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…
Though a series born in the wake of the devastating attack on New York in September 2001, Alias was always a series that glanced the other way from that existential trauma. Firebomb begins to see a turn back toward that direction.
A Free Agent worked to establish the new status quo for the show and its characters in the post-Phase One world, placing Sydney Bristow on a new quest not as a double agent but rather a reluctant operative in the CIA dedicated to bringing to justice the man who killed her fiancé, her former SD-6 boss Arvin Sloane. The episode ends with her coming close, facing off inside a Swiss bank Sloane is robbing—himself utilising an alias—as a way of marking how Season Two will, despite shooting off into a variety of different directions in the final third, arc itself around the CIA’s hunt for Sloane, and their determination to prevent him completing his quest to understand the work of prophet Milo Rambaldi.
In that sense, Alias immediately gets the opportunity to streamline the concept that ABC has, in time, become weary of, with the show costing almost 2 million dollars an episode without the ratings improving to show for it. Not even a post-Super Bowl slot for arguably one of the best crafted episodes the show would ever do in Phase One was enough to justify the series’ existence. The network would remain committed to being in business with JJ Abrams, but the show needed to adjust direction. A Free Agent gives a taster of what that new direction could be – less tangled in terms of narrative structure but filled with character complications and ongoing storylines. Firebomb is, essentially, the second part of establishing this new template for how Alias will operate this season, picking up on Sydney cornering Sloane and playing out the first cat and mouse chase between them.
Where Firebomb stands out, despite being an episode of transition and establishment, still working in fixing the new paradigm of Sloane in opposition to Sydney and our heroes, it fully begins to embrace Alias’ position as a post-9/11 series, acknowledging the wider geopolitical landscape around it.