It almost seems cruel, at this point, to revisit the many flaws of “Bionic Woman”, as it has been off the air since long before the writers’ strike and had absolutely no chance of survival.  Yet it is precisely the kind of cautionary tale that the networks will ignore time and again.  For every successful nostalgic relaunch (“Battlestar Galactica”), there are several abject failures.  “Bionic Woman” was one of them, and it’s hard to imagine that the trend will be any different for upcoming shows like “Knight Rider”.

“Bionic Woman” seemed to have the right pedigree.  David Eick was one of the architects of the new “Battlestar Galactica”, and after a fairly energetic original pilot, there was a great deal of hope that the series would succeed.  Unfortunately, it wasn’t long before the production staff was abandoning ship, practically changing showrunners on a weekly basis, and the constant shifts demanded were impossible to reconcile.

The pilot set up a few key plot threads and introduced Sarah Corvus, the psychotic “original bionic woman” played by a deliciously unbalanced Katee Sackhoff.  All things being equal, newcomer Michelle Ryan, the one playing the starring role of Jamie Sommers, couldn’t come close to the same intensity.  Ryan’s struggle to find her character was apparent, and Corvus’ character arc quickly become far more interesting.

It was the duty of the writing staff to provide Jamie (and by extension, Ryan) with a compelling and strong supporting cast.  Instead, most of the Berkut Group regulars were unprofessional with mood swings that defy the laws of physics.  Jonas, the leader of the covert operation, never displayed the presence and tone that a mercenary commander should.  Instead, that was left to the guest role of Antonio, played perfectly by a much-maligned Isaiah Washington (who can act rather well, despite his personal issues).

As mentioned in one of the reviews written during the series’ run, it came down to consistency: “consistency in how Jamie is portrayed, consistency in how Berkut is portrayed, consistency in how Berkut deals with Jamie”.  And the consistency was broken by the endless shuffle of showrunners.  Just when the show seemed to shift from the Corvus plot thread to a more traditional black ops group, a bland love interest was introduced, forcing Jamie into an even more awkward learning curve.

The lack of consistency came from the top and infected everything below: the change in showrunners forced the writers to change plans episode to episode, which brought about conflicting motivations in the characters, which led to confused and erratic acting, topped off by sloppy direction and editing (because, after all, the show changed tone week to week).  It’s a miracle that the series lasted the eight episodes that it did.

Considering all the problems in the production and the inferior final product, it’s surprising that the season managed an average Critical Myth rating of 6.0.  That is still well below average, but it indicates that the many lows were balanced out by a few select highs.  With more stability at the top, the show might have course-corrected.  Instead, the show became one of the season’s first casualties.

This episode may be the series finale, depending on the network and the length of the writers’ strike. That may seem premature, but at this point, it comes down to network expectation. The series debuted with solid numbers, after all, but the ratings have plummeted to mediocre levels. With all the creative woes plaguing “Bionic Woman”, I’m not sure the network will want to give the latest showrunner time to right the ship.

This particular episode was written by one of the executive producers, and despite a few flaws inherent to the earlier scripts, this is one of the better efforts since the disappearance of Sarah Corvus. While the crisis at the center of the episode still has nothing to do with nanotechnology, it continues to underscore the idea that the Berkut Group covers a number of sensitive intelligence concerns.

One thing the writers had to sell to the audience is the idea that the whole “bionic” project was about building the perfect intelligence operative. So far that’s been sketchy at best, especially since the writers haven’t been particularly creative in applying Jaime’s technology to new situations. It’s still not clear how the Berkut Group is supposed to work or what their relationship to the federal government is. They are treated like private sector contractors, but they seem to get a free pass on activities that would normally be covert black ops.

Equally disturbing is the lack of formalized training by these operatives, which is something pertinent to this episode. For one thing, Jaime gets caught up in an assassination mission, which she’s simply not ready to execute (no pun intended). It’s good to see the writers acknowledging that Jaime is still, at best, an unskilled recruit, but this could have been an interesting way to touch on concepts from the first few episodes (such as the idea of embedded combat programming battling with Jaime’s moral preferences).

Instead this was about balancing the needs of the mission against the needs of the family, and the odd way that Jonas has managed to become part of that equation. I still think Jonas is too much of a mystery, but there’s no question that he recognizes the value in keeping Jaime’s home life in order. I’ve grown to like that dynamic, and it could have gotten better with time to develop the characters.

If this is the final episode of the series, at least it is going out on a better note than expected. If the series does come back, there are elements that could be emphasized to bring the show back into focus. This is still obviously a work in progress, but it was worth taking the time to see how it might end.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

]]> http://entil2001.com/blog16/2007/12/01/episode-18-do-not-disturb/feed/ 2 http://entil2001.com/blog16/2007/11/28/episode-17-trust-issues/ http://entil2001.com/blog16/2007/11/28/episode-17-trust-issues/#comments Wed, 28 Nov 2007 00:46:03 +0000 Administrator http://entil2001.com/blog16/2007/11/28/episode-17-trust-issues/ Written by Kerry Ehrin
Directed by Alex Chapple

“Bionic Woman” has always been a series in crisis. Every episode or so brings with it a new showrunner, and the show has suffered wild tonal shifts as a result. A show that once seemed ready to explore new ground has fallen back on questionable tropes that have been done to death. Even the concept has slowly but surely lost its novelty. Jaime Sommers and her bionics seem rather ordinary and underutilized, especially given that her limitations are never truly explored.

The writers’ strike has shut down production for the show, and there’s already talk that the final episode produced could serve as a series finale. If so, that’s probably not any contingency built into the episode on the production side; it’s spin after the fact. The show has undergone too many changes and setbacks for an early-season episode to bring things to a satisfactory conclusion.

There’s also the statement from Katee Sackhoff to consider. Sarah Corvus was a fixture of the first few episodes, and without a doubt, that guest character made Jaime Sommers look like a chump. More to the point, Sackhoff makes Michelle Ryan look like a rank amateur. The show has been suffering from her absence, and Sackhoff has made it clear that she has no intention of returning to the show if it manages to survive past the strike.

I cannot overstate the effect this would have on the show. The early episodes brought a necessary level of complication to the series. Corvus was a window into the kind of transformation that Jaime might endure, and saving Corvus gave Jaime a means of saving herself. There were also a number of long-term plot elements connected to Corvus. Without that mythology to draw upon, the series has been faltering, grasping at any chance to become a Michael Bay knockoff on the small screen.

One might wonder what all of this has to do with this specific episode. It’s actually quite simple. With the lack of creative focus and the loss of Sarah Corvus from the narrative, the show needed someone with gravitas to make up for the lack of strong characterization. Miguel Ferrer could do the job, but Jonas is toothless. Jae has been completely sidelined, it seems, and Jaime’s CIA boyfriend is about as bland as it gets. The only remaining option was Antonio, played as well as could be expected by Isaiah Washington.

The actor was only hired for a limited number of episodes, but the show will suffer tremendously from the lack of a solid supporting cast. His final appearance is actually one of the better episodes of late, particularly when the Jaime/Tom material is forgotten and Antonio’s machinations are front and center. If anything, the story underscores the utility of such a character, reminding the audience of everything that will be lost now that he’s gone.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

]]> http://entil2001.com/blog16/2007/11/28/episode-17-trust-issues/feed/ 0 http://entil2001.com/blog16/2007/11/16/episode-16-the-list/ http://entil2001.com/blog16/2007/11/16/episode-16-the-list/#comments Fri, 16 Nov 2007 00:48:50 +0000 Administrator http://entil2001.com/blog16/2007/11/16/episode-16-the-list/ Written by Bridget Carpenter
Directed by David Boyd

This episode of “Bionic Woman” follows in the footsteps of the previous episode by re-directing Jaime’s character even further from the supposed feminist roots of the original premise. Instead of taking charge of her life and challenging the Berkut Group in an intelligent, self-interest manner, Jaime spends most of her time mooning over a CIA agent. If the latest round of producers thought this romantic subplot would help the series, they were sorely mistaken.

The usual problems remain in place: the poor Michael Bay-esque dialogue and directorial style, the choppy editing, and the paper-thin character development. I honestly have no idea why the characters are doing what they’re doing most of the time. They just act according to plot requirements, and when the plot is sketchy and ill-conceived, that makes for a poor foundation.

This series is just devolving into a disappointment. Sarah Corvus was a major part of the first few episodes, along with the issues of nanotechnology and its short-term viability. That could have been utilized in some creative ways, especially if the Berkut Group had been shown as mildly competent and organized. Or, for that matter, if Becca had remained a former hacker with the ability to do amazing things with operating systems. (Whatever happened to keeping her away from computers, by the way?)

Now the series has shifted to push Jaime into a relationship within weeks of the death of her fiancé, a man who was apparently betraying her on every possible level. Her interaction with Tom is beyond painful (especially the ridiculous dialogue), and it makes her look even more unprofessional and naïve. Granted, Jaime is supposed to be young and inexperienced, but she was acting like a teenager, not a woman who was forced to grow up quickly to take care of her sister.

This series was probably the best-positioned new series on the schedule before the season began. It certainly was given better odds than shows like “Moonlight”, which had overhauled most of its cast. Right now, creatively speaking, “Moonlight” is taking “Bionic Woman” to school. It’s shocking to consider that so many high profile producers and showrunners could take this series into such a downward spiral.

Writing: 1/2
Acting: 2/2
Direction: 1/2
Style: 0/4

Final Rating: 4/10

As I mentioned in the review for the previous episode, this show would benefit from a stable structure similar to the one used by “Alias”, especially if the Berkut group is working to advance and control the use of bioengineering around the world. This particular episode follows the “Alias” format very closely, and the episode is very straightforward and understandable as a result.

Part of that is the characterization, which is beginning to gel. Jaime is still the naïve new agent, armed with skills beyond her full control and comprehension. Antonio is the hard-edged agent with certain compassionate qualities, until it’s time to get the job done with extreme prejudice. Nathan is the ubiquitous tech geek with a semi-crush on the new girl. Tom, as presented in this episode, is the handsome fellow agent from a rival group, an element that could help to replace Will’s role and provide something to compare Berkut against.

There were some good advances for Jaime in this episode. The undercover assignment as the student provided an opportunity to explore some of Jaime’s established regrets, for example. The college setting underscores her youth and lack of life experience, which helps to temper her naivety. Personally, I prefer the British accent for the character, since it seems more fitting and natural (given its Ryan’s true voice), but I understand how the executives must have balked at the idea.

This still leaves Becca as a character with generic attributes beyond “annoying little sister”, and Jonas continues to be a work in progress. His role in this episode is easier to reconcile, but the inconsistencies in earlier episodes, particularly his permissive nature with Jaime, need to be addressed.

Unfortunately, this particular episode seemed to be written and directed by fans of Michael Bay films. Middle Eastern terrorists are something of a crutch these days, and it would have been a lot more interesting if the racial profiling had been proven ineffective. Instead, Antonio (thus far the most nuanced field agent) must eat crow, as if teaching him (and thus the audience a lesson).

There’s also the incredibly annoying chatter from Nathan, who was constantly trying to channel his inner Steve Buscemi and failing miserably. Tom was bland as the fellow undercover agent; for that matter, Jaime had more chemistry with Sarah Corvus. To mention a specific plot annoyance, I found it hard to reconcile how Tom could save Jaime with the professor by backing her story so precisely when he wasn’t in the room to hear that story in the first place.

The series is still a work in progress, but it seems to be settling into an effective structure. Building around that structure will be the key to survival. Playing up Berkut as dangerous and irresponsible is a nice touch, as is the focus on bioengineering abuses. Strengthening up the characterization and dropping the stereotypes should be the next area of focus. Perhaps the latest showrunner can point the writing staff in the right direction.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

The major sticking point continues to be the main character. We’re told that Jamie is young, yet it’s hard to imagine that she’s so naïve. She never seems to think things through. The other characters have to explain everything to her, and it strains the credibility of the situation (which is a relative statement as it is). If Berkut was half the secret ops group they claimed to be, they would tell Jamie to shut up and get in line, and they wouldn’t hesitate to enforce their control over her existence.

This episode does moderate that slightly. A lot of people at Berkut feel guilty about what Jamie is going through, even as they continue to use her to their advantage. The bionics are essentially unstable, so under the current circumstances, she’s a terminal patient. They’ve already seen the effect of the breakdown process with Sarah Corvus, so they’re trying to find a middle ground between compassion and self-interest.

I’m not sure that’s consistent with what we’ve seen previously, which may be part of my concern. I’d rather see Jonas and the others at Berkut act like Antonio: willing to take Jamie’s lack of experience into account, but demanding in their expectations of her performance. Jonas was far more self-interested in the pilot, and I found that more convincing.

On the other hand, if there’s an inherent guilt felt by those behind the project, it would explain why they’ve been willing to listen to Jamie’s whining about her personal life. If they were purely concerned with military applications of the technology, they would dismiss Jamie’s personal troubles. In fact, they would probably find a way to eliminate the problem (perhaps less harshly than that implies).

Thankfully, Sarah Corvus is interesting enough to keep the series from faltering completely. Her character has much of the polish and depth missing from Jamie. She also has history with the rest of the characters, which gives the conflict more meaning. Sarah’s interactions with Jae, Jonas, and Ruth were far more credible than Jamie’s conflict with Antonio. Sarah is important to the story because it’s what Jamie could, in theory, become if things don’t change. The signs are there already, which is a nice touch.

It boils down to consistency. Consistency in how Jamie is portrayed, consistency in how Berkut is portrayed, consistency in how Berkut deals with Jamie. If those three items were brought into focus, the series would improve tremendously. As much as it might annoy the writing staff, given the existing comparisons, they might want to look back at “Alias” for guidance on presentation of concept. Shows like “Buffy” and “Alias” would typically have a “briefing room” scene that would state the situation, the plan of attack, and use the opportunity to inject characterization into the conversations to clarify motivations.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

]]> http://entil2001.com/blog16/2007/10/18/episode-14-faceoff/feed/ 0 http://entil2001.com/blog16/2007/10/11/episode-13-sisterhood/ http://entil2001.com/blog16/2007/10/11/episode-13-sisterhood/#comments Thu, 11 Oct 2007 23:26:00 +0000 Administrator http://entil2001.com/blog16/2007/10/11/episode-13-sisterhood/ This episode continues the evolution of the series from the version presented in the original pilot to the current status quo. That process continues to be difficult. Shifts and politics behind-the-scenes are showing up in the final product, and to a certain extent, it feels like the show is still trying to figure out what it wants to be.

Supposedly the pilot was cut down from a two-hour format to its current one-hour incarnation, and much of the background was therefore missing for the audience. That might explain why certain scenes in this episode and the previous installment feel like they come out of nowhere. For example, Jamie seems to know the people at Berkut far better than one would expect. It still feels like the episodes are being run out of order, as though a lot more happened coming into this situation than we’ve been allowed to see.

Consider the effect: if the pilot was cut in half, and the second episode was the splicing together of two episodes worth of material (as reported elsewhere), then the net effect is a loss of 50% of what should have been seen coming into this episode. That’s staggering, and it also makes one wonder if the same amount of material was left on the cutting room floor.

Whatever the case, the problem now is not necessarily the story being told, but how it is being told. I found this episode to be somewhat schizophrenic. At times, the show wants to be taken seriously. It had shades of commentary about feminism, male-domination, and as this episode emphasizes, sisterhood. It brings up the classic man vs. machine concept, which is always fun. When the show lets Jamie be serious, Sarah’s instability is a lot more engaging.

Unfortunately, the show is also trying to be clever and witty, with a liberal dose of self-deprecation along the way. It’s as if someone studied “Buffy the Vampire Slayer”, understood the appeal, but missed the methodology and balance behind the show completely. Part of it may be Michelle Ryan’s delivery, but it’s also the writing. Jamie’s sarcasm with Jonas hasn’t been earned. I kept waiting for Jonas to apply a bit of control and leverage, but beyond the usual comment about who owns what, it never happened. It makes Jonas look like a pushover.

This brings up the subplot with Heaven. It felt extraneous, but it also exposed some of the weaknesses of the Berkut organization as depicted. As we’ve seen it so far, this special ops unit is horribly pathetic when it comes to security and discipline. I never bought for a moment that such an organization, dealing with the threat from Sarah Corvus, would devote key resources to watching Heaven as shown. They speak about the organization as if it’s an elite operation, but so far, we’ve seen nothing to back the claim.

The one highlight thus far is Sarah Corvus. Her character is complex and the writers have made some sense out of her unusual dialogue choices. Where Jamie’s quips feel inappropriate to the situation, Sarah’s comments actually make sense. Katie Sackhoff is acting rings around Michelle Ryan, which also does not help. I still think that bringing her into the series as an outside influence on Jamie is a bit premature; we haven’t had enough time to get used to Jamie’s status quo, and Jamie hasn’t had enough on-screen time to get used to her new condition.

Generally speaking, the biggest problem I have with “Bionic Woman” is that I can tell what they’re trying to accomplish, the kind of story they’re trying to tell, and all the ways they’re not quite getting there. This episode didn’t seem to flow very well. It’s hard to quantify, but I get the feeling the producers (whoever they are this week) are trying too hard to look edgy and different. The show feels unsettled and rushed, and even if that’s not the case, the audience could hardly be blamed for thinking it is.

Writing: 1/2
Acting: 2/2
Direction: 1/2
Style: 1/4

Final Rating: 5/10

One of the first observations upon watching this episode was the abrupt beginning. Will Anthros is dead, despite some of the plot elements introduced in the pilot that were specifically tied to his character, and Jamie is not dealing with the situation well. Over the course of the episode, other minor changes and shifts emerge, some without much context at all. It may simply be the necessary adjustments required to phase from a pilot to a weekly series or the effect of the production staff changes, but it feels like the series has undergone a more substantial reboot.

I was tempted to check the production schedule to see if an episode had been removed. It certainly feels as though motivations and attitudes had changed based on some unseen circumstance. Jamie’s character doesn’t quite mesh with what was seen in the pilot, and some of her decisions seemed forced. Part of the problem is that we don’t really know Jamie yet, especially given the absurdity of her unique situation, so we have no idea if her mood swings are normal or a response to massive stress. The writers need to give us a stronger foundation for understanding why the character acts as she does.

The pilot set up a wide spectrum of influences for Jamie. The more compassionate influences were Will and Becca. With Will gone, breaking the balance, the rest of the secret agency surrounding Jamie becomes less well-defined as a result. Now they are a conglomerate of conflicting self-interested agendas. That can be interesting, but a lot of context is lacking and motivations are still murky at best. Consider a comparison to “Alias”: it was equally complicated, perhaps even more so, but the first few episodes were seamless and established the status quo in a straightforward manner.

Isaiah Washington is a strong addition to the cast, bringing the same amount of gravitas to the production that he possessed on “Grey’s Anatomy”. Hopefully his off-screen issues will remain in the background, allowing his performance to dominate discussion. He works well with Michelle Ryan, which could help her gain more confidence in her role. As Jamie, she definitely brings the pretty (love the end of the title sequence!), but she stands out among some of the seasoned and superior cast members.

One complaint is the portrayal of Sarah Corvus. In the pilot, her motivations were very straightforward: she had lost her humanity and she wanted to wipe out those responsible, despite her preference for her new form. Now she claims to have been hacked and misunderstood. It could be a ploy, of course, but the abrupt shift could easily be an attempt to steer away from a concept that worked in the pilot but was rejected for the series.

The concern is that this high-profile series went through a number of changes and shake-ups prior to hitting the air, and it’s already noticeable. This latest retooling could work out in the end, but the audience could quickly tire of the rough edges.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

This series has quite the interesting pedigree. Several of the producers and writers have been associated with some of the most revered genre shows in recent memory: “24” and “Battlestar Galactica”, for example. In fact, several of the recurring characters in the pilot are “Galactica” cast members, and several post-production elements, right down to the titles, are reminiscent of that cult favorite. Never mind the similarities in origin: both “Galactica” and “Bionic Woman” are updated versions of a late 1970s original.

Re-imagining the cult classics has become something of a trend lately. “Galactica” stands as the most successful example, at least in terms of critical acclaim and creative ingenuity. More recently, the same treatment was given to “Flash Gordon” with somewhat less success. As with any such endeavor, there is a certain disapproval that comes with retooling the past for present consumption. Ardent fans of the original scorn the slightest change, while others scoff at the lack of “originality”.

Most viewers would agree, however, that every production comes down to execution, and that is how the new “Bionic Woman” should be evaluated. How well does this latest version of the body-mod concept stand on its own?

Casting is important, and in this case, the producers were going for a specific look. Or so one would assume, since Michelle Ryan is essentially a younger, bustier version of Jennifer Garner from “Alias”. The resemblance is uncanny, right down to the mannerisms, vocal qualities, and line delivery. To her credit, Ryan fills the role of Jamie Sommers as well as Garner filled the role of Sydney Bristow, if the series premiere is representative.

The premiere suffers from a mild case of pilot-itis: too much backstory and not enough character development. That imbalance is very difficult to overcome. In this case, the writers manage to make things interesting by developing a simple but effective plot structure. In short, the original “bionic woman” has gone rogue, taking out the research team responsible for her creation, with the help of former researchers. Jamie just happens to be dating one of the researchers (Will Anthros), and she’s caught in the crossfire. Will can’t bear losing her, and thus begins the journey.

One interesting twist is the intention of the research program: military biomodification. It’s hardly the most original idea, but it puts Jamie in a terrifying position. The bionics include significant amounts of nanotechnology with underlying programming. This programming has demands of its own, and Jamie will need to get comfortable with automatic targeting systems flashing on her shiny new HUD. She’s basically an involuntary military cyborg, complete with a bratty little sister to raise while dealing with rogue super-soldiers.

That rogue cyborg is a necessary element of the new status quo. Sarah Corvis (played by a gorgeous and disturbing Katee Sackhoff) is an example of what Jamie might become if the technology overwhelms her humanity. Jamie’s battle with Sarah in this first episode is essentially a metaphor that will likely continue throughout the series: Jamie battling the very technology that threatens to overwhelm her compassion.

From a larger perspective, the rest of the cast lies somewhere along the same spectrum. Will is the most human of the researchers, concerned for Jamie’s overall welfare. Everyone else is more or less devoted to the idea of applying the technology to military or illicit gain, and their attitude towards Jamie is reflective of their own humanity (or lack thereof). This touches on the classic science fiction struggle of man vs. machine and the price of augmenting or modifying our biology. If the next several episodes can correct the balance between plot and character development, as one would expect, then this series has a chance of success.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10