It is easy to forget, for all the subsequent success with the Mission Impossible, Star Trek and now Star Wars mega-franchises, that the pilot episode of ABC’s Alias remains one of the best things producing and show-running supremo J.J. Abrams has ever done. ‘Truth Be Told’ is a blistering sixty five minute opening to a rare TV show – one which comes on the face of it fully packaged, fully formed, and with a confidence and spring in its step that belies its quiet, low-fi origins. There is more to this package, and how it was created however, than meets the eye.
Think back to 2001. Had anyone heard of Abrams at that point? He was established – a proven Hollywood screenwriter with credits such as Michael Bay’s Armageddon or Harrison Ford vehicle Regarding Henry, not to mention four seasons of teen drama Felicity as a show runner. Those movies were nonetheless famous for their stars and directors, not the glasses-wearing megamind of Abrams bashing away at the words, and Felicity was never particularly that big of a hit – I’m not sure it ever even aired in my native UK, and if it did it went largely unnoticed. Alias was the series which put Abrams, and most of his writing staff, on the map. The first season of his spy drama races out the gate with fast-paced, stylish storytelling, which crucially never forgets to place character at the heart of every beat, every scene and every plot-twist. ‘Truth Be Told’ is B-movie, pulp action with significant heart and soul.
Continue reading “ALIAS – ‘Truth Be Told’ (1×01 – Review)”
Alias arrived at a fascinating point when it came to television.
The year was 2001 and a lot was changing in the ether around it. JJ Abrams, at this point best known as the writer of Harrison Ford weepie Regarding Henry, Michael Bay blockbuster Armageddon and show-runner of late 90’s teen hit drama Felicity, was nowhere near the producing and directing Hollywood totem he would become. His production house, Bad Robot, had not yet become the nascent Amblin of its generation. And, just nineteen days before the pilot, ‘Truth Be Told’, aired… 9/11 happened.
Abrams’ spy series already had some interesting cache behind it. Alias was a show that emerged on ABC with the intention of riding into the 21st century with a fresh storytelling model. The most successful and important TV shows of the 1990’s had almost all built their success on an episodic, network model of storytelling; 22-26 episode seasons with plenty of stand-alone stories which would serve the show well in syndication. In everything from Quantum Leap through to The X-Files, show-runners moving from the 1980’s into more of a Golden Age of television, in which some of the most key writers in both TV and cinema of the next few decades would emerge, had cleaved to the way it had been done for years.
It would immediately strive for an aesthetic which would tap into a deep reservoir of retro-futurism, both aesthetically and in terms of production. Abrams and his staff came out of the gate leaning heavily into the kind of serialisation most shows in the 1990’s just didn’t do, bar a few trend-setting exception we’ll return to. The concept was both high and complex – female super-spy Sydney Bristow would find herself learning the covert CIA branch she had been working for, SD-6, was in truth the arm of a worldwide crime syndicate, and would work as a double-agent to bring down the enemy from within. Episodes would end on a cliffhanger every week and fold into each other. A surfeit of character and narrative mysteries would propel Syd’s journey along, not to mention a curious central, underlying occult and arcane mythology which tipped the show away from action-thriller and more toward science-fiction.
Continue reading “Alias (Series Overview + Reviews)”