Hiro's father has a direct connection the initial exploration and cataloguing of those with abilities, a process that was already underway more than 15 years earlier. It's not entirely clear whether Hiro's father and his associates are the ones running the Company or if they are independent contractors. The possibility of a connection to Linderman is likely.
Claire's "death" did a great job of ratcheting up the tension, forcing Mr. Bennett into the right position to explain himself. It's now quite clear that Mr. Bennett is trying to keep Claire from being victimized by his own organization. Victimized, it seems, in the same way that Matt and Ted were. As with the best villains, Mr. Bennett truly believes that he is doing the right thing, both for his family and the world.
This is given scope and depth by every action that Mr. Bennett takes, past and present. So much has been done to keep the truth concealed, but now the situation is spiraling out of his control. That's the kind of circumstance that reveals character, good or bad. Of course, it reveals something very important: Mr. Bennett, as bad as he might be, is holding back out of love for his family. What would someone without those dueling loyalties?
There is one small problem with the resolution to the episode. Ted's ability is based in the release of nuclear radiation. If he loses control of his ability, it shouldn't simply start a fire. Ted should be releasing massive bursts of radiation. And that should be ripping anyone near him apart, or short of that, giving them serious radiation exposure. Claire was badly hurt, but everyone else should have been equally damaged.
In the end, Mr. Bennett is no longer in control of the situation. He's managed to save himself, but the genie's out of the bottle. Mr. Bennett's attempt to save his family has failed, and he may not be able to save Claire from the Company in the future. His only chance of survival is to throw himself into his work without further hesitation. And that should reveal what it's like when someone like Mr. Bennett no longer feels conflicted about his work.
Like the best episodes of "Lost", the flashbacks and "present day" segments of this episode answer a number of questions while producing new ones, without generating the wrong kind of frustration in the process. In fact, like the best episodes of "Lost", this managed to give a highly consistent history for Mr. Bennett while revealing layers that were only hinted at in the past. It's not the sort of thing that "Heroes" should do every week, but it was the perfect way to end the complication phase of the season arc and start the road towards resolution.
I have to thank all the people who replied to my review for the previous episode. There were a lot of common opinions regarding the current state of play for "24" and where things have gone off the rails a bit. I think a lot of the same problems plague this episode. In particular, there was one massive question that I wanted answered, and it wasn't even addressed. I have the feeling that my enjoyment of this season will be tempered until that answer is supplied.
Here's my review for 24 6.11: "Day 6: 4PM - 5PM":
http://www.entil2001.com/series/24/season6/tf6-11.html
Overall, this episode was saved by a final act that managed to deliver on a well-developed plot thread. Otherwise, there are still some glaring plot holes, one in particular, and they detract greatly from the overall quality of the season. It's not a good sign when the subplots are more consistent than the main storyline.
Here's my review for 24 6.11: "Day 6: 4PM - 5PM":
http://www.entil2001.com/series/24/season6/tf6-11.html
Overall, this episode was saved by a final act that managed to deliver on a well-developed plot thread. Otherwise, there are still some glaring plot holes, one in particular, and they detract greatly from the overall quality of the season. It's not a good sign when the subplots are more consistent than the main storyline.
PRISON BREAK 2.18: "Wash"
The resolution phase of this season's arc is just full of surprises. The past few episodes have been a lot of fun, as plot threads continue to collapse back into the main story in surprising ways, and character fates continue to be unpredictable. At this point, it's not hard to see how the various plot threads are going to overlap, which is a very good sign. With four episodes left to go, the endgame is definitely in sight.
The writers pulled one last surprise out of the bag regarding the evidence exonerating Lincoln: it's a copy and inadmissible in court. Learning that is less than obvious, since Michael and Lincoln try to contact one of their father's allies and nearly get caught in a trap. Kudos to Sara for being the one to work out the truth, even if she took an enormous chance by visiting her father's grave. (It was a nice touch for the ground at her father's grave to be so fresh; it's easy to forget how little time has passed since the escape.)
In the end, the only way to use the recorded conversation on the thumb drive is confrontation of President Reynolds, which ties in very nicely with Kellerman's decision to kill his former employer and romantic target. It's a very nice touch to have Kellerman inadvertently become a threat to Michael's last ditch effort to end the whole nightmare. And his little scene with his sister made him a little more human, even though it's probably going to be the reason why he gets caught before the assassination, if that's how it plays out.
With the conspiracy gaining on Michael and Lincoln, Mahone's deal with C-Note takes a tragic turn. Once again, we get to see Mahone's human side, even if it comes at a moment that is rather inhuman at its core. Mahone looks incredibly shaken by his order to kill C-Note, and the resulting subplot with C-Note's reaction to the choice dropped in his lap is very well done. It's possible that C-Note will survive in the end, but it was an unexpected turn for the plot to take.
Bellick is sent to bring in Sucre, who is finally getting a few moments of happiness with Maricruz. Things always seem to go badly once a member of the Escape Squad has that kind of moment, so there's little doubt that Sucre's safe haven is about to fall apart. In fact, knowing Bellick, Maricruz and the baby are hardly out of the line of fire.
The wild card in all of this is T-Bag. After his misadventures in the middle of nowhere, seemingly as far away from the rest of the world as one could get from the rest of the Escape Squad, his fortunes take him back to Chicago and on the same flight as Bellick. It shouldn't be long before T-Bag ends up right in the middle of the mess at the end of the season.
Perhaps the most impressive aspect of the episode takes place in the final act. Usually, when someone is in a room and another character is hunting them down, the editing will imply that the hunter is converging on the location of the prey. Typically, the prey is safely elsewhere, having fooled the hunter once again. This time, it could still happen that way, but the likelihood is that Mahone will finally catch up with Michael. That confrontation will certainly be worth the wait.
The resolution phase of this season's arc is just full of surprises. The past few episodes have been a lot of fun, as plot threads continue to collapse back into the main story in surprising ways, and character fates continue to be unpredictable. At this point, it's not hard to see how the various plot threads are going to overlap, which is a very good sign. With four episodes left to go, the endgame is definitely in sight.
The writers pulled one last surprise out of the bag regarding the evidence exonerating Lincoln: it's a copy and inadmissible in court. Learning that is less than obvious, since Michael and Lincoln try to contact one of their father's allies and nearly get caught in a trap. Kudos to Sara for being the one to work out the truth, even if she took an enormous chance by visiting her father's grave. (It was a nice touch for the ground at her father's grave to be so fresh; it's easy to forget how little time has passed since the escape.)
In the end, the only way to use the recorded conversation on the thumb drive is confrontation of President Reynolds, which ties in very nicely with Kellerman's decision to kill his former employer and romantic target. It's a very nice touch to have Kellerman inadvertently become a threat to Michael's last ditch effort to end the whole nightmare. And his little scene with his sister made him a little more human, even though it's probably going to be the reason why he gets caught before the assassination, if that's how it plays out.
With the conspiracy gaining on Michael and Lincoln, Mahone's deal with C-Note takes a tragic turn. Once again, we get to see Mahone's human side, even if it comes at a moment that is rather inhuman at its core. Mahone looks incredibly shaken by his order to kill C-Note, and the resulting subplot with C-Note's reaction to the choice dropped in his lap is very well done. It's possible that C-Note will survive in the end, but it was an unexpected turn for the plot to take.
Bellick is sent to bring in Sucre, who is finally getting a few moments of happiness with Maricruz. Things always seem to go badly once a member of the Escape Squad has that kind of moment, so there's little doubt that Sucre's safe haven is about to fall apart. In fact, knowing Bellick, Maricruz and the baby are hardly out of the line of fire.
The wild card in all of this is T-Bag. After his misadventures in the middle of nowhere, seemingly as far away from the rest of the world as one could get from the rest of the Escape Squad, his fortunes take him back to Chicago and on the same flight as Bellick. It shouldn't be long before T-Bag ends up right in the middle of the mess at the end of the season.
Perhaps the most impressive aspect of the episode takes place in the final act. Usually, when someone is in a room and another character is hunting them down, the editing will imply that the hunter is converging on the location of the prey. Typically, the prey is safely elsewhere, having fooled the hunter once again. This time, it could still happen that way, but the likelihood is that Mahone will finally catch up with Michael. That confrontation will certainly be worth the wait.
BATTLESTAR: GALACTICA 3.16: "Dirty Hands"
Over the past two seasons, one of my main comments on "Galactica" was the somewhat shallow exploration of the day-to-day struggles for survival. There were the broad actions involving the Cylons and the issues explored on New Caprica, but the situations within the Colonial Fleet as a whole were either vague or ham-fisted in nature. The Colonials seemed to have a fairly reasonable way of life, given the tense nature of the exodus.
This episode goes a long way towards changing that impression, and I love it all the more for it. Perhaps the best element is the growing sense of a caste system based on colony of origin. We see, for the first time, a difference between wealthy colonies and poor colonies and how that translates into the upkeep of the fleet. Questions of entitlement vs. necessity are directly raised and addressed, and the ensuing agreements are simply part of a long-term process of change. This is a far better look at the tensions within the fleet than, say, "Black Market" or "The Woman King".
At the heart of the discontent is Baltar, who has apparently learned a little something from his former Vice President, Tom Zarek. In fact, Baltar's new message and method is so close to the Zarek model that Zarek's absence is the one major sticking point for the episode. Of course, one might assume that Zarek was working behind the scenes in some fashion. He could have defused the situation easily by supporting the current government, but he chose to stay out of it. That could be translated as silent approval of the worker revolt. (The reality, of course, is that Richard Hatch was probably unavailable for the episode and couldn't be written in.)
Whatever the case, this probably pertains more to Baltar's trial than the abortive Sagittaron plot that made such a mess of "The Woman King". Baltar is using the growing tension in the fleet to divert attention from his own crimes against humanity. If anything, he's shifting the blame to an "aristocracy" led by Roslin, Adama, and their Caprican ruling class. Those stuck in blue-collar jobs under horrifying conditions already resent those living in clean, spacious quarters, and Baltar knows that. And of course, he knows very well how heavy-handed Roslin and Adama can be when their authority is questioned and the needs of the military are threatened.
Baltar has now positioned himself as a grass-roots champion of the working class. Never mind that he was the one in charge when so many of the New Capricans were ravaged and abused by the Cylons. The fact that Tyrol was able to restore a sense of worker rights to the fleet can now be traced directly to Baltar's visionary "book". Like Zarek, Baltar might be staging a comeback for himself. For Baltar, it's a desperation move, but one in keeping with his genius.
This episode also dismisses the notion that the events of New Caprica are a thing of the past. Tyrol's character motivations are still firmly rooted in his role as union organizer on New Caprica, and much of his dissatisfaction since the Second Exodus had to derive from the attempt to pretend everything was back to status quo. For that matter, looking back on many of the so-called "filler" episodes this season, they are all linked by the subtle awareness that the fleet has yet to really deal with the New Caprica legacy. Roslin and Adama have been dealing with the cracks in the "everything's normal again" façade, but it's building towards something major. Zarek's warning about Baltar's upcoming trial is precisely in line with this undertone.
Because this episode is as much about attitude and selective interpretation of information as it is about the issues within the fleet, we get to see sides of characters that are consistent yet unusual. This is in contrast to "The Woman King", where many character shadings felt forced or unearned. It's unfortunate that other characters were left out of the story. For that reason alone, this might have worked even better as part of a season arc. Rather than focusing on relationship issues (which seem awfully silly in comparison), the writers could have focused on the dynamic interplay of fleet tensions and conflict with the Cylons.
As it is, this is still a great episode that should play into the rest of the season rather well. It even ties into the larger series concerns in a subtle, indirect manner. It shouldn't take long to consider that the vital importance of one refinery ship should make it an easy target for the Cylons, especially those still hidden in the fleet. Other ships are equally vital to basic survival. The fact that such ships have not been targeted or destroyed could be another hint that the Cylons need the Rag-Tag Fleet to exist, at least for a little while. It might also be a plot hole, but considering how well everything else in the episode worked, I'm willing to give the writers credit.
Over the past two seasons, one of my main comments on "Galactica" was the somewhat shallow exploration of the day-to-day struggles for survival. There were the broad actions involving the Cylons and the issues explored on New Caprica, but the situations within the Colonial Fleet as a whole were either vague or ham-fisted in nature. The Colonials seemed to have a fairly reasonable way of life, given the tense nature of the exodus.
This episode goes a long way towards changing that impression, and I love it all the more for it. Perhaps the best element is the growing sense of a caste system based on colony of origin. We see, for the first time, a difference between wealthy colonies and poor colonies and how that translates into the upkeep of the fleet. Questions of entitlement vs. necessity are directly raised and addressed, and the ensuing agreements are simply part of a long-term process of change. This is a far better look at the tensions within the fleet than, say, "Black Market" or "The Woman King".
At the heart of the discontent is Baltar, who has apparently learned a little something from his former Vice President, Tom Zarek. In fact, Baltar's new message and method is so close to the Zarek model that Zarek's absence is the one major sticking point for the episode. Of course, one might assume that Zarek was working behind the scenes in some fashion. He could have defused the situation easily by supporting the current government, but he chose to stay out of it. That could be translated as silent approval of the worker revolt. (The reality, of course, is that Richard Hatch was probably unavailable for the episode and couldn't be written in.)
Whatever the case, this probably pertains more to Baltar's trial than the abortive Sagittaron plot that made such a mess of "The Woman King". Baltar is using the growing tension in the fleet to divert attention from his own crimes against humanity. If anything, he's shifting the blame to an "aristocracy" led by Roslin, Adama, and their Caprican ruling class. Those stuck in blue-collar jobs under horrifying conditions already resent those living in clean, spacious quarters, and Baltar knows that. And of course, he knows very well how heavy-handed Roslin and Adama can be when their authority is questioned and the needs of the military are threatened.
Baltar has now positioned himself as a grass-roots champion of the working class. Never mind that he was the one in charge when so many of the New Capricans were ravaged and abused by the Cylons. The fact that Tyrol was able to restore a sense of worker rights to the fleet can now be traced directly to Baltar's visionary "book". Like Zarek, Baltar might be staging a comeback for himself. For Baltar, it's a desperation move, but one in keeping with his genius.
This episode also dismisses the notion that the events of New Caprica are a thing of the past. Tyrol's character motivations are still firmly rooted in his role as union organizer on New Caprica, and much of his dissatisfaction since the Second Exodus had to derive from the attempt to pretend everything was back to status quo. For that matter, looking back on many of the so-called "filler" episodes this season, they are all linked by the subtle awareness that the fleet has yet to really deal with the New Caprica legacy. Roslin and Adama have been dealing with the cracks in the "everything's normal again" façade, but it's building towards something major. Zarek's warning about Baltar's upcoming trial is precisely in line with this undertone.
Because this episode is as much about attitude and selective interpretation of information as it is about the issues within the fleet, we get to see sides of characters that are consistent yet unusual. This is in contrast to "The Woman King", where many character shadings felt forced or unearned. It's unfortunate that other characters were left out of the story. For that reason alone, this might have worked even better as part of a season arc. Rather than focusing on relationship issues (which seem awfully silly in comparison), the writers could have focused on the dynamic interplay of fleet tensions and conflict with the Cylons.
As it is, this is still a great episode that should play into the rest of the season rather well. It even ties into the larger series concerns in a subtle, indirect manner. It shouldn't take long to consider that the vital importance of one refinery ship should make it an easy target for the Cylons, especially those still hidden in the fleet. Other ships are equally vital to basic survival. The fact that such ships have not been targeted or destroyed could be another hint that the Cylons need the Rag-Tag Fleet to exist, at least for a little while. It might also be a plot hole, but considering how well everything else in the episode worked, I'm willing to give the writers credit.
It takes a lot to leave me stunned into something resembling silence. It took me forever to pull my many thoughts on this episode into a relatively coherent analysis. Even after a couple pages of working out my frustrations, I'm not sure that I've completely pinned down my dislike for this episode. I guess I'm still trying to figure out just what that was supposed to be.
Here's my review for Lost 3.9: "Stranger in a Strange Land":
http://www.entil2001.com/series/lost/season3/lost3-9.html
Overall, this episode seemed to have a lack of focus. None of the attempted parallels seem to come together by the end, which makes the episode somewhat unsatisfying. It also doesn't help that the episode was promoted as something that it clearly wasn't. This will hopefully be a temporary setback for the season.
Here's my review for Lost 3.9: "Stranger in a Strange Land":
http://www.entil2001.com/series/lost/season3/lost3-9.html
Overall, this episode seemed to have a lack of focus. None of the attempted parallels seem to come together by the end, which makes the episode somewhat unsatisfying. It also doesn't help that the episode was promoted as something that it clearly wasn't. This will hopefully be a temporary setback for the season.
HEROES 1.16: "Unexpected"
Right off the bat, we meet the newest addition to the superhuman gang: Hana. Hana is more than happy to use Ted the Nuclear Man as a weapon against Mr. Bennett's organization, which serves to bring him back into the story at just the right time. Matt continues to struggle with his personal predicament, caught between wanting to do what's right and wanting to protect what's left of his tattered world. His choices drive a wedge between him and his wife. This simply adds to his desire to find some outlet for his frustration, and Mr. Bennett is the perfect target. Ted and Hana give him one more reason and the perfect opportunity.
Faced with her mother's worsening condition, Claire may be gathering the desire to fight her father's agenda directly. That fits right into the Haitian's plans for a resistance, which in turn may mesh with the developments with Ted and Hana. She's run out of nearly every other option she can think of, so who else could she turn to? Considering how the episode ended, it looks like she'll be caught between her family and her desire for answers.
For his part, at the beginning of the episode, Mr. Bennett is sent after Peter and Claude by Isaac, who seems to be operating out of less than altruistic motivations. It also doesn't help that Isaac's jealous of someone as mind-numbingly boring as Simone. It still doesn't make sense that Peter and Isaac would be so taken by Simone, given her utter lack of energy. She's also not particularly smart. Nathan's the last person who would lead the charge to expose the super-humans to the public, given his political aspirations and his fear that Peter could become a liability. She was well aware of that fact, so why expect Nathan to change his mind at this stage of the game?
Whatever the case, Peter has managed to learn enough to save himself and Claude when it counts. And of course, that all comes together during the fight in the final act. Frankly, it was fun to watch Peter take out his anger on Isaac, because he was finally starting to use his multiple abilities in concert. Simone's death should serve to divide them further, but it's hard to feel bad about her admittedly shocking demise. That love triangle was one of the least interesting aspects of the series.
Somewhat apart from the rest of the interconnected action, Mohinder and Sylar find someone else from his father's list, a woman in Montana with the ability of "super hearing". This particular ability threatens to expose Sylar's dishonesty, which is an unexpected twist. For that matter, Mohinder's potential inhibitor presents a threat to Sylar's plans. This episode gives us a better understanding of Sylar's ability to take on new abilities and adjust to the effect. In this case, after several hours, Sylar was still having difficulty with Dale's ability. If Mohinder hadn't been distracted by Dale's murder, he might have put two and two together. It certainly seems as though it won't be long.
Hiro's attempt to act tough is awfully amusing, but it's a nice bit of character development. It's just another expression of his emerging heroism and confidence. His assumptions are also challenged by Mr. Grumpy Agent. At least his abilities kicked in when the time was right. That's an interesting connection to Peter's situation. Hiro's decision to leave Ando behind is a test for both of them. (Nice cameo by Stan Lee in the final act!)
In the typical arc driven series, the complication phase of the season arc comes to an end with a major twist, leading into the resolution phase, around episodes 16-18. Certainly the events of this episode point to something major in the very near future. The situation at the Bennett house would be the most sensible place for that to happen, though one would also expect something equally explosive for Peter and Hiro. Things are definitely coming together, and there's been no end to the surprises along the way. The final six episodes should be one hell of a ride!
Right off the bat, we meet the newest addition to the superhuman gang: Hana. Hana is more than happy to use Ted the Nuclear Man as a weapon against Mr. Bennett's organization, which serves to bring him back into the story at just the right time. Matt continues to struggle with his personal predicament, caught between wanting to do what's right and wanting to protect what's left of his tattered world. His choices drive a wedge between him and his wife. This simply adds to his desire to find some outlet for his frustration, and Mr. Bennett is the perfect target. Ted and Hana give him one more reason and the perfect opportunity.
Faced with her mother's worsening condition, Claire may be gathering the desire to fight her father's agenda directly. That fits right into the Haitian's plans for a resistance, which in turn may mesh with the developments with Ted and Hana. She's run out of nearly every other option she can think of, so who else could she turn to? Considering how the episode ended, it looks like she'll be caught between her family and her desire for answers.
For his part, at the beginning of the episode, Mr. Bennett is sent after Peter and Claude by Isaac, who seems to be operating out of less than altruistic motivations. It also doesn't help that Isaac's jealous of someone as mind-numbingly boring as Simone. It still doesn't make sense that Peter and Isaac would be so taken by Simone, given her utter lack of energy. She's also not particularly smart. Nathan's the last person who would lead the charge to expose the super-humans to the public, given his political aspirations and his fear that Peter could become a liability. She was well aware of that fact, so why expect Nathan to change his mind at this stage of the game?
Whatever the case, Peter has managed to learn enough to save himself and Claude when it counts. And of course, that all comes together during the fight in the final act. Frankly, it was fun to watch Peter take out his anger on Isaac, because he was finally starting to use his multiple abilities in concert. Simone's death should serve to divide them further, but it's hard to feel bad about her admittedly shocking demise. That love triangle was one of the least interesting aspects of the series.
Somewhat apart from the rest of the interconnected action, Mohinder and Sylar find someone else from his father's list, a woman in Montana with the ability of "super hearing". This particular ability threatens to expose Sylar's dishonesty, which is an unexpected twist. For that matter, Mohinder's potential inhibitor presents a threat to Sylar's plans. This episode gives us a better understanding of Sylar's ability to take on new abilities and adjust to the effect. In this case, after several hours, Sylar was still having difficulty with Dale's ability. If Mohinder hadn't been distracted by Dale's murder, he might have put two and two together. It certainly seems as though it won't be long.
Hiro's attempt to act tough is awfully amusing, but it's a nice bit of character development. It's just another expression of his emerging heroism and confidence. His assumptions are also challenged by Mr. Grumpy Agent. At least his abilities kicked in when the time was right. That's an interesting connection to Peter's situation. Hiro's decision to leave Ando behind is a test for both of them. (Nice cameo by Stan Lee in the final act!)
In the typical arc driven series, the complication phase of the season arc comes to an end with a major twist, leading into the resolution phase, around episodes 16-18. Certainly the events of this episode point to something major in the very near future. The situation at the Bennett house would be the most sensible place for that to happen, though one would also expect something equally explosive for Peter and Hiro. Things are definitely coming together, and there's been no end to the surprises along the way. The final six episodes should be one hell of a ride!
STUDIO 60 1.16: "4AM Miracle"
The drop-off from Tom Schlamme's directorial effort last week is evident from the very first frame. This is "Studio 60" back to the usual grind, and it's simply not as compelling. It doesn't help that the episode feels scattershot and disconnected. A number of plot threads are explored in the episode, but there's never a true sense of cohesion.
The main plot is a follow-up to Matt's downward spiral in the previous episode. Matt continues to struggle with his muse, especially now that she's put him in his place and left him for metaphorical dead. Without the tension that comes with Harriet tightly in orbit, Matt is unable to function. It's starting to become noticeable. If he's still abusing pills (something not seen in this episode) and his depression remains, it's hard to imagine that he'll be able to hide it much longer. After all, Danny is a recovering addict and should know the signs.
His conversation with the sexual harassment lawyer didn't seem to gel in the way implied by the dialogue. There was certainly a purpose to pushing Matt's buttons, but it might have been too subtle. The idea, if I understood it correctly, is that Matt was willing to stand up for the sanctity of the writer's room even when the topic at hand was debauching his soulmate, which in turn makes him a good witness against the claim that the writing room was a hostile work environment. If that was the point, then it was a little obtuse.
The attraction to Matt, of course, fits perfectly within the odd world of "Studio 60", where sexual harassment lawyers can point out how damaging an office relationship can be to overall effectiveness, yet solicit a date from a future witness for the defense. As good as this might have been for Matt, it makes Harriet's apparent slide back into his life more complicated. The episode leaves Matt in a precarious emotional situation.
A lot of time was spent on Harriet's time on set with Luke, and it also hit an odd note for me. Perhaps this is part of the cycle that keeps Matt and Harriet in their eternal struggle, but why would Harriet feel guilty about telling Matt how he acts? His sense of entitlement is disturbing, and they're simply not good for each other. Yet instead of forcing Matt to get his act together and moving on with Luke, she sabotages her relationship with Luke and comes running back to Matt. Sure, Luke was being a jealous fool, but he's not playing to co-dependency game.
The Matt/Harriet relationship manages to make Danny and Jordan look sane in comparison. The two of them are still being very cute together, but this episode does suggest that juggling a baby (hopefully in the metaphorical sense) will be harder than they realize. Danny is far too cavalier about the demands that they will face. Any parent can dredge up the war stories from that first child's early years, when everything was new and incredibly daunting. All the assurances in the world won't make things easier if Matt can't get the show out of a tailspin and even more stress hits at the same time as the birth.
This is the last episode to run before the hiatus for "The Black Donnellys", and apparently it also had the worst ratings for the series' run to date. Everyone but the core audience is abandoning this ship before it sinks completely, and that's unfortunate. More unfortunate is the probability that this episode was representative of the series as a whole. It had plenty of promise and potential and interesting characters, but at the end of the day, it just never came together.
The drop-off from Tom Schlamme's directorial effort last week is evident from the very first frame. This is "Studio 60" back to the usual grind, and it's simply not as compelling. It doesn't help that the episode feels scattershot and disconnected. A number of plot threads are explored in the episode, but there's never a true sense of cohesion.
The main plot is a follow-up to Matt's downward spiral in the previous episode. Matt continues to struggle with his muse, especially now that she's put him in his place and left him for metaphorical dead. Without the tension that comes with Harriet tightly in orbit, Matt is unable to function. It's starting to become noticeable. If he's still abusing pills (something not seen in this episode) and his depression remains, it's hard to imagine that he'll be able to hide it much longer. After all, Danny is a recovering addict and should know the signs.
His conversation with the sexual harassment lawyer didn't seem to gel in the way implied by the dialogue. There was certainly a purpose to pushing Matt's buttons, but it might have been too subtle. The idea, if I understood it correctly, is that Matt was willing to stand up for the sanctity of the writer's room even when the topic at hand was debauching his soulmate, which in turn makes him a good witness against the claim that the writing room was a hostile work environment. If that was the point, then it was a little obtuse.
The attraction to Matt, of course, fits perfectly within the odd world of "Studio 60", where sexual harassment lawyers can point out how damaging an office relationship can be to overall effectiveness, yet solicit a date from a future witness for the defense. As good as this might have been for Matt, it makes Harriet's apparent slide back into his life more complicated. The episode leaves Matt in a precarious emotional situation.
A lot of time was spent on Harriet's time on set with Luke, and it also hit an odd note for me. Perhaps this is part of the cycle that keeps Matt and Harriet in their eternal struggle, but why would Harriet feel guilty about telling Matt how he acts? His sense of entitlement is disturbing, and they're simply not good for each other. Yet instead of forcing Matt to get his act together and moving on with Luke, she sabotages her relationship with Luke and comes running back to Matt. Sure, Luke was being a jealous fool, but he's not playing to co-dependency game.
The Matt/Harriet relationship manages to make Danny and Jordan look sane in comparison. The two of them are still being very cute together, but this episode does suggest that juggling a baby (hopefully in the metaphorical sense) will be harder than they realize. Danny is far too cavalier about the demands that they will face. Any parent can dredge up the war stories from that first child's early years, when everything was new and incredibly daunting. All the assurances in the world won't make things easier if Matt can't get the show out of a tailspin and even more stress hits at the same time as the birth.
This is the last episode to run before the hiatus for "The Black Donnellys", and apparently it also had the worst ratings for the series' run to date. Everyone but the core audience is abandoning this ship before it sinks completely, and that's unfortunate. More unfortunate is the probability that this episode was representative of the series as a whole. It had plenty of promise and potential and interesting characters, but at the end of the day, it just never came together.
PRISON BREAK 2.17: "Bad Blood"
The race to the season finale is on, and the writers are definitely stepping up to the plate. Though many of the developments are generally proceeding as predicted, the details continue to be surprising. Anything that promises to bring the disparate threads of the season together in a logical manner is welcome, after all, and this episode continues that process. In fact, like so much of last season, "Prison Break" is back to showing "24" how serialized storytelling should be done.
Pope's return to the story was hardly shocking to anyone paying attention to press releases, but it made sense within the context of the story. Kellerman pointed out the fact that Michael and Sara were recognized faces, and sure enough, that became an issue. One might quibble over the idea that they would make such a mistake, but under the circumstances, they're desperate enough to make it reasonable. Whatever the case, the subsequent plot developments feel natural.
I like the fact that Michael and Pope had a few moments to work out their issues, even if many of them were left unresolved. It closes the door for Pope's time on the series far better than his original exit. More importantly, the conspiracy is becoming more unhinged and therefore more unpredictable. It made Michael's victory worth the cost to see Lincoln beating the hell out of William Kim.
Now that Michael has the evidence needed to prove Lincoln's innocence, the endgame has truly begun. It's a question of getting that evidence into the right hands before the conspiracy can close the net. This is where the subplots seem to come into play. While Bellick had nothing to do with C-Note's capture in this episode, his involvement with Mahone and his personal history with Michael makes him the perfect bloodhound.
C-Note's story had been off in left field for too long, but now it comes together with the main story in a way that makes it easy to overlook earlier issues with the subplot. C-Note needed to be pushed into a corner with no other option but to cut a deal, and based on his personality and history, his family's survival was the logical source of leverage. It's unclear how C-Note's knowledge of the website that Michael mentioned to Sucre will play into the overall resolution to the season, but clearly that's the intent.
Speaking of Sucre, his subplot was amusing enough, but it's still relatively isolated. Without the reminder of the website (europeangoldfinch.net) in the recap at the beginning of the episode, his entire story would seem like a needless distraction. Now, in conjunction with C-Note's deal with Mahone, it emerges as a clever way for Sucre and C-Note to come back into the main plot thread. Kudos to the writers for planting that clue and paying it off!
T-Bag's subplot is now the only one still dangling in the middle of nowhere, but now that the ridiculous hostage situation is resolved, there's no telling where he'll end up. He's still the poster boy for everything bad that's come of Michael's good intentions, so it makes sense for him to be out and about for as long as possible. With nearly everyone else working for Mahone or serving as bait, T-Bag could make an effective wild card. He could see the death of his dreams in this episode as the consequence of meeting Michael Scofield, and dreams of revenge could ensue.
Dreams of revenge will surely be the order of the day for Kellerman. I always thought that Sara's experience with Kellerman would lead to trouble when they were all working together to uncover the conspiracy, and sure enough, it finally comes to pass. Hasn't Sara heard the saying "keep your friend close, and your enemies closer"? Kellerman is a lot more dangerous as a free agent, and they could have used someone with inside knowledge of the conspiracy.
Whatever the case, things are really beginning to come together as the season comes to a close, and I couldn't be happier. That said, I still think that the series would be best served if it were to end with this season's finale. The writers may have managed to pull out of the terminal dive this time around, but this is a concept that works better as a short-term event than an open-ended series. I would hate to see the series wear out its welcome.
The race to the season finale is on, and the writers are definitely stepping up to the plate. Though many of the developments are generally proceeding as predicted, the details continue to be surprising. Anything that promises to bring the disparate threads of the season together in a logical manner is welcome, after all, and this episode continues that process. In fact, like so much of last season, "Prison Break" is back to showing "24" how serialized storytelling should be done.
Pope's return to the story was hardly shocking to anyone paying attention to press releases, but it made sense within the context of the story. Kellerman pointed out the fact that Michael and Sara were recognized faces, and sure enough, that became an issue. One might quibble over the idea that they would make such a mistake, but under the circumstances, they're desperate enough to make it reasonable. Whatever the case, the subsequent plot developments feel natural.
I like the fact that Michael and Pope had a few moments to work out their issues, even if many of them were left unresolved. It closes the door for Pope's time on the series far better than his original exit. More importantly, the conspiracy is becoming more unhinged and therefore more unpredictable. It made Michael's victory worth the cost to see Lincoln beating the hell out of William Kim.
Now that Michael has the evidence needed to prove Lincoln's innocence, the endgame has truly begun. It's a question of getting that evidence into the right hands before the conspiracy can close the net. This is where the subplots seem to come into play. While Bellick had nothing to do with C-Note's capture in this episode, his involvement with Mahone and his personal history with Michael makes him the perfect bloodhound.
C-Note's story had been off in left field for too long, but now it comes together with the main story in a way that makes it easy to overlook earlier issues with the subplot. C-Note needed to be pushed into a corner with no other option but to cut a deal, and based on his personality and history, his family's survival was the logical source of leverage. It's unclear how C-Note's knowledge of the website that Michael mentioned to Sucre will play into the overall resolution to the season, but clearly that's the intent.
Speaking of Sucre, his subplot was amusing enough, but it's still relatively isolated. Without the reminder of the website (europeangoldfinch.net) in the recap at the beginning of the episode, his entire story would seem like a needless distraction. Now, in conjunction with C-Note's deal with Mahone, it emerges as a clever way for Sucre and C-Note to come back into the main plot thread. Kudos to the writers for planting that clue and paying it off!
T-Bag's subplot is now the only one still dangling in the middle of nowhere, but now that the ridiculous hostage situation is resolved, there's no telling where he'll end up. He's still the poster boy for everything bad that's come of Michael's good intentions, so it makes sense for him to be out and about for as long as possible. With nearly everyone else working for Mahone or serving as bait, T-Bag could make an effective wild card. He could see the death of his dreams in this episode as the consequence of meeting Michael Scofield, and dreams of revenge could ensue.
Dreams of revenge will surely be the order of the day for Kellerman. I always thought that Sara's experience with Kellerman would lead to trouble when they were all working together to uncover the conspiracy, and sure enough, it finally comes to pass. Hasn't Sara heard the saying "keep your friend close, and your enemies closer"? Kellerman is a lot more dangerous as a free agent, and they could have used someone with inside knowledge of the conspiracy.
Whatever the case, things are really beginning to come together as the season comes to a close, and I couldn't be happier. That said, I still think that the series would be best served if it were to end with this season's finale. The writers may have managed to pull out of the terminal dive this time around, but this is a concept that works better as a short-term event than an open-ended series. I would hate to see the series wear out its welcome.
BATTLESTAR: GALACTICA 3.15: "A Day in the Life"
As of the writing of this review, "Battlestar: Galactica" has been renewed for a fourth season. The number of episodes for the fourth season seems to be unclear; David Eick has indicated that it will be 13 to 22, with the final number under negotiation with Sci-Fi Channel. The slump in ratings, largely due to the inexplicable move to late Sunday night, probably will factor into that decision. Whatever the case, fans need not be concerned yet; unlike "Farscape", this series has too high a profile for it to be cancelled in the middle of the night on a sleepy weekend.
This is of interest because episodes like "A Day in the Life" wouldn't happen in a 13-episode arc. Or rather, they tend to be rare. The writers are usually forced to focus on stronger season arc elements and tighter character threads. An episode devoted to character exploration is usually left out of the cut, or the content is watered down as a minor subplot. There's less time to get caught in blind alleys (like the previous episode, "The Woman King"), but there's also less time for intriguing character study.
Interestingly enough, all of the promotion for the episode seemed to focus on the airlock situation with Tyrol and Callie. Yet it quickly occurred to me, watching the episode the first time through, that their story was there to support the real action: the struggle within Adama's mind. And that led me to the realization that we haven't learned much about Adama from his point of view. We've gotten a lot of exposition, and a lot of opinions about "the old man", but this is direct information.
If some of this is old information, particularly in terms of the Adama family dynamic and the effect of Bill's absenteeism, it's given new life through unique presentation. More to the point, father and son find a new level of respect for each other as a result. While Adama's planet might hit this spot in its orbit year after year, circumstances bring Lee into the right place at the right time for a bit of rapprochement. It's good to see the character move out of the Polygon of Tortured Love and into something that should challenge his moral assumptions.
The other nice touch to the episode is the treatment of Adama and Roslin's unusual but incredibly sweet relationship. Their personal theme is one of my favorites pieces by Bear McCreary, and it is used well in this episode. Had the two of them agreed to a relationship at the end of the episode (or acknowledged openly the one they have), it would have been far less satisfying. Instead, they take an incremental step forward, with Adama still unable (or unwilling) to let go of past regrets. Unlike the Polygon of Tortured Love, this is a relationship that can be savored for its maturity.
While it was hardly as elegant, the struggles between Galen and Callie were at least realistic and give a bit more credence to Tyrol's sudden aggravation in "Taking a Break From All Your Worries". It's interesting to see characters suffer through the typical issues that come with parenthood under the strained conditions of the Rag-Tag Fleet, and since they were tangential to the episode, they didn't become a major distraction.
Episodes like this manage to communicate one of the more difficult aspects of the series' premise: how does one live when civilization has been stripped away and every day might be the last? The overwhelming nature of humanity's ordeal is easy to forget, but it is front and center in this episode. Consider for a moment the discussion, however brief, on the effect of the genocide and exodus on the legal system. Roslin openly admits that it has been a mess, and that the trial of Gaius Baltar now brings every shortcoming of the current status quo to light.
Shortening the fourth season may help the series survive through tighter plotting and active pacing, but it would be a shame to lose episodes like this in the process. More than that, this episode is an example of using existing situations and continuity elements as foundation for a something new. If the writers managed to do this more often with the non-arc episodes, longer seasons would hardly be a problem.
As of the writing of this review, "Battlestar: Galactica" has been renewed for a fourth season. The number of episodes for the fourth season seems to be unclear; David Eick has indicated that it will be 13 to 22, with the final number under negotiation with Sci-Fi Channel. The slump in ratings, largely due to the inexplicable move to late Sunday night, probably will factor into that decision. Whatever the case, fans need not be concerned yet; unlike "Farscape", this series has too high a profile for it to be cancelled in the middle of the night on a sleepy weekend.
This is of interest because episodes like "A Day in the Life" wouldn't happen in a 13-episode arc. Or rather, they tend to be rare. The writers are usually forced to focus on stronger season arc elements and tighter character threads. An episode devoted to character exploration is usually left out of the cut, or the content is watered down as a minor subplot. There's less time to get caught in blind alleys (like the previous episode, "The Woman King"), but there's also less time for intriguing character study.
Interestingly enough, all of the promotion for the episode seemed to focus on the airlock situation with Tyrol and Callie. Yet it quickly occurred to me, watching the episode the first time through, that their story was there to support the real action: the struggle within Adama's mind. And that led me to the realization that we haven't learned much about Adama from his point of view. We've gotten a lot of exposition, and a lot of opinions about "the old man", but this is direct information.
If some of this is old information, particularly in terms of the Adama family dynamic and the effect of Bill's absenteeism, it's given new life through unique presentation. More to the point, father and son find a new level of respect for each other as a result. While Adama's planet might hit this spot in its orbit year after year, circumstances bring Lee into the right place at the right time for a bit of rapprochement. It's good to see the character move out of the Polygon of Tortured Love and into something that should challenge his moral assumptions.
The other nice touch to the episode is the treatment of Adama and Roslin's unusual but incredibly sweet relationship. Their personal theme is one of my favorites pieces by Bear McCreary, and it is used well in this episode. Had the two of them agreed to a relationship at the end of the episode (or acknowledged openly the one they have), it would have been far less satisfying. Instead, they take an incremental step forward, with Adama still unable (or unwilling) to let go of past regrets. Unlike the Polygon of Tortured Love, this is a relationship that can be savored for its maturity.
While it was hardly as elegant, the struggles between Galen and Callie were at least realistic and give a bit more credence to Tyrol's sudden aggravation in "Taking a Break From All Your Worries". It's interesting to see characters suffer through the typical issues that come with parenthood under the strained conditions of the Rag-Tag Fleet, and since they were tangential to the episode, they didn't become a major distraction.
Episodes like this manage to communicate one of the more difficult aspects of the series' premise: how does one live when civilization has been stripped away and every day might be the last? The overwhelming nature of humanity's ordeal is easy to forget, but it is front and center in this episode. Consider for a moment the discussion, however brief, on the effect of the genocide and exodus on the legal system. Roslin openly admits that it has been a mess, and that the trial of Gaius Baltar now brings every shortcoming of the current status quo to light.
Shortening the fourth season may help the series survive through tighter plotting and active pacing, but it would be a shame to lose episodes like this in the process. More than that, this episode is an example of using existing situations and continuity elements as foundation for a something new. If the writers managed to do this more often with the non-arc episodes, longer seasons would hardly be a problem.
