Alias, Episode Reviews, TV

ALIAS 3×15: ‘Facade’ (TV Review)

When ABC laid down the edict midway through Alias’ second season that the series needed to become less impenetrable to audiences, Facade in many respects feels the closest the series has yet come to providing the show the network perhaps wanted it to be.

Facade, barring one or two continuing narrative aspects, character beats and story ideas, is perhaps the most truly stand-alone episode of Alias yet. It is also, in many ways, certainly one of the best episodes of the third season, if not the entire series. It links to Season Three’s arch villains the Covenant, and ties directly back to a small dangling thread from Full Disclosure, but Facade is the first experiment with crafting a contained, focused narrative that could be watched independently of understanding the myriad amount of complex mythology and character stories Alias is built upon. In narrative construction, it also owes the biggest debt to date to one of the series’ primary influences: the 1960s iconic spy series Mission: Impossible.

Why now? Why create an episode like this as the show enters the last third of a season?

Though the primary reason is to build an episode around the special guest star of the week, Ricky Gervais, there is also a strange logic to Facade’s placement at this stage in Alias. It would have worked in the fourth season, a year which embraces stand-alone storytelling intentionally in the first half of the season, but Facade also exists within the strange nether-space of Alias between two distinct stages of the series’ mythology: the Prophecy and the Passenger. After Six and Blowback certainly advanced the duality inherent in the dynamics of Syd/Vaughn, Sark/Lauren, but from a narrative perspective they advance nothing of importance. Lauren doesn’t even feature in this episode at all. Alias is in a holding pattern that only starts to shift from Taken, next time, onwards.

In the third season, there is no better place for Facade. It exists almost independently of many of the plot lines and character stories around it. Maybe, in the strangest of ways, that’s a major reason why it works so well.

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Alias, Episode Reviews, TV

ALIAS 3×13: ‘After Six’ (TV Review)

In many ways, After Six can be considered indicative of the kind of fan-baiting series Alias became in Season Three after the daring apogee of Full Disclosure, a sign of what it runs arms-opened toward in the latter half of the season.

Crossings established that Syd & Vaughn were not going to remain apart as per the new, Julia Thorne-era paradigm, and that the writers were determined to find a way to untie the difficult knots of storytelling that had replaced the UST of the early seasons with a trauma-driven, grief-stricken change in circumstance preventing them being together. Work would need to be done in order to return them to a romantic state, work that takes the rest of the season in all honesty, but Alias would be intent on giving the fans what they wanted: the SVR (Syd-Vaughn Romance). Season Three, as a result, begins in After Six to deliberately angle the series away from Syd & Jack’s relationship as the dramatic focal point, as it is when Alias operates at its best, toward what becomes a knotty quadrangle.

Having Lauren turn out to be a Covenant agent is not a bad twist in and of itself, indeed it makes a modicum of sense on several thematic levels for Alias as will become apparent in what happens to Vaughn’s character at the back end of the season. However, it very deliberately is a convenient way to lessen the problematic moral realities of Syd & Vaughn becoming romantically involved when one of them is married. After Six begins to explore this but everything is offset by how immediately pantomime Lauren becomes as she partners, both literally and sexually, with Sark across this episode. She wears dark eye shadow. She tries out revealing lingerie. She seduces Covenant bosses and savagely murders them. In perhaps one of Alias’ most chilling moments, Lauren watches Sark strangle a man to death while having a casual, loving phone check in with her husband, talking about making them some supper.

After Six, therefore, begins the recalibration of Alias into a more simplistic series driven by sex, betrayal and more traditional forms of spy plotting. It is sporadically entertaining but, at this stage, that’s about all.

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Alias, Episode Reviews, TV

ALIAS 2×14: ‘Double Agent (TV 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…

If we can consider Phase One to be a second pilot for Alias, then Double Agent faces an even trickier job than following up the biggest episode of the series to date. It also has to reset the board and establish the kind of series Alias will be in future.

Or, at least, in theory. Double Agent kind of doesn’t do that. It is a strange episode in some respects. Originally designed to slot in after The Getaway, Double Agent is without question the most standalone episode Alias has ever done to date. If it wasn’t for the key MacGuffin of Project Helix being crucial to the denouement of the season, it could be considered fairly disposable, focusing primarily as it does on the guest character of CIA agent James Lennox and his entanglement with the facial and bodily reconstruction technology that causes such problems for our CIA heroes in this story. Indeed, it’s hard to imagine just how writers Alex Kurtzman-Counter & Roberto Orci could have penned this episode in the same way were it before Phase One.

For one thing, there seems no logical way SD-6 or the Alliance could have functioned in this story and for it to have made sense, and one wonders if Kurtzman-Counter & Orci had to re-write and re-structure the story to eliminate the traditional constructs of the pre-Phase One storytelling style – SD-6 mission, Sydney’s counter-mission, and multiple narratives balancing alongside that central thrust. As it turns out, Double Agent operates in a strange nether space between Phase One and A Free Agent. Double Agent has the briefest of cameos from Sloane. No Sark. No Irina. No Marshall or especially Dixon, in limbo as they transition into their new CIA roles. “They’ll be in debrief for a while. Meanwhile, Sloane’s been put on Interpol’s most wanted list” Vaughn claims, allowing the story to continue unabated.

Nevertheless, Double Agent is too awkwardly placed, despite spinning a good yarn, to really answer the question of what kind of show Alias will be. Perhaps in step with the world of Alias, it’s almost deliberately a sleight of hand.

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Jason Bourne, Season Reviews, TV

TREADSTONE is fun spy action, just don’t say the ‘B’ word… (TV Review)

Treadstone feels like a show that somebody made in 2008 and forgot about for over ten years.

There is something a little strange about Tim Kring’s series set in the Jason Bourne universe. For one thing, it seems utterly determined to never mention the ‘B word’ at any point. Not Blackbriar, the second secret CIA project to recruit, train and brainwash super-spies. That gets a mention, having collapsed during The Bourne Ultimatum and The Bourne Legacy. The events of those films, particularly Ultimatum, are expressly referenced or at least heavily hinted at. Bourne himself is referred to (as “the asset”, or something deliberately wink wink nudge nudge), but his name? Nope. It could be a rights issue. The credits do after all say “based on an organisation from the Bourne series of novels by Robert Ludlum” which is about as thin a tether as you can mine in order to put together a TV show. You can have the name Treadstone, and that’s it.

Yet at the same time, Kring goes out of his way to make this show, effectively, a lower-budget tribute act to the Bourne franchise, predominately the Paul Greengrass films which really established the tone and style of that saga – all shaky cam, pass the sick bag Krav Maga fight sequences, a global travelogue, lots of shady government intelligence agents in rooms trying to outfox assassins working as much with raw instinct as intellect. You’ve all seen a Bourne film, right? This doesn’t just inhabit the same narrative world but also the same visual and iconographic one. The music has John Powell’s percussive style. The fighting is close combat, no quarter, balletic hand to hand. The intrigue is post-Cold War (and mid-Cold War, actually) spycraft. It works to place itself as a side-story to the Bourne saga in the same manner as The Bourne Legacy from Tony Gilroy. That worked to distance from Greengrass in many ways. Treadstone works to revel in the comparisons.

The biggest surprise of all is that Treadstone, well… it’s actually not that bad, for what it is, even as a show caught between two worlds and two eras.

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Alias, Episode Reviews, TV

ALIAS 1×12: ‘The Box – Pt 1’ (TV Review)

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.

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