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.
Continue reading “ALIAS – ‘Cipher’ (2×03 – Review)”
So imagine you’re in a pitch meeting with a major studio (in this case ABC). You have all your ideas stacked up ready to go and then one of the studio heads says “you know what we really want? A mash up of The West Wing and 24. Politics! Action! Conspiracy! Bills! Sounds cool, huh?”. Of course, because you’re a writer who wants to put food on the table, you say: “uh, sure…”. And there you have it: Designated Survivor is born.
Now, let me be clear: that’s not how Designated Survivor, which has just been cancelled by ABC in what is fast becoming an infamous ‘Cancel Friday’ where several well-known, fairly long-running shows have been axed, came to be. I think. I’m pretty sure David Guggenheim, the creator, didn’t have to be talked into developing a hybrid of Aaron Sorkin’s erudite look at Democratic politics in the White House, and the pulse-pounding, 9/11-reactive action madness of 24 – especially not for an actor as engaging and charismatic as Kiefer Sutherland. Nonetheless, of all the shows given the axe in this latest cull (including Lucifer and Brooklyn Nine-Nine – until it was saved last minute by NBC), Designated Survivor is by far the weirdest and, honestly, probably the most deserving.
Continue reading “Goodbye Designated Survivor: Your Heart Was in the Right Place”
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)”