MEDIUM: SEASON 2
2.1: When Push Comes to Shove: Part II - 2.2: The Song Remains the Same - 2.3: Time out of Mind - 2.4: Light Sleeper - 2.5: Sweet Dreams - 2.6: Dead Aim - 2.7: Judge, Jury, Executioner - 2.8: Too Close to Call - 2.9: Still Life - 2.10: The Reckoning - 2.11: Method to His Madness - 2.12: Doctor's Orders - 2.13: Raising Cain - 2.14: A Changed Man - 2.15: Sweet Child O' Mine - 2.16: Allison Wonderland - 2.17: Lucky in Love - 2.18: S.O.S. - 2.19: Knowing Her - 2.20: The Darkness is Not Enough - 2.21: Death Takes a Policy - 2.22: Twice Upon a Time
2.1: When Push Comes to Shove: Part II
Written by Glenn Gordon Caron
Directed by Aaron Lipstadt
This series surprised me in the first season by focusing so strongly on the key relationship between Joe and Allison. Whenever events or gimmicks threatened to undermine the credibility of the show, that key relationship was always more than capable of carrying the weight. That’s still true of this season, because the resolution of the case itself was rather predictable.
I don’t know about anyone else, but it took me about five seconds after Allison’s first dream to figure out who the killer was. After that, it was just a matter of sitting through the process of Allison working it out. Much like “Dead Zone” episodes of late, it’s more a question of how inventively this process plays out, rather than the originality of the situation.
Here’s where things were interesting. Allison wasn’t having visions or psychic dreams for three months because her personal issues were supposedly getting in the way. And that sets the stage for Joe to be even less happy about her divided loyalties. Some people seem to think that Joe is being unreasonable, and that he should simply accept that fact that Allison’s ability tasks her with unusual responsibilities.
Of course, for Joe, it’s a matter of cost vs. benefit. Allison likes the fact that her ability is actually helping people and serving a function. But the cost is rather high, especially since it puts an enormous strain on her husband and his own responsibilities. It’s only a matter of time before Joe’s career is impacted by the bizarre hours, and that will begin straining the finances even more. Allison can’t simply push off her responsibility to her family based on a “higher calling”.
Or can she? I think that’s the question that could be explored this season. Certainly the dead have few qualms about making demands on her, and they are less reasonable than her family, even under the current circumstances. Can Allison simply ignore the voices and her ability to stop crimes from being committed?
Joe’s reactions wouldn’t be nearly so interesting or meaningful if he wasn’t trying to be so patient about it all. That’s why I don’t understand why he’s seen in such a negative light by some fans. Any other husband would have exploded a long time ago. I’m personally shocked by his patience, considering how much he’s fuming.
Anyway, I think the challenge this season is to avoid some of the pitfalls that similar shows have encountered. For instance, this past season of “Dead Zone” was considered by many to be its worst, because many of the episodes were too predictable and pedestrian. A lot of the unique situations had been covered in previous seasons. Similarly, the writers for this series need to keep things fresh. The first season spent a lot of time on peculiar perspectives, and that should continue. Perhaps because of the need to resolve the cliffhanger, this premiere wasn’t able to do that, and as a result, it didn’t quite hit the mark.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.2: The Song Remains the Same
Written by Bruce Miller
Directed by Vincent Misiano
I wasn’t happy with the season premiere, largely because I felt that the need to wrap up the cliffhanger in a relatively predictable way impeded the more character-driven aspects of the show. This episode is closer to the format and balance of the best episodes of the first season, and for that, I am thankful. The misdirection in the plot was well-executed, and the tension between Joe and Allison was believable.
I mentioned after the previous episode that I was able to predict the killer’s identity after Allison’s first vision. This episode was the exact opposite. I really had no idea where it was going, and yet in the end, it all came together. I find that rather impressive, especially since the case itself was only a small part of the whole. The promos really made it sound like the entire episode would be about the repetitive song and Allison’s response to it, and that was far from the situation.
One very interesting side to the episode was the discussion on religion. Allison’s experiences run counter to a number of the teachings within Catholic dogma, and clearly, she has a lot of reasons to have a negative opinion. Joe doesn’t seem particularly pleased with the idea of going to church either. But Allison’s interaction with the priest gave the episode an unexpected strength, because there were no easy answers.
I should have known that Allison’s vision of the plane wouldn’t actually intersect with her family’s fate, but when Joe was “outnumbered”, I figured that was a safe bet. I’m still not sure why the visions would have included Joe, given how they eventually worked out, but it brings up an interesting question. Did Allison have the original vision, incorporating aspects of her own world into the vision, which was then passed on with the additional elements intact?
The use of the looping song was interesting, especially when it became something of a homing beacon. The writers were smart enough to know that it was something that would get annoying rather quickly (and by the time it was over, it was close to that line!), so it was used effectively to get the story going and to provide the link to the priest. It was a very good use of a gimmick!
One thing I didn’t like was the abrupt ending. That was something I didn’t like during the first season, and it shows up again in this episode. The jump to credits was far too abrupt, and it left open too many loose ends. I understand that the plot points of the episode were resolved, but a couple extra lines of dialogue wouldn’t have killed anyone!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.3: Time Out of Mind
Written by Bruce Miller
Directed by Vincent Misiano
This is another strong episode, largely because the central mystery was very complex and the evolution of the concept was quite intriguing. Unlike the season premiere, I was completely unable to predict how all the elements were going to fit together until the scene where the writers laid everything out. That usually doesn’t happen, and I credit the writers for making a lot of the visions compelling.
I’m still not sure what the connection was between Beverly and Allison was, but it was more than just the usual level of communication. Beverly was clearly acting as if she had been channeling the future Allison’s personality, and that is far beyond the usual situation. However, I don’t think that it was completely outside of Allison’s usual philosophy.
In a first season episode, Allison described her theory that everyone who lived, to some extent, is imprinted on the fabric of the universe itself. (Her version was somewhat more metaphorical.) In essence, she could interact and relive moments from these past lives as if they were a catalogue, able to be read (consciously or unconsciously) by those sensitive to the information. The implication is that this information is only available in one direction: a present individual getting in touch with past “recorded” events. But her visions immediately imply that future events are also available, as if these “recordings” are independent of time.
Still being very general here (I could go on and on with the subject), Beverly could have been sensitive enough to tap into Allison as much as Allison was later tapping into her memory. This would have created a connection so strong that Allison would literally believe that she was living those moments. In fact, from a certain point of view, Allison may have been the one controlling Beverly, albeit without knowing it, during those times that Beverly was claiming to be Allison.
That kind of rich conceptual soil is what makes this series so intriguing. The intersection of this unusual speculative world with the more mundane family elements are the main areas of interest for me. The mysteries themselves might be predictable from time to time, but if the other aspects are strong enough, it makes up for it. When the mystery is solid as well, it makes for a great bit of writing.
Also nice was the hint that the connection between Allison and Joe is beginning to have an effect on him as well. When Allison was talking to Joe at the spot where Beverly jumped from the bridge, Joe began doodling a rough picture of a woman standing on a bridge over a river. I really found that intriguing, and I hope that it wasn’t some kind of red herring.
And the best part? This episode actually had a satisfying ending. That sense of closure was something that the previous episode was missing. Overall, everything I liked about this episode highlights what I thought was missing from the season premiere. Perhaps my review for that episode makes a bit more sense within that context. Episodes like this one, with plenty of room for intriguing speculation, are what drew me to the series in the first place.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.4: Light Sleeper
Once again, the writers manage to find an interesting hook into an otherwise predictable story. For me, the draw of this episode was the intense dynamic between Allison and Joe, and things got a lot more heated than I would have expected. This is definitely going to be one of those polarizing episodes where battle lines are drawn: was Allison being too flippant about the dangers posed by her situation, or was Joe taking his frustration way too far?
The truth, I suspect, is somewhere in the middle, which is where the episode eventually takes us, without coming right out and saying it. Frankly, like in most cases, I see Joe’s point of view far more clearly than Allison’s. Allison does a lot of questionable things while “sleepwalking”, and even though she clearly has no idea what she’s doing or how she’s staying alive in the process, she doesn’t seem to take Joe’s concerns seriously.
Joe, on the other hand, is once again in the position of trying to keep the family intact without casualties, and this is probably the biggest threat to that safety since the series began. I can’t say how I’d deal with the same situation (I probably would have lost my mind much earlier), but his anxiety seems rather appropriate. It’s not like Allison is just chasing down a vision as usual; the vision is basically taking her over without her conscious awareness.
Joe’s attitude does betray a deep-seated bitterness and anger, and he doesn’t exactly communicate well when his temper finally snaps. But he’s also trying to overcome Allison’s lack of concern, and I can’t see how else he could have done it. He’s not the type to drug his wife without her knowledge, and she wasn’t seeing the problem very clearly. What else was he supposed to do?
In terms of the actual investigation, I’m not certain why it took so long for Allison and Joe to wonder if there was a connection between the case she was supposed to be working and her extreme condition. Granted, there’s no reason for her visions to be connected in that fashion, but without any other trigger event to speak of, why not make the assumption?
At any rate, the case itself was fairly obvious, and even without the damning details, it was clear who the perpetrator was. But as usual, it’s not the case itself that is the best part of the story; it’s the character exploration. One exception to that was the subplot with Ariel. While it looked like it was going in the “Ariel begins abusing her abilities” direction, it became something closer to a standard family drama subplot. Frankly, I wasn’t all that interested, as the children are still not clicking with me, as realistic as they often are.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.5: Sweet Dreams
Written by Moira Kirkland
Directed by Aaron Lipstadt
After a few strong episodes with effective use of a compelling hook, this episode was hard to classify. Overall, the mystery was intriguing, and it gave some interesting insight into Allison and her past history. But there were a number of scenes that were incredibly long and visually flat, and that took something away from the impact of the episode as a whole.
During the first season, a similar thing would happen. Whenever the topic turned towards sexual predation, a common enough element to violent crime, the writers would slow things down and linger over the resulting dialogue. The problem is not taking the situation and topic seriously; it’s taking it so seriously that the pacing suffers.
In a couple of scenes, I found myself becoming a bit bored, because the conversations were going on and on and there wasn’t even a score to keep it interesting. It was two people for several minutes, back and forth. Sometimes, that kind of thing will work, especially if it’s an animated discussion or critical to the characters. But when the conversations unfold at a slow and measured pace, it’s all about the investment in the characters.
For myself, I can only say that the characters weren’t compelling enough to maintain the intensity. I found it difficult to get into the story. While I appreciated how the whole package was put together, especially in terms of how Allison’s personal matters intersected with the case at hand, it just didn’t grab me the way the past few episodes have.
The difficulty, then, is figuring out whether or not it was the writing or my subjective mood. That’s a tough call. I think the decision to have more than one long stretch of dialogue wasn’t the smartest move, but I can understand what the writers were aiming for. And it’s hard to delve into uncomfortable sexual predation topics without taking a detached approach (like “CSI” or “Law and Order”). Allison, by the very nature of her ability, cannot detach herself from the direct impact of such crimes, and that makes striking a balance that much harder.
There were two things I felt were missing from the episode. One of them is probably a problem with the promotion of the episode: I was looking forward to seeing Allison as a young woman, especially since they went to the trouble of finding an actress who looked a lot like a young Patricia and also an older version of the girls. That side of the episode was a very small piece of the puzzle, which is unfortunate. (Oh, and the actress was hot, so I wanted to see more!)
The family life was also minimized because of the complexity of the case and the long stretches of dialogue. I’ve said it before: that aspect of the series is my personal favorite, and so I’m less likely to enjoy an episode if that element is not present. There were still many things to like, but in terms of my own preferences, this wasn’t the best.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.6: Dead Aim
I’m very happy with this season so far, even if it hasn’t paved much new ground. Most of the same stressors are in place, the same conflicts, but there’s a sense that the scope of the concept hasn’t been fully realized yet. For instance, we haven’t seen Allison put up against another psychic before, which involves a different level of anxiety. Nor has Joe’s job really been much of an issue.
The writers blend the two main aspects of Allison’s life together in a neatly complex tapestry on a weekly basis, and the surprise is that it continually feels fresh. We’ve heard Joe complain about the bills before, yet it doesn’t seem at all repetitive in this context. Perhaps that’s just me, but it felt very true to life, especially in the current economy.
So Joe’s boss, the Engineer of the Gods, who was also an evil Mayor bent on demonic dominion in a past genre life, doesn’t have a problem with their chips going into happy little missiles. This is all the man needs…another reason to go insane! I have to say, though, that he’s hardly the first engineer in the world to discover that his practical solutions were being used for military gain. In fact, given his job and the kind of work he does, he ought to have suspected it a long time ago.
Allison’s side of the story had its high points, especially when she was listening to the heckling spirit at the reading. And I loved the smackdown in the final act, when her boss got to play psychic and deliver the gut punch to Mr. Assistant Turncoat. I’m not sure about that FPS thing, but it was a gimmick used to introduce the story, and those typically add some unique commentary on Allison’s mental filters, so I give it the benefit of the doubt.
The one thing that was a little over the top for me was the prosecutor’s exaggerated style. Those lengthy pauses, designed to make Davalos look sloppy and weak, were a touch too theatrical. I’m not sure that a real judge would allow those antics, or that a real jury wouldn’t see right through it. But for the purposes of the story, it led to a wonderful final act that felt immensely satisfying!
I also felt the whole “false alarm” business was over the top, and combined with the antics in the courtroom, it seemed to take the whole question of Davalos’ credibility going into an election a bit too flippantly. Ultimately, Allison and Joe depend upon her work to keep them afloat and keep her relatively sane. Without the DA’s support, they wouldn’t have any of that. That could be an interesting subplot for the future.
For all that, this series is still delivering everything that I enjoyed in the first season, and this episode is a good example of a series becoming very comfortable in its own skin.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.7: Judge, Jury, Executioner
As usual, the writers manage to find a new spin on the series’ formula. In this case, the question is posed: what if Joe were placed in a position where his judgment was compared to Allison’s visions? Would Joe’s logical approach to a situation, given the bare facts of a case, match up with Allison’s intuition? I love how this episode underscores the rather interesting polar opposites at play.
Joe takes things from a pragmatic point of view in his profession (as many engineers do), and so his approach to a murder case would logically follow the same premise. His sense of fairness and relatively even keel (necessary for life with Allison) didn’t do much to get him off a jury, but they did make him a good and reasonable juror.
Of course, Allison doesn’t operate in the logical world, because she often feels compelled to act on little or no solid information. She has “evidence” that cannot be found in any other way, and her impressions are open to interpretation in the most extreme manner imaginable. Inevitably, once her visions and dreams are explained, they turn out to trump Joe’s logical approach.
The teaser was, in keeping with many previous installments, disturbing on several levels. I thought it was a strong way to add mystery and tension to the episode, which was otherwise not the most exciting case. The truth about the murder was relatively easy to work out, but that simplicity allowed for more exploration of the logic/intuition dichotomy.
It was also great to see Devalos in action again, so soon after his last appearance in the courtroom. I wouldn’t want the series to slide into that kind of specific format each and every episode, but it does allow for a wider scope and it keeps the focus on Allison from becoming stale. There’s also a rough arc in place for Devalos’ re-election bid, which is a nice touch.
I would also like to see this logic/intuition exploration come up again in future episodes. While this is essentially what happens on a regular basis, it was really driven home in this episode and I enjoyed how that added some layers to the narrative. Done incorrectly, it could devolve into a Mulder/Scully dynamic, but I trust the writers of this series to make it more organic, given their strong track record thus far.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.8: Too Close to Call
Written by Rene Echevarria
Directed by Steve Robman
This series seldom fails to deliver, and this is another strong episode. I was expecting the whole re-election question to stretch out a bit longer, but the writers must not have wanted to introduce long-term arcs. That’s usually something I prefer, but in this case, it may not be necessary yet. There’s still quite a bit of character work that can be done independently of an arc structure.
A good chunk of this episode was another look at the Allison/Joe dynamic, which is easily my favorite aspect of the series. I really liked the way that Joe stood up for his marriage; there wasn’t even a vague hint of extra-curricular temptation. As usual, his method of shutting down a potential problem was rational and complete. In fact, it’s increasingly clear that his emotions are reserved largely for his family, and even then, he tries to balance out Allison’s more unusual point of view.
On the other side of the equation, I once again found Allison’s point of view hard to accept. This episode reminds us that Allison knows far more about Joe and his activities than he could ever know about hers. In a lot of ways, it’s beyond unfair, and it brings up a personal example of what the episode highlights: how Allison’s visions are, in essence, a massive invasion of privacy.
Under the best of circumstances, even if things turn out well, Allison and her work with the DA could be perceived as a violation of civil rights. It’s come up before, but for all that Allison can prevent situations from getting out of control or crimes from being unsolved, her visions aren’t nearly clear enough to justify some actions. This episode is a perfect example: someone almost gets killed because of an ill-considered, pre-emptive action, and one that was not legally advisable.
Does Allison’s ability constitute an abuse of power? Or more correctly, when does the response to one of her visions constitute such an abuse? Allison points out that she can stray into “Minority Report” territory rather quickly, and sometimes, she can act a bit too proactively. From her point of view, can she just let something happen, just because she can’t prove her conclusions with solid evidence? Can she fail to act? Maybe not, but from an outside point of view, where does she draw the line?
All of these concepts are mixed well with the murder mystery at hand, and as usual, the pieces all come together in unexpected ways. One thing, however, is rather perplexing. Perhaps it happens more than I realize, but this episode seemed to be overflowing with product placements. Two movie references, a comment about TV Guide...it was more than a little fishy. It wasn’t as bad as some “Alias” episodes, but it was still pretty bad. Thankfully the episode itself overshadowed that annoyance.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.9: Still Life
Written by Craig Sweeny
Directed by Robert Duncan McNeill
I was a bit wary about this episode, because I really don’t like it when a gimmick overshadows the point of the story. It’s something that many shows struggle with during sweeps, when networks push producers to one-up the competition. That’s exactly what this episode sounded like, but thankfully, the 3-D effect was little more than window-dressing. (We didn’t wear the glasses, so the 3-D was somewhat lost on us.)
While the case itself was very much in the forefront, that mystery was not very hard to work out. Once all the clues were on the table, the motive was fairly obvious. If this were an inferior series, that would have stolen some of the power from the episode. But there were two aspects that made this a little more interesting than the conventional crime drama.
Devalos and his political concerns add another layer to Allison’s input. Now it’s not simply a matter of giving law enforcement an edge. It’s a matter of giving Devalos just enough direction to make the case on the evidence, and how getting the time and latitude to make that happen can be harder than pinning down the meaning of a vision.
More substantial was the exploration of Joe’s career path and how Allison’s ability factored into his decision. As an engineer with career often in mind, I can sympathize with Joe and his father’s reasons for interfering. As it stands, Joe’s schedule could become a lot less flexible, should he get his boss’ position, but it’s nothing compared to the demands he would have encountered.
The writers could have spent more time on the gimmick, but instead, they focused several scenes on Joe and his emotional roller-coaster. He manages to hold a lot back, but he was clearly trying to decide whether to follow his instincts and dreams or follow Allison’s vision. The fact that the information came from his father couldn’t have been comforting. As usual, his part in the story is a highlight for me.
As an aside: some ask why I’ve been “easier” on “Medium” than I was on the most recent episodes of “Dead Zone”, despite a number of similarities. Here’s the difference, for my point of view. “Dead Zone” started with a number of similar elements: Johnny had many personal connections and situations to work out while also solving mysteries brought forward by his abilities. But more recent episodes have not maintained the same level of personal impact, and his interaction with law enforcement doesn’t have the same level of complexity.
It remains to be seen if those issues will continue to plague “Dead Zone” (and admittedly, those are just my feelings on the subject, under much debate). But the writers of “Medium” should continue to develop the world around Allison and maintain the depth of storytelling. The complexities of her professional and family worlds are the heart and soul of the series.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.10: The Reckoning
Written by Moira Kirkland
Directed by Aaron Lipstadt
I’m sure by now that my comments are beginning to sound redundant, but I have to point to the consistency of the writers rather than my own lack of imagination! If they weren’t putting the same solid elements into every episode, damn it, then I wouldn’t be praising the same things, over and over again!
The mystery was an interesting take on a haunting, with a nice undertone of hostility along the way. But as usual, I didn’t see that as the primary focus of the episode. It was, instead, a way to explore the shift in Joe’s focus since the beginning of the series. Right from the beginning, we see how things have changed. Joe has gone from countering Allison’s ability with rationality to helping Allison approach her response to visions with rationality.
Perhaps predictably, this doesn’t necessarily go over any better with Allison, which gets back to that “intuition vs. logic” thing that was highlighted during “Judge, Jury, Executioner”. Joe is an engineer, and more importantly, a man. Men, and especially engineers, tend to be “problem solvers”. Present a problem, and the engineer will immediately propose a solution to said problem.
That doesn’t just apply to Allison’s vision; it also applies to Ariel’s vision. Joe gets the information and wants to act on it. It gets into his head and becomes a problem to solve. As a male engineer with a near-psychotic need to analyze everything to death (hence, the reviews), I completely understand and sympathize with Joe and his point of view.
But I also recognize the source of Allison’s reaction. Inevitably, people who are not compulsive problem-solvers don’t necessarily take kindly to someone coming along and laying out the rational response. This is especially true if that person is used to approaching problems from a more intuitive perspective. Sure, Allison and Ariel discuss their problems (more or less), but that doesn’t automatically mean they want somebody to step in and hand them an action plan.
I enjoyed this episode because Joe’s solution to approach things proactively is no better than Allison’s decision to approach things reactively. Ariel’s side of the story also added another layer of complication to the whole concept. It’s bad enough dealing with Allison’s gift; Ariel is far too young to deal with the depth of suffering that the gift mandates. It’s a great reminder that Allison and Joe have more than just the usual growing pains to look forward to.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.11: Method to His Madness
Written by Robert Doherty
Directed by Peter Werner
There were moments during this episode when I wondered if I had accidentally slipped in an episode of “Millennium”. Not that such a thing would have been terrible, since I enjoy that show immensely, but it’s not what I’m looking for when watching “Medium”. That said, I have to give credit where credit is due. This scenario fits within the logic of the series, even if it does so in a more graphic manner than usual.
At the same time, I’m on the fence as to whether or not I feel that the idea was handled as deftly as I have come to expect. Sure, there were the usual “common sense” moments where Joe tried to get Allison to see what the real-world effect of her reaction to the dreams might be, and when Allison slipped into the persona of the killer, it was chilling.
My main issue with this episode was not the graphic slashing or bloodletting, however. It was the disappointing final act. It was one thing for Allison to take several scenes to catch up with what the audience could figure out in relatively short order once the “ME” clue was dropped (my wife actually called it before I did, and she wasn’t paying much attention). It’s another for her to confront this possible deranged killer on her own, without any hope of backup, and expect things to go well.
But all of that would have been forgiven if the Medical Examiner would have at least threatened Allison and taught her a lesson. The lesson being: Allison is not a cop and she shouldn’t act like one. Instead, the guilty party just sits there and explains, in detail, exactly why she committed the murder. It’s a time-honored complaint, and I’m sure it’s happened on this series before, but for some reason it was a lot more annoying during this episode.
I guess my objection is that the rest of the episode didn’t test my willing suspension of disbelief, so it annoyed me when the end was far too conventional. That’s going to happen from time to time, but it doesn’t get any less irritating. And when I don’t expect that kind of conventional cheat, it gets under my skin and takes something away from my enjoyment of the episode. Along with the graphic content, which was a little over the top, that ending made this episode less enjoyable.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.12: Doctor's Orders
Written by Rene Echevarria
Directed by Helen Shaver
At the end of the first season, in the episode “Penny for Your Thoughts”, there was the hint of an ongoing storyline for the series in the form of Dr. Walker: a spirit that would routinely take control and twist the minds of young men so they could become murderers themselves. The episode suggested that Walker, thwarted by Allison, would become a recurring problem. More to the point, it introduced the idea of spirits with considerable malevolence with the intention of subtle possession.
While this is a natural extension of the “mythology” of the series, since Allison herself has been overcome with the desires and mandates of powerful spirits (the previous episode being an example), there are drawbacks. The writers need to be careful with the idea of a recurring spirit killer, because the series is grounded in a certain level of everyday reality. Such a concept could quickly become silly and break down the suspension of disbelief.
At the same time, I think that the idea of Walker targeting Ariel makes sense. For one thing, it’s an interesting measure of revenge. Walker uses Ariel to distract Allison, and there’s the sense that he is testing the waters. In short, Walker is trying to find a way to beat Allison and continue with his murderous ways.
I’m not sure that this was the best way to approach this idea, because in some ways, it violates the logic of “Penny for Your Thoughts”. Walker would typically take years to twist the minds of his “hosts”, roughly 15 years at a time, which is what made the idea so disturbing in the first place. If someone can be transformed into a killer by a malevolent entity with a taste for living vicariously, how can one predict and prevent the subsequent murderous activity?
Yet in this episode, Walker pushes a butcher into his dirty work with very little prodding. Sure, the butcher seemed to be ready to kill in the first place, but it doesn’t quite track. The story also required a young woman to make herself an easy victim. Did Walker know that the young woman was that sexually adventurous? That guy wasn’t much of a catch, so it wasn’t convincing for her to have been making a concerted effort to have a torrid affair.
The writers seem to be reaching for a metaphor, but in rushing the story, the idea loses power. Walker could have become a stand-in for all the fears that parents have regarding their teenage daughters as they step into the shark-infested waters of young adulthood. Parents are endlessly worried about what kind of hidden influences will shape their children’s psychology, and Walker is an extreme example of a situation specific to Allison’s daughters. As interesting and clever as the episode was, I worry that any future return for Walker would be mitigated by the fact that Allison, Joe, and Ariel actually have reason to look for trouble.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.13: Raising Cain
Written by Craig Sweeny
Directed by Ed Sherin
As usual, Allison’s abilities show up in an unexpected but logical way, giving her clues about where Trevor’s life might lead, depending on the resolution of the present situation. There’s the concern about Trevor’s survival as well, since his mother seems to have some odd psychotic religious beliefs. And I don’t mean that as a slam against religiosity…the woman was psychotic above and beyond her religious background.
I was a little worried at first, because in a very general sense, this territory was covered by a fourth season episode of “Dead Zone”. What makes this one a bit more interesting is the fact that Allison is already a parent, and she has a daily reminder of how three lives are directly dependent on her influence. At the same time, that leads to certain assumptions that keep her from seeing the situation clearly until the very end.
All that said, I’m not sure I buy the idea that Trevor was inspired to be a good and moral child because of his near-death and mother’s suicide. The reason that Allison is so shocked by that revelation is that it runs completely counter to the typical trend. Sure, the easy answer is that it’s an atypical situation, thus the whole point of the story, but it doesn’t necessarily address the concern (at least, it doesn’t fully overcome the challenge to my willing suspension of disbelief).
The guest cast was very good. I’m usually a bit worried about child actors, since they tend towards the horrific. But the actor who played Trevor did exactly what he needed to do, and the real coup was the actress who played his mother. She switched from pseudo-normality to psychotic almost too easily!
Beyond that, I don’t have much to say about the episode. It did exactly what it was supposed to do, and it covered the usual ground, and it did so with the typical “Medium” competence and touch. I’m just not entirely sold on the overall direction that it took. I can’t imagine how all those horrible experiences, after a lifetime of psychological abuse, could produce a success story. But this wouldn’t be the first time that I struggled with an episode’s premise based solely on my particular and admittedly subjective point of view.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.14: A Changed Man
Written by Bruce Miller
Directed by Lewis Gould
Considering that this series will be on a haphazard schedule until the end of the Winter Olympics, it’s a good thing that they hit the mini-hiatus with a good, strong episode. As usual, the best parts of the episode evolved out of Allison and Joe’s dynamic, right down to Allison’s moral superiority and Joe’s search for a relational explanation for her gift/curse.
As an engineer, I can completely appreciate Joe’s desire to find some physical brain structure that might explain Allison’s psychic ability. Granted, it would have taken the series into “Dead Zone” territory, but it addressed one of those questions that any scientist willing to entertain the psychic notion eventually asks. Logic dictates that something must be different between “normal” human beings and Allison and the girls, but finding that distinction through science can’t be as simple as running an MRI (or it would have been discovered by now, assuming the reality of psychic ability).
In this case, Allison runs into a man who used to be a serial killer and then completely lost his identity. His wife just happens to be his last intended victim, a woman who was also looking for a new life. It’s hard not to sympathize with Angela/Jade in this episode (played by the gorgeous Jaime Ray Newman), because she has a very good point. I was instantly reminded of one of my favorite stand-alone episodes of “Babylon 5” called “Passing Through Gethsemane”.
In that series, killers were sentenced to the “death of personality”, where their old personality and memories were wiped clean and replaced with a personality more suited to public service. The episode dealt with a man who had undergone the “death of personality” and devoted his life to peaceful religious pursuits, only to be hunted down by the relatives of his victims. The moral question was rather plain: if a person doesn’t remember his crimes, is it meaningful to punish that person for their previous actions?
Angela makes the case that her husband isn’t the same person that killed those prostitutes, so what would be the point of holding him responsible for the crimes, especially since it will destroy two lives in the process? Allison simply can’t let it go, because she continues to have visions of the kinky manner in which the man killed his victims.
The question in this case becomes more complex: is Allison even capable of agreeing to Angela’s request? She may be tempted to do so, but it’s unlikely that her visions would end until the victims were appeased. Devalos is in no position to let the matter drop, since it’s his job to ensure that criminals are brought to justice. Thus the moral question is complicated by the effect it would have on Allison.
Yet that is never given as the explanation for Allison’s choice. Allison doesn’t really give an answer, other than her sense of moral outrage over a killer’s apparent escape from justice for far too long. Given how indignant Allison gets over Joe’s scientific verve, one could easily fault Allison for acting out of a less-than-charitable attitude. But that’s something intrinsic to her character, and one of the things that helps make this a unique and intriguing series.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.15: Sweet Child O' Mine
Written by Moira Kirland
Directed by Perry Lang
Not far into the episode, I began wondering if this little detail of Allison’s history should have come up during “Raising Cain”. In both cases, despite some obvious differences, the story centered on motherhood and what kind of young man a boy might have become. I’m not sure how exactly it would have worked out, but it definitely left an impression. This is especially true since Allison and Joe have dealt with a lot of “growing up” issues when it comes to Ariel and Bridget this season.
The writers used the concept well, especially once the initial discomfort level wore away. Instead of dwelling on Allison’s specific feelings of guilt, those emotions were translated into actions that were painfully out of order. Allison was willing to make excuses for Jessie because she couldn’t help but protect her “son”, even if she didn’t really understand why.
That being the case, I wanted Devalos to challenge her a bit more on the situation. Devalos is a hard guy to get a handle on, because sometimes he can be very open with his praise and criticism, yet reserved when it’s least expected. Given how politically charged the case was, and how Allison acted in front of the deputy mayor, I was waiting for Devalos to take her to task for it. There was the disapproving glare, but not much else.
It was easy enough to tell that Jessie wasn’t the killer, but I was surprised by the direction of the final act. The baby-stealing angle just adds to the moral quandary for Allison, which reinforces her sense of character. When it counted, she stepped back from her emotional attachments to the case and did the right thing. My only real complaint is that she once again confronts a suspect on her own. It’s better that she does it on more secure turf, but wouldn’t there be legal considerations involved?
As far as the subplot with the dog goes, it was interesting to place Joe in a position of emotional loss in parallel to Allison’s emotional state. In a way, if Allison was too open about how her emotions were affected by memories of a lost child, Joe was too guarded and transferred a lot of his regrets onto Bridget regarding the loss of the dog. It’s something we all can understand in our family dynamics, and so it further personalizes the story for the audience. It’s another reason why this series continues to resonate with its fans.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.16: Allison Wonderland
Written by Michael Moore and Bernadette McNamara
Directed by Ronald Schwarry
A few shows have tried to capitalize on the ideas within “A Beautiful Mind”, and the results have been mixed, as one would expect. Once I figured out where the episode was going after the teaser, I admit that I was worried as well. But the writers managed to give this borrowed concept an interesting twist by placing Allison under the influence, so to speak, of the paranoid schizophrenic’s point of view.
It’s also interesting that the victim in this case was, in fact, breaking a secret code using mathematical skills of a savant. His relatively unique situation was manipulated by someone who knew him well enough to feed his delusions, and then the illness did the rest. In a way, it was as close to the perfect crime as it gets, because who would make the necessary connections to wade through reality and fantasy?
Obviously, Allison can and does make the connection, but only after experiencing some odd visions and dreams, all of which make the episode a lot of fun to watch. The conceit of the episode doesn’t always work, as hard as the writers try; I still don’t feel as though Devalos is consistent in his reactions to Allison and her gift. That lack of understanding made sense in the first season, but now the characters have known each other for a while. If Scanlon picks up on the nuances of her communication on a regular basis, then Devalos certainly should.
Just to get into that topic a little bit more: Devalos seems to be written so as to allow him to challenge Allison, usually along with Joe, when the writers need some external pressure to be applied to push Allison in the right direction. But once the case is on its way to resolution, and Allison needs the legal backup, Devalos tends to be right there, with little or no challenge. My problem is that Devalos tends to be very adamant in his dismissal or disagreement with Allison in the early acts, and sometimes it doesn’t quite mesh with the support he gives later. I suppose I’m really looking for the professional relationship to settle in a bit more.
It wouldn’t be an episode of “Medium” without a subplot involving the family, and in this case, it meshes well with Allison’s thread. Bridget once again provides the balancing perspective. Allison is dealing with a victim who was caught between his own creative talents and insights and outside influence. In many respects, that’s exactly what Bridget is supposed to have experienced. The difference is that Bridget isn’t dealing with delusions or schizophrenia, so she remains in relative control of how that intersection of internal and external influence is expressed.
Joe remains the solid foundation of Allison’s world, even when he’s spooked by the thought of a dead woman dictating a story to his young daughter. Allison, perhaps predictably, doesn’t really understand his point of view, and in the end, he comes to terms with it all. But I’m waiting for the moment when Allison doesn’t turn out to be correct and Joe’s fears are realized more than they already have been. I get the feeling the season could be moving in that direction, and of course, one cannot ignore that the season finale is only a handful of episodes away.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.17: Lucky in Love
Written by Robert Doherty
Directed by David Jones
To be honest, I didn’t remember Allison’s brother at all. A lot of time has passed since the first season, and there’s a lot of other material worthy of attention. So it completely slipped my mind that Lucky had abilities, making it a lot more surprising when Leah turned out to be the spirit of a grafter betrayed by her partners.
I’m not sure that Lucky is as interesting as the writers seem to think he is, but I was struck by the idea of someone not as bright or generally driven as Allison dealing with the effects of the family gift. Allison herself didn’t work it out until late in the proceedings, which makes it completely believable that Lucky wouldn’t recognize the signals.
My only concern is that the production wasn’t consistent in showing her as being dead. In some scenes, it’s clear in retrospect that she was being ignored by everyone but Lucky, especially when people are looking right at her and not reacting. It gave me the impression that she was in on another scam, pulling Lucky into another bank robbery. Unfortunately, in other scenes, she was being touched and touching things, which is still possible but breaks the illusion somewhat.
Maybe I was focusing more on what was happening between Allison and her brother, but I didn’t notice as many good scenes between Allison and Joe and the rest of the family. Everything was about Lucky’s personal situation, and it just wasn’t as interesting. As attractive as I found Leah (she of the oddly compelling accent and strange eyebrows), her chemistry with Lucky was lacking in a lot of key moments.
One thing I did enjoy quite a bit was the severity of Lucky’s predicament. The writers did a great job of demonstrating how determined he could be, despite the fact that he was getting beat half to death in the process. He really was acting like a man in love, willing to die for someone worth protecting, and there was a certain lug-headed dignity to it.
The episode itself was well done, and it certainly managed to surprise me along the way, so it’s not as if this was a particularly weak installment. It just wasn’t something that I would look forward to seeing again, which is not something that I usually experience when it comes to episodes of “Medium”.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.18: S.O.S.
Written by Rob Pearlstein
Directed by Tim Squyres
“Medium” continues to be the kind of show that delivers nearly every time it airs, but it’s not important enough for the network to air it consistently. I haven’t seen too many episodes that have left me unsatisfied. This was another good one, because the situation threatened to expose Allison’s gift in ways that would be non-ideal, to say the least.
Also, this is the first time, if I recall correctly, that Allison spoke to Ariel and Bridget about her abilities and what that really means for her and them. Throughout the process, Joe was very supportive, but it was clearly weighing on him, because once they take that step, there’s really no going back. Other episodes this season, of course, made it clear that the daughters will have to understand what’s happening sooner rather than later.
For a long while, I was under the impression that the killer was tapping into the 911 service to find his victims, so when they brought up the idea that the killer was a psychic, I was a bit taken aback. Not because of the idea itself, but the fact that I hadn’t considered it. It makes a lot of sense in retrospect, since for every upstanding member of the psychic community, there’s probably someone ready to use the gift for immoral purposes.
That said, I still wouldn’t want to live in this version of Arizona. Apparently everyone in the state is a cop, a lawyer, a psychic, a killer, or some combination thereof. The murder rate alone is impossible to believe! It’s little wonder that the DA election was so important. Do they ever get to sleep in that office?
Considering that this is a series without a clear sense of evolution, working without any general arc structure, it’s gratifying when there’s some kind of progress. Now that immoral and even murderous psychics have emerged in the course of the series, it would be interesting to see one of the daughters developing a misuse of the gift. After all, one of the best aspects of the series is the depiction of a normal family with an unusual situation, and one of the hardest parts of the parenting process is teaching right from wrong.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.19: Knowing Her
Written by Glenn Gordon Caron
Directed by David Paymer
Despite Allison’s heavy presence in this episode, I got the feeling that she was mostly in the background. This was a strong episode for two supporting characters, Scanlon and Ariel, and the big question for the audience is whether or not those characters are compelling enough to maintain interest. For my own part, I was initially interested in Scanlon’s past but quickly found that entire situation to be predictable. Scanlon, at least for me, works better as a secondary character.
Ariel’s situation, however, was a little more interesting. As I said before, it should be interesting to see how the daughters react to their evolving and expanding abilities, and this is a mundane yet relevant aspect of it. It’s not always going to be dark territory or dead serial killers; the hard part will be dealing with knowing more than one should know. And we’ve seen how the abilities once crippled Allison; she has to know what the girls are in for, and Ariel is likely to be the furthest along the path.
In response to the review for “S.O.S.”, many noted that this emerging challenge to Allison’s family is the arc for the show. I’m not entirely convincing. It’s a recurring through-line of the series, certainly, and it should become more important over time. But when I mention an “arc structure”, I’m thinking more along the lines of a “Babylon 5” or “Buffy” seasonal structure, with a distinct beginning and ending for character transitions and the three-act format for the episode progression. I don’t see an “introduction/complication/resolution” structure to any recurring storyline in this season.
There’s nothing wrong with that, because a strongly episodic series can still have very satisfying serialized elements. This is a good example. There’s nothing in previous episodes that pointed to these particular revelations about Scanlon and Ariel’s abilities that would suggest a subsequent consequence to either plot point. Things will inevitably come up when they come up, and by the end, there will probably be a discernable character development. But there’s nothing exterior to the characters that I would call a “season arc”, in terms of larger set of events driving the character development.
That’s what makes Scanlon’s development in this episode a little frustrating. It adds to the character, but what is the likely consequence of this new knowledge? Probably nothing. Similarly, there’s no reason to think that Ariel’s interesting development of psychic abilities will lead to any specific future event. Thankfully, the characters themselves and the subsequent dynamics are enough to keep the series more than viable.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.20: The Darkness is Not Enough
Written by Nicolas Wauters and Analisa Brouet
Directed by Aaron Lipstadt
A lot was made of Molly Ringwald’s guest appearance in this episode, but frankly, I didn’t see what all the fanfare was about. Sure, she did a good job with the part, and the promotion wasn’t really her fault, but why couldn’t the producers let the performance speak for itself? It was all a bit much, especially since Molly’s character was only in a few scenes. (I have the same worry over Kesley Grammer’s upcoming appearance.)
Anyway, this episode had a solid plot, even if it was easy to figure out that Kathleen was blind. But as usual, there was something that bugged me, and it was amplified by Scanlon’s reactions. Allison has been working for Devalos for almost two years. How often has she been proven wrong? And this was a relatively straightforward scenario. Given how useful Allison has been in terms of getting to the truth of a matter, why question her instincts so adamantly?
For that matter, Scanlon acts like an idiot in this episode. Even if Kathleen’s complaints are hard to understand, he can’t be so unaware of the issues raised by the circumstances. Kathleen said enough to be convincing (especially since she clearly indicated unwanted physical contact), and he should have been able to wrap his brain around the feelings of violation that Kathleen had to be feeling. I found his protestations to be rather weak and out of character.
On the other hand, I liked Joe’s little subplot, because who hasn’t been in that kind of position at work before? Especially in the engineering world, this sort of thing is all too routine. When push comes to shove and people need to be let go, the competition can be fierce. I only have one particular quibble with how this is presented. If Joe was already a senior VP in an engineering firm, it’s highly unlikely that he would be the one burning the midnight oil. He could simply be the kind of person who prefers to do things himself when his job is on the line, but in my engineering experience, people at that level will force their direct reports to work 24/7, rather than did it themselves. (If they are there so late, it’s more about documentation and presentation, or more likely, the review thereof prior to the actual meeting.)
Overall, it was a good enough episode, but something felt like it was missing. As usual, I like the portrayal of a couple with a healthy sex life (even if they are still more affectionate and active than most couples I know), but to be honest, the final scene bugged me. I hate it when I can tell how the actors are jumping into a scene; it’s better when the editor has a little more to work with, so the scene is more natural from the beginning. But who knows? Maybe that was a quick pick-up at the end of a very long shoot!
Writing: 2/2
Acting: 2/2
Direction: 1/2
Style: 1/4
Final Rating: 6/10
*****
2.21: Death Takes a Policy
Written by Diane Ademu-John
Directed by Ed Sherin
I get a little nervous when shows trot out “special guest stars” during a sweeps period, because it tends to smell of desperation. It works really well when the episode treats the guest star as if he or she was nothing special, leaving all of that to the promos. Molly Ringwald’s appearance was shouted from the rooftops, but her character could have been played by anyone.
I’m not so sure the same is true for Kelsey Grammer, because he did such a nuanced job as the Angel of Death. It could have been horribly overplayed, especially if the intention was to highlight his appearance on the show. His prominent role did play into that a little bit, but it never crossed the line into knowing self-awareness. When the “special guest star” acts like he or she knows that she’s there for name recognition only, it’s quite evident. So as mated as the actor and role might have been, it was still natural within the “Medium” universe.
On the whole, this was strong and clever episode, and it almost makes me wish that the Angel of Death would become a recurring character in the third season. Alison’s dream are rarely so interactive! Then again, there’s a wisdom to small doses of a good idea. I wouldn’t want this series to turn into another “Tru Calling” or morph into “Ghost Whisperer”.
The key to “Medium” is family, and the most effective scenes were, as usual, between Allison and Joe. I’ve often wondered if Allison would get some warning of her own death, and what Joe would think about that if or when it happened. Consider this a bit of a dry run. Joe’s reaction was nicely in character, and I love how he’s managed to slip through his surreal days and nights with a continually quirky attitude.
The one thing I found somewhat annoying was the plot convenience that delivered Allison the vital clue. I was skeptical of Ariel’s apparent lack of an E-mail address, since it’s all too easy to set one up in short order, and she was just a little too excited about getting one. It felt a little off. However, the kicker is that the spam she received focused almost entirely on the one thing that Allison needed (and frankly, I never get on *any* of my myriad addresses). Who gets spam on life insurance? (And really, wasn’t everyone else waiting in horror to hear just what Ariel was getting in that mailbox, based on real world experience?)
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.22: Twice Upon a Time
Written by Rene Echevarria
Directed by Ronald Schwary
A lot has happened since the previous episode and my chance to see the season finale. Perhaps most obvious is the effect of the fall upfronts on the series and its scheduling. “Medium” will now be scheduled as a mid-season show, beginning in January 2007 (or earlier, if a new show tanks). Some have panicked about this, but the fact is, the season will still be 22 episodes and the mid-season “stigma” is no longer valid. After all, “24” is a mid-season show now, and its ratings have increased as a result.
In the case of “Medium”, the network has been less than attentive, so it’s hard to know what the effect will be. So far, the series has been able to weather the on/off scheduling pretty well, and one can only assume that starting in the mid-season would result in a more regular airing pattern. But since the series is not serialized in nature, the main benefit will be that the series will be on more regularly and it won’t be so easy to dismiss.
In terms of the season finale, I’m glad they focused on a more substantial dream world this time around, because the “twist” in the case was beyond predictable. OK, so the porn angle wasn’t something I saw coming, but the “twin” thing was pretty easy to figure out! The world of Alison’s vision, however, was a lot more interesting, especially in terms of where it brought her mentally.
Sooner or later, Alison’s role in the DA’s office will come out, and it’s just a matter of how and when. This episode picks up on a lot of Alison’s anxiety about that moment, which is a nice bit of insight. Her fears are rather justified, and I was left wondering whether or not that will motivate her to change her approach to things in the third season. She really came within hours of a horrific downslide for her family’s future; it might come down to taking ownership of how the news is broken to the world.
On a completely different note, I found it very interesting how this episode highlights Patricia’s natural beauty. There’s a real-world aspect to Allison (particularly her wardrobe) that seems more “real” in its inherent sexuality. Contrast that to the rising star version of Allison, where Patricia is all glammed up and looks hot in a completely different way. It was jarring, to say the least, but I found it extraordinary that the “perfect” version of Allison felt so wrong.
Now, it is time for a short farewell. As much as I enjoy this series, it is the series I feel the least desire to watch as soon as it airs and these are the reviews I get the least feedback on. As solid as the show is, it doesn’t have enough of the elements that usually compel me to watch attentively. As a result, I will no longer be writing reviews for “Medium”. Instead, I will cover “Medium” on the podcast that I recently started producing, “Dispatches from Tuzenor”.
Similarly, this is the part where I would usually launch into a discussion about the season as a whole. Instead, the “Medium” post-mortem (so to speak) will be the main focus of this week’s episode of “Dispatches from Tuzenor”. 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: 2/4
Final Rating: 8/10
(Season 2 Final Average: 7.1)
Back to Medium
Back to the Shrine
Email:
|
entil2001@yahoo.com
 |