With so many stand-alone episodes during the first half of this season, it’s about time that the writers returned to the season arc. This particular episode does shed some light on some key elements of the story, which is a very good thing, but it also seems to be simplistic in approach. There’s a lot of running around for what little ground was gained.

In essence, the leader of the Alt-universe super-soldiers, Mr. Newton, is trying to open a doorway linking Fringe Prime with Alt-Fringe. This would be a very bad thing, and Olivia is supposed to do whatever it takes to prevent it. As it turns out, Walter is the only person in Fringe Prime with the knowledge of how to create a doorway, and those memories were intentionally taken away from him. Mr. Newton fulfills a plan to restore those memories just long enough to get his answers, and Olivia chooses to save Walter rather than stop Mr. Newton and end the threat.

That summary doesn’t quite do the episode justice. For one thing, the method of memory restoration is interesting, because it implies a mechanism for memory that doesn’t quite mesh with how memory and consciousness has been handled previously on the series. Memory and consciousness have been a bit more ephemeral in previous episodes, implying that both are not necessarily linked to a physical anchor within the brain.

Note: This review covers the first half of the two-episode event that aired on 04 December, 2009. This review was written without prior knowledge of the events in the second episode. A subsequent review will cover the second half of the event.

“Dollhouse” has been flirting with a purpose since the beginning of the series, and seemed to find it with the combination of “Epitaph One” and the first four episodes of the second season. The immorality of the Dollhouse is no longer a matter of debate; the writers are openly addressing the fact that the technology is being abused to subvert free will and eliminate identity. One gets the very strong impression that this is much closer to the kind of show Joss Whedon was trying to create.

Being the first part of a two-part story, it’s hard to evaluate this on its own. But it does have its own share of revelations, so it’s worth looking at it in isolation. This is the episode that reveals the truth about Senator Perrin, and it is completely in line with something I raised in reviews for the first season.

It makes perfect sense that Rossum and the Dollhouse network would want to take control of key government figures, and use those connections to protect their own interests. Senator Perrin cannot be the only example of a government official under Rossum control. It’s also telling that they left the basic personality and memories intact, changing only the aspects they needed for their long-term goals.

This episode was a long time coming, especially given that the producers sent out a press release, detailing the final demise of one of the original characters. That the character in question was already technically dead was a bit of a cheat, and I’m still wondering why the producers would think that this episode should be framed as something extraordinary.

That’s not to say that the episode was bad. In many respects, it was a solid entry for the fourth season, continuing the slow and steady pace of the story. While a lot of people saw nothing worth following in the season premiere, I still think this season has been better than anyone could have expected. It’s not incredible, but I am enjoying many of the new elements and the format that has emerged.

Holiday-themed episodes have a tendency to play to nostalgia and tradition. They can be a cringe-inducing subset of the “very special episode” syndrome. The trick is to subvert the typical expectations that come with the territory. “Buffy”, for example, managed to do it very well.

This particular spin on the convention is broken into three parts, where the coming together at a family meal brings more than just the usual level of conflict and recrimination. The treatment of each Thanksgiving dinner is more or less a success, and has everything to do with the strengths of the characters involved.

The best material belongs to Samuel and his carnival family, as the truth about Joseph Sullivan’s death comes out. Suddenly Edgar’s displeasure with Samuel from the beginning comes into focus. Hiro finally gets to show a bit of backbone, even if he’s still mostly whining about Charlie, and one can only hope that this will lead to a permanent transition into a more serious character as a whole. (Especially since it is highly unlikely that we will ever see Charlie again.)

I’ve always been a sucker for apocalyptic futures and visions. There’s just something about knowing that things are on the verge of falling apart completely, knowing that familiar faces are somehow responsible, and seeing them try to make adjustments to prevent that future from occurring. It’s a well-worn plot device, but one that usually works for a reason.

It’s a convenient way to approach one of the key philosophical debates within human existence: predestination vs. free will. Are we bound by some complex law of cause and effect or the whims of a higher power with complete control, or do we have the ability to change probabilities and shape our own destiny? It is a question at the heart of humanity’s spiritual struggles, and as such, it rightfully serves as the center of much of our popular culture myths.

In a sense, “Smallville” has always been a story about destiny vs. free will on several levels. There are the obvious expectations laid at Clark’s feet by his father, and the question of whether or not he can find his own path within the confines of those expectations. But there is also the approach taken with the series: how closely must the story of “Smallville” conform to the expectations of the Superman myth, as known within modern culture? How far can the story deviate before it becomes too different for its own good? (Many might say that ship has long since sailed.)

“Fringe” has been delivering an interesting second season. While the show has definitely evolved since its stumbling start, I’m not sure that the best lessons of the first season have been learned. The second half of the first season was remarkable for its deft treatment of both episodic and serialized story elements. This season, on the other hand, doesn’t seem to be gelling as well as one might hope.

I’m not going to suggest that this is some sort of sophomore slump; the season has not fallen into any self-destructive patterns. Nor have there been critical casting misfires, like the one that crippled some of the original plans for the second season of “Lost”. It’s just a feeling that the writers are still trying to satisfy the original intent: a mostly episodic structure with a few important serialized arcs.

After too many light-hearted episodes, the writers finally get back to the apocalypse. Despite the dialogue in several episodes suggesting that progress was halted for good reasons, it was never convincing. This is what we’ve been waiting to see, and the writers deliver a gut punch to remind us that they still know what they’re doing.

I’m very sorry to see Ellen and Jo go, especially since they were gone for so long and they were strong supporting characters. I was in the minority regarding Jo, especially when the backlash against her seemed to be based less on story and more on issues within the fandom. Ellen was sorely missed as a surrogate parental figure, though Bobby has shifted into that role more and more since the second season.

I expect that there will be some criticism for the killing of two recurring female characters, which seems to follow the pattern that minorities get the shaft on “Supernatural”. I even expect a few comments about sexism. I don’t see it that way. While some deaths might have been questionable earlier in the series, this is the apocalypse. This is war, and these are the soldiers. The characters themselves knew the risks, and they accepted that they might have to sacrifice themselves for the sake of the world.

Jo went down saving Dean, and she made a conscious choice to make her death count in the end. In other words, she went down like a Hunter. Ellen’s decision to stay with her daughter and sacrifice herself was both pragmatic and emotionally charged. In the end, if Ellen had not stayed, Jo wouldn’t have held out, and the bomb wouldn’t have gone off at the right time. I think it was a fitting end for two Hunters. If anything, they received the kind of heroic sacrificial moment that is typically reserved for male soldiers in war movies.

There is the small matter of the attraction between Dean and Jo. Frankly, I had no problem with this, and I really liked the fact that they had Jo deny Dean the “last night on Earth” play. While the writers never went down that road during the second season, they had clearly established the attraction, and it made sense to pay it off at the end. Had the apocalypse never come, would Dean and Jo ended up together? I seriously doubt it, but they had a history, and this was a good way to acknowledge it.

I also liked the portrayal of Meg and Lucifer in this episode. Rachel Miner is deliciously evil as Meg, and her interplay with the Brothers Winchester and Castiel was well done. I suspect that there may be a twist with Meg before all is said and done. A rather critical point was brought up by many of the characters: if Lucifer considers humanity a plague on creation, why would he keep demons around when they were just human souls twisted to become minions? If Lucifer wins, the demons are expendable. If Lucifer actually forces the final battle and then loses, the demons are finished. As Crowley says, the best option is to fight to maintain the status quo.

It doesn’t surprise me that the demons collectively never thought of that. After all, the angels collectively didn’t recognize that God’s absence might have been part of the plan. The minions bound to service on both sides were never meant to see their true role in the endgame. Only Castiel and Lucifer seem to get it: the entire point of it all comes down to the choices of those granted free will. It’s all about humanity, and in that sense, it’s been about the Brothers Winchester.

This is one reason why the interplay between Castiel and Lucifer was so compelling. Neither one of them seems to understand the true nature of the situation. Lucifer chose to rebel against the will of God, and his self-justifications cannot mask the ugly truth of his intentions. Castiel, on the other hand, rebelled against his fellow angels, who themselves had turned their back on God. Castiel didn’t fall; the rest of the angels did. It’s just that none of them have recognized that fact yet. The difference is faith: Castiel still firmly believes that God is still there and worth searching for, while the rest of the angels have assumed that God is dead.

For this reason, it occurs to me that God may not only be waiting in the wings, but he may have prepared himself a vessel. Thinking back on the analogy from “Changing Channels”, there were parallels drawn between Michael and Dean, Lucifer and Sam, and God and John Winchester. Assuming that John Winchester is not going to be brought back as some kind of avatar of God (which would be one predictable direction), who else could play that role?

The answer might lie in two unexpected but interesting possibilities. One would be the sole remaining father figure for Sam and Dean: Bobby. That might explain why he was paralyzed, and why the writers are having him struggle with finding a purpose as a Hunter and as a human being. Bobby may be on the path to be offered the chance to make a profound sacrifice on the behalf of his “sons”. Given Bobby’s personality and attitude, it would be an ironic choice.

But if the writers wanted to avoid the notion of having a human being act as God’s vessel, they may have already constructed an alternative. Castiel was brought back from the dead for a reason, and he has always served as the heavenly support behind the Brothers Winchester. Thematically, it would make a great deal of sense: Castiel searching the world for God, only to find God within himself. As the only angel to retain his faith in God, what better way to be rewarded? I think it would be a worthy end to Castiel’s character arc.

Whatever the case, this episode continued to demonstrate that “Supernatural” all comes down to human choices. Even during the apocalypse, it all comes down to free will. Things are getting dramatically worse, now that the Angel of Death has come on the scene, but the Brothers Winchester will keep fighting.

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

Final Rating: 9/10

This season of “Heroes” has been uneven, but in many respects, success or failure has been dependent on the treatment of Samuel Sullivan. That character has done more for this season than almost any other element, and as such, one would expect the same would be true for this episode (and the season as a whole).

So it is a bit unfortunate that the time has finally come for Samuel’s motivations to become clear. As much as it was necessary for the good of the season arc, since it begins to answer some of the pressing questions about Samuel and his activities since the season premiere, it also feels a bit too simple. It renders Samuel a less compelling villain to have him searching for more and more power.

While I felt that the season got off to a slow and confusing start, the writers have settled in nicely and the show is finding its way back into my good graces. It still has its definite flaws, but it’s easy to forgive when I come away from an episode satisfied. Granted, it’s still early in the season, and the writers tend to lose their way in the second half time and again, but for now, I’m good with “Smallville”.

I will be the first to admit that enjoyment of recent seasons might be predicated on one’s enjoyment of the Clark/Lois dynamic. That element has certainly been ramping up this season, and by making it a critical part of the season arc, the writers resolve one of the issues with its treatment last season.

Unfortunately, there is a drawback. The writers are trying to play on the nostalgic factor of the Lois and Clark relationship. There is a certain degree of expectation and anticipation (and I say that personally). It’s not all that different from the anticipation of Clark donning the familiar red and blue, taking flight, or managing to craft a believable secret identity when everyone and their brother has seen his face without glasses for all this time.

It’s a game of inches, and the writers want to touch on the Lois’ constant suspicions about Clark and his true nature without pulling the trigger. But just as it became ridiculous after years of teasing during the Clark/Lana era, it’s getting old now. In fact, having seen it all before, patience is becoming elusive.

Maybe this is one of those few remaining constraints on the producers, something they’re not allowed to have happen on the show. That would be unfortunate. The writers have already strayed so far from the traditional canon that they really could ignore the “rules” and have things happen much earlier in the timeline. In my opinion, the show would be much stronger as a result.

Because it was clear that Lois wouldn’t get to the end of the episode with her realization intact, my pleasure over some of the more iconic moments was mitigated. The saving grace was how Lois was convinced that Clark was not the Blur. Having Chloe abuse her power as Watchtower once again was a smart move. I like the darker direction that Chloe has been taking since her experiences last season, and how it threatens her relationship with Clark. If Chloe’s death (once again used as a tease) doesn’t come to pass, I begin to wonder if she’ll go darkside in the future.

The introduction of the Wonder Twins didn’t bother me, even if there were indications that the writers once again assumed a certain amount of backstory knowledge on the part of the audience. I recalled just enough from childhood cartoons, I think! They served a purpose within the context of the story, helped indirectly elevate the legend of the Blur and the status of the familiar sigil as a symbol of hope, and gave Clark a chance to show some rare wisdom.

Perhaps the best part of the episode was the final scene, and how it dovetailed with the vision in the teaser. A lot of the small details from earlier episodes are coming together to form a bleak picture, and I like where it’s all going. As long as the writers keep their eyes on a solid plan for the whole season, this could turn out to be another winner.

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

Final Rating: 8/10

Written by Eric Kripke and Nancy Weiner
Directed by Jim Conway

I must admit that I had some concerns when I first heard that an episode of the fifth season would be held at a “Supernatural” convention. I thought the writers were perhaps going a little too “meta” in the process. I’m still not convinced that it wasn’t a very bad idea, but it certainly had its charms.

Eric Kripke and the production staff love the fans, and they like to show it by gently mocking some of the sacred cows of the fandom. Just the fact that they tolerate the creepy Wincest fans is a testimony to their inclusivity. I think the writers did the fans justice by addressing, on a certain level, some of the common insults tossed at the super-fanatic. And I would hope that the fans enjoyed the recognition for what it was.

That said, I thought the episode was trying a little too hard to push its theme and moral underpinnings at the expense of the story. The entire ghost story aspect felt generic, and when even the main characters are wondering why they are getting sidetracked from their main mission, it’s telling. Only the fact that Chuck was able to toss out an unexpected lead on the Colt made it workable.

I mentioned in the review for the previous episode that the current run of relatively light-hearted episodes and side missions seemed to be designed to mitigate the darkness to come. Hopefully this will turn out to be true, and hopefully this trend is about to shift towards the darkness. Because if this continues for much longer, this season of “Supernatural” threatens to become a parallel to the disappointing sixth season of “The X-Files”.

As I’ve said before, comedy is a lot harder than drama. Most people can understand and relate to the core principles of the dramatic material, because it always boils down to the relationship between the Brothers Winchester. It’s a common language. Comedy, on the other hand, is largely subjective. Appreciation of a joke relies on relative context.

I also find it harder to appreciate the comedic episodes when the focus is less about revealing something interesting about the brothers and more on something external to them. The previous episode worked because, in the end, it was about Sam and Dean and the big picture. This was closer to “Hollywood Babylon”, though this episode did manage to still poke fan at something actually related to the show.

So far, this has been a somewhat surprising start to the fifth season, and not necessarily in a good way. While it has been solid and above average, the fifth season hasn’t been as strong as the fourth season. I think there have been some great episodes, but I haven’t been as hooked as I have been in the past. At least some of that must be the effect of too much light fare. There’s still plenty of time left for this season to ramp up, though, so I’m not expressing too much disappointment yet.

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

Final Rating: 7/10