The ailing Terminator: The Sarah Connor Chronicles tossed the rulebook into the radioactive blaze of post-Judgment Day Earth this week by presenting us with an episode in which not one – yes, you read that right, not one – of the central cast were chased through the streets of west coast America by whacked out cyborg killing machines. Instead, Toni Graphia’s ‘Allison from Palmdale’ tried the altogether more dangerous approach of concentrating squarely on character development, weaving together three rather less-than-action-packed, highly introspective narratives with a needle labelled ‘identity’. Yes, the show had a lot to say with the fourth episode of season two, suggesting (a) that we can’t always trust that others are who they say they are, (b) that you can’t escape your past, and that it is as much a part of you as anything present, and finally (c) that those parts of yourself that you wish to deny, both to yourself and to others, will always out in the end. Which would all be fine and dandy really, if Terminator was that kind of show, if it wasn’t marketed as an all-out sci-fi action fest of monumental proportions (maybe that’s a slight exaggeration, but you get the point). Now don’t get me wrong, I support Graphia’s attempt to take the series in a different direction, to expand its narratalogical horizons, and the execution of this far more allegorical tale was, for the most part, highly effective. It’s just, when you read reports like these that suggest that the show is heavily in danger of being cancelled, if it’s playing against the viewing habits of its natural demographic, it’s not hard to see why. Since the exciting season opener, The Sarah Connor Chronicles has slouched towards a narrative pace that can only be described as lethargic and, for your average, explosion-lovin’ 18-30 year old, that’s not really going to make you want to return week after week. Granted, the poor scheduling is crippling the programme more than anything (Heroes, Dancing With The Stars and Monday Night Football all play at the same time) but it’s at times like these that the big guns need to be brought out, that the mythology needs to be moved forward, that Thomas Dekker needs to start taking his shirt off again. No amount of Summer Glau demonstrating her fantastic acting ability – this was, after all, very much her episode: she got to effectively play three parts in 45 minutes which is no mean feat – is a substitute for rip-roaring, heart-pounding action… and nor, for that matter, is the continued inclusion of Shirley Manson, whose very clunky performances I am no longer willing to write off as ‘method acting’. This show needs a shot of adrenaline fast or else its future will be as bleak as the one it depicts.
(Oh and, as an aside, how gloriously inappropriate was the leering male prostitute’s sizing up of John? ‘Delicious’, he mused, in as objectifying, and camp, a fashion as possible, just to reiterate that, you know, we pray on the young and innocent and all that… not like I objectify Thomas Dekker at all. Ever. No siree.)
204: ‘Allison from Palmdale’: 7.2
Wr: Toni Graphia; Dr: Charles Beeson
Reports indicate that Prison Break is also suffering heavily from the vast slue of competition in its post-Terminator Monday night slot, and I can only conclude that this is down to one thing: the continued lack of any Marshall Allman whatsoever. Really, guys, where is LJ? What is he doing? Are he and Sofia, his fag hag, wandering around Panama’s thriving gay village, looking for some hot Mexican boys to ‘entertain’? Or has he abandoned her in favour of a trip to Terminatorville, where he’s hunting John Connor, only to blow his brains out in an altogether different kinda fashion (nudge nudge, wink wink)?
Oh sorry, was I daydreaming again? I do apologise. Back to the serious review. So, Prison Break did what it does best yet again, imbuing its forty five minutes with enough false starts, heart-pounding stops and suspenseful trip-ups to keep the viewer riding the rollercoaster of tension for its duration, while also helpfully disguising any potential plot holes or moments of sheer ‘unbelievability’ that may be required in order for the whole thing to work. It’s a very enjoyable recipe, it must be said, and one that benefits from the production staff’s continued ability to play to their specific strengths… and by that, I mean, the casting of William Fichtner. Yet again, he gets a sizeable portion of the story; in fact, the episode itself is structured prominently around Mahone’s capture and the question of his subsequent rescue, and yet again, he’s fantastic. He’s starting to outshine Wentworth Miller (no small feat), and, from the reviews and reports all over the PB message boards, it seems most are quite happy to let him. Certainly, he has the most interesting character arc in the show at the moment and I look forward to seeing where his war of wills with THE BLACK ASSASSIN goes (how deliciously eerie was the ‘pointing gun’ moment?) Elsewhere, T-Bag’s troubles continue to provide mild amusement; the quest for the cards manages to stay fairly fresh (a race track this week… whatever will they think of next?); Don Self gets something interesting to do and the irritating Tancredi wail is nowhere to be seen. Thank the Lord. All we need now is Marshall Allman in his underwear and we’ll be set. Sorry, couldn’t resist. Again.
(Oh and, as another aside, Gretchen – season four’s Kellerman? I really hope not. There’s only so many times ex-Company guys and gals can turn good because their former colleagues wronged them before it all turns rather ridiculous. You’d think they’d learn from their mistakes and just kill off the deadwood rather than risk the repercussions. I’m hoping the writers throw a massive curveball at us with this one and have her on the trail of Michael and his band of merry men… but I have my doubts).
406: ‘Blow Out’: 8.5
Wr: Kalinda Vazquez; Dr: Bryan Spicer
And all we need from Heroes is for Mohinder to keep his pants, his trousers, his shirt and well, his everything on, thank you very much… which, thankfully, this week, he does. So much so, in fact, that he’s not even in the episode. Which I can’t say I’m complaining too much about. What is in ‘One of Them, One of Us’ is, for the most part, rather good however, although it is a far slower, more methodical episode than the rip-roaring season opener. It essentially lays the groundwork for future plot developments and moves important pieces into position, while providing enough intrigue of its own to keep the water cooler busy. Sylar is very much the main talking point here – from finding out that the even-more-evil than usual Angela Petrelli (Christine Rose is, as usual, simply devine, dahling) is his biological mother to teaming up with HRG, the world of the show’s principle villain is turned decidedly on its head and Zachary Quinto rises admirably to the challenges that come along with it. The actor gets a chance to explore the world of the man behind the insanity, to three-dimensionalise Gabriel and offer him his own set of emotional conflicts rather than hanging on to a ‘I hunger for powers’ modus operandi. Partnering him up with Noah Bennet is inspired and, while slightly clunky in light of their history, it works very well, primarily because the two of them have oodles of delightfully mistrusting chemistry. The same can arguably be said of Claire and her biological mother, whose journey of ‘self-discovery’ culminates in a superbly written and directed sequence in which Meredith traps Claire in a burning building and attempts to suffocate her. You know, as moms do. Although the outcome is somewhat telegraphed (and as is Claire’s subsequent rebellion), it is perfectly in keeping with young Bennet’s character and, as a result, is the only logical, and satisfying, result. How logical Matt Parkman’s trip to see African Isaac Mendez is remains up for debate, it must be conceded, but, in all honesty, I have absolutely no issue at all with this particular storyline. It seems to be bugging the hell out of the Heroes fans though, and the complaint generally seems to be that they don’t like the writers repeating powers. Well, to that I say: deal with it. It happened last year with West and Kensei and you weren’t complaining then, were ya? (Actually, they probably were). I don’t feel the need to see an original power with every new hero and, in any case, this guy’s is slightly different. He only sees Parkman’s future, not everyone’s. And in any case, it reintroduces the stunning season one artwork into the show; all the desert sequences are simply beautiful to observe. Oh and before the whiners start, PARKMAN IS NOT NECESSARILY GOING TO PAINT THE FUTURE. His eyes roll back yes, but he’s on his ‘spirit walk’, his journey of discovery. It will probably affect Matt differently (it told the other dude to paint, it didn’t make him paint)… PARKMAN DID NOT TOUCH A BRUSH OF ANY KIND. Don’t get worried yet.
There are some minor problems with ‘One of Us, One of Them’, however, and they largely revolve around the villains and Peter. While the sequence in the bank was rather entertaining, with some nice use of powers (particularly Jesse’s sound manipulation) the narrative was, ultimately, a bit of a damp squib, wasn’t it? After building Jesse up last week, he gets two minutes to show his ‘true force’ and then he’s dead at the hands of Sylar. Not the best decision, guys. The flamethrower’s back in level 5 too, and God knows where Knox is. Really, not enough has been made of these guys, especially given that such gravitas was placed on their escape in the previous episode. Their level of threat was well sold in ‘The Butterfly Effect’… but the ultimate execution leaves something to be desired. I do, however, have faith in the writers: they know what they do, and one imagines they have something else up their collective sleeves (a dozen escaped from Level 5… and Angela’s premonition only included Knox in the line-up of no-gooders who murder our heroes). Hiro and Ando’s narrative was a little lacking too; while it was nice to see the Haitian again, and Daphne continues to be brilliant, the Japanese duo’s squabbling was completely predictable, and the speedster’s taking advantage even more so. The feeling of disappointment at their story is probably a bi-product of slowing the pace of the plot down, allowing for considerable concentration on character development in some areas and downsizing the others to B or C storyline status. There’s nothing essentially wrong with such a process: a more refined, and reflective, episode is produced as a result, but without the benefit of foresight to see where the building blocks being placed will ultimately fit, it can potentially come across as a little lacking. Still, on the whole, this is a well-written and executed hour of a show that continues to excite, intrigue and beguile.
303: ‘One of Us, One of Them’: 8.3
Wr: Joe Pokaski; Dr: Sergio Mimica-Gezzan
And speaking of beguiling… well, wasn’t that quite the complex episode of Fringe this week, ladies and gentlemen? Weird suppository-shaped metallic missiles that explode downwards, men with machines that can read minds and bald dudes who taste and feel very little, scribble alien gibberish on notepads and say what you’re going to say before you say it. Slightly unusual, it might be said, to most of us but it’s all in a day’s work for J.J. Abrams, the man responsible for polar bears on tropical islands, monsters made of smoke that transmit electricity and tear men to pieces and, lest we forget, a 15th century engineer who foretold contemporary scientific advances. Now he’s the author of what is, without a shadow of doubt, the best instalment of this series yet; an hour of entertainment so gosh darn odd that you just can’t help but watch on in wonder as every layer of a decidedly dense puzzle is peeled, only to reveal another fifty or so beneath. And there isn’t even a whiff of Massive Dynamic in sight. What there is is deliciously tense, however: threatening the lives of the central cast is an inspired decision, as is the refusal to provide explanation for a large proportion of the events. Do we know who The Observer is by episode’s end? Do we hell. Are we any closer to understanding the purpose of the ‘missile’ or ‘beacon’? Dream on, optimist. But all of this cryptic teasing only serves to enrich ‘The Arrival’, and Fringe itself, even more: it virtually guarantees that you’ll return next week in an effort to ascertain some understanding of the situation. There’s also the added bonus of the focus on Walter and Peter’s somewhat fragile relationship, and it’s handled beautifully. These are by far the best scenes John Noble and Joshua Jackson have had so far, as Noble is largely free from the ‘wacky’ comedy beats he normally has to attempt to convincingly portray, and is allowed more scope to explore the inner workings of the genius scientist’s psychiatry. Jackson proves he’s a more than capable match for him too; the scenes in the jail cell and at the episode’s close in particular are absolutely spot on. What in lesser actors’ hands could seem hokum (‘I’ve got daddy issues!’) is made achingly believable by these two imminently talented individuals. And then there’s the shit-the-bed moment at the end that just caps it all off perfectly. Marvellous. And to think I had my reservations about this show; ‘The Arrival’ put pay to a large proportion of those, and now I can’t wait to find out more. What was an interesting curiosity is now absolute must see TV. Check it out, I dares ya.
(And you’ll get the chance to for another few weeks at least: FOX just picked up the show for a full 22 episode season).
104: ‘The Arrival’: 9.0
Wr: J.J. Abrams & Jeff Pinkner; Dr: Paul Edwards
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