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Roberto Orci

ALIAS – ‘The Abduction’ (2×10 – 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…

Ever since the very beginning, Alias has always neglected a key group of its contracted regular cast, among them the character who finally gets his moment in the spotlight in The Abduction: Marshall Flinkman.

Though Will had his conspiracy investigation angle in Season One to give him meat to chew on, Marshall was one of three characters particularly who week in, week out would get short shrift compared to Syd, Jack, Vaughn and Sloane principally. Dixon would only be wheeled out when Syd needed someone to go on a mission with, getting only the briefest of interesting plots when he suspects Syd of betrayal in Almost Thirty Years. Francie, Syd’s roommate, gets an unconvincing romantic sub-plot ditched from The Coup onwards, after which she barely features. It takes Dixon’s entire belief system and then family to be destroyed to give him anything of real substance, and Francie has to actually *die* before she becomes in any way interesting. Which just leaves Marshall.

Right from pilot episode Truth Be Told, Marshall is designed entirely as comic relief. He is the nerdy oddball who is tolerated purely for his technical brilliance, given how much he irritates all of the serious people in the room. There is barely an episode of Alias up to this point that doesn’t feature Marshall in a briefing awkwardly dropping one-liners or geek references that nobody in the room finds funny, or rambling too often before being cut off and falling quiet. He is, effectively, Xander Harris from Buffy the Vampire Slayer meets Q from the James Bond series by way of the Lone Gunmen in The X-Files. Marshall, as a character, runs entirely counter to everyone else in Alias and that’s precisely the point – though he may be a genius, he is also perhaps the most relatable person in the show. If we were in Alias, we’d all be a variant on Marshall, most likely.

The Abduction, and particularly A Higher Echelon after it, are designed with one question in mind: what if we throw Marshall out of his comfort zone?

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ALIAS – ‘Salvation’ (2×06 – 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…

If there is a disposable episode of Alias Season Two, it is probably Salvation. It struggles to follow in the dramatic wake of Dead Drop and the personal revelations of The Indicator as much more than an epilogue to episodes which cut to the very core of Sydney and Jack Bristow’s relationship, and the central themes of the show itself.

Salvation to an extent also misses a golden opportunity to fully tether the post-Cold War politics of Alias with the post-9/11 reality of America at the time. Irina Derevko, again unseen in this episode, is tried for treason by the US government and (off screen) pleads guilty, having been interrogated at the ominous Camp Harris—Alias’ version of Guantanamo Bay which we would eventually see in Season Three’s Breaking Point. Irina is sentenced to die by lethal injection in an extremely short time frame, which adds some level of ticking clock to the events of Salvation, as Syd’s moral conscience compels her to try and expose Jack’s crime in framing her to try and save a mother she, otherwise, distrusts and is telling herself she despises.

This has been the crux of this entire mini-arc that has dominated Season Two so far – Sydney being manipulated in different ways by both of her highly dysfunctional parents to choose which one she is loyal to. Jack still believes Irina is manipulating her in accepting her guilt. “She plead guilty to stop you witnessing her trial, Sydney” he assures her, reeling off a reminder of the lives she took as part of the eighty-six counts of espionage levelled at her. Jack considers Syd to be naive in not seeing her manipulation and whether right or wrong about that, Salvation *does* depict Syd’s naiveté in how she believes exposing the misdemeanours of one parent would save another. Alex Kurtzman & Roberto Orci’s script does her a disservice in how little she understands the actions and motives of a hawkish US government responding, in the wake of 9/11, to an unspoken societal trauma. Had the episode depicted Irina on trial, answering for her crimes, we might have felt the same core level of dramatic weight as we experienced in Dead Drop or Trust Me.

Salvation, sadly, wants to race through character arcs and plot beats of significance, while still servicing the natural structure of Alias as a show, rather than focusing more heavily on the meatier drama at the heart of Irina’s possible execution as a terrorist. It makes for a frustrating hour of television.

ALIAS – ‘Cipher’ (2×03 – 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…

If Trust Me worked to establish Sydney Bristow’s psychology toward her mother, Cipher begins the same process with Jack Bristow as regards the woman who used to be his wife.

Understandably across the first two episodes of Season Two, Alias didn’t really devote a lot of time to Jack and where he stands with all of this. The Enemy Walks In saw him mainly putting Will Tippin back into the world, while in Trust Me he voices brief notes of caution about Irina Derevko which are entirely to be expected. Jack was the man she betrayed in the most personal and soul-destroying way, and Season One established very clearly just how much Irina’s ‘death’ and the betrayal about her origins he kept from Syd all her life had turned him into an emotional shell of a man, one unable to truly connect with the daughter he loved dearly from such a tragic relationship. Jack was always going to react badly to Irina’s reappearance on the scene but Cipher establishes the terror underneath the anger and caution: that Syd might be bewitched by her mother.

This fear forms the core basis of Cipher, an episode which otherwise is a fairly formulaic outing for Alias. It feels the most ‘Season One’ of the three Season Two episodes to date; that sounds like a rebuke, but please don’t read it as such. Season One, which I’ve talked about in depth, is an extremely confident and accomplished first year of television but many of the early initial episodes lack the same nuance and depth of the middle and later half of the season as they work to establish plot points and character arcs that will pay off down the road. Cipher suffers from the same problem, as writers Alex Kurtzman-Counter & Roberto Orci (in their first script this season) seed storylines that will bloom: Jack’s secret about Syd’s childhood, Will’s CIA interactions, Sloane being ‘haunted’ by Emily. Around this, they strive to stick to the spinal mission structure employed by the first season as Syd pursues a MacGuffin, but there is less weight and heft than the previous hour.

In truth, Cipher is probably the first of the five weakest episodes of Alias Season Two, running from here through to The Counteragent. Fine episodes on their own terms, and necessary ones, but hours which lack the dramatic payoff Season Two later provides in droves.

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.

Alias – ‘The Coup’ (1×14)

If there is such a thing as a TV comedown episode, it’s The Coup

Not in the sense that The Coup is a bad episode of television. It’s a perfectly serviceable, mechanical Alias episode, even if it probably would fall fairly low in a ranking of what has been a strong first season. The Coup is a comedown in the fact that after a two-parter like The Box, where exactly do you go next? Almost akin to the difficult second episode, the one that has to clean up the narrative mess from the pilot, The Coup struggles to function in any way beyond that of an epilogue to a much stronger piece of television.

Mission Impossible III (2006)

Mission Impossible III may not be the strongest outing in the franchise, but it may be the most human.

Surprisingly, this works as both a strength and to the film’s detriment in the eyes of many. For everyone who considers Mission Impossible II the weakest episode of the saga, which you can find my thoughts on here, not far behind will be a detractor of JJ Abrams’ sequel to John Woo’s own take on Bruce Geller’s kitsch 1960’s series. This, to me, is hard to fathom, and not simply as a big fan of Abrams and the dominance his works have achieved on pop culture, both in television and cinema.

The reason this revisionist disdain for MI:3 is strange to me is because Abrams’ movie arguably saved the franchise, and allowed Tom Cruise to not just reinvent his character Ethan Hunt but position Mission Impossible as a series which blended fantasy escapism with a relatable heart and soul.

Alias – Color Blind (1×07)

The continuing evolution of Alias across its first season is increasingly paralleled, as it should be, by the evolution and development of protagonist Sydney Bristow, as Color-Blind again returns to the central theme of not understanding or knowing who you truly are, growing lost within yourself deep inside a world with no clear delineation of black and white, or right and wrong. What Roberto Orci & Alex Kurtzman’s second script for the series does, and Alias does for the first time, is frame Sydney’s character journey through that of a guest character.

One of the difficulties in serialised storytelling to the degree Alias has deployed thus far is that it does not particularly encourage the use of the main guest character. TV shows of old, traditional series which tell a contained episodic story and move on, often framed a one-off character as key to the story being told that week. Murder mystery series, such as Murder, She Wrote or Diagnosis Murder, cop shows such as Law & Order or CSI, even science-fiction series such as the Star Trek spin-offs of the 1990’s and shows such as The X-Files, all of them frequently utilised a major guest character to weave a narrative around. With a serialised show telling an ongoing tale, it becomes a lot harder to stop and anchor a story around someone the audience doesn’t care about, and who’ll be gone next week.

Martin Shepard, who we briefly saw played by John Hannah in Reckoning previously, does not entirely anchor everything in Color-Blind but this is unquestionably the first episode of Alias to give a character who is not one of the main cast ensemble an arc of some fashion; in this case, Shepard being reminded of his tragic past as a brainwashed assassin who ended up killing Syd’s fiancee on the programmed order of SD-6, and his journey toward finding some escape and peace from that. The reason it works, and Alias is able to do it, is precisely because it factors into Syd’s psychology along the way. Shepard is a character in his own right but his existence is designed to sketch in more aspects of who Syd is, and her own journey in accepting Danny’s death.

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.

Book Trek #3: Star Trek: The Original Series – ‘Spock’s World’

In an attempt to try and tackle the onerous job of looking into the Star Trek book universe, thanks to the help of Memory Beta’s chronology section, I am intending to look at the saga in book form from stories which take place earliest in the franchise’s timeline onwards. This hopefully should provide an illuminating and unusual way of examining the extended Star Trek universe.

Part of this story takes place 5 billion years ago.

It feels an unexpectedly timely moment to read ‘Spock’s World’, one of the signature novels from Star Trek writer Diane Duane. Though written in 1989, it deals with an issue that resonates for anyone living in the United Kingdom today, as this writer does: a Referendum. A decision on the part of Vulcan as to whether or not to secede from the United Federation of Planets. Duane could not have possibly known her novel would strike a chord in this way, but it turns out to be a happy accident.

Vulcan, in many respects, has remained more of an enigma in Star Trek than it by any rights should have. While The Next Generation explored the Klingon race and culture in depth, as did Deep Space Nine, only prequel series Enterprise truly delved into the first alien civilisation Gene Roddenberry presented in The Original Series as important to the human experience, through the character of Spock. The Vulcans evolved into a species known for their control of emotions, living through principles of logic and reason, as a direct counterpoint to the rash, hotheadedness innate in the human race. Enterprise, certainly in its first few seasons, made this central difference in both cultures a crucial aspect of the entire series, with the first Starfleet warp ship preparing to explore beyond Earth’s solar system, despite warnings from the Vulcans that humanity was ‘not ready’.

‘Spock’s World’ was written over a decade before Enterprise was even conceived, indeed it debuted only a couple of years into The Next Generation-era. For millions of viewers, Star Trek was *still* at its core Kirk, Spock, McCoy and the crew of the original Enterprise, with TOS the yardstick to follow. Duane’s story takes place just after The Motion Picture; Kirk is an Admiral who takes a temporary devolution in rank to become Captain of the Enterprise once again. TOS *did* explore Vulcan society, principally in legendary Season 2 premiere ‘Amok Time’ which introduced the Vulcan physical and psychological ritual of pon farr, but that classic series never truly was concerned with backstory and mythology of worlds and societies as the TNG-era began to explore. Vulcan always, still, remained a mystery.