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Jennifer Garner

ALIAS – ‘The Indicator’ (2×05 – Review)

Over the course of last year, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. Over the next year, I’ll be looking at Season Two’s 22-episode run in detail…

One of the key thematic ideas running through the genre output of Bad Robot as a company, and particularly JJ Abrams as a producer, is that of destiny. Alias, for the first time head on, truly confronts this concept in The Indicator.

This is an episode more important to the broader direction and thematic core of Alias than it may first been given credit for. It exposes a huge personal secret from Sydney Bristow’s past which casts her relationship with her father Jack—one I’ve argued since the very beginning is what Alias is really all about—in a striking and devastating new light. It ends up directly connecting to season finale The Telling, in how it reveals Project Christmas as a spy children training program, and consequently manages to establish the parameters for Syd’s amnesiac assassin arc across the first half of Season Three. It even connects to the series finale, All the Time in the World, which returns to the idea of an innate intelligence within the Bristow/Derevko line that is pre-disposed to espionage, but the message is that such conditioning can ultimately be broken. The Indicator re-frames Syd’s entire life as pre-disposed by some level of spy destiny, and questions whether or not this was inevitable, or she is entirely a product of what her parents made her.

A key skill of Alias, and why to my mind it is one of the great, underrated American television genre series, in how well it actualises parental ideas and tropes. The nature vs nurture debate continues to rage; are serial killers who came from loving family homes a product of their parents, or is there a genetic or psychological basis for their crimes? Alias literalises the idea of nurture by having Jack explicitly manipulate Syd as a young girl into exploiting what a CIA psychologist describes as “proficiency with numbers, three dimensional thinking, problem solving”, and coding into her subconscious the aptitude that allowed her, when SD-6 came calling, to sail through training with the highest scores and commendations. It is hard to say whether Abrams and his team of writers planned this revelation in advance, despite a mention of Project Christmas in Season One’s Masquerade, but it retroactively fits as a causal explanation for Syd’s super-spy abilities.

The Indicator does not necessarily linger in the memory as a classic or iconic individual episode of television, but without doubt it changes the entire context of Syd’s life as a spy, her childhood and her relationship with Jack. In that sense, it’s a game changer.

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ALIAS – ‘The Enemy Walks In’ (2×01 – Review)

Over the course of last year, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. Over the next year, I’ll be looking at Season Two’s 22-episode run in detail…

The second season of Alias is, let me preface this right out of the gate, one the most impressive twenty-two episodes of television made on an American network. 

It is by degrees thrilling, dramatic, filled with stunning twists and turns, and is absolutely JJ Abrams spy-fi series at the top of its game. It is however, also, extremely knotty and complicated, and season premiere The Enemy Walks In immediately sets the tone of what’s to come. For one thing, the episode begins with a change to the stylistic choice entirely unique to Alias in the annals of television – the weekly series recap. By 2001, the ‘previously on…’ segment at the top of an episode, certainly a two-parter, had become a recognised trope but Alias might have been the first show to deliver one that prefaced the entire concept of the show every week so viewers didn’t become lost. Throughout Season One this was voiced by Jennifer Garner. Season Two switches it to Greg Grunberg.

This in itself is a curious decision. Could it be because Grunberg’s character, the somewhat hapless Eric Weiss, takes a bullet during The Enemy Walks In and spends half of the season recovering off screen? From that perspective, Weiss almost becomes the omnipresent narrator of the series, reminding audiences through to the game-changing mid-season episode Phase One—when the recap is finally ditched for good—of the complexities behind the CIA, SD-6, Syd’s mission and now both of her parents. There is also the strong possibility Abrams wanted to nod once again to some of the spy-fi inspirations from the 60’s and 70’s, with Weiss as a veritable Charlie from Charlie’s Angels or the voice on the tape recorder from Mission: Impossible, delivering exposition with a deeper masculine lilt.

Either way, The Enemy Walks In needs such a recap to remind audiences of not just the series premise, but what happened in the final three episodes of Season One, given the episode picks up directly after Almost Thirty Years while employing yet another favoured narrative trope of JJ Abrams – the flashback framing device.

Alias (Season 1) – Overview

The first season of Alias, the show that put superstar producer-director JJ Abrams on the map, has aged remarkably well.

Airing in 2001, a matter of weeks in the wake of the traumatic September 11th attacks on the Twin Towers in New York, Alias had the unenviable task of providing overblown, B-movie, pulp escapism to an audience reeling from the most existentially terrifying attack on American soil since the bombing of Pearl Harbor in 1941. Abrams, fresh off his first TV series Felicity (starring the later-to-be-famous Keri Russell) and a career penning screenplays across the 1990’s for major Hollywood blockbusters, had to try and sell a show which captured the retro, cult aesthetics of 1960’s adventure shows and movies he had grown up with – Mission: Impossible, I Spy, the James Bond series – shot through with a stylish, slick, modern action sensibility.

It was a hard sell. Audiences gravitated far more to the intense, dour, revenge fantasy of 24 and all-American hero Jack Bauer, who steadily across a decade in which Americans and Western Europe turned their gaze toward Islamic fundamentalism and the threat of the Middle East became more of the superhero Americans wanted. If he was The Punisher, a man of dubious morals ready to compromise his soul for the greater good, then Alias’ hero Sydney Bristow was Captain America; virtuous, homely, and a reflection of wholesome American values, wrapped up inside familial and emotional angst that recalled Buffy the Vampire Slayer. Audiences never truly took Sydney to their breast, to their heart, and almost immediately Alias became a cult genre hit, never to explode fully into the global mainstream.

The sad thing about this is just how well executed Alias’ first season is, one of those rare shows that arrives almost fully formed and very quickly steps into a unique tone and rhythm, only building on that start to deliver twenty two episodes which provide a real sense of payoff.

Alias – ‘Masquerade’ (1×18)

Masquerade operates in a tricky position within the scope of Alias’ debut season and, arguably, marks the beginning of what in any other series would be a clear, delineated two-part episode.

Alias may appear ostensibly to be a highly serialised, propulsive rocket of a series, but it has flirted with trying to tell smaller, condensed arcs within that broader structure, often connecting episodes with specific themes or characters. Color-Blind and Reckoning, for instance, which focused on Sydney Bristow coming face to face with her fiancee Danny’s assassin; Mea Culpa and Spirit, which dealt primarily with a mole hunt in SD-6, and of course The Box which actually *was* a two-part episode and condensed Alias’ format down in a way the show would never as tightly repeat again, despite directly playing off a major narrative beat in the previous episode.

Masquerade is the beginning of such a double episode and the epilogue to, essentially, a three-part story.

The Curious Case of Jennifer Garner

You may ask yourself, as action revenge thriller Peppermint is released in the UK with a limited release, why Jennifer Garner never became the Next Big Thing.

Pierre Morel’s thriller—from a director who has, as of yet, failed to capture the same iconic formula he developed with Liam Neeson in Taken—sees Garner play Riley North, a mother on a quest for revenge against the cartel who murdered her family. This certainly is not Alias: The Movie (we already got that after all with Mission Impossible 3) but it does see a return for Garner to the kind of picture she assidiously seemed to avoid since her breakout role in JJ Abrams’ underrated ‘spy-fi’ series Alias at the turn of the Noughties. With the odd exception, Garner has never capitalised on the renown of her role as super spy Sydney Bristow.

Alias – ‘The Box – Pt 1’ (1×12)

If The Confession was the point of no return, The Box is the tale which catapults Alias into what is, barring one or two exceptions, a season and a half of dynamic, top drawer storytelling.

Alias was a high concept TV series from the outset. The ‘high concept’ in Hollywood vernacular defines an idea which can be distilled into a pure, accessible, often blockbuster form. ‘What if we could clone dinosaurs?’ for example with Jurassic Park, or to use another Michael Crichton example, ‘What if theme park robots became sentient and took control?’. Alias itself flaunts the high concept in its DNA, pitched essentially as ‘What if a spy found out she was working for the enemy?’. Even from Truth Be Told, Alias perhaps throws a few extras caveats into that pitch but in basic terms, that’s the point JJ Abrams’ show starts from. The Box, however, is the first episode to truly deliver on a high concept idea.

If you look at Alias across the first half of its first season, we haven’t seen an episode anything like The Box. Right from the get go, Alias engaged in a level of serialised storytelling through which it broke the 90’s mould of stand-alone, easy to syndicate episodes of television to depict a compelling, ongoing narrative journey for Sydney Bristow as she becomes more embroiled in her double-agent life with SD-6 and the CIA. Each episode, even those which carried heavily over to each other such as Reckoning and Color-Blind, tells an espionage tale on a scale which never overwhelms the broader character and narrative arcs in play: Syd & Jack’s relationship, Syd & Vaughn’s relationship, the Rambaldi mythology etc… Thus far, the spy stories have been fairly incidental and the weekly bad guys relatively disposable.

All of that changes, immediately, with The Box. The first genuine two-part story in Alias’ lifespan, labelled indeed as such, it delivers on the high concept idea with the pitch: ‘What if terrorists seize control of SD-6?’. Alias does Die Hard, basically, and without a shred of embarrassment. Writers John Eisendrath and Jesse Alexander immediately understand their reference point and the fact they are riffing, broadly, off one of the greatest examples of a high concept in Hollywood history. It only adds to the joy of The Box which exemplifies the remarkable level of confidence Alias had in its storytelling from the very beginning. Many other series wouldn’t have the balls to make The Box until maybe its third, even fourth, seasons. Alias gets it out the way as a midpoint to its debut year.

Alias – ‘Spirit’ (1×10)

Spirit works not just as a follow on from Mea Culpa but as a companion piece of sorts, continuing Alias’ mid-season exploration of its own central morality.

We saw in the previous episode the difficult soul searching experienced by SD-6 head honcho Arvin Sloane when it came to contemplating that Sydney Bristow, a woman he has spent his life deluding himself into believing a surrogate daughter figure, could have betrayed him – and the consequence of potentially having to sanction her murder. Spirit, by the very nature of how Syd gets out of what looked like at the end of Mea Culpa the end of her life as a double agent for the CIA, shifts this moral question over to Syd’s *real* father, and to some degree the mirror image of Sloane – Jack Bristow. In order to save Syd’s life, Jack has to go beyond simply being Sloane’s weapon of murder—as previous episodes have established—into sacrificing the life of an ‘innocent’ man as part of the greater good.

In reality, as Vaughn later reassures Syd once she realises what Jack has done, the sacrificial lamb of Anthony Russek—an SD-6 agent who Jack frames as a mole working for K-Directorate after faking a transmission to them on a mission we saw in Mea Culpa to disguise Syd’s *actual* transmission to the CIA—was no innocent. “He was an early member of SD-6, he knew he was working for the bad guys”. Russek was culpable in the hidden crimes of SD-6, aware of the Alliance underpinning their ruse of being part of the American intelligence network, and involved in weapons sales used against American interests across the world. “He got what he deserved” Vaughn states, showing that he may not have agreed with Jack’s slippery methods, but from a moral perspective he agrees with the choice Jack made in the heat of the moment. “What would you have done if it had been your daughter, or son, or Danny?” he asks Syd. She has no clear answer.

Alias – ‘Doppelgänger’ (1×05)

SYDNEY BRISTOW: I don’t know how much longer I can do this. Sit in these meetings with Sloane. Look at him as though I don’t despise him. That I don’t want to leap across the table and use the skills I’ve learned at SD-6 against him.

Doppelgänger comes as something of a surprise when you look at it from the broader context of Alias’s first season. The fifth episode of a twenty-two episode season, structurally, is never going to contain too many of the bigger mythological revelations, character turning points, and narrative surprises that you might expect from a mid-season two-parter or particularly a season finale, and while Doppleganger doesn’t buck that trend, it cuts surprisingly deep to the core conceptual idea crucial to the entire show, namely: do we really *know* the people closest to us?

Before we touch on that philosophical question, we must remember that we are still watching Alias. This is not The Wire, riven with harsh social commentary, or Hannibal layered with creeping metaphysical discourse. This is a show about a young spy “jumping off buildings in three-inch heels while napalm explodes all around me”, as Sydney Bristow deftly sums up her career at the end of the series finale way way into the future. That is not to cheapen the writing or character work, which has far more substance than on the surface you might expect, but we should always be aware that Alias first and foremost is a piece of escapism. Which explains the extended, ten-minute opening sequence which kicks Doppleganger off.

Alias – ‘A Broken Heart’ (1×04)

MICHAEL VAUGHN: In this job you see darkness; you see the worst in people. And though the jobs are different and the missions change and the enemies have a thousand names, the one crucial thing, the one real responsibility you have is to not let your rage and your resentment and your disgust darken you.

As we emerge from the initial phase of establishing the central concept of Alias, A Broken Heart continues developing the relationships between Sydney Bristow and our central collection of characters. While the least important and arguably most throwaway episode of the first season so far, Vanessa Taylor’s script nonetheless has several key interactions and narrative points which give the episode a purpose, and further suggest that Alias’ approach to ongoing, serialised storytelling means this won’t be a traditional 22-episodes marked by too many points of ‘filler’.

Not every episode of Alias has too deep a clear emotional or thematic through line, but A Broken Heart quite clearly is all about broken relationships, or relationships which are in danger of shattering. The title itself is a rather pointed pun with a double-meaning; ostensibly it suggests the climactic beat of the episode, in which Syd witnesses a bunch of Euro-terrorists place a small but hugely powerful bomb in the pacemaker of a UN diplomat, but it also rather directly refers to Sydney’s emotional state, and to some degree that of her father Jack Bristow. Both of them have suffered the trauma of losing the people they loved to sudden and rather violent deaths, and both of them have had their hearts ‘broken’ in the process. It becomes clearer that while Syd is trying to repair her damage, Jack’s may well be irreparable.

Alias – ‘Parity’ (1×03)

ANNA ESPINOSA: I heard about your fiancé. Very sad. I thought perhaps it was a security execution sanctioned by your employer. Maybe you said something in your sleep you shouldn’t have. But then why would you be here in service for the men that killed your true love?

If Alias, in its opening two introductory episodes, flirted with the idea that the show is a post-Cold War espionage thriller attempting to understand and resolve the consequences of the 20th century’s longest-running and defining ideological conflict, then Parity absolutely goes for broke and seals the deal with a loving kiss. 

The third episode, the first not penned directly by series creator J.J. Abrams, cements and solidifies existing, introductory concepts and brings in key new ones which will help frame Alias as a show with a sense of unique, genre identity. In many respects, Alex Kurtzman-Counter (as he was named originally, before losing the Counter) and Roberto Orci’s script is one of the most crucial in Alias’ first season. It is the first episode which directly picks up from the cliffhanger established in the previous episode. It introduces one of the most interesting (and underused) characters the show ever gave us. And, most importantly, it truly kickstarts the mythology Alias would embrace, grapple with, struggle with, and never truly satisfy its audience with over the next five years. Parity is a key, early touchstone for Abrams’ series.