INVASION: SEASON 1
1.1: Pilot - 1.2: Lights Out - 1.3: Watershed - 1.4: Alpha Male - 1.5: Unnatural Selection - 1.6: The Hunt - 1.7: Fish Story - 1.8: The Cradle - 1.9: The Dredge - 1.10: Origin of Species - 1.11: Us or Them - 1.12: Power - 1.13: Redemption - 1.14: All God's Creatures - 1.15: The Nest - 1.16: The Fittest - 1.17: The Key - 1.18: Re-Evolution - 1.19: The Son Also Rises - 1.20: Run and Gun - 1.21: Round Up - 1.22: The Last Wave Goodbye
1.1: Pilot
Written by Shaun Cassidy
Directed by Thomas Schlamme
Pilots are a tricky business. “Lost” delivered one of the finest pilots in recent memory last season. This season, “Supernatural” made more widely acclaimed series like “Threshold” and “Surface” look like amateur hour. And then there’s a series like “Reunion”, which had a pilot that simply relied on a gimmick to overcome horrible writing and acting.
“Invasion” leans more towards the “Lost” end of the spectrum. There are still a few hiccups here and there, but given that this is a drama about a complicated family dealing with extraordinary circumstances, the pilot only had to establish the key relationships and the beginning of the central mystery. In that sense, while I don’t think the characters are as vivid as those in “Lost” or “Threshold”, the pilot served its purpose well.
I didn’t catch all the names of the characters (my brain was all but filled after the “Lost” premiere, after all), but I certainly picked up on the relationships and the various conflicts. The series is based on the sense of isolation and threat to family that any human being can empathize with, so the details can take their time to unfold.
Shaun Cassidy seems to have taken a number of thematic undertones from his cult classic “American Gothic” and updated them for this series. There’s the sinister sheriff, apparently already possessed/subsumed by the unknown creatures in the Everglades, who seems to be a relative of Sheriff Buck. There’s the young child who knows more about what’s happening than anyone else (I have to admit, though, that the girl bugs me). And then there’s the almost incestuous nature of the extended family, where everyone is way too familiar with everyone else.
What I like are the “everyday” natures of the characters. None of them are too damn pretty to be real, and when they do stray towards the photogenic, there’s a reasonable explanation for it. The best looking woman is the reporter, and in that field, it makes sense. Certainly the cast isn’t ugly, but the realistic casting makes the whole situation much easier to believe.
As far as the mystery goes, there were things I liked and things I didn’t. I personally think that the “evil alien invasion” thing has been done to death, and it might be interesting to do something more complex. For instance, “Threshold” seems to be presenting their aliens as pure invaders. This series has more potential to develop these apparent aliens as something other than an invasive force.
In terms of Merrill’s slow response to these changes, the process is certainly one that modifies the individual affected. But does it need to be a bad thing? Or at least, couldn’t the cost/benefit dynamic be explored and taken into intriguing and even disturbing directions? Apparently not, if the aliens are attacking people and driving spikes into them. Of course, there’s still time for that to be self-defense or protection of whatever it is that they need to take people over for.
Time will tell, and it seems as if the story will center more on the mystery’s effects on the family than the mystery itself, in keeping with the direction that “Lost” has taken. That character dynamic should be fun, but I hope that the mystery is more than what it seems now. It is does become a lot more complex, then this could be the perfect companion to “Lost”.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.2: Lights Out
Written by Shaun Cassidy
Directed by Lawrence Trilling
One thing that a lot of critics mentioned about “Invasion”, in the months prior to the premiere, was the pacing. They all noticed that the pacing made “Lost” seem hasty in comparison. This second episode certainly seems to bear that out, as a number of plot threads continue forward from the pilot as the story transitions into series.
Shaun Cassidy always noted that this wasn’t so much about the alien invasion concept as it was about the family dynamic. The alien invasion is an extreme outside pressure on the family, placing them in situations where their true strengths and weaknesses are revealed. It’s the same formula that has worked so well for “Lost”, but the unique spin here is that most of the characters know a lot more about each other going into the situation. It’s not strangers learning about each other and all the intrigue that comes with it; it’s about learning the truth about someone you think you already know.
However, I do have some concerns. For one thing, I saw the pilot twice and felt that I understood the characters and circumstances fairly well. Some things in this episode blurred the picture a bit, and I hope that it’s more a question of layering the mystery than adjusting characterizations. Mariel, for instance, seemed to be gaining an understanding of how she’s been changed at the end of the pilot. In this episode, she’s in the dark, and actually providing evidence regarding the alien incursion.
If this is about the mystery, then it suggests that if a person is “possessed” by the aliens, then the process of conversion is largely unknown to the host. Sometimes the alien influence is apparent, and sometimes it’s dormant. But then in the case of the priest and the sheriff (or so it seems), the alien influence seems completely dominant. This will need to be explained in the near future.
It also seems as though Paxton’s fate reveals one aspect of the alien’s nature. They seem to be feeding off of humans in some cases, while “possessing” those in positions of authority that can help them continue their spread unabated. The fact that Paxton was on a classified mission in the area suggests that the military is aware of something unusual in the area. How this connects to Sheriff Underlay and his previous time in the military is unclear and ought to be interesting to explore.
Regardless, the tone of the series has been well established. Whenever anyone is near the water or on their own, it gets a little disturbing. I’m also intrigued by how the conspiracy angle will play out. Larkin is likely to keep pushing (while still taking the time to look incredibly hot in very little clothing), but someone knows that Dave and Russell have seen something they shouldn’t. And against my usual nature, I was really creeped out by the fact that Underlay knows that Rose saw something.
For all that, I’m still not sure about where things are going and how well they will play out. To be honest, I wasn’t all that interested in the family politics, beyond the fact that some people aren’t who they seem to be. That’s not how I feel about the characters on “Lost”, so if this series is going to continue to keep my interest, the characters are going to have to get a little more compelling. Admittedly, that’s all my subjective reaction thus far, so it might be that this will change as the story moves forward.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.3: Watershed
Written by Shaun Cassidy and Becky Hartman Edwards
Directed by Michael Dinner
Like the first two episodes, I feel like this is dragging forward at the slowest pace possible. I still think this series helps to demonstrate the depth and methodical progress on “Lost”, because I’m not feeling it as much here. I love Shaun Cassidy’s work, especially “American Gothic”, but this isn’t grabbing me as much as I had hoped it would.
The mystery itself is still plodding along. Apparently the military is operating some cover-up of the whole alien incursion, and Underlay knows all about it. The implication is that Underlay would rather that Larkin had been forced to believe his explanations, which would make it seem like Underlay knows all about the military work and actually has been using the quarantine to keep it secret. So the military activity is apparently not a threat to the alien invasion, unless of course, it’s not the invasion that it seems to be.
It also seems as if the aliens are similar to terrestrial marine life (which makes sense, or they couldn’t survive in the same environment), and when they take over a host, that host’s blood chemistry changes dramatically. I’m waiting for Mariel to grow gills. Speaking of Mariel, sometimes she’s incredibly severe in her looks, but other times, she’s incredibly hot. Russell has very good taste in his women!
Stepping back to that whole situation with Larkin, I really have to wonder why Underlay would allow her to poke around so much. She’s certainly a threat to whatever goals he might have in mind, and unless he plans to get her “infected” sometime, it doesn’t make much sense. Never mind the fact that her job should be yanked any minute now, since her boss is one of the “possessed”.
Then again, the “possessed” don’t seem to be aware of what’s going on much of the time. Mariel still doesn’t seem to be as aware of her own nature as she was at the end of the pilot, though she seems to know better than to say too much about the weirdness. She also doesn’t seem to know how to act around Russell. That whole relationship is beyond complicated, and since the two of them can’t figure out if they still love each other or can’t stand each other, it’s hard to figure out what pushed them apart in the first place.
Two things really bothered me. First, the nature of those wounds, apparently caused by the wrong kind of encounter with the aliens, keeps changing. The wounds on Dave’s legs didn’t look like the wounds on Paxton in the previous episode at all, but now, that’s what we’re supposed to believe. Second, Dave is pretty dense if, as a conspiracy theorist, he can’t figure out what “two become one” might mean, beyond the obvious.
I liked Kira (who is going to be of the hotness when she gets older) and her odd relationship with everyone in this extended dysfunctional family. I also thought it was interesting that the skeleton might have been Underlay’s first wife. Either that, or the ring was the one that Mariel lost (Underlay made that comment about how Mariel keeps losing wedding rings). That’s something I’d be interesting in knowing more about. Hopefully, the pacing will pick up enough that I’ll still be excited enough to wait.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.4: Alpha Male
Written by Juan Carlos Coto
Directed by Sergio Mimica-Guzzan
It’s another week of incremental plot progression and inconsistent characterization, which makes me wonder if this series is going to make it past the end of the year. The story is interesting enough, but it really feels like nothing is happening. Add to that a bad habit of jumping characterizations around like a ping-pong ball, and this is a series on life support.
I don’t want to say that, but like “Threshold”, each episode seems designed around plopping bits of information about the main arc into a given episode and then trying to develop a story around it. In this case, it’s all about how being one of the “possessed” gives a person a powerful immunity response. That’s all well and good, but more needs to be built around it, and the disturbing relationship between step-siblings Kira and Jesse doesn’t cut it.
I’m getting a but concerned about the fact that the writers haven’t dropped any clues as to why some people are “possessed” while others are killed. One easy speculation would be genetics; perhaps those who are killed don’t have something that the “aliens” need to make the “possession” process work. For that matter, all these quotes around the words are an indication of how little we know.
But one thing is certain: Underlay knows exactly what the “aliens” want and he’s using every possible situation to ensure that it happens. He genuinely believes that this is the right thing for everyone. My guess is that the “aliens” need some kind of foothold on the human population and that the hurricane was a cover for their arrival. For all we know, the “aliens” know about something coming, and they are trying to ensure that those in the area survive it.
As interesting as that would be, we’re still a long way from getting any definitive answers, and that’s probably why the ratings are suffering. There’s also the question of characters that change on a dime. In the previous episode, Larkin seemed to understand the value of a secret, even if she wasn’t all that bright in terms of self-preservation. Now, she’s pissing off Underlay even more by forcing him to confide in her and then breaking his already fragile trust. She’s lucky she’s not “possessed” or alien junk food by now.
It’s also too easy for Russell and Underlay to be enemies at this point. I think it would be far more complicated and interesting if all of these people in this extended family had a more complex relationship, much like Russell and Mariel in the previous episode. This episode made it too easy for people to point accusatory fingers at Underlay; it’s better when his motives are more shaded in grey.
Perhaps the worst part is that I liked the pilot. I like the concept. I even think I could come to like the characters a lot more. It’s just that the pacing is so incredibly slow, and even if the story is meant to speed up over time, if the network decides to cancel the series, there will be little return on investment. I hope to be proven wrong on all counts, but right now, I feel like this series is teetering on the edge of the cancellation knife.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.5: Unnatural Selection
Written by Shuan Cassidy and Michael Burns
Directed by Thomas Schlamme
This is another episode that doesn’t really go anywhere for most of its running time, but at least the final act or so brings the story a little further along. In terms of the overall narrative, the battle lines are being drawn between Underlay and Russell rather distinctly, which may or may not be the best thing for the story. In between stands Mariel, who has already shown signs of being on the fence between the two men.
That core triangle is where the key dramatic conflict lies, and that’s where this episode is largely centered. Underlay is firmly behind whatever process is taking place, because his own previous survival (and apparent “possession”) leads him to believe that it’s all for the benefit of those who become hosts. Russell, on the other hand, represents those who resist this process. Or at least, he’s being prepared for that role, since at the moment, he’s still not sure what it is he’s resisting.
I imagine that the purpose of this episode was to show how Russell is becoming more and more aware of the lines being drawn by Underlay. Underlay has been making his decisions based on the preservation and benefit of those “possessed”. Of course, Underlay refers to them as the “survivors”, which might be a reference to the fact that some encounters with the “aliens” don’t end well.
But Russell finally begins learning from the events since the pilot, which is something I was waiting (impatiently) for. He takes measures, even in ignorance, to keep Rose away from the water and to keep Jesse from being directly involved in his personal investigation. Slowly but surely, he’s pulling together the start of a resistance. If I have any sense of where this story is going, that proto-movement should really gel right around episode 6 or 7.
So I try and look at these first few episodes on the assumption that this is the introduction phase of the season arc: it’s all about getting to know the characters and the basic conflicts. I’m just not sure that the writers have framed the early stages of the story in the most interesting way. I get the premise, and I get the style used to provide it scope, but it’s not the most fascinating introduction in the world. Until the final act, I wasn’t feeling this episode.
One problem has been the inconsistent portrayal of Larkin. Not just in terms of the character herself, but rather, in terms of how others react to her. Clearly she should have a reputation for pushing the buttons of authority and getting into things she shouldn’t. But she’s dealing with a sheriff with a secret agenda and the military. She seems to get treated with kid gloves by both. Underlay, at least, had some hope that he could control Larkin, but I’m not at all impressed by the military security in this episode. (Yes, I realize Larkin was ultimately followed, but she never should have been able to see anything in the first place.)
The goal is apparently to have Larkin discover information useful to Russell, with the efforts to keep her quiet being another reason for Russell to pursue the truth. At least, that’s how I interpret it. Meanwhile, Mariel is the window into Underlay’s agenda, but this episode seems to suggest that he doesn’t quite know what’s happening either. I imagine that the extended family will become pawns in the battle between Underlay and Russell.
At least the network is giving the series a chance to make its case. The series gained a full season pickup this week, based on the fact that it’s performed better than any other series in the same hour for something like five years. Surely the “Lost” lead-in is a huge factor, but that wouldn’t matter if the series had completely tanked. Hopefully the hint of a growing momentum for the story will actually come to fruition.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
1.6: The Hunt
Written by Shuan Cassidy and Becky Hartman Edwards
Directed by Lawrence Trilling
I was under the impression that the previous episode would really take the series to the next level, because some of the motivations have been laid bare. In this case, the follow-up is all about how the “possessed” deal with their new obsession with how good water feels and how much their hormones are reacting. At least, that seems to be the case with the teenage pod-people.
Derek becomes quite the horn dog after his experience, and he thinks that Kira is a good mark. For her part, she has the same urges, but he’s looking for another pod-person, and Mariel certainly fits the bill. Sometimes I can’t tell if she’s as attractive as she’s clearly meant to be, but she was quite the hottie in this episode.
So the “possessed” can definitely breathe underwater, they feel a lot more comfortable in the waters anyway, and they apparently give off some kind of pheromones. Hence the reason why Mommy smells different now. That makes sense, given that their blood chemistry has also been altered significantly. This brings up an interesting point: what would happen if one of the “possessed” and a normal human were to have sexual relations? Just how violent is the chemical incompatibility?
This brings up another point I’ve been wondering about. Larkin is practically begging to get “possessed” at this rate, the way she runs around where angels fear to tread, and now it looks as if she’s in serious danger. So the question is: how would that possession and the subsequent changes to the blood chemistry and hormones affect a pregnant woman? Would the placental barrier keep the fetus from being changed? Or would the change be different, like a hybrid state?
Meanwhile, right on time, Russell discovers one big portion of the truth about the strange changes taking place in his family, among others, and how these glowing “fish” are connected. That bit with the tracking device was wonderfully foreshadowed in the teaser (good plot structure!) and really piled on the tension.
Despite the slow pacing, the writers really seem to be hitting their stride, now that the introductory phase is all but over and the meat of the tale has begun. The season pick-up, at least, gives the story time to evolve and tighten up a bit. The real question is whether or not the writers can develop a strong enough arc to justify more than one season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
1.7: Fish Story
Written by Juan Carlos Coto and Michael Alaimo
Directed by Rod Holcomb
Just when I thought the series was gaining momentum, we get an episode that seems to take its sweet time a little too sweetly. Actually, I don’t think there was much sweetness and light in this episode at all. Underlay got to show how devious he can really be, using Larkin’s accident as a means of information control, with only a little concern over the fate of her child. Oddly, he seems very concerned with her particular survival.
So the goal was to eliminate the threat against Larkin from the military while also giving her information that will satisfy her curiosity in a convincing manner. I’m not sure Underlay will get what he’s looking for, because Larkin doesn’t seem like someone who would be so easily swayed. Sooner or later, she would begin wondering why the military would be interested in glowing squid!
Meanwhile, the intrigue begins to escalate in terms of the human drama. I had wondered about the breakdown of Russell and Mariel’s marriage, given how strongly Jesse felt about it in the pilot, and now we have an answer. Mariel is rather deeply in denial if she thinks getting together with Underlay while still married was somehow not casually connected to the break-up. It may not have been a direct cause, but the psychological/emotional state that led her to that choice was most certainly a factor.
While I was impressed at the level of Larkin’s suffering, especially that horrific incident with the dead man in the hatchback, the episode itself didn’t cover much in terms of plot or even character development. I don’t see Jesse becoming less bitter any time soon, especially since he has serious abandonment issues and that will only be reinforced as more and more people are “possessed”.
The writers have now demonstrated on several occasions that Underlay has something in mind for Larkin, so it’s time for them to start dishing out something new. This episode’s events could have been cut down to two acts without much being lost in translation, and it would have left room for more tension. The fact that Larkin wasn’t going to die (let’s say the odds were clearly very low) made the situation a lot less tense.
Considering that her ordeal made the baby’s survival rather absurd, it wouldn’t be an overstatement to say that the writers seem to be treading water. A measured pace doesn’t have to lack intensity. “Lost” doesn’t move forward in its timeline any faster than “Invasion”, but this far into the season, there had already been some important plot developments. This series is relying a lot more on the family drama aspects, and right now, it’s simply not getting the job done.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 0/4
Final Rating: 5/10
*****
1.8: The Cradle
Written by Julie Siege
Directed by Ernest Dickerson
I’ve been complaining about the pacing for this series for quite some time, so I was pleasantly surprised by this episode. It didn’t move the story forward too far, but a lot was covered and it was handled well. Suddenly there are new levels to the complexity of the story, and while this is still an unusual exploration of dysfunctional family dynamics, it’s no longer just that.
I was under the impression that Underlay was aware of what was happening, since he was the first (or so we are led to believe) to be changed. Now it makes a little more sense. This is very much like “Invasion of the Body Snatchers”, in that the people changed are not quite who or what they think they are. The original person is dead, but the copy runs around with limited understanding of their own nature.
The result is actually quite interesting: Underlay has been running around, sure that this is all for the better, as if his body was super-charged. Now he knows the truth, that he’s been dead for years and he’s really something else, an “alien” with his memories and personality. More than that, he’s completely unaware that the other “aliens” have more or less awareness of their true nature.
So the end of the episode is not just a lie to Mariel, but a lie to himself. He’s in serious denial, and he may even think that he can remain in charge. It’s going to be a lot harder for him to do that, though, because Mariel clearly has a lot less understanding of her new nature than, say, Christina.
Speaking of Christina…what a creepy character! I’ve always been on the fence with Elisabeth Moss. On the one hand, she has a very sexy line delivery, but she also has a very down-to-earth look. In that respect, she’s similar to Kari. Elisabeth did a great job in this role; it was unnerving to see Zoey Bartlet like that!
I think we’re supposed to assume that the skeleton found in the pilot was, in fact, Underlay himself. That would make sense in terms of the wedding ring found with the bones, though it could still be Underlay’s first wife. A bigger question surrounds the role of the military. Are they trying to contain exposure and prevent the “invasion”? If so, why would Underlay be working with them? Why would Underlay show Larkin the military activity in the first place?
Even the family-oriented scenes were more energetic than usual. Russell’s incredibly stupid mistake with Larkin was appropriately cringe-worthy, and Mariel’s concerns about her emotional state was well communicated. I hope that the season continues along this same vein in the future, because if the writers can make it this interesting every week, I might stop asking myself why I’m still watching the show.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.9: The Dredge
Written by Reed Steiner and Jill Blotevogel
Directed by Michael Nankin
A lot of people are searching for answers in this episode, and characters are given depth in terms of how they answer those questions. I found that each moment of truth became more and more compelling. Quite against my expectations, despite my relative lack of enthusiasm, I found myself enjoying this installment. Now that the characters are established and the lines are blurring, the complexity is beginning to emerge.
I really liked the focus on Dave. The fact is, Dave serves as something of a voice for the audience. He makes the same kind of assumptions based on “evidence” that he either works out for himself or discovers, and he seems to be more right than wrong. In essence, he’s doing exactly what Larkin seems to think she’s doing, but with far more success. At least, that was the case until this episode: now he’s stepped directly into the firing line.
He may think that the Pod People are buying his act, but why wouldn’t they be equally interested in how much he’s uncovered and who else knows? He’s letting his enthusiasm overcome his judgment, which seems in line with what has been revealed about him thus far. But if the goal of the “aliens” is not malevolent, if there is a deeper purpose to it all, perhaps they would find value in his perspective. He certainly seems to be helping Mariel.
Mariel, of course, is the other side of the equation. She seems to be a lot more conflicted than the other Pod People, and she wants to find answers outside of their little prayer circle. At first, her association with Dave seemed forced, but as the episode wore on, it actually began to make sense. They are the only people who really have no reason to expect anything from each other within the family dynamic.
Russell’s past, in relation to current events, will likely play a role in future plot progression. If Underlay begins to see Russell as a threat to whatever is happening, he could use Russell’s indiscretion against him. In fact, that probably would have happened, if Underlay didn’t think that throwing Mariel off the trail was more important. Underlay’s denial is going to get him into serious trouble, especially with his wife, because sense of purpose has clearly been a source of confidence. Without that assurance, how will he react?
The overall mystery deepens. Just what did the alligator eat? Was it one of the “aliens”, or was it a Pod Person? Was it something else entirely? Perhaps there is a by-product of the Pod process which results in the chemical breakdown. Or is the acidity related to the “alien” biology, ala the “Alien” films? Whatever the case, this discovery is sure to play a major role in the next few episodes.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.10: Origin of Species
Written by Shaun Cassidy and Juan Carlos Coto
Directed by Steve Shill
It certainly took long enough, but now I feel like this series is loving in the right direction. Shipping off half the cast to a safe location for a while gives the narrative a chance to focus on the two sides of the invasion equation. The fun part is that both Russell and Underlay are searching for answers and reacting to what they uncover, even though they stand on opposite sides of the fence.
Dave’s blog is a bit too open for the topic at hand, and it’s good to see the writers going somewhere with that. Dave is also the character that ultimately knows the most “truth”, and so it stands to reason that he would be the one to find himself in this exposition dump of a situation. The process was a bit painful and contrived, but the writers do explain a few things that help add depth to the mystery.
It’s intriguing…previous contact between the “aliens” and human populations led to an imperfect process of conversion. That process seems to have led to a predictable outcome: the Pod People go after their own young. That’s not good for anyone, but it does highlight something very important: something is unique about the situation in Florida, and not just at this point in time. Underlay’s experience strongly suggests that he was the first person to go through the process successfully.
So why would that be the case? One obvious possibility is that the “aliens” just got it right with him and then waited for the chance to do it again. But that doesn’t account for the fact that his encounter took place before the nasty incidents all over the rest of the Atlantic coast. So it’s not just that the “aliens” worked it out with him; there’s something about the location that matters.
Now another question is: how long has this been happening? Just a few decades? Or does the trail of unusual killings after hurricanes go back centuries, even thousands of years? That’s important, because if it all began after Underlay’s experience, that is a huge clue. It would suggest that his experience was something unforeseen, and that the “aliens” then attempted to replicate the process. (This is assuming, of course, that the “aliens” have been around for a while underwater; they could have landed right around the same time as Underlay’s plane crash.)
Russell and Dave now know that Underlay is something inhuman, and they have reason to believe that the other “survivors” are also Pod People. The biology of the “aliens” is geared towards the whole Pod Person concept, anyway. If someone tried to kill Connie (or Pitra, or whatever), then that suggests that someone knows about the incursion and wants it to happen…someone other than Underlay. The military is the most obvious suspect.
Underlay’s plot thread had its moments, but it fell apart with that final act. It’s hard to tell if he really knows what the process is. He clearly wanted something to happen to Lewis, but when Lewis was pulled under, he seemed surprised. Why would that be the case? And his conversation with the priest strongly suggests that the vast majority of the Pod People don’t know how or why they survived or what they are supposed to be doing.
It was easy to guess that Lewis’ arm would be restored; after all, the Pod Person process would likely involve quick gestation of a genetic hybrid, which wouldn’t take into account loss of limb. And certainly, that was too obvious a sign to the rest of the world that something was happening. But I don’t care how religious Lewis is…the man wouldn’t have the conviction or stupidity to cut his own arm off with a chainsaw!
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.11: Us or Them
Written by Shaun Cassidy and J. Miller Tobin
Directed by J. Miller Tobin
“Invasion” had a much shorter hiatus than “Lost”, yet it feels like a lot more time has passed and the story is more elusive. At least this episode actually felt like an example of forward momentum. I wasn’t expecting Mariel to learn that much about her recent experience so soon, but looking back on it, this was the right pacing. Having her discover some measure of truth, just as the Pod People begin separating from the rest of humanity in a more violent fashion, makes storytelling sense.
Focusing on Mariel is essential, because some of the other subplots are just impossible to believe. One is an extension of a truly annoying nonsense plot twist, and the other is a young man’s fantasy brought to life. The former does much to throw Underlay into a more agitated state, but it’s really unnecessary. Is Lewis a creepy religious guy? Sure, but it’s still ridiculous that he cut his own arm off!
This was an episode that mixed the hotness with the creepy in some bizarre ways. Kira is a relatively thin girl, but they certainly got full use out of the push-up bra she was wearing under that skintight top! The award for most exposure, however, has to go to Nicole Garza in her guest role as Emily. That bathing suit couldn’t have been much smaller on network television, especially since some of those underwater shots were particularly buoyant!
I’d like to think that Emily was more than just a chance at showing a hot babe without clothing. Underneath all the pretext is something of a commentary on how the conversion process transforms the desires of a sexually-charged young woman. An earlier episode dealt with the male sex drive, so why not a transformed sorority girl? Quite frankly, that line of thinking gets into kinky territory (the mermaid comment comes to mind). But could it also be a temptation for Jesse, a reason for him to seek out the change?
At the heart of the episode, however, is Mariel’s torn allegiance between her former humanity and the influence of her new “alien” heritage. Mariel didn’t ask for the change; she was already dealing with enough change in her life as it was. And since Russell and Underlay are on opposing sides of the growing rift in the population, each operating with limited information about the situation, Mariel is the natural indicator of which side is gaining momentum.
Up until recently, Underlay was in control of the situation, mainly because everything matched his assumptions about his own experience. So naturally, Mariel could easily suppress her lingering feelings for Russell, since her focus was on a stronger and more stable man. Underlay was also supporting her emotionally. But as Underlay has lost control of the situation and Russell has gained confidence in his own knowledge, Mariel has put Underlay at a distance and her feelings for Russell have returned.
Naturally, since the intention is to use the “alien invasion” as an extended metaphor for how family politics get demented with divorce, the children are pulled into the center of the conflict over control of the family dynamic. Children are usually forced into making a choice, which is why I wonder if Emily was meant as temptation for Jesse, even if she never comes back.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.12: Power
Written by Reed Steiner and Becky Hartman Edwards
Directed by Lawrence Trilling
The promos for this episode made it seem a lot more exciting than it was. The whole episode was indeed devoted to a message that Underlay needed to send to Mariel and Russell, but the manner in which that message was delivered was a lot less interesting than I had been expecting. The very end promises a more explosive confrontation in the future, however, and that sparks my interest.
The triangle between Russell, Mariel, and Larkin is getting rather interesting, and not just because the truth about the “aliens” is out on the table. The writers continue to use the “alien” situation as an effective commentary on extended family dynamics. Mariel is in the middle, and Russell is her connection to her old life (her human side). Underlay makes it very clear that the children are the prize, the pieces in play.
Underlay is actually very smart about it. He doesn’t do anything overtly threatening to the children, and his excuse is about as airtight as it can get. But he delivers a clear message by showing Russell and Mariel how easily he can turn their world upside-down. His offer at the end of the episode is very interesting move. He give Russell what he wants, further reminding him of what he stands to lose. And Mariel gets to see what it’s like to be without the children, thus pushing her to accept her new reality.
This is what makes Underlay a compelling character. He’s something of a villain, especially since he’s preparing his “alien” brothers and sisters for a revolution, but he’s also got a point. The only way that things will go well is if both sides learn to live together and find common ground. Whether or not that’s possible is the key point in the conflict. Sometimes it just doesn’t work out, and that possibly remains with this family.
So Underlay all but ensured that Russell and Mariel would be placed in a compromised situation in terms of what they know and how they react. But it also seems as if Underlay has some problems of his own, beyond Jesse’s curiosity and Kira’s petulance. There’s the threatening phone calls, which at this point, could mean anything. That means that there are still some complications left to introduce between now and, say, episodes 14-15, when the season usually begins ramping up to the resolution of a season arc.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.13: Redemption
Written by Shaun Cassidy and Michael Alaimo
Directed by Bill Eagles
The writers for “Invasion” must have been taking lessons from the writing staff from “Lost”, because they certainly found an interesting way to reveal some of Underlay’s secrets. As it turns out, it wasn’t so much an alien secret as it was something completely and perfectly human. The writers pull off an interesting philosophical trick in revealing one possible reason why Underlay’s conversion didn’t result in violence: Underlay had his newfound hope in Mariel to keep him focused.
All right, I don’t completely buy it either, but at least they were going for something worthy in the process. One thing I liked about the episode, even as it continued to show too many people being far too calm about the invasion, was how well it took everything revealed to this point and gave it a clear direction.
In essence, Russell now has a mission: to figure out what made the “alien” invasion so successful and how to keep it from spreading. Apparently the military knows all about the “aliens”, and they have their own reasons for letting the process continue in a limited capacity. Of course, that explains why Underlay has been working with the military. And there’s someone else out there who has survived about as long as Underlay, but he’s turned into a killer.
Other interesting items are put on the table. If the human is sick in some way, the “alien” process doesn’t take. That doesn’t account for mental instability, but it does give Russell something to work with. What if a human were to purposefully infect themselves with a disease in order to become immune to the process?
The writers are trying very hard to suggest that Lewis was the one who shot Underlay, but I’m thinking it was Missouri, or whatever the hell Mr. Ex-CIA called him. I think this represents a power struggle between Underlay’s more balanced approach and a the self-destructive and aggressive version of the “hybrids”. But it does reinforce one thing: if the converted human believes in something strongly enough, that can override the self-destruct part of the process.
Which makes me think that Underlay’s plan for an “alien” army is actually meant to be one of defense, not offense. If he expects the military to turn on him and his people, he may be looking to defend his turf and create a mini-nation of his own. It all comes down to protecting family, which is one of the themes of the series. It’s remarkable how the writers continually place Russell and Underlay in opposite corners, only to bring them into common cause when it comes to protecting the ones they love.
I’m baring scratching the surface on this episode, which is the sign of a strong and dense plot structure. Sure, some of the exposition doesn’t quite click, and Larkin continues to be a bit annoying in some of her scenes, but overall, this was a solid episode that kept my interest throughout. If the writers can keep this up, this series could end up being stronger than anyone had anticipated.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.14: All God's Creatures
Written by Michael Foley
Directed by Harry Winer
Apparently things have gone sour for this series in a very short period of time. That’s unfortunate, but not too surprising. The major networks have had a terrible track record with genre shows, and even in the post-“Lost” world where dramas with touches of SF are more acceptable, it still comes down to the numbers.
“Invasion” gets good ratings when taken in isolation, but the real kicker is the ratings drop between “Lost” and “Invasion”, which is significant. ABC is looking for a series that will retain more of the “Lost” audience, and right now, “Invasion” isn’t doing that. Then again, I’m of the opinion that any series is going to lose a huge chunk of the “Lost” audience. “Lost” is a massive hit with a huge following, but that wasn’t a given when the series started. It’s going to be equally rare to find another series, so soon after the fact, with the same level of support on the same night.
It’s the same kind of idiot logic that FOX has maintained regarding Friday nights. They constantly point to “X-Files” as the standard bearer for successful shows on Friday nights, but they also forget two very important factors: “X-Files” wasn’t a major ratings hit until it moved to Sunday nights, and “X-Files” was also a unique situation like “Lost”, a show with a relatively large initial fan base.
As far as I’m concerned, the series was in trouble from the moment that the network pushed the producers to ramp up the pacing. I’m not one to bash on network suits for offering suggestions, since they can be useful in some circumstances, but it’s typically not a good sign if the network is asking for changes to the fundamental nature of the show.
All that said, I thought this was a great episode that carries forward tons of plot and character threads. I think it’s about time that Little Minx Kira finally started wondering what’s in the water and why she’s not good enough for the changes. Talk about taking the “effects of divorce on the extended family” metaphor to new levels. Kira is playing up the “I’m the neglected old family” thing to the hilt.
I was also completely shocked to discover that Underlay was pulling together his little army with the ex-CIA guy who Russell was warned about, which just screams “trouble” in the worst way. So the two people who managed to survive the “replacement” process intact are working together, and Underlay may or may not know what his ally’s ultimate goals are. Yeah, that’s not a recipe for disaster!
I also found the Dave-creature to be incredibly creepy. I’m not one for being freaked out by conventional horror elements, but this was well done! For all that the pacing has been increased, the writers are taking the time to explore some of the less obvious aspects of the premise. With the possible exception of the scenes between Russell and Larkin, which just aren’t as interesting, this was a solid episode that points to some massive plot twists as the season shifts into the “resolution” phase…if the network doesn’t pull the series in a fit of stupidity.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.15: The Nest
Written by Julie Siege and Shaun Cassidy
Directed by Lawrence Trilling
This episode continues to take the series into new and intriguing territory, and I’m very pleased. Initially, I was a bit concerned about the characterization of Christina, since I was more impressed by the calm and deadly version, but over time, it began to make more sense. It all comes down to something I hadn’t considered about the differences between this invasion and the ones that apparently failed.
Underlay and Zura are both unusual in that they have overwhelmed any murderous and self-destructive tendencies through what appears to be a sense of hope or driven purpose. Apparently Underlay has been trying to keep his “people” under control in the wake of the hurricane, but unexpected aspects of the “invasion” keep getting in the way. This time around, of course, it’s his inability to anticipate and control an aspect of the invasion that wouldn’t have come to light until now.
Previous to this invasion, the only long-term survivors were Zura and Underlay. What do they have in common? Simple…they’re men. More than that, they are acutely aware (if Derek’s experience is any indication) that biological compatibility is a big issue between the changed and the unchanged. Male “aliens” have some serious sex drive, but I doubt they could mate with normal humans. No doubt, that was part of the reason he wanted Mariel to be changed as well.
But that also means that neither Zura nor Underlay could possibly know what would happen with women who survived the process. More to the point, since how could they understand the biological mating imperatives of an “alien” species? This is apparently of interest to the writing staff, though they avoid some of the more kinky and psychologically disturbing aspects of the concept.
There are certainly some primal forces at work, especially as it pertains to super-ovulation and the mating imperative. The net effect is not unlike a variation on animal “heat”, though human reasoning does seem to override it to a certain extent. The females have a desire to mate (and that may play into Jesse’s encounter in “Us or Them”), and males of a certain age pick up on the pheromones. The rest is rather obvious.
The implication is also obvious. Once a female is pregnant, the male is most likely to be biologically predisposed to protect the female and the unborn child, whether he’s aware of the reason or not. Christina puts it very simply: Derek does what she says because he can’t help it. It’s more than just sexual; it’s biological.
It all leads to the revelation that the “aliens” are getting ready to mate, and even Underlay can’t predict what will happen as a result. All he can surmise is that the situation is getting out of hand. Christina (played with psychotic gusto by the engaging Elisabeth Moss) and Derek strike on one side, and in a completely different way, Russell and Mariel strike at the other. Underlay has been losing control of events for a long time, and watching him deal with each crisis is the best part of the show.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.16: The Fittest
Written by Juan Carlos Coto
Directed by Fred Toye
It feels like forever since “Invasion” was on the air, and that’s a good thing. It’s good because the series hasn’t been gone for all that long, but the story has improved dramatically enough that any extended wait is difficult to handle. This episode begins with the same level of tension that dominated the previous installment and lets it evolve in some disturbing directions.
Now that the season arc has turned to the “resolution” phase with this mini-arc involving Christina and her child, the revelations and implications continue to pile up, making a lot of the groundwork from earlier in the season a lot more tolerable. I wouldn’t say that the slower pace was absolutely necessary or that every detail from earlier episodes connects to the present, but we wouldn’t care about the characters if the relationships and personalities hadn’t been explored.
For instance, Larkin’s adventure on the military base earlier in the season finally pays off in this episode with the delivery of very important information for Russell and his allies. He now has solid evidence on how badly Underlay’s plans have spiraled out of control, and more than a little reason to suspect that Underlay and Szura are working together.
Underlay speaks to the question of survival, which seems to suggest that he has learned something about the past history of the “aliens” from Szura. Still, he knows just enough to understand how much is being kept from him, and that his version of survival may not align with the more primal impulses of the hybrid mentality. The migrant workers looked like a school of very focused sharks, intent on living in their own way within their territory and eliminating any threat to that way of life. It reminded me of a National Geographic special, and I mean that in a good way.
Christina’s plot thread is not quite as strong, though it slips into serious and disturbing directions with relative ease. The writers seem to confirm that Christina is particularly nuts, not just more aware of her hybrid nature, and Elisabeth Moss does a great job of shifting moods. She moves from terrified to serene to domineering to seductive as if the transitions were perfectly normal. Russell’s idea, about how the hybrids might be a bridging species to something else, may not be far from the truth. It’s also quite possible that the aliens are dying and need to create hybrids to breed (which is a far more disturbing concept).
The heart of the episode, however, must be the awkward decision for Mariel to explain, in very general terms, how she has changed to her children. Just as it’s important for Russell and Underlay to come to terms and find common ground, if the “family” metaphor is going to work, it’s equally important for Mariel and Larkin to work together. The central conflict is really taking shape: the desire for everyone to find a way to live together facing off against the desire for two species to see to their own survival. Apply that to the families in general, and the metaphor is coming along nicely!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.17: The Key
Written by Michael Alaimo and Michael Foley
Directed by Bryan Spicer
I actually felt like this episode slipped on the pacing a little. It wasn’t as atmospheric and menacing as the previous episode had been, but on the whole, it delivered the goods. There was the usual metaphor within the troubled extended family, the discussion on survival of the fittest, plot progression, and even a twist at the end.
The only thing I didn’t really like was the subplot at the school, even though I recognize what it was meant to achieve. I guess cavorting with the naked hybrid a while back wasn’t enough to overcome Jesse’s natural (and completely justified) concerns about the whole inter-species cooperation thing. Jesse looks to be gearing up as an anti-hybrid soldier, if I read the signs right, but I can’t tell if that’s supposed to factor into the end of the season or serve as a potential plot thread for the (hopefully) second season.
I’ve always liked Christina as a character, to the point where I was beginning to feel terrible about the fact that she was probably going to die. It didn’t happen the way I expected, which is probably for everyone’s benefit. Did we need to see Christina’s torso explode, killing her in the process? No, we didn’t, so the writers found a way to let it happen while achieving another purpose with her death. We get to see how focused Szura is on the survival of the hybrid species, which is better communicated in that moment than any amount of exposition.
All that said, Christina’s experience brings up a disturbing point. The male hybrids seem to be a bit too aggressive with the male dominance, and it makes one wonder if Szura knew that the pregnancy would likely be terminal for Christina. It doesn’t sound like he cares about women overly much. It also makes it sound like the hybrids are a means of reproduction for the “aliens”, with the human victims being the cost of survival. Of course, we haven’t seen the final product yet, so it could be something completely different, like the next stage in the “alien” evolution.
I continue to love the interplay between Russell and Underlay. I was initially under the impression that Russell would be the main character, but the series has evolved so that the entire world of “Invasion” is guided by those two characters and their struggles within and without. They act as two magnetic poles: equal and opposite, yet undeniably linked. To be honest, however, Underlay makes it all come together for me.
Larkin’s purpose in the story is now a bit more clear. Russell, through Larkin, has something that Underlay will never have, because Mariel refuses to become the kind of victim that Christina obviously was. Mariel already feels as though choices were made for her (and they were), and she refuses to go along with Underlay’s desire for children. Thus Russell, for all his humanity, has something in Larkin that Underlay will not have in Mariel. That sets up another layer of tension in the narrative.
It’s a little hard to imagine that the hybrids missed the sound of the loud engine used by Russell and Dave, but since they didn’t leave the unidentified key yet, there’s still time to correct that plot contrivance. The important part is that the strengths of the episode more than compensated for the minor issues along the way.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.18: Re-Evolution
Written by Julie Siege and Charlie Craig
Directed by Eric Laneuville
Another victim of an unfortunate and unnecessary hiatus, “Invasion” returns with another episode that demonstrates how well the story arc was constructed. I believe that the network pushed for quicker pacing, but the progression of the plot feels organic rather than forced. It took a long time for things to get this bad, but now that the writing is on the wall, events are spiraling out of control in logical ways.
What’s the message in this episode? Essentially, the invasion is on, and a war for control and survival is brewing. Szura believes that the hybrids are the next stage in evolution, and he’s all about preparing his people for a successful takeover. Underlay is clearly not aware of Szura’s true goals, and it seems as though Szura has been locating and using hybrids in key positions around the region to maximize his chances for success.
The military knows a lot more than they’re letting on, and in a nice touch, their goals are left completely open to interpretation. Is it about finding the hybrids’ weaknesses? Or is it about determining the abilities of the hybrids in the hopes of yielding some benefit from the emerging species? Underlay gets the message that the military has been keeping the “invasion” secret from the very beginning, and that he and others have been allowed to roam free thanks to a power struggle within the military. If the “wrong” people were in charge, the war would have started a long time ago.
This is interesting in light of Russell’s precarious situation. He is quickly losing credibility, and sooner or later, his obsession with the hybrids will set him against the wrong people. Underlay certainly won’t like it, even if he has his own misgivings about where things are going. But if there are elements of the military looking to deal with the hybrids quietly, Russell could end up with allies among them. The problem, of course, is what to do about Mariel, since she’s “on the other side”.
Bringing the discussion around to Jesse, who has taken the predicted dark turn. Not only does his violent side come out in this episode, but it becomes the basis for another aspect of the “divorced family” metaphor. As far as Jesse is concerned, now that Underlay has “changed her”, Mariel is no longer his mother. To him, his mother is dead. It just so happens that this psychological reaction to a divorce situation has a basis in fact!
The only thing I didn’t like about this episode was Larkin. She was a lot stronger in this episode once the first act was over, but why in the world would she let some stranger into the house, even if she felt responsible for his condition? Does she forget what happened to her the last time she was alone with an odd stranger? Still, it’s a minor annoyance in a very strong episode. I can’t believe this series is still on the bubble.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.19: The Son Also Rises
Written by Michael Alaimo and Shaun Cassidy
Directed by Lawrence Trilling
Due to some unforeseen circumstances and interference from some other projects, I was unable to see this episode until late into the weekend. Even so, it took me a little bit of time to absorb the full impact. Anyone who once complained that the series was moving too slow or gazing at its own navel clearly hasn’t been paying attention. The latter half of the season has been a primer on how to quickly yet methodically ratchet up the tension and deliver on a premise.
The fact is, the quiet beginning was absolutely necessary; without it, the current insanity wouldn’t pack so much punch. Only a month or so has passed since Hurricane Eve, and another storm is approaching. It’s all rather obvious metaphor, but it works on a visceral level. It’s the reason why so many authors use weather (and thunderstorms in particular) to denote some massive conflict about to break wide open.
And that’s exactly what is happening as “Invasion” races towards the end of the season. The battle lines have been forming for a very long time, but now the situation has transformed. It’s not about preparation; it’s about scouting out the weaknesses of the enemy on the eve of the attack. This little patch of the world is the battleground between two species vying for survival. Considering that humanity hasn’t seen any real competition beyond itself in tens of thousands of years, there’s every reason to worry.
Nearly everyone is being pushed to the breaking point. Even the hybrids (nice that everyone calls them that!) are acting on some instinctual level. Perhaps there is some kind of shared subconscious involved, driving them to prepare for survival, ensuring that the resources available are horded for their own use. In fact, as things are playing out, it seems like the next stage of the invasion is organized so that the next hurricane will allow for more hybrids and total control over the survival of the remaining human population.
Jesse takes an ugly direction in this episode, yet it is a necessary one. It highlights something that would and should be happening: the “weaker” species would act out in violent ways in frustration. Humans are quickly becoming second-class citizens, and that leads to reprisal. In many ways, Jesse and Kira represent two common reactions to an invading force: resistance and acceptance. (The military, to a certain extent, represents collaboration.)
In terms of the family metaphor, Russell and Underlay find themselves as strange bedfellows, trying to get both sides to co-exist, despite their polarizing differences. As I had suspected, Mariel continues to be the axis around which everyone else dances. Even the reactions to the larger threat are reflected in the uncertainty surrounding Mariel and her psychology. Even as the season drives towards resolution (hopefully not the series!), the metaphor remains intact. That’s quite impressive!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.20: Run and Gun
Written by Michael Foley and Juan Carlos Coto
Directed by Sergio Mimica-Gezzan
Even though the pacing has drastically increased since just before mid-season, the writers are still taking the time to build towards the actual invasion correctly. This was a more low-key episode than the past few, and so it wasn’t quite as evident that the story was driving forward. But it certainly looks as though Szura is establishing his beachhead for the imminent takeover.
Way back at the beginning of the season, one of the ideas that never seemed to take hold was the use of the media to keep the population in line. It may have gone away for a while, but here it comes back with full force. The human populace is being told, through the media, that Hurricane Miranda will be striking elsewhere. The reality is far worse: the hurricane is coming right for them, and only the hybrids have been given the chance (and subconscious drive) to prepare.
All of which places the human population in a highly precarious position. Some of them are beginning to suspect that something unfortunate is coming around the corner, but the majority of people seem ignorant as to their fate. The truth may not have helped them; even Russell and Underlay don’t figure out enough in time to save their loved ones from what’s coming.
So it seems pretty clear that Szura has been working towards this moment for quite some time. Underlay became a convenient pawn in the game, and Szura had his hand in the military response and media coverage as well. Most of the success in any military operation is the result of advance preparation; many battles are won before a single shot is taken. In this case, Szura seems to have cleared the area for the hybrids to control, while herding the human population towards possible conversion or elimination. After all, if Szura has been preaching about survival of the fittest, and the infirm cannot be hybridized, why would Szura keep those humans alive?
In terms of the “family” metaphor, the demands of the plot arc force that to play a smaller role. Still, it is present, especially in terms of Russell and Underlay. The message here is that the battles within have to be set aside when there’s a threat from without. Szura’s plan will affect all of them in a profound way, so the power struggles have to be set aside. The real question is whether or not it’s too late.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
1.21: Round Up
Written by Shaun Cassidy
Directed by Steve Shill
The word I would use for this episode is “horrific”. That’s not a description of the episode’s quality; rather, the events depicted in the episode, the logical progression of everything up to this point, are nothing short of horrific. As expected, Szura has anticipated quite a bit, and that means that Russell and Underlay are seriously behind the curve. Despite some minor victories, Szura’s plan is working out, at least in terms of what he had predicted.
That part is bad enough. I had a feeling that the humans were going to be herded into shelters by the hybrids, but it was a lot more subtle than that. Underlay basically gave them all they needed to look like official responders to the new and “unexpected” hurricane disaster, and that gave them tremendously easy access. That’s a nice touch, because it lets them cut to the even darker side of the story.
Even if I saw the whole “mass conversion” coming, the circumstances were fairly brutal. Again, the only word that comes to mind is horrific. After all, some of the humans were rejected already based on health issues, and it’s clear that they will not be allowed to remain. In essence, the humans are being slaughtered en masse. I didn’t expect the series to show even this much, so I’m very impressed.
Adding to the horror aspects would be the “maternity ward”. This demonstrates the strength of the storytelling this season. Nearly everything that happened to Christina has foreshadowed later revelations, and now her pregnancy comes into play. I can’t see any way for the women to survive, since as Mariel says (confirming a few things I said previously), Christina wasn’t likely to survive labor. Szura recognizes that the survival of his people is in jeopardy as a result, even if the “litters” mean that the loss of mothers will be more than mitigated by the subsequent population explosion.
Dave’s part of the plot was a nice touch, because it’s easy to dismiss a threat to large groups. Until the very end, the threat was generalized. Dave’s plight kept the actual invasion on the personal level. It also demonstrated that some of the hybrids could be convinced that co-existence with humans is possible.
I can’t see how Underlay and Russell can stop what’s coming, but perhaps Szura made a serious mistake by allowing Russell to help Mariel with the “maternity room”. Even if they can’t stop all the humans from being killed, they could bring the conversions to a standstill by threatening to destroy the newborns. It’s a harsh solution, and I’m not sure that Russell and Mariel would be willing to kill, but this is essentially a war now. And in times of war, horrific decisions sometimes have to be made. Would Szura be willing to lose the next generation of hybrids just to win this battle?
This episode shows just how far the series has come since what many perceived as a slow start. I feel that the slow start was exactly what the writers needed. It makes the impact of Szura’s endgame far more potent. I can’t believe where this story has gone, and I’m very hopeful that there will be another season to see where they can take it next.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
1.22: The Last Wave Goodbye
Written by Shaun Cassidy and Charlie Craig
Directed by Lawrence Trilling
As everyone is now well aware, “Invasion” has been cancelled after one season. Frankly, I’m not surprised. It’s a bit of a miracle that it made it this far. Nearly every series that fell into the “Lost” formula this season found itself cancelled or barely renewed (“Supernatural” being the sole survivor). “Invasion” had the benefit of an entire season to tell a relatively complete story, and while there is much left unanswered (including the final cliffhanger), it’s possible to look back on the series as storytelling success.
In terms of the finale, the entire first act was insane and more than a little terrifying. After the previous episode, I mentioned that the circumstances were horrific, and that just carries over into this final hour. Appropriately, Dave (the one person who seemed closest to the truth all season long) is the one who makes the critical call to save the remaining humans in the town. Was someone in the military going along with the plan? Almost certainly, but this was an interesting way to bring a resolution.
The rest of the episode was fallout and potential setup. The fallout comes first. Szura finally gets it in the end, and it’s a sweet moment for Underlay. In fact, Underlay and Russell have been working together very well, which is a nice extension of the family metaphor. Once again, most fractured families manage to pull together when something external threatens the whole. But Underlay in particular was at the center of the episode, especially the action scenes, and that made me very happy.
Now, the setup. Clearly the fact that the surviving pregnant hybrids made it to the sea and were carried away would have been important. Russell’s constant warnings about the hybrids as a bridge species for something far more invasive was probably foreshadowing. And of course, the idea of Larkin as a hybrid, especially with the baby, brings up other issues of compatability. After all, a baby is essentially a parasitic organism; would that qualify as a reason to reject Larkin, or would the baby have been something unintended?
Unless the writers reveal the intentions on the impending DVD set, there will likely be no answers to the open questions. The second season would have been all about the offspring and the consequences. It could have quickly turned into a commentary on “us vs. them”, and the question of whether “the enemy of my enemy is my friend”. If something worse came along, would that have pushed the hybrids and humans into cooperation (turning, once again, to the family metaphor)?
In a way, that’s the only complaint that I have with this finale. The producers have been fighting a battle to keep the series on the air since early in the run, so the possibility of cancellation was always there. Why set up a cliffhanger at the end of the season, knowing that the fans would likely be left hanging? It’s not a sign of defeat, especially since writers should have the tools available to write a resolution that also points towards future exploration. The fact that they didn’t plan for it leaves the series with an unnecessary open ending.
This is the part where I would usually launch into a discussion about the season and series as a whole, but I’m doing things a little differently moving forward. The “Invasion” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season. That episode should be up after the weekend, so I invite anyone interested to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.)
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
(Series Final Average: 7.3)
Back to Invasion
Back to the Shrine
Email:
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entil2001@yahoo.com
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