Alias, Episode Reviews, TV

ALIAS 3×02: ‘Succession’ (TV Review)

While in one respect Succession is the unofficial second part of Season Three’s introduction, it works to engage in Alias’ tricky new mission statement of fusing seriality and stand alone storytelling.

The final episode penned by the duo of Roberto Orci & Alex Kurtzman, both destined for greater cinematic and TV success, Succession’s very teaser balances these two aspects. On the one hand it provides a ‘cold open’, with the two CIA agents in Berlin trapped in a lift that rather plummeting—as we saw last season in A Dark Turn—to the ground is rather inverted, the agents lifted off by helicopter and abducted by air. The episode then plunges us headlong into a follow-up from the climactic moment of The Two, where Syd learned she murdered a man in her missing years, Andrian Lazarey. Her scene with Jack underlines that, once again, the Bristow’s will compartmentalise and keep secrets from the CIA as they search for the truth, by now as much an Alias trope as an IMF mole is to a Mission Impossible film.

Succession works, alongside this, to try and encourage Sydney to return to some level of normalcy. “For now, you deserve to get on with your life” suggests Jack, after making his daughter complicit in cover up of a murder from America’s most powerful intelligence agency, which almost seems like a mixed message. In reality, this is Orci & Kurtzman encouraging the audience to further accept the new status quo for Syd as the dust settles from the events of The Telling, our characters begin working themselves into their new clothes on this shifted chess board of alliances and villains, and Alias suggests it will try and have its cake and eat it: remove Syd from the complexity of working as a double agent while still doubling down on mystery and mythology.

By the end of Succession, however, all of those new pieces have slotted into place, even if it takes until the very final few moments of the episode to do it.

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Alias, Episode Reviews, TV

ALIAS 2×03: ‘Cipher’ (TV 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.

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Alias, Episode Reviews, TV

ALIAS 2×01: ‘The Enemy Walks In’ (TV Review)

Over the course of last year, I began my first deep-dive TV review series looking at J.J. Abrams’ Alias, which ran from 2001-2006. Over the next year, I’ll be looking at Season Two’s 22-episode run in detail…

The second season of Alias is, let me preface this right out of the gate, one the most impressive twenty-two episodes of television made on an American network. 

It is by degrees thrilling, dramatic, filled with stunning twists and turns, and is absolutely JJ Abrams spy-fi series at the top of its game. It is however, also, extremely knotty and complicated, and season premiere The Enemy Walks In immediately sets the tone of what’s to come. For one thing, the episode begins with a change to the stylistic choice entirely unique to Alias in the annals of television – the weekly series recap. By 2001, the ‘previously on…’ segment at the top of an episode, certainly a two-parter, had become a recognised trope but Alias might have been the first show to deliver one that prefaced the entire concept of the show every week so viewers didn’t become lost. Throughout Season One this was voiced by Jennifer Garner. Season Two switches it to Greg Grunberg.

This in itself is a curious decision. Could it be because Grunberg’s character, the somewhat hapless Eric Weiss, takes a bullet during The Enemy Walks In and spends half of the season recovering off screen? From that perspective, Weiss almost becomes the omnipresent narrator of the series, reminding audiences through to the game-changing mid-season episode Phase One—when the recap is finally ditched for good—of the complexities behind the CIA, SD-6, Syd’s mission and now both of her parents. There is also the strong possibility Abrams wanted to nod once again to some of the spy-fi inspirations from the 60’s and 70’s, with Weiss as a veritable Charlie from Charlie’s Angels or the voice on the tape recorder from Mission: Impossible, delivering exposition with a deeper masculine lilt.

Either way, The Enemy Walks In needs such a recap to remind audiences of not just the series premise, but what happened in the final three episodes of Season One, given the episode picks up directly after Almost Thirty Years while employing yet another favoured narrative trope of J.J. Abrams – the flashback framing device.

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