TV Review: ALIAS – ‘After Six’ (3×13)

In many ways, After Six can be considered indicative of the kind of fan-baiting series Alias became in Season Three after the daring apogee of Full Disclosure, a sign of what it runs arms-opened toward in the latter half of the season.

Crossings established that Syd & Vaughn were not going to remain apart as per the new, Julia Thorne-era paradigm, and that the writers were determined to find a way to untie the difficult knots of storytelling that had replaced the UST of the early seasons with a trauma-driven, grief-stricken change in circumstance preventing them being together. Work would need to be done in order to return them to a romantic state, work that takes the rest of the season in all honesty, but Alias would be intent on giving the fans what they wanted: the SVR (Syd-Vaughn Romance). Season Three, as a result, begins in After Six to deliberately angle the series away from Syd & Jack’s relationship as the dramatic focal point, as it is when Alias operates at its best, toward what becomes a knotty quadrangle.

Having Lauren turn out to be a Covenant agent is not a bad twist in and of itself, indeed it makes a modicum of sense on several thematic levels for Alias as will become apparent in what happens to Vaughn’s character at the back end of the season. However, it very deliberately is a convenient way to lessen the problematic moral realities of Syd & Vaughn becoming romantically involved when one of them is married. After Six begins to explore this but everything is offset by how immediately pantomime Lauren becomes as she partners, both literally and sexually, with Sark across this episode. She wears dark eye shadow. She tries out revealing lingerie. She seduces Covenant bosses and savagely murders them. In perhaps one of Alias’ most chilling moments, Lauren watches Sark strangle a man to death while having a casual, loving phone check in with her husband, talking about making them some supper.

After Six, therefore, begins the recalibration of Alias into a more simplistic series driven by sex, betrayal and more traditional forms of spy plotting. It is sporadically entertaining but, at this stage, that’s about all.

TV Review: ALIAS – ‘Crossings’ (3×12)

How do you follow an episode like Full Disclosure? It is hard to envy Crossings, an hour of Alias that, to some degree, is a necessary change down in gear.

Being aware that Full Disclosure was, in part, meant to span the length of the third season, Crossings could in an alternative universe ended up an early outing in a fourth season exploring the consequences of the Julia Thorne arc, yet it is forced to find a space in the wake of some monumental revelations on a personal level for Sydney, seismic Rambaldi secrets laid bare, and a major twist for one of the series’ lead characters. Josh Applebaum & Andre Nemec’s second script as writers on the show chooses to focus on the easiest of the three, and indeed by and large Alias never really gets into the fallout of the bigger two aspects of the previous episodes. Crossings is a sign of the times to come for the show.

After the events of Full Disclosure, one might suggest that Crossings refers to Sydney’s emotional state as she moves from the missing two years, and the seismic personal changes that wrought, into a new space. “I’m moving on” she tries to reassure Vaughn as they grapple with the terms and conditions of their relationship, but it’s as convincing as the idea of Alias itself truly moving on into a new space. Crossings is no metaphysical piece, no sequel to Passage on a thematic level and any kind of rite for Sydney. Crossings is rather Alias moving into a safe space, a comfort zone, and almost immediately a far less intriguing, complicated and nebulous arena. It’s not even a step back, as such. It’s a step sideways.

Season Three will get back there in much less elegant fashion than in the first half of the year, but perhaps appropriately for an episode set primarily in North Korea, Crossings is Alias walking into a dramatic no man’s land.

TV Review: ALIAS – ‘Full Disclosure’ (3×11)

Had Alias’ fifth and final season ran to twenty two episodes much like the rest of the series, Full Disclosure would have been the exact midway point of the show. We should consider it as such because only Phase One, the second season’s format shattering powerhouse, comes close to being the most important episode in the history of Alias.

There is so much to discuss around Full Disclosure, tackling the episode is almost daunting. It is not just a culmination of the first half of the third season but the entire Rambaldi mythology to date, at this point. The revelations and contextualisations of that mythology here do not make sense as a mid-season point of clarity, or even had they been placed at the end of Season Three. These are series ending secrets being revealed, theoretically, or narratives that one might have expected following The Prophecy and the cornerstone of the Rambaldi mythos established in the first season would have played out in the final season of Alias. The fact Full Disclosure is a necessary, swift wrap-up of an ongoing storyline that the previous ten episodes had unfurled is, in hindsight, quite criminal.

If this sounds like I am suggesting Full Disclosure is a supremely important episode to Alias, then you would be correct. It is. There is something quite staggering about it’s reach and effect, especially considering it was designed to fold up the unpopular Julia narrative and restore Sydney, and the series, to something approaching normality and a sense of security, when initially the plot was designed to run for the whole of the third season. It very much parallels Phase One in that regard as both were the result of network edicts to conclude complicated narratives that they feared were alienating the core audience. Phase One turned out as a genuinely brilliant, propulsive and clear hour of television, condensing and concluding the SD-6 storyline with remarkable brevity given what came before. The same can not be said of Full Disclosure.

The series, and Syd as a character, never reaches the layered and complicated intensity of this episode again. Everything that follows feels like an extended epilogue to the mythology and Sydney’s journey.

TV Review: ALIAS – ‘Remnants’ (3×10)

You don’t know what you’ve got until it’s gone, as the saying goes, and Remnants is perhaps the chief example of that with Alias up to this point.

The return of Will Tippin, as played by Bradley Cooper, is an unexpected boon to an episode that arrives right in the middle of one of Alias’ most rollercoaster, knotty and complicated story arc resolutions, as Sydney’s lost time begins to unfurl itself as weaved closely into the advancing stages of the Rambaldi mythology. Will did not need to exist within the tapestry of Remnants; from a narrative point of view, another character could have logically filled the position Will does here, either another guest character or one of the main cast. Yet the manner in which writer Jeff Pinkner finds a way to reintroduce Will, provide details of how his life has changed in the ensuing two years, and tether him to the ongoing plot of Syd’s missing time, the ‘death’ of Andrian Lazarey, and ultimately the Rambaldi mythos, is surprisingly adept. It’s a reach but it’s not a crowbar.

The title itself doubles down on what Remnants essentially concerns: Alias coming to terms, finally, with the consequences and fallout from Season Two. The Nemesis sets the scene for this by reintroducing Allison Doren, and Remnants pays it all off by adding Will to the concoction. Will becomes not just the key to unlocking Syd’s lost two years, but the emotional mechanism for her to break down and come to terms with the trauma of being transformed into her dark reflection. In Conscious she kills that id, destroys the idea of Julia Thorne, the sinister double, in order to ultimately access and re-connect with Will, and he serves a function beyond exposition or narrative connectivity to what the Covenant are planning to provide both a balm, a hint of salvation, and indeed a moment of pause and reflection. Will allows her, for the first time in a long time, to briefly be just ‘Sydney’.

Remnants is all about Alias’ continuing mission, one it has been engaging with on some level since Phase One, to let go of both its own past and, more generally, the 1990s it was born from.

TV Review: ALIAS – ‘Conscious’ (3×09)

Conscious operates in quite a formative space, not just for Alias but many of the works from J. J. Abrams production house that would overlap and follow it.

After the grim but effective exploration in Breaking Point of Alias’s position externally as a post-9/11 series rocked by the traumatic mass hysteria of terrorism on American soil, Conscious moves inward. It contextualises many of the thematic ideas not just of the third season but of Alias as a whole, specifically the inherent duality behind the concept. Sydney Bristow spends her life being two different people, herself and whatever ‘alias’ she adopts week by week on mission. When the narrative structure disappeared after Phase One that enabled this, Season Two brought in the Helix doubling technology and established, particularly by The Telling, two sides of a psychological join in Allison/Francie – the darkness and the light. Season Three brought that inherent duality into Syd’s character herself through her missing time and Julia Thorne, apparently an externalisation of the darkest impulses that the show has worried about since the beginning.

It’s worth noting in many ways that Alias has always been a little bit obsessed with the idea of the virtuous American mother/wife/girlfriend being not what they seem, and in Syd’s case it also extends to the idea of the hero being corrupted. The revelations about Laura Bristow, the lionised, dead before her time image of the perfect American wife, shatter that visage with the reality of the duplicitous, enigmatic Irina Derevko. Allison Doren murders the innocent, unaware Francie and works to corrupt the CIA’s operation from within through assassination and brainwashing, prepping Will Tippin as a ‘Manchurian Candidate’ in the making (fitting given the character was built on cinematic conspiracy templates). Julia Thorne is the ultimate expression of the fear about Sydney, that she might be an Irina in the making, or a programmed assassin, or a 500 year old prophesied bringer of mass destruction. Conscious is Alias’s psychological method of coming to terms with this anxiety, especially after Breaking Point.

What Syd finds as she enters the recesses of her subconscious manages to both forward the key narrative arc of the third season while making explicit the core thematic idea of the entire show: the greater enemy is within, not without.

Book Review: THE LOST ADVENTURES OF JAMES BOND (Mark Edlitz)

Every franchise has their lexicon of tantalising lost projects, stories which failed to see the light of day, and James Bond is no exception.
Many of these tales are public knowledge and have been documented over the decades since 007 came to the big (and small) screen in various incarnations and guises, but Mark Edlitz is one of the few scribes to comprehensively piece together the fabric of James Bond narratives lost to the ages and weave them into a document which, rather forensically, presents many of these fascinating fragments into a coherent meta-narrative of his own.

The Lost Adventures of James Bond is the story of Bond that never was.

TV Review: ALIAS – ‘Breaking Point’ (3×08)

Though moving away from anything that could be described as an Alias episodic ‘formula’, Breaking Point is not just one of the best episodes of Season Three but, perhaps, of the entire series.

A natural culmination of the third season’s story arcs to date, Breaking Point is where Alias has arguably been heading for almost two seasons. Breen Frazier’s script, as the arrested Sydney is carted away as a suspected terrorist to the menacing, isolated Camp Williams, renditioned and tortured by US military forces for intelligence, is the natural extension of the first season’s episode Q&A, in which Syd was detained by the FBI (supposedly) after she was directly linked to apocalyptic quatrains in the Rambaldi manuscript. Jack said at the time that they could “conceivably hold her without trial for the rest of her life” and the same applies here. Camp Williams is not presented as the kind of detention facility people leave, or certainly leave as who they were before.

There are plenty of connections back to The Prophecy arc in the first season over the conclusion to Syd’s missing two years storyline, but one of the most interesting is how Alias approaches terrorism in this context. After spending several years operating as a post-Cold War series as America’s unipolar might is challenged by domestic insurgents and glamorous external villains, Breaking Point finishes the work began in Q&A—and continued in episodes such as Fire Bomb in the second season—in transforming Alias, born in the shadow of the attack on the Twin Towers, into a post-9/11 series. Breaking Point could be an episode of 24 or Homeland. It debuted at the height of 24’s popularity, as The Sopranos was coming to terms with the New York tragedy, as Star Trek: Enterprise was exploring the reactionary cost of American imperialism in its fictional future. Though a series built on retro, cod-1960s escapism, Alias boldly crosses a threshold in Breaking Point as it explores the reality of American political extremism in reaction to the existential fear of terrorism.

It makes for one hell of a powerful, dark and disturbing hour of Alias. This might be as grim as the series gets.

New Podcast: THE TIME IS NOW – ‘Antipas’

Brand new podcast appearance.
In the latest episode of The Time Is Now, myself and my guest Darren Mooney discuss the thirteenth episode of Millennium‘s third season, Antipas.
As someone who finds Millennium‘s final season to be a touch too esoteric for my tastes, this was the only episode of that stretch of the show that really scratched my itch, and we had huge fun talking about the Gothic madness of it. Hopefully it’s a chat you’ll enjoy too.

Film Retrospective: HANNIBAL (2001)

20 years on from the year 2001, I’m looking back at some of the films across the year which stood out as among the more interesting, and year-defining, pictures…

This week, released on the weekend of February 9th, Ridley Scott’s Hannibal

One of the more telling aspects about Hannibal’s occasionally troublesome production is the fact that almost nobody, outside of director Ridley Scott and producer Dino de Laurentiis, truly believed in the story.

Released in 1999, Thomas Harris’ sequel to The Silence of the Lambs, which took him over a decade, was more than highly anticipated, thanks in no small part to Jonathan Demme’s film adaptation released that same year, 1988. Due to whip smart, suspenseful direction from Demme and memorable turns from Jodie Foster and especially Anthony Hopkins as the eponymous Dr. Hannibal Lecter, The Silence of the Lambs swiftly established itself in popular culture as a tense piece of modern, procedural, psychological horror, inspiring future cultural phenomenon’s such as The X-Files and establishing its main female lead as a feminist heroine.

The moment Harris elected to devise a trilogy around Lecter, which became eventually a ‘quadrilogy’, the film adaptation was a foregone conclusion. Hopkins had won an Oscar for his deliciously unnerving, playful performance, revitalising his career in a stroke. The film launched Demme into the big leagues and even boosted the already successful Foster’s career. Lambs became one of the signature, iconic pictures of the 1980s, which meant any follow up would be overcome by a weight of expectation, as befits any sequel to a beloved movie or property long after the fact.

What surprised everyone involved, however, was Harris’ story for Hannibal.

New Podcast: MAKE IT SO – ‘The Dark Veil’

Brand new podcast appearance.
In the latest episode of Make It So: A Star Trek Picard podcast, I joined host Luke Winch to discuss the most recent Picard tie-in book, The Dark Veil, from James Swallow, which I recently reviewed.
This was a really enjoyable chat about a damn good read, and one which allowed me to get on my soapbox about tie-in fiction and how one day I hope to see it folded into on screen canon. Stranger things have happened!