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Erica Messer

ALIAS – ‘Passage – Pt 1’ (2×08 – Review)

In 2018, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. This year, I’ll be looking at Season Two’s 22-episode run in detail…

If the first seven episodes of Alias Season Two deal with the fallout from Season One and establish the narrative and character arcs of the second season, Passage is arguably the two-part episode which kickstarts the beginning of the end of the series we have come to know up to this point.

The change is evident right away with the lack of a pre-credits sequence explaining the concept of the show, as every episode up to this point has in some manner included. This could have been a decision designed to afford the show greater running time, having to worry about those concerns as a network series, or equally it could simply show the confidence Alias now has that the audience will be keeping up enough with a standard ‘previously on…’ segment. The stabilisers are now off. Even the slippery Mr Sark, who we see in a brief car dual alongside Sydney Bristow which recalls a much cheaper version of the car chase in Mission Impossible II, is blasting out Creedence Clearwater Revival’s classic ‘Bad Moon Rising’ on the stereo. “I see a pale moon rising… I see trouble on the way…”.

Everything about Passage, immediately, is foreshadowing significant change on the horizon. Syd is now working with one of her key antagonists in Sark, though she very quickly establishes a Mutually Assured Destruction quid pro quo with him as regards the truth about her role as a double agent. “If you burn me, I burn you”. His presence, nevertheless, moves a bad guy into her orbit in a way the series has not previously attempted. As Sark arrives, the stakes also massively raise as Passage introduces a big gun: nuclear weapons. Sure, Syd may have casually defused a nuke early on in Season One’s So It Begins…, but here it matters. Passage considers stolen nuclear weapons big enough, Thunderball-style, to warrant a broader, two-part canvas.

Passage, in that sense, mirrors the key Season One two-part story The Box, even if they go about their business very different. They both change the game in several ways. They are both points of no return. …

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Alias – ‘Rendezvous’ (1×21)

Given Rendezvous has to work as the middle piece in a three-part climactic best for Alias’ first season, and tie together threads which have been building across the entire year, it’s surprising how well it works as an episode on its own terms.

The main reason for this is that Rendezvous finds a way to maintain three distinct but increasingly interlinked, building narratives in a coherent and dynamic way: Will’s investigation intersecting directly with Syd’s search for Khasinau, Dixon’s growing suspicions about Syd’s loyalty, and Sloane’s wrangling with the Alliance over the Khasinau problem and how it could be affected by his wife Emily. Writers Erica Messer and Debra J. Fisher (who last wrote Mea Culpa, but did uncredited re-writes on some of Season 1’s strongest episodes such as The Box two-parter and The Prophecy) manage to satisfactorily interlink most of these threads to the point you can feel the overarching plot stitching together in preparation for the finale.

Rendezvous, of course, is most remembered for finally pulling the trigger on a plot development that was inevitable eventually: Will discovering the truth about Syd’s secret life as an international super-spy, and thankfully they manage to pull this off in the most entertaining and enjoyably histrionic way. Captured by Khasinau’s forces, Will watches the red-headed Syd leap into fray, in slow motion, kicking the arse of the Euro-goons watching over him before realising who it is and delivering a scream of disbelief that is just *perfectly* executed. You feel the payoff of this moment, and Syd’s complete disbelief that Will has shown up on her mission, because the season has really put the leg work in to get Will into her orbit. 

It’s a moment that in its own way changes Alias forever. Rendezvous ends up delivering the first of several leading into Almost Thirty Years that allows the show’s first season to stick the landing.

Alias – ‘Mea Culpa’ (1×09)

Mea Culpa is the first episode of Alias to begin the internal, psychological exploration of Arvin Sloane.

The episode also feels positioned at a crossroads point for the first season in terms of where the overarching narrative is going. Everything at this stage is waiting for the next big plot shoe to drop. The Rambaldi mythology, now established, is completely left behind after Time Will Tell brought into play what will become the key text of Alias’ mytharc going forward; the suspicions around Jack being a KGB mole remain hovering in the ether; Will’s investigation into Danny’s death is at the point Will is capable of contextualising everything across the last nine episodes to a tech support guy; and the SD-6 probe into a mole which has circled for the last three episodes remains ongoing. Mea Culpa isn’t quite the episode to pull the trigger on the next stage for all of these plotlines, but it begins the first tentative steps in that direction.