Alias, Episode Reviews, TV

ALIAS 3×16: ‘Taken’ (TV Review)

If there is one character who has been left behind the most in the structural changes to Season Three of Alias, it is Marcus Dixon.

Alias has always struggled with how to integrate Dixon in many ways. He began as Sydney’s loyal partner in Season One, a good friend and older brother proxy who provided counsel and advice; a good man unaware of how he was being duped by SD-6. That season at least flirted with him exposing Syd’s secret that provided solid drama but then the first half of Season Two barely even utilises him. Phase One arguably contains the finest material Carl Lumbly—a great actor for someone so underused, as he recently proved on Marvel’s The Falcon and the Winter Soldier—to chew on, as Dixon’s world comes tumbling down. Season Two just then compounds the misery and trauma on Dixon to the point he almost breaks, and only just comes through the other side with his wife murdered and him on the verge of suicide.

Season Three has so much else going on, from a character and narrative perspective, that it again struggles to figure out how Dixon integrates into the post-Julia Thorne dynamic. Making him the new boss, the new Kendall/Jack replacement in the CIA Rotunda, in a sense works. It is logical from a development perspective – he has the experience. But it not only reduces Lumbly to largely an exposition role, delivering mission briefings, it also restrains him. Dixon feels, in the first half of Season Three, relatively inert. He is even essentially written out of the Prelude-arc, as Syd goes on the run, when logically he should have been there with Jack & Vaughn fighting to get Syd away from the NSC. Only in Full Disclosure does Dixon actively show a level of forward motion, of the kind of action-based autonomy we saw in the first two seasons, when he joins Syd to help destroy the Rambaldi baby making machine. “It’s personal for me too” he promises Syd, though it feels more like a reminder to the audience.

Taken is designed to rebalance the scales, to invest us once again in Dixon as a character and a father. The problem is that because he’s spent so long being inert, Taken’s attempt to tether him to the ongoing mythology comes off as frighteningly melodramatic.

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Alias, Episode Reviews, TV

ALIAS 3×11: ‘Full Disclosure’ (TV Review)

Had Alias’ fifth and final season ran to twenty two episodes much like the rest of the series, Full Disclosure would have been the exact midway point of the show. We should consider it as such because only Phase One, the second season’s format shattering powerhouse, comes close to being the most important episode in the history of Alias.

There is so much to discuss around Full Disclosure, tackling the episode is almost daunting. It is not just a culmination of the first half of the third season but the entire Rambaldi mythology to date, at this point. The revelations and contextualisations of that mythology here do not make sense as a mid-season point of clarity, or even had they been placed at the end of Season Three. These are series ending secrets being revealed, theoretically, or narratives that one might have expected following The Prophecy and the cornerstone of the Rambaldi mythos established in the first season would have played out in the final season of Alias. The fact Full Disclosure is a necessary, swift wrap-up of an ongoing storyline that the previous ten episodes had unfurled is, in hindsight, quite criminal.

If this sounds like I am suggesting Full Disclosure is a supremely important episode to Alias, then you would be correct. It is. There is something quite staggering about it’s reach and effect, especially considering it was designed to fold up the unpopular Julia narrative and restore Sydney, and the series, to something approaching normality and a sense of security, when initially the plot was designed to run for the whole of the third season. It very much parallels Phase One in that regard as both were the result of network edicts to conclude complicated narratives that they feared were alienating the core audience. Phase One turned out as a genuinely brilliant, propulsive and clear hour of television, condensing and concluding the SD-6 storyline with remarkable brevity given what came before. The same can not be said of Full Disclosure.

The series, and Syd as a character, never reaches the layered and complicated intensity of this episode again. Everything that follows feels like an extended epilogue to the mythology and Sydney’s journey.

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Alias, Episode Reviews, TV

ALIAS 2×21: ‘Second Double’ (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…

Though not officially classed as a two-part season finale for Alias, Second Double originally aired on the same night as The Telling, which gives the structure of this episode very much the feeling of a story that is inextricably linked.

Second Double operates on multiple fronts, as both the beginning of a season finale tying together numerous threads which have unfurled across the latter half of Season Two, and as a direct sequel of sorts to Double Agent, which introduced the central idea of Project Helix and the doubling technology. Crystal Nix Hines’ teleplay, from a story by Breen Frazier (though it is likely this was heavily or at least partially re-written by J.J. Abrams in advance of the finale), reasserts the significance of this plot strand by finally starting to pay off the Evil Francie storyline that has been nicely cooking since the end of Phase One. It is satisfying for the audience to see Syd and the main characters around her starting to catch up with us, given we have been a step ahead and aware of Francie’s death and Will being compromised for the last third of the season.

In that sense, Second Double feels more like the beginning of a boulder running downhill which the last couple of episodes have been steadily pushing back up the hill following the climactic point of Truth Takes Time. Endgame and Countdown were both transitory episodes in which our principle villains didn’t make significant strides in their master plan and which focuses more on character or theme – the duality of Elsa and Neil Caplan, or Dixon and Sloane’s voyages of post-traumatic discovery. Second Double from the very beginning kicks over some dominoes, having the CIA close in on the mole who has influenced events in A Dark Turn and Endgame, which dovetails with Irina and Sark, in particular, having to compromise, gamble and adapt to stay one step ahead of Sydney and her colleagues.

Consequently, Second Double feels too inextricably linked with the episode to come to feel entirely functional as an episode of its own, but it threads numerous character beats and ongoing plots to quite fast-paced, thrilling effect. Much like Truth Takes Time, it once again personalises all of the espionage scheming and threats to national security to make for a story that resonates for our protagonist.

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Alias, Episode Reviews, TV

ALIAS 2×18: ‘Truth Takes Time’ (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…

Truth Takes Time could have, and perhaps should have, become the catchphrase for Alias in the same manner ‘The Truth is Out There’ did for The X-Files. It certainly speaks to the ongoing reality of the series’ mystery box storytelling.

It was a phrase used by Irina Derevko back in The Enemy Walks In, after she saves Sydney’s life by shooting dead her confederate Alexander Khasinau. As if to underscore her words, she immediately turns herself into the CIA, confounding Syd, Jack and everyone involved in the hunt for her organisation. Truth, in this instance, is knowledge as fundamentally sacred as the Rambaldi mystery Irina is dedicated to solving. Irina’s message is that the search for truth is an ongoing process, that it exists itself as a quest, but one for Sydney. Irina could tell her an enormous amount of secrets, as there is the constant suggestion that she knows much more about the mythology behind Alias than she lets on, but she never does. This is, admittedly, partly for dramatic purposes, but there is something else going on.

Truth underscores this entire episode, beyond even the title, as Truth Takes Time is probably the most personal story certainly in Season Two of Alias, and perhaps at any point in the mythology. Most episodes across the first and second seasons, and in subsequent years, see Sydney & her colleagues facing threats that existentially represent old blocs or emerging enemies – SD-6, the Alliance, K-Directorate, even the Covenant or Prophet Five to come in future seasons. They are all impersonal structures, however, and while they contain characters who provide personal connections to our heroes, they are never functionally enemies we come to know or truly understand. In Truth Takes Time, our enemies are Sloane, Irina and Sark. Every interaction, every challenge, every reveal and every loss is deeply felt by everyone involved.

Every episode of Alias right now feels like a point of no return as the series quite masterfully reconceives itself as, this week, an espionage melodrama, and Truth Takes Time is no exception. Nothing is quite the same again by the end of this one.

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Alias, Episode Reviews, TV

ALIAS 2×02: ‘Trust Me’ (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…

On some level, Trust Me is really where Season Two of Alias begins.

The Enemy Walks In did everything required of a premiere episode of a new season, re-establishing the key characters and plot-lines while dealing with the dangling narrative threads from the previous season finale, but it also operated much like an epilogue to the climactic revelations and twists of Season One finale Almost Thirty Years. JJ Abrams had to remind audiences of the central mission statement of the show while getting the ensemble collection of characters back into their traditional roles but at the same time he added in new characters, new complications, and introduced the major new character of Irina Derevko who would drive the primary character arc for Sydney Bristow across the season.

Trust Me is more about establishing not just a sense of place but a central, driving theme that will permeate across the entire season: the titular trust. Immediately, in the previously discussed introductory segment reminding us of the series’ concept, Alias is keen to remind us that we may not be able to trust Irina, whose surrender to the CIA at the end of The Enemy Walks In tags onto the end of the introduction. “The true loyalty of Agent Bristow’s mother… remains unknown” Greg Grunberg ominously warns, as the word ‘UNKNOWN’ flashes on the screen across Irina’s moment of surrender. Alias is very much labouring the point that Season Two will be about answer this question – who is Irina and what does she want? Can she be trusted? And just how does that effect our main characters, particularly Syd?

Trust Me asks those questions right from the get go and packs a huge amount, from primarily a character perspective, into a short running time. We are left far more grounded concretely by the end in what Season Two is looking to achieve than we were at the end of the premiere.

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Alias, Episode Reviews, TV

ALIAS 1×17: ‘Q&A’ (TV Review)

While on the surface, Q&A may be Alias falling back on a tried and tested televisual trope, this epilogue of an episode is remarkably concentrated around testing philosophical concepts of fate, destiny and free will.

Alias has experienced a succession of earth-shattering revelations since the climax of The Confession that Sydney Bristow has been increasingly struggling to digest. She pulled back from quitting her life as a double agent in The Box, only for the stakes to infinitely rise as ‘The Man’ aka Alexander Khasinau emerged on the scene as a direct challenger to the Alliance and SD-6, before Page 47 and The Prophecy personalised the central Rambaldi mythology for her in a way which added a further reason why escaping this life in the short term would be impossible. Q&A may appear to be a time out from these escalating narratives but in real terms it serves more as a point to pause and take stock of where we have ended up over the last sixteen episodes.

It dispenses with Alias’ uncommon ‘double previously’ sequence, which for the entire season has reminded viewers of the complicated central concept of the series before segueing into a more immediate reminder of recent events. Q&A throws us straight into the action using the tried and tested J J. Abrams trope of ‘in media res’ storytelling, which he used to fine strategic effect in pilot episode Truth Be Told, as we see a bewigged Sydney—in full Thelma & Louise-mode—on the run from a flotilla of cops before barrelling into dockside water in either an apparent escape or suicide attempt. Q&A doesn’t need a contextual reminder because the entire episode is structured as one big ‘previously’.

Welcome to Alias’ first, and indeed last, ‘bottle episode’.

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