STARGATE ATLANTIS: SEASON 2
2.1: The Siege: Part III - 2.2: Intruder - 2.3: Runner - 2.4: Duet - 2.5: Condemned - 2.6: Trinity - 2.7: Instinct - 2.8: Conversion - 2.9: Aurora - 2.10: Lost Boys - 2.11: The Hive - 2.12: Epiphany - 2.13: Critical Mass - 2.14: Grace Under Pressure - 2.15: The Tower - 2.16: The Long Goodbye - 2.17: Coup D'Etat - 2.18: Michael - 2.19: Inferno - 2.20: Allies
2.1: The Siege: Part III
Written by Martin Gero
Directed by Martin Wood
Before I go any further, I just have to have a moment of silence for the first season opening theme. I’m not sure why SFC decided to chop it down and remove the inspiring and memorable music, but I suspect it had something to do with adding commercial time. (Networks do silly things like that and pretend it doesn’t matter.)
I liked how it started right where it left off, and for the most part, the transitions were seamless. In fact, I was left wondering if the entire first act hadn’t been the original final act for the first season finale. Bear with me…wouldn’t that have actually been a logical place to end the series, if SFC had pulled a “Farscape” on it? It’s like the rest of the episode was somewhat tacked on to the original ending. I didn’t think it was bad, but there was a slight different feel to it after the first act. Very strange.
I think the addition of the Daedalus to the series will be a good thing. “SG-1” was always introducing new technology to the mix as the series went on, and having something bigger than a puddle jumper around is going to come in handy. It also adds an “outside” military presence to the series, which ought to play nicely against the group led by Sheppard. There are now several groups with very different levels of experience with the Wraith and the status quo of the Pegasus Galaxy, and that ought to be fun for the writers to play with!
I’m not sure what to think of Mitch Pileggi’s role yet. Supposedly it’s only going to be a recurring role, which I think would be unfortunate. For one thing, the man needs work! But he also needs a chance to get out of the chair and develop more of a personality. He’s something of a cardboard cutout right now, which is all right for an introduction under such circumstances, but his motivations need to be clarified.
The battle against the 12 Hive Ships was a great showcase for the special effects, and I’m glad the situation wasn’t resolved so easily as suggested. The final solution is also a mere delaying tactic, though. The writers make it sound like Ford is the weak link, and that his presence beyond Atlantis is likely to break the illusion. But that ignores the fact that they run around from planet to planet all the time! Aren’t the Wraith going to find evidence of their continued presence anyway?
I buy the fact that the Wraith would see the explosion and assume that the city was destroyed in a moment of spite. (I’m not sure why the Ancients would have failed to attempt a similar tactic, but there we are.) But the thing with Teyla and her little telepathic connection to the Wraith comes across as too convenient, especially after how difficult it was for her at the end of the first season. For that matter, in a few scenes, Teyla was a little “off”, like in the scene with McKay in the first half, so maybe that’s why I didn’t buy it completely.
This thing with Ford ought to be interesting. It’s about time they gave him something to do. He was probably my least favorite character from the first season, and frankly, he could have been the first major casualty, and I wouldn’t have minded. Now, though, he ought to be trouble for the team, and his ordeal might serve to explore more about the Ancient/Wraith connection.
I love the Daedalus! I thought the Prometheus kicked some serious butt, but this ship is even more massive and formidable. I love it when the writers actually think about how the shields and weapons work, and keep the technobabble to a relatively low roar by using established concepts and playing them out. By using and removing the one quick advantage of having the Daedalus around, the writers keep it from becoming too convenient a plot element.
As season premieres go, it was pretty good. It had a lot to cover, and it did that and more. I didn’t see Ford’s thing coming at all, especially since problems like that typically get resolved. I hope that this is a sign that the writers will continue to “up the ante” and keep the episodes from becoming too self-contained. The first season had a nice balance of dropping information about the mythos into each and every episode, and I’d love to see that continue.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.2: The Intruder
Written by Joseph Mallozzi and Paul Mullie
Directed by Peter DeLuise
After a season premiere that capped off a three-part action-driven epic, I think the writers were right to focus more on character. Two themes were evident as the episode marched on: “you can’t go home again” and “threats can come from unexpected directions”. A lot of the focus is on Weir and her struggles to keep control of the expedition, now that the political landscape on Earth has changed a bit and there’s more of an SGC presence.
The plot revolves around the potent threat posed by a Wraith virus left dormant in the Daedalus computer network during the previous episode and the efforts to eradicate it. As usual, it takes a while for everyone to recognize the scope of the danger and get a complete picture as to the solution. If there’s one thing that’s predictable in this episode, it’s the fact that if something can go horribly wrong, it will do so without fail and with a few choice snide comments from McKay!
As many have already noted (including the producers!), this is really just a variation on the “Stargate SG-1” episode “Entity”. Thankfully, this wasn’t a case of the writers cribbing old episodes without acknowledging the past. There’s something to be said when the characters recognize that it’s a familiar situation and respond accordingly!
This episode could have easily been centered on the return to Earth and the experiences of the characters. But the writers wisely recognized that this wouldn’t have served the story as well. Switching between the two themes, along with some action scenes to keep the episode moving, kept things from being too pedestrian.
The most obvious “intruder” in this episode is the Wraith virus itself, but that’s only in terms of the big picture. Taken from Weir’s perspective, there’s another, more personal threat: Caldwell. Caldwell has very clear ideas about how the operation should be run from a military perspective, and that’s a battle that Weir thought she had won. Now she’s dealing with someone with a lot less reason to follow her lead, since Caldwell is only weeks away from Earth and his command structure at any given time.
Many feel that the presence of Daedalus will detract from one of the primary elements of the series: the fact that the team has been isolated by the inability to return home to Earth. On the other hand, it’s still not a Sunday drive, and the past two episodes have provided a keen reminder that human technology, even mixed with Asgard enhancements, still doesn’t hold all the answers. Supplies and personnel might be more readily available, but for the most part, it’s just an ongoing source of dramatic conflict, since Weir can no longer assume that her authority remains as strong as it was.
More importantly, this episode makes the case that the team on Atlantis has lost some connection to the world they used to inhabit. Weir’s struggle with Simon and his new life says it all. The team on Atlantis was not unlike a division deployed to foreign front lines, with survival and return far from certain. They held a vision of the world they left behind in their minds, but it was an image of what was. In the meantime, people had to move on, assuming the worst. Weir learns that the hard way with Simon.
Along with getting him his promotion, Weir seems to be recognizing just how important Sheppard has become to her sense of control. Most importantly, Sheppard is part of her team; he’s experienced the same level of adversity, and he understands how the team must interact. He brings his military experience to the table, but he’s not some outside, inexperienced authority. Sheppard is going to be even more important to Weir in the episodes to come, and with Simon out of the picture, who can say what will happen?
There were the usual bits of humor, centered on McKay and Hermiod, which gave the episode its distinctly “Stargate” flavor. Sheppard continues to drop the O'Neill-esque one-liners, and while one continues to wonder if the man has ever owned a comb, he’s still one of the best parts of the series. Thankfully, it looks like Teyla is going to get some screen time in the next episode, since the few moments with her this season have been less than impressive.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.3: Runner
Written by Robert C. Cooper
Directed by Martin Wood
Robert C. Cooper is one busy guy. Not only did he completely revitalize “Stargate SG-1” (haters, look elsewhere) by steering a three-part epic, but he’s also been knee deep in giving Lt. Ford a makeover and a new motivation. Ford’s been begging for a reason to exist since the series began, thanks to a spare supporting role that even the writers knew didn’t have enough to it. So things had to change, and this is the episode where it comes together.
Rainbow might have been a little pissed when the initial idea came across the table, but he seems to have embraced the concept wholeheartedly since then. The fact is, the man is being replaced. The character of Ford is given an arc that ought to give the actor good material, but he’s been sidelined in favor of a more dynamic character. Given a choice between Ford and Ronon Dex, it’s not even a contest. Ronon gets one hell of an introduction in this episode, and for me, it works.
In a nice bit of continuity, Ronon’s introduction is directly tied to the ongoing search for Ford. Ford is running around a dangerous planet, and a team is dispatched. The team splits up almost instantly, but the writers let the story evolve organically. It doesn’t take long for Ronon to get a drop on Sheppard and Teyla (who are supposed to be rather good at this sort of thing), and in the process of gauging a potential enemy, Ronon demonstrates some serious warrior skills. The man is simply badass, and for the ladies, let’s just say my wife was paying a lot more attention once he was on-screen.
The writers do a nice job of giving Ronon a background that plays into the overall series arc. A couple of intriguing elements are introduced. Apparently, the Wraith have some interesting ideas about organized sports, because some of their prisoners are turned into “runners”, who the Wraith implant with tracking devices and then hunt down. Why the Wraith would do that is probably going to become important as the season marches on, but for now, it gives a solid reason for Ronon’s somewhat paranoid response to visitors.
Ford is a lot more fun with his neat personality shifts. He provides a nice counterpoint to Ronon’s paranoia. Ronon is paranoid because he has absolutely good reason for it; Ford is riding high on a chemical cocktail that keeps his judgment from kicking in. Ford seems to want to retain the confidence of his former friends, but his temper and paranoia keep getting in the way. In the name of proving that the “new man” he has become is a good thing, he keeps escalating an already very bad situation.
Prior to this episode, it looks like Ford was taking it to the Wraith, perhaps for the purposes of testing his worth. That’s what makes his decision to jump into the Wraith beam so disturbing. Does he think that he can take down a Wraith ship himself? Far more likely, he will be handing the Wraith a rather interesting biological experiment.
Early on in the episode, McKay gets to play the sarcastic and bumbling scientist again. Once Ford grabs him, however, McKay is locked in a duel of wits, and his desperation shines through. McKay seems to be the go-to character for that kind of material, but the writers need to be careful. Like Daniel Jackson before him, McKay needs to get character development to remain fresh. It doesn’t have to be much, especially since the seeds have already been planted in the first season.
I wasn’t thrilled with Teyla’s involvement in this episode, but the writers are letting her have a quick connection to Ronon. They probably have more in common than the rest of the characters, and Teyla is supposed to be quite the competent warrior herself. I say, “supposed to be”, because she’s not been utilized much this season at all. Since I enjoy the very sight of Rachel Luttrell on my television screen, I’d like it to include more of the fierce substance that marked her earlier appearances.
Going into this episode, I wasn’t sure how the new character introduction was going to go. It could have been a lot more heavy-handed. Instead, the transition was handled as elegantly as the more obvious transition on “SG-1”. Ending this episode with a nearly exact repeat of the confrontation from premiere was a stroke of genius by the actors (who demanded it be so, to hear tell). Add to that some great flashbacks to Ronon’s Wraith-repelling days and one damn fine fight scene, and this continues to keep the series moving in the right direction.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.4: Duet
Written by Martin Gero
Directed by Peter DeLuise
This episode was, according to the promo, supposed to be about the process of bringing Ronon into the Atlantis fold. Instead, that was merely a subplot, and a rather basic one at that. The real focus was once again on McKay. While this is a very funny episode, I’m not quite sure that the emphasis on McKay was the right thing to continue this early in the season.
It seems like a lot of episodes have, on some level, an example of McKay looking like a fool, demonstrating some degree of expertise or unexpected strength, and then working himself out of the fix he’s in. Usually it’s a subplot, where it is typically not so blatant. This episode is 95% McKay and his wacky predicament.
The writers find an interesting plot device to make the episode work, and for the most part, David Hewlett is up to the challenge. When McKay is hearing Lt. Cadman’s voice in his head, Hewlett plays it very well. It’s very believable. He even does Cadman’s control of McKay’s body well. But when McKay and Cadman are fighting for control, it’s not nearly as convincing. One can only imagine how many takes they went through to get it even close to right.
Enjoyment of this episode is directly dependent on one’s enjoyment of the McKay character. I have to admit that, as much as I laughed, I wasn’t particularly enthralled. I was happy enough to watch this while eating dinner, and I laughed out loud during the date and any point at which Cadman was flirting with/tonguing Beckett.
There were some other highlights. It was great to see Sweaty!Teyla is action, especially when she decided to stretch out after sparring practice. I’m still waiting for her character to have a bit more to do this season, which is why yet more McKay is a little annoying. She looks good on screen, but there’s plenty of direction for her character now. Why not explore it?
In terms of Ronon, I’m still liking this guy. He has a massive amount of confidence, to the point where one can believe that he would find Sheppard’s offer to join Atlantis rather amusing. Is Ronon really better off with Atlantis, or is it more clearly a benefit for Sheppard, and by extension, Weir?
I have the feeling that this episode was more about establishing technology and its boundaries. Just as many of the first season episodes focused on revealing a single piece of information that would later become vital to the season arc, this episode seemed to be all about revealing how the Wraith Darts grab people and “store” them. Slapping McKay and very, very hot Lt. Cadman in the same body for a while felt like a means to that end. This episode also established that those on Atlantis are trying to remain out of contact with the Wraith, because they believe that such exposure would clue the Wraith in on the deception from “The Siege: Part III”.
But this wasn’t the kind of episode that I would want to watch more than a few times. It has its moments, but for the most part, this is the kind of episode that you watch a couple of times and then rarely. There’s nothing particularly wrong with it, but since I’m getting tired of the emphasis on McKay (as funny as it often is), this was not an episode that I found enthralling.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.5: Condemned
Written by Sean Carley and Carl Binder
Directed by Peter DeLuise
I wasn’t all that impressed with this episode, because from my perspective, it was way too easy to predict what would happen. Was it really such a shock that the Olesians were allied with the Wraith in some way? And that it would ultimately backfire? There was enough predictability that the character moments, especially the more obvious ones, were more annoying for it.
Once again, there’s an episode that prominently features McKay. Clearly, he’s a favorite among the writing staff, and there’s plenty of agreement among the viewers that he’s a strong character. But he’s rapidly falling into the “too perfect” category. Despite all of his character flaws, he’s always pulling something impossible out of his hat. It becomes a case of letting one character get away with the impossible with the convenient stroke of a pen. Characters should never be that enormously competent.
That’s not to say that this episode doesn’t try very hard to explore who McKay is and how he operates. It’s just not an amazing revelation. Yes, Rodney tends to claim that something is beyond impossible, only to find the miraculous solution when (perhaps subconsciously) it makes him look the best. But what I’m waiting for (and I imagine many others anticipate the same) is the moment when he really, truly cannot make it happen. It’s been on the table before, but not enough to really make McKay step back and evaluate his methods.
But note that the plot becomes so dominated by this exploration of the more obvious side of McKay’s personality that Sheppard, Teyla, and Ronon become overshadowed. Ronon gets a moment of characterization here and there, but it’s largely a matter of showing how he must resist his more primal urges and his old way of life. Teyla is once again left to stare intriguingly at Ronon and toss out a few fight scenes, in between looking rather hot in that tight halter. Sheppard gets to be flippant in the face of danger. We’ve seen it all before.
One highlight? Weir’s showdown with the Magistrate. Whatever tensions might exist between the military and civilian authorities, they disappear when common interests are at stake. Weir knows her resources, and she uses them effectively and without hesitation when the cards are on the table. It’s a great scene, hands down, and one of Weir’s shining moments.
The concept is vaguely interesting, but the whole question of how justice can be perverted to serve the needs of the elite doesn’t quite gel (at least for me). This episode felt like a way to remind the audience that the Wraith, once awakened, are out there in greater numbers than the food sources in Pegasus can reasonably sustain. This keeps the tension high, since few worlds will be free of Wraith culling operations.
Will the released prisoners become a recurring issue, much like the Genii in the first season? I personally hope that they are used sparingly, if at all. I simply don’t think of them as compelling villains or convincing allies. Eldon could be useful eventually, but for now, he’s just a plot device. The only real surprise of the episode was that Torrell didn’t kill Eldon outright.
Even if it wasn’t to my tastes, the episode was otherwise solid. Not everyone is going to think that this was predictable, and not everyone is as tired of McKay grabbing the spotlight as I’ve become. On the other hand, I can’t be the only one thinking that the writers need to start spreading the love around. After all, the next episode looks to be another McKay-centric tale, so sooner or later, it’s going to get old for everyone.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 0/4
Final Rating: 6/10
*****
2.6: Trinity
Written by Damien Kindler
Directed by Martin Wood
Considering how much time I’ve spent complaining about the emphasis on McKay since the beginning of the season, some might have been expecting to hear an echo this week (assuming anyone is actually expecting anything from me…LOL!). But I’m going to cut against my own grain here and actually give this one a qualified thumbs up. Surprising, no?
Perhaps it’s because I enjoyed watching McKay step in it so deeply, apparently without learning much of a lesson. His arrogance goes through the roof in this episode, and this time, he’s not perfect, and it’s not a matter of saying he can’t pull off the miracle just before he does. This is McKay at his absolute worst, and while that alone wouldn’t have been meaningful, his interaction with Sheppard made this worthwhile.
McKay goes from confident to obsessive during the course of the episode. McKay has an almost physical need to succeed, and as the complexity and difficulty of the challenge increases, so does his need to solve the problem. He begins to believe in himself to the point where he can resolve issues even the Ancients couldn’t solve, and that’s right on the edge of complete megalomania. Not quite there, of course, or the character would lose credibility. But it helps give scope to his achievements, because they’ve given him overconfidence in abundance.
It might have been McKay Overkill if the episode hadn’t been more about how McKay’s ego was allowed to explode (literally). Sheppard takes a lot of the blame on himself, but there were a number of other layers involves. Caldwell makes the situation rather plain: if Weir doesn’t follow Sheppard’s lead and trust McKay to control the experiment, then the Pentagon will apply the necessary pressure to make it happen. One way or another, Weir was forced into a corner, all based on the promise of something that could solve everyone’s problems.
McKay was the one making those promises, though, and that’s the issue. McKay was operating out of an intense desire to be the one to save everybody from everything. He would find the perfect energy source, transforming human progress overnight, and he would deliver the ultimate weapon against the Wraith (and maybe even the Ori). Compared to such glory, what were a few technical issues?
I actually like how Caldwell and Weir battle it out, and how Zelenka’s true worth is demonstrated through an exploration of McKay’s faults. Maybe that’s what I liked about this episode; instead of McKay stepping in to save the day, his mistakes lead to a deeper understanding of everyone else’s priorities.
We finally get a bit more out of Teyla, and it’s rather intriguing. Ronon is still working as an individual, and this episode hints to a few problems down the road if he doesn’t get a better sense of the morality he’ll be expected to follow. Interestingly, Teyla shows more of her original edge in this episode, when she effectively tells Ronon that she might have done things his way, given the choice. It brings up an interesting question: is Teyla’s somewhat subdued presence a conscious decision on her part?
That said, Ronon’s scenes weren’t particularly strong. He’s definitely a badass, and he does the action poses very well. Some of the character moments in this episode weren’t nearly as strong. Compared to the near-perfect interaction between McKay and Sheppard, some of those scenes between Ronon and Teyla were just plain painful.
Will this experience change McKay? Probably not. But will it change how others deal with him and his choices in the future? I certainly hope so. I especially hope that Zelenka uses this as a chance to come into his own. I also hope that this becomes the beginning of a process of slow but steady character growth for McKay. Granted, the “Stargate” franchise has been built on characters with a certain static quality, but that doesn’t mean it can’t change.
Writing: 2/2
Acting: 1/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.7: Instinct
Written by Treena Hancock and Melissa Byer
Directed by Andy Mitika
After the character development in the previous epsiode, the writers seem to have slipped into less-complicated territory this time around. At first, I thought it was just an example of measured pacing. The story seemed rather simple, so some stylistic progression was certainly in order. Unfortunately, it never really took hold, and the episode just never seemed to want to go anywhere. Most of the plot twists were highly predictable, and while the producers promised an in-depth look at the development of a young Wraith, it didn’t go very deeply into the topic.
Was anyone really surprised when Wraith Girl turned out to be feeding off her “father”, or when she admitted that she was using the other Wraith to cover her own killings? I know I wasn’t, because I saw it coming a mile away. It was also clear that nothing was going to save Wraith Girl, because that would require Beckett’s treatment to work perfectly and eliminate any sign of her Wraith heritage. Otherwise, the town would still tear her to pieces.
What this episode did feel like, in the end, was a thinly-veiled example of exposition. The writers would do this sort of thing all the time in the first season. Beckett’s treatment to eliminate Wraith DNA is central to the plot thread for Lt. Ford, but it also has larger implications. This episode establishes the fact that the treatment is still in development, and that it doesn’t work yet. More importantly, it actually seems to have accelerated the effect of the genetic imperatives of the Wraith DNA.
That, in turn, leads into what I assume was the entire point of the episode: making sure that Sheppard was “injected” with the Beckett Treatment Cocktail that was running around in Wraith Girl’s unstable biology. Without seeing spoilers or even the promo (which my TiVo cut off, damn it!), I can safely predict that this will lead to problems with Sheppard in the near future. From there, of course, I expect that Sheppard will get a better feel for Ford’s psychology and that Beckett’s ability to trace Sheppard’s reaction to the treatment will lead to a more successful version later in the season.
I just wish that there was more to the actual episode, and that it didn’t feel like one big exposition dump. Granted, there were some good points. Teyla was more than just another very pretty face for once, and her rapport with Wraith Girl was nice to see. I also feel like Ronon’s psychology is getting a bit easier to understand: he finds a certain comfort in following orders, as he gains a sense of the chain of command and its pure intentions. His bad-ass moment worked for me (my wife made a comment on how she likes his gun; take that as you will).
Jewel Staite did a great job as Wraith Girl, even if I wish we could have seem that gorgeous smile now and again. (I guess I’ll have to wait a few weeks for “Serenity”!) McKay was mostly in a support role this time, and that served to give the writers a chance to reveal his post-“Trinity” attitude. Sheppard also seemed to be recovering, because his sense of humor wasn’t entirely back in action.
Underneath the episode is a relatively safe discussion on nature vs. nurture and the Wraith. This time, nature wins, hands down. Ironically, as much as this should make the Wraith seem that much more dangerous and daunting an enemy, the revitalized “SG-1” has developed an enemy so much more disturbing that the Wraith look minor in comparison. It’s hard, sometimes, to remember how overwhelming they were during “The Siege”. Hopefully, the writers won’t wait long to remind us why the Wraith were so cool in the first place.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.8: Conversion
Written by Robert C. Cooper and Martin Gero
Directed by Brad Turner
This was one of those episodes were I’m strongly tempted to throw something hard at the TV, in the irrational hope that it will somehow smack the writers upside the head in the process. They had us (meaning, my wife and I) grumbling for half the episode, waiting for them to just get to the incredibly predictable final act already.
I’m going to qualify my comments. I don’t expect that everyone figured out where the story was going, and those who didn’t were probably very pleased with the episode. It provided a good look at characters not-McKay, specifically Sheppard and Beckett, and there was a lot of well-written tension between Weir and Caldwell. Having Caldwell there, stepping in under the assumption that Sheppard may not recover, was a great way to draw out Weir’s devotion to Sheppard.
OK, so first things first…the predictability. By the time Sheppard was begging to go on a mission, and the team was trying to raid the Roach Motel, it was rather clear what the solution was going to be. After all, Sheppard had been healing at an incredible rate, and really, what would the bug(s) be able to do to him that isn’t already happening? So we saw that solution coming a mile away, and it was damned frustrating to wait for the characters to catch up.
For all that, I thought Joe did a great job with his portrayal of Sheppard. Shep’s been one of my favorite characters on the series since the pilot, mainly because of his dry sarcasm and Joe’s line delivery. Plus, both Weir and Teyla seem to have this potential interest in him, and even McKay seems to need him as a foil. He’s also the one with the strongest relationship to Ford, which is key to that character development. All in all, he’s vital to the mission.
Which is why, of course, Caldwell comes across as such a jerk for trying to change things before Sheppard’s even lukewarm. Taken objectively, Caldwell is just doing what he thinks is best for the mission, even if it means butting heads with the civilian leader. I mentioned earlier in the season that this dynamic of civilian vs. military would be damned interesting to watch, and this episode proves that out.
Beckett also gets a lot of screen time this episode, and I liked that. But with all that screen time, I was expecting the writers to use him a bit better. One thing that I was expecting was some kind of discussion on how Sheppard’s condition would relate, in some way, to what Ford has been experiencing. After all, the retrovirus was designed to eliminate the Wraith DNA in Ford, so shouldn’t Sheppard’s experience be vital in terms of understanding the treatment and figuring out how to modify it? Not mentioning that was a sore spot for me.
The writers seem to be setting up a slow but developing love triangle between Sheppard, Ronon, and Teyla. Add Weir into the mix and it’s a Rhombus of Complication. It’s somewhat cliché for Teyla to be given character development through a romantic subplot, so hopefully there will be more to it than that. But this is the kind of dynamic that a larger cast allows (SG-1 never really had that), and it adds another layer to a series that is struggling to regain its strong identity.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.9: Aurora
Written by Carl Binder
Directed by Martin Wood
Compared to its parent series, “Atlantis” has been struggling to find its direction this season. Some plot threads have been introduced that will continue to play out over the course of the season, but the strength of the first season arc has given way to something less well defined. The result has been a hit-or-miss season thus far, and this episode is another example.
Like with the “SG-1” summer finale, I’m speaking only of the first hour; episode 2.10 will be covered in another review. In particular, this episode felt very small-scale. While there were some stakes introduced into the story, and the presence of the Wraith in the virtual world was clever, the end result was the preservation of the status quo.
Those kinds of episodes have never been satisfying for me, though I recognize the general necessity. My real concern with this episode is that the majority of the plot elements could have been present even if this were a first season episode. In fact, it was the inclusion of second season elements that kept this from being a sub-par episode.
I like the fact that Caldwell was in the position to demonstrate his priorities and further define his point of view. Just as the SG-1 team always had strife with groups like the NID, seeking to use the gate system for a questionable agenda, it’s better to have someone like Caldwell who can push for a more military approach without being a villain or necessarily negative in his impact.
For all that, Ronon’s presence was something of a waste. He didn’t contribute much to the episode, other than as someone for Teyla to flirt with on occasion. I’m sure he was included on the team just in case there was trouble on the Aurora, but since the trouble was largely left to McKay to resolve, he didn’t have much to contribute.
Teyla wasn’t all that useful either. This is becoming more and more of a concern. It makes sense for Sheppard and McKay to be prominent, given their popularity, but there are other characters to focus on and the first season was a lot better at spreading the joy. I also find it a little predictable for Teyla to be so interested in Ronon, especially since he’s not exactly the most sensitive person on the planet.
The tension over keeping the secret of Atlantis from the Wraith was nice touch, though the writers had to make the actual Ancients within the virtual world rather bland so that Hot!WraithGirl stuck out like a sore thumb. I didn’t figure that she was a Wraith, but it did seem odd that she was the only one with a real attitude about Sheppard.
Other than that, I’m just annoyed that there was nothing for the team to gain from the situation. Sure, they took out two more cruisers, but the Wraith have a ton of ships out there. It’s not hard to believe that the Wraith are trying to overcome the hyperdrive problem, since they are rapidly starving, if earlier episodes are to be believed. But couldn’t Sheppard have gotten a hint about the nature of the Wraiths’ weakness?
Whatever the case, this episode just didn’t do it for me. McKay found some ways to manipulate the virtual world that felt more like plot convenience than something he actually could have accomplished. That sort of thing is normal for this series, but it seemed excessive this time around. Hopefully the second hour of the “summer finale” was a bit more substantial.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.10: Lost Boys
Written by Martin Gero
Directed by Brad Turner
Let me just say that I hate the way that SFC promotes the mid-season break. Half the time, they call it a “season finale”, and other times, the more correct “summer finale”. Whatever the case, it’s just plain confusing to the casual viewer, and with so many SFC shows hitting the mid-season break, there are tons of people posting all over the ‘net about how it sucks that this is a short season. Thanks, SFC…for every positive, you manage to pull out a dozen negatives.
I say this because if I was only half-aware of how SFC does their scheduling, I’d be damned unhappy too. Not because the season would be half as long as it should be (which would be bad enough), but because this is not the best episode to end a season with. It’s definitely mid-season arc progression in scope, not the punctuation on the season itself.
I’ve been waiting for Lt. Ford to factor into the episodes again, and I suppose this is a case of being careful what I wish for. Actually, that may be overstating the case. This is not a horrible episode, and I think this is some of the best work Franks has done in the role. Giving the character this twist has been a real plus. I just didn’t feel the level of excitement that I had been anticipating.
I find the concept itself intriguing. Ford gathers a group of fellow enzyme-addicts into a berserker strike force and decides that the best way to prove his sanity and worth to Weir and Sheppard is to press gang Teyla, Ronon, and McKay into the club. All things being equal, if Ford were sane and rational, letting his old friends see his team in action wouldn’t be a bad call. Forcing Teyla and Ronon into the addiction steps over a rather obvious line.
The problem I have with this (beyond seeing so many characters becoming addicts against their will) is the principle of consequences. It goes something like this: if you’re going to have characters undergo terrible personal circumstances, there should be equally serious consequences. The way I see it, everything suggests that the enzyme is highly addictive, to the point that Ford and his gang see nothing wrong with “feeding” off the Wraith in ways not unlike the Wraith feed off humans.
Teyla and Ronon are quickly falling into the same addiction. As much as that’s becoming more and more obvious, I can’t help but think that there’s little to no chance of it being a long-term problem. Similarly, there’s the whole situation on the Wraith hiveship. All things being equal, none of them should survive, least of all Sheppard. But the fact is that we all know the regulars will survive, so the tension of the moment is somewhat mitigated.
The tone and pacing didn’t quite do it for me, either, but it’s mostly the fact that there are many issues that are likely to come up that, for many reasons, probably won’t. This season on “SG-1”, consequences are being delivered on a regular basis. I’m still waiting for McKay’s bad judgment in “Trinity” to have a long-term effect. I know that there’s still a second half and things could change dramatically in that hour, but right now, I have my doubts.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.11: The Hive
Written by Carl Binder
Directed by Martin Wood
Of the three “Sci-Fi Friday” series currently on the air, I was least satisfied with the first half of the season for “Stargate: Atlantis”. I felt that the writers weren’t capitalizing on the strength of the concepts and characters nearly enough, and in general, the series was in a slump. This conclusion to the mid-season cliffhanger has a number of the same problems that plagued the first half of the season, as well as the same relative potential strengths.
One thing I was happy to see (and hear) again was a full opening credit sequence and theme. I love the opening theme for this series and missed it terribly during the first half of the season. It gives the series an epic tone that I think it wants to achieve. Of course, it helps when the story hangs together better than this episode did.
It struck me, throughout the episode, that while some moments were rather clever (if a little predictable), like the enabled escape attempt and the concept of Wraith-worshipping humans, the final act of the episode relied on a number of vague assumptions and several plot conveniences. Sheppard manages to create an effective civil war between two hiveships far too easily, especially since the Daedalus was a juicy target already under fire.
The writers never explained how McKay recovered so quickly, after putting him in immediate jeopardy, and likewise, they never explained how Sheppard managed to get his hands on a Dart in the middle of a crowded hanger bay during an alert condition. Sure, they mentioned that the Wraith are becoming territorial to the point of insanity, but that doesn’t cut it when the conflict erupts in such an abrupt fashion.
Equally egregious was the overwrought manner of Sheppard’s survival. There was no chance that the three main cast members would die in the firefight, so the entire mess felt needlessly manipulative. The fact that it didn’t work made it even worse. The writers found such an unlikely way for the characters to survive long enough to escape in the Dart that it would have been ridiculous for them to die within reach of freedom.
The writers needed to preserve the safety of Atlantis while wrapping up the mid-season finale with some semblance of logic. As entertaining as it was, once the plot conveniences started filing in at a rapid pace, the quality of the episode suffered proportionally. That said, there were some good points. It was interesting to see the effect of withdrawal from the enzyme, Ford’s apparent heroics, the Cute Exposition Wraith-Worshipper, and there were some great comedic moments (that bit about clowns was inspired). And Ronon continues to be a fun character to watch.
I’m just looking for this series to bring back some of the storytelling richness and depth that was present in the first season. It’s possible that I’m missing some of the context without the second half of the season, but it still feels like the series is finding its own voice. There’s still a lot of time to turn things around, especially with a third season already in the works, but for now, I’m still worried about where the series is heading.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.12: Epiphany
Written by Brad Wright and Joe Flanigan
Directed by Neil Fearnley
Coming on the heels of an “SG-1” episode that just missed the mark because of a too-familiar premise with little or no original variation, I was worried that the same would be true. After all, this “time dilation” thing has been done again and again. So how would the writers make it unique? The answer is simple: ground it in the mythology of the series itself, center on a character with enormous depth, and use the situation to let the rest of the cast shine.
Granted, this episode wasn’t perfect. It was a little predictable in places, and while I understand and appreciate what the writers were going for, the resolution would have worked better in a prose short story than a more visual medium. (I felt something similar to the concern I felt when the “Babylon 5” episode “Into the Fire” hit its climax: satisfaction with the concept, but worry over how the execution would be perceived.)
But the fact is that Sheppard is a huge reason why I love this series, and this episode reminded me of why. It’s the fact that he’s not just a wise-cracking smartass; he has a human side that comes out at just the right moment. The fact that Joe Flanigan helped to write the script probably had something to do with it. An actor brings a lot to a character, because the actor must know how the character is thinking from scene to scene.
It also affords the actor a chance to invest more of himself into the character and make the performance more real. That was the difference between the “SG-1” episode (9.12) and this one: the character development and exploration was a lot more organic. It built upon what was already known about the character and took it in a believable direction. Just as importantly, the rest of the cast acted exactly in keeping with their established relationship to Sheppard.
I was most impressed with the subtle continuity with McKay’s character. While I have been critical of McKay’s character arc thus far (or rather, the fact that it’s inconsistent), I liked the fact that he was so passionate about saving Sheppard. Would he have done that for someone else? Maybe, but I look back at “Trinity” and can’t help but see the connection. There was also Weir’s insistence on going through the portal for John, which is in keeping with the dynamic between them.
I also couldn’t help but notice that Teyla demonstrated something like intelligence and thought in this episode, which has unfortunately been a rare commodity this season. She’s still a bit too close to Ronon for my tastes, since it’s too easy and disturbing a relationship to contemplate, but both of them took action as their established characterizations would dictate, and I appreciated that immensely.
I also thought that the idea of the enclave itself, even if the Beast was a concept that didn’t quite pay off as well as the writers intended. I found myself buying into the character of Teira and her ability, and what it meant for her and Sheppard. If this had been a book or short story, I could have seen her character being a lot more prominent. It was just another example of how well this episode worked, and why this was one of the better episodes of the second season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.13: Critical Mass
Written by Carl Binder and Brad Wright
Directed by Andy Mikita
This is a very odd episode for a number of reasons, and I’m not really sure what to make of it. I find it hard to believe that Caldwell’s character was always meant to have this kind of encounter or that the whole Trust debacle was meant to have an impact on “Atlantis”. Perhaps it was just the manner in which the crossover took place. There were a lot of things to like about the episode, especially in the final act, but there were also elements that left me wondering how quickly the script was cobbled together.
Let’s cover the bad things first. I’ve never liked the idea of the Trust, since it’s never been well-defined and it seems like a needless way to insert conspiracy into the series after the NID plot threads have been played out to death. Of course, now the Trust is a gateway for the Goa’uld plot to take control of Earth, presumably led by Baal and his many, many clones. That’s all an issue for inferior “SG-1” episodes, however, so I wasn’t particularly thrilled at the idea that the mess had spilled over into this series.
It has, however, and the implication is worse for the overall “Stargate Universe” than perhaps even the writers might suspect. If the Trust can infiltrate the SGC so completely that the commander of the Daedalus is infested with a symbiote without anyone noticing, that’s a serious breach of security. Essentially, the entire operation could be crippled with no possibility of a counter-offensive.
On the other hand, there’s a certain logic to what the Goa’uld were trying to accomplish. If the Wraith do take control of Atlantis, they have the power and the will to invade Earth and begin an incursion of the home turf. This is as big an issue for the human population as it is with the beleaguered Goa’uld. Though even they didn’t consider the more subtle and logical approach: use the Humans as the first line of defense, but then set things up so if Atlantis is breached, the gate will switch to an address in the part of space currently held by the Priors! Deal with both problems at once!
Now, the good. As much as Teyla’s “B” plot was pleasant, for lack of a better term, the music in the final act was quite effective. I could tell that she was actually singing (though it was, of course, dubbed in), and that helped a bit. I’m still not pleased by the fact that other chanting voices joined her, since none of the extras in the scene were singing, but that wasn’t the point. It was a well-orchestrated sequence.
Also, I loved the return of Lt. Cadman to the series. I mentioned back in my review for “Duet” that it was a shame how little she was on screen. It actually looks like she’ll be a recurring character, a possible bone of contention between McKay and Beckett, and I couldn’t be happier. Yay for hot redheads! And between her and Cavanaugh, that gave the whole “traitor” plot thread something to work with.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.14: Grace Under Pressure
Written by Martin Gero
Directed by Martin Wood
This is a fairly simple episode, and because it focuses primarily on McKay, enjoyment is directly related to one’s tolerance for the character. Some fans, including myself, have complained about the screen time devoted to McKay and his personality flaws. It felt as though the first half of the season was dominated by the subject. This episode could be perceived as salt on the wound, though in a more objective sense, it simply doesn’t cover new territory.
When it comes to the characters on this show, McKay is the one that routinely bugs the hell out of me but, moments later, reminds me why I like him. It’s very much a moment-to-moment love/hate thing. I’ve found that McKay is most tolerable when he has someone with as strong a personality in the same scene. That’s why Sheppard is such a great match, and why his battles with Weir and Zelenka work on a structural level.
Put him in a bottle and force us to listen to him whine for an act or so? Not so tolerable. Frankly, the episode was a wash for me until the moment that McKay’s vision of Samantha Carter emerged on the scene. Once he had someone to work against, in terms of the scene dynamic, it was a lot less annoying. It didn’t hurt that the writers were able to introduce some ambiguity.
Unfortunately, this also shoved the episode directly into retread territory. Even the producers cite the “SG-1” episode “Grace” as a primary influence on this episode! Granted, after so many episodes within the franchise, the two series will begin repeating concepts, falling into the same problems that the Trek franchise struggled with towards the end. But the “Stargate” franchise, at least, has a better grasp on character development, even without a truly serialized format.
In essence, the idea is that the same situation is viable if the characters involved react in a different manner than the characters in the original iteration. But that’s not what happens in this case; at least, not to the degree necessary to make the episode something more than derivative. There’s some slight hint that the ocean creature was trying to help McKay survive, and thus brought about the hallucinations in some way, but it’s hardly a given.
My other issue with the episode is that it comes on the heels of another crossover with “SG-1”. I don’t necessarily mind that the two series have connective threads, but I do mind when the “SG-1” cast is used as a way to lend credibility to an episode. As logical as this crossover is, it feels like a stunt. I would rather see this series stand on its own, because it can do so with relative ease. Hopefully the next episode will focus more on the cast as a whole and attempt to cover new ground.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.15: The Tower
Written by Paul Mullie and Joseph Mallozzi
Directed by Andy Mikita
I was going to discuss how utterly predictable this episode was, how it was symptomatic of all my issues with this series this season, and what the writers need to do to get this series back on track. But as I sat down in my post-Super-Bowl-Dinner digestive haze, I realized that I had something else on my mind. Something that the writing staff needs to get through their complacent heads.
Most network series that get a full-season pickup have 22-24 episodes for that season. It is a completely reasonable expectation that the producers, writers, cast, crew, and everyone else involved with the production step up to the plate each and every episode. That’s what they’re paid for. The very idea that there might be room in the schedule for “filler” episodes is a complete crock.
Look, this isn’t comics. It used to be that every comics company, for each major title, had a number of “inventory” stories that were ready to go, just in case the usual suspects couldn’t deliver on time. These were the “filler” stories, the one-issue tales that did nothing to advance the character or change the status quo. They were pleasant enough, but annoying, especially if they were dropped into the schedule without advance notice.
But episodic television is different. They get hundreds of thousands of dollars per episode to bring it each and every week. They are expected to deliver a consistent quality product, because the same people should be running the shows each and every episode. Maybe they bring in a spec script once in and while, but the vast majority of the work is produced in-house by the writing staff. There should be no room for “filler” episodes. Yes, there should be character development and transitional arc episodes, but there’s no excuse for dumping something substandard into the schedule, as if “there’s room for a few mid-season filler episodes”.
Sorry. I don’t buy it. Especially when the writing staff for SFC shows get 20 episodes a season. That gives them less opportunity to phone in the scripts, and less excuse for slacking off. Look at “BSG”, which has exactly the same number of episodes. There’s not one episode that could be termed “filler”. An episode or two may not hit the mark, but it’s not for lack of trying. Each episode advances the plot and character arcs in some way, and details are very important.
What did this episode contribute to the advancement of the plot and character arcs for “Atlantis”? So they have a few more puddle-jumpers, lots of drones for the next Wraith attack, and so on. In the first season, incremental changes like that were usually tied to a solid stand-alone episode, not some waste of money and time. For that matter, take the episode of “SG-1” that aired on the same night (9.15): a stand-alone tale that leveled serious long-term consequences on the season arc. What did this episode do for what has been passing as the arc for this season of “Atlantis”?
A lot of people say that “filler” episodes are par for the course. Not every episode can be a winner, and if you give a writing staff the chance to experiment, not every experiment will succeed. Fair enough. But there’s a difference between high-concept experimentation and complacency. The writers for “Atlantis” are acting like they don’t even have to bother trying, and frankly, it’s starting to piss me off. I shouldn’t tune into “Atlantis” and find myself staring at an episode that would have been substandard for “Andromeda”.
Writing: 1/2
Acting: 1/2
Direction: 1/2
Style: 0/4
Final Rating: 3/10
*****
2.16: The Long Goodbye
Written by Damien Kindler
Directed by Andy Mikita
In my review for the previous episode, I was less than pleased by the fact that the events were clearly contrived to result in the acquisition of some puddle-jumpers and drones, leaving the actual episode with a spare and predictable plot with little character exploration. Some people took me to task for calling the writers “complacent”; an equal number of comments agreed with the fact that the writers dropped the ball.
Still others, who have seen the episodes earlier than the mainstream US audience, predicted that I would hate this episode even more. After all, this episode seems to have even less to do with the threadbare season arc, doesn’t really delve into the characters in any meaningful way, and follows a relatively predictable plot thread. In essence, many felt that I would have a strong negative reaction to any episode that didn’t fit into what I felt was the “season arc”, and that’s all there was to it.
Well, it’s not that simple. I actually liked many things about this episode. There’s a very big difference between “filler”, which I see no excuse for, and “stand-alone”, which is a perfectly acceptable form of storytelling. Even arc-driven shows have stand-alone episodes (even if the best shows will ensure that the stand-alone episodes fit within the thematic side of a season arc). The “X-Files” had several excellent episodes that had nothing to do with the series’ mythology, after all, and that was a series fraught with consistency issues.
The difference between the previous episode and this episode should be plain, though some won’t recognize it. It has to do with the depth of effort. The previous episode didn’t pave any new ground, didn’t pose an interesting scenario, and then compounded the problem by dumping in a possible long-term plot element into the mix as if it justified the lack of depth in the rest of the episode. This time around, while the scenario itself was somewhat thin, it gave two cast members the chance to play with new material, and no attempt was made to force in a connection to the season arc. It was a pure “stand-alone”, and it worked on that level.
That’s not to say that it didn’t have problems. Even with Caldwell’s objections (which made a lot of sense, given his recent history), the team on Atlantis agreed to the idea of letting Sheppard join Weir in the “possession” situation a bit too easily. I also felt that McKay’s attitude was a little forced, even if it makes sense for him to rail against Caldwell’s assumption of command. The fact is, none of them were in a position to deal with an alien with all of Weir’s knowledge, and Caldwell didn’t screw up any worse than any of the team would have in the same situation. And there was no doubt that Weir and Sheppard would survive; it was just a question of how.
I did like, however, the apparent return of the subtext between Sheppard, Weir, and Teyla. I’ve always said that Sheppard and Teyla were circling each other, whatever else they might have to say about it, and Weir certainly has had her thoughts about Sheppard since the beginning of the series. It might have been better to muddy the picture a bit, so the audience couldn’t be sure who was acting at any given time, but it still touches on character dynamics that have been sorely lacking of late. It’s unlikely that this will ever come up again, except in passing, but this was a capable stand-alone.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.17: Coup D'Etat
Written by Martin Gero
Directed by Martin Wood
I’ve been hard on the series this season, largely because I’ve felt that the first season practice of weaving a larger story into the stand-alone episodes was far more successful than the haphazard direction taken in the second season. In a lot of ways, this series has suffered the “Enterprise” syndrome. That series began with a relatively average but promising first season, followed by a second season plagued by retreads and a lack of forward progress.
One of the more interesting aspects of the first season was the Genii, a group that added a fresh perspective to the threat of the Wraith and what Pegasus Galaxy inhabitants might do to survive. In many respects, the second season replaced the Genii with Ford’s group, which then failed to gel as a meaningful subplot past “The Hive”. In fact, while some episodes have hinted at elements that will play into the finale, most of the episodes have done little to advance existing plot threads.
This episode doesn’t necessarily address my concerns for the series, but it does revisit one of the better aspects of the first season, so it was more appealing in comparison. I would have preferred a more direct extension of the plot threads from the first season, especially if it would have meant another appearance for Sora, but this was at least a bit less predictable than other recent episodes.
I like the fact that the Atlantis team found itself outplayed by the Genii, and in the end, they did little more than save themselves from an unfortunate end during the coup. I usually dislike episodes that leave the primary cast members as side notes to the real action, but this episode delivered an interesting message. In the end, the Atlantis team is still reactionary, and it is highly vulnerable as a result.
Also interesting was the notion that pictures of specific Atlantis personnel were left on several worlds, all for the purpose of locating and abducting those with the Ancient gene. It occurred to me that this would give the Wraith an interesting clue as to the survival of Atlantis, were they to find those pictures. Granted, the Wraith are now apparently breaking up into factions, but some of them would still be focused on the possibility of new hunting grounds and the promise Atlantis offers.
Hopefully, this episode will not represent the end of the line for the Genii. I’m a little worried about the death of Cowen, but that could have been a concession to Colm’s availability. Radim seems open to a more equitable alliance, but that could always lead to something more complex in the future. One can only hope so, because it was complexity that made this episode work.
I also liked the fact that the subplot with Ronon and Teyla eventually intersected with the Genii plot. The two of them work together, but this episode continues to reveal the main differences between them. While Ronon continues to be little more than the warrior stereotype in action, Teyla shows actual intelligence. And it helps that she looked incredible in that silken top! OK, maybe Teyla wasn’t taken in exciting new directions in this episode, but lately, I’m just happy to see her back in action.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.18: Michael
Written by Carl Binder
Directed by Martin Wood
Plot elements from the first half of the season finally come back into play in this episode, and it’s a welcome change of pace. The writers were struggling since the less-than-stellar Lt. Ford subplot last reared its ugly head, and part of that was a lack of focus. If this episode is any indication, the intention is to shake things up a little just in time for the season finale.
If I were going to emphasize the negative a bit more, I would note that the writers chose a convenient time to remember, all of a sudden, that they had been messing with the “cure” to the Wraith for quite some time. After all, it hadn’t been mentioned for several episodes. More to the point, after flirting with several possible leaks regarding the survival of Atlantis, now one appears just in time to force a battle (presumably) in the finale. It’s a bit predictable (and now “The Tower” seems even more contrived as a means to an end).
That said, I enjoy the idea of self-inflicted wounds, because Weir took a morally questionable choice, and now it’s blown up in her face. It takes the story back into the kind of desperate territory that the series was supposed to address, and something that the links to Earth this season may have stripped away. Weir didn’t play it safe this time around, and if anything, the entire team let their defenses down, with the exception of Ronon.
What I like about this is the dangerous quality of the choice. Weir and the team conducted a biological experiment against the will of the subject. It’s morally ambiguous at best and a war crime at worst, especially since the ultimate goal would be to generate a biological weapon to eliminate the enemy. As it is, one cannot predict how Michael’s reintroduction will affect the Wraith. Michael has a lot of reason to hate the humans, but he also seemed unable to treat them as prey anymore.
In a lot of ways, Ronon was the weak link of the plan, and Weir should have done something to keep him away from Michael. If it wasn’t for his hostility, would Michael have tried to uncover the truth so quickly? For that matter, this is where the self-inflicted wounds come into play: it was far too easy for Michael to find the record of his conversion. It’s as if the experiment came along before anyone was properly prepared to conduct it.
A larger question emerges: is the goal of wiping out the Wraith and making them into something more human really a good idea? Especially if the long-term effect would be unpredictable at best? What if the process ended with Wraith characteristics returning, but with the human appearance intact? Then the problem becomes much worse. Of course, it’s already worse, because the Wraith now have evidence that Atlantis is intact and the humans living there are close to finding a way to wipe out the Wraith, possibly for good. The Wraith have every reason to attack Atlantis regardless of internecine warfare, and while that’s a predictable direction going into the finale, I really like how they finally decided to get there.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.19: Inferno
Written by Carl Binder
Directed by Peter DeLuise
This is another one of those episodes that gets under my skin for all the wrong reasons. There was a distinct point to the episode: deliver unto the team at Atlantis an Ancient warship as a Wraith ship appears on the long-range sensors. All else is window dressing, and it leaves this episode in much the same position as “The Tower”. It exists to provide the characters with a source of arms and defense when needed; the rest is easily disposable.
At least this episode sets the new technology at the heart of the plot. The primary sin of “The Tower” was placing the drones and puddle-jumpers tangential to the main plot. The first season used to do episodes like this all the time, and they usually got it right: figure out what plot element you want to introduce, figure out a way for the characters to discover it, and work the plot around that mode of discovery.
The trick, though, is making sure that the plot itself is substantial enough to justify its own existence. “The Tower” failed in that respect, and to a lesser extent, the same issue comes up in this episode. It’s all too easy to dismiss everything but the introduction of the Ancient warship. Sure, the supervolcano is interesting enough, and it’s always fun to watch the cast deal with a crisis in consistent fashion, but it all comes across as rather disposable.
If there’s a nice twist in this episode, it’s the fact that McKay has the chance at the babe this time around, not Sheppard. I’m mildly amused by the fact that Sheppard is annoyed by this turn of events. At the same time, I find it hard to take it seriously when the babe in question was the prominent eye candy on the abysmal final season of “Andromeda”. It’s like making Tara Reid an archeologist. It breaks the willing suspension of disbelief in a matter of nanoseconds.
I also liked the fact that McKay’s character exploration this season was touched upon again, even if it wasn’t any sort of attempt at character development or advancement (something I continue to look for despite evidence that it rarely happens in this franchise). He knew damn well that the rest of the team was expecting him to work out a solution to the problem under pressure, and that’s exactly what happened. I like the self-awareness.
Perhaps the best way to sum up my thoughts on the episode is this: I had to keep myself from looking for something else to do. It just wasn’t holding my interest. Like too many episodes of “Atlantis” this season, I was forcing myself to pay attention and give it due time and consideration. And that’s not how I felt during the first season, or how I feel with “SG-1” or “BSG” this season.
My worry for the third season is that the producers won’t realize something is missing, and the same lack of originality will send this high-potential concept to an early grave. Looking back, I had similar feelings during the second season of “Enterprise”. Both series started out with troubled yet promising first seasons, followed by second seasons that seemed to promise more and deliver less. “Enterprise” shook things up for its third season, flawed as the attempt was…will “Atlantis” be able to bounce back more effectively?
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.20: Allies
Written by Martin Gero
Directed by Andy Mikita
If there’s one thing that bugs me, more than anything, it’s when intelligent characters are written to make incredibly stupid decisions for the purposes of generating drama and suspense. This is why I can’t stand most horror films. Even moderately stupid people can figure out when they’re being fooled, especially when a known enemy comes knocking, looking to make nice. That’s the way I feel about this finale, even if I like a number of elements within the overall story.
Keep in mind that Team Atlantis just recently dealt with its own gullibility in “Coup D’Etat”. At that point, they thought they could eliminate a larger threat through an alliance with a former enemy, and of course, it turned out that they were operating with limited information from a questionable source. It would have been nice if that had taught Team Atlantis a lesson, but that was asking a bit too much.
I’ve always held the opinion that the underlying message of the “Stargate” franchise is that humanity may be better off staying the hell home. A lot of situations within the franchise are created when humans (namely, the SGC) won’t leave well enough alone, and enemies are awakened in the process. That’s fun on a certain level, but sooner or later, one would hope that a more cautious approach might come along.
In this case, I’m annoyed that Ronon and Teyla are the only ones who seem to recognize the massive downside to this little alliance. Weir and the others seem to get past their own fears and worries a bit too quickly, and frankly, it’s all too easy to figure out what the Wraith want out of the deal. But even if those goals were less than obvious, why didn’t anyone work out the fact that Michael had every reason to screw them over, and look for the ulterior motive?
As I said, I found a lot to like about the episode. I like Michael, I really like the Wraith supermodel (especially how she flips her hair, as if everyone should know how hot she is!), and it’s a lot of fun to watch McKay interact with Wraith, especially when they look like they want to eat him for being so damned arrogant. All of the characters get a moment to shine, especially Beckett and Zelenka, who make quite a comic pair. The production is very strong; it’s just that the story itself relies on a massive suspension of disbelief.
Part of me thinks it would be damned funny if the Wraith arrived in the Milky Way in near-Earth space just in time to run into those four Ori attack cruisers that arrived in the “SG-1” finale! What if the Wraith technology can rip through those apparently impenetrable Ori shields? What if the fate of the Milky Way requires Weir and her team to take a more proactive stance? Yeah, I know it’s unlikely, but one can dream!
One other problem I have with the finale is that it doesn’t leave me with the thrill that I had with the end of “The Siege: Part II”. I was genuinely interested in how the siege would be resolved, since it had a long build to that point of desperation. This season stumbled into the finale, from my point of view, and I really don’t find myself wondering how the situation will be resolved. I know the Wraith acted to take Atlantis out of the equation, and that there’s personal jeopardy involved for many characters, but it left me somewhat cold. Compared to the massive implications of the “SG-1” and “BSG” season finales, this seems a bit underwhelming.
Of course, that what I thought of the entire second season, so I suppose I shouldn’t be surprised. I can only hope that the Wraith Civil War leads to a more complex plot arc for the third season, and that the Atlantis team can act a bit more proactively. For two seasons now, the humans on Atlantis have been hunkered down, and since they precipitated the Wraith awakening, it’s time they do something about it. The hints about the retrovirus are promising, since it could bring back the ethical issues raised in “Michael”, but it’s only a start. It might be better if another threat or competing power were to arise, thus giving Team Atlantis opportunity. For now, I look towards the third season with hope and not a little trepidation.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
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