PRISON BREAK: SEASON 1
1.1: Pilot - 1.2: Allen - 1.3: Cell Test - 1.4: Cute Poison - 1.5: English, Fitz or Percy - 1.6: Riots, Drills, and the Devil - 1.7: Riots, Drills, and the Devil: Part II - 1.8: The Old Head - 1.9: Tweener - 1.10: Sleight of Hand - 1.11: And Then There Were 7 - 1.12: Odd Man Out - 1.13: End of the Tunnel - 1.14: The Rat - 1.15: By the Skin and the Teeth - 1.16: Brother's Keeper - 1.17: J Cat - 1.18: Bluff - 1.19: The Key - 1.20: Tonight - 1.21: Go - 1.22: Flight
1.1: Pilot
Written by Paul Scheuring
Directed by Brett Ratner
Although FOX gave the series a two-hour premiere, it was more like two episodes cobbled together. They even have two different episode titles. That being the case, I’m covering the first hour here, and then the second hour separately. Hopefully that’s not as confusing as it could be!
As I was watching this pilot episode, I was struck by something I remember the producers of “24” saying at one point. Basically, they said that the original intent was never to focus on the same genre, season after season; instead, each season would have been a different set of conditions, connected only by adherence to the format. True or apocryphal, that’s what came to mind as I watched this episode. I couldn’t help but wonder if this could have originated with something similar in mind.
This series is inevitably going to be compared to “24”, and that might be unfortunate. Frankly, one of my big problems with “24” (as much as I enjoy it) is the use of plot contrivance to a ridiculous extreme. This series follows in the same footsteps. A lot of the situations that will play out over time require massive suspension of disbelief. Hopefully, it’s just the setup that’s lacking in credibility.
A lot of those issues have been covered in other reviews, but I have a few that won’t stop bothering me. Warden Pope and his Taj Mahal ranks rather high on the list, especially given the fact that Michael is immediately branded a troublemaker. Someone ought to have discovered the fact that Michael was involved in the design of the prison, and it strains credibility that Michael would be sent to the same prison. And then his lawyer is also the woman that his brother Lincoln once had a relationship with, which doesn’t present anyone with a problem, and even the mobsters don’t seem to think that his constant questions and attitude are a problem. Michael’s little smirk ought to be getting his butt kicked regularly!
I also had some issues with the basic idea of Michael’s tattoos. It would have taken a lot more time for those tattoos to heal, and even accepting that, the tattoo was vague enough to work as a general map of the prison, but nothing as detailed as one would need to know every nook and cranny. Never mind that things will get rather problematic if and when Michael begins to gain weight, build up muscle, get stabbed, etc. All those carefully worked-out dimensions won’t mean a damn thing, then!
The conspiracy is equally problematic. We’re asked to believe that the conspiracy against Lincoln is so solid that it’s hard for anyone to believe that he’s innocent. Fair enough. There’s concern among the conspirators that Bishop McMorrow will influence the governor into granting Lincoln a stay of execution. Also, fair enough. But rather than blackmail the bishop, the Secret Service has him killed! Isn’t that just a little sloppy and obvious for such a well-considered conspiracy?
I wouldn’t say that I’m disappointed in the premiere. It kept my interest, and I think that if many or all of those issues are set aside, there’s a certain method to Michael’s madness. I hope that the writers delve into the character’s psychology over the course of the season, and that they don’t overlook his obvious emotional damage. The man is clearly capable of highly ordered and strategic thinking, but he’s also making decisions that are questionable at best and personally destructive at worst. He’s damn lucky that his cellmate is so decent, or he’d already be dead.
Pilots are notoriously flawed, if only because so much time is spent on exposition. Characters need to be established, and the underlying mythology of the series must be introduced. There’s not a lot of time for actual storytelling. Viewers are sold on the characters and whether or not their world is compelling. In this case, the characters and situation merit a longer look. I don’t believe this is the second coming of “24”, like some have claimed, but it’s certainly not DOA.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.2: Allen
Written by Paul Scheuring
Directed by Michael Watkins
Watching and considering the premiere as two separate episodes might have helped me get past some of the basic issues with the plot holes. As far as I could tell, there was only one sticking point, and even that I can explain away through relative reasoning. Now that the character introductions are out of the way, the plot gets to move forward, and the pacing picks up as a result.
First things first…what were the weaknesses? Others have probably mentioned the same thing: it would help for the audience to know what Michael’s short-term objectives are, so that the tension mounts when obstacles are placed in the way. The only thing that the audience knew about Michael’s situation was the reference to the make and part number he was interested in, and that an awful lot of skin was used up to remind him of it. While the audience could certainly assume that it was important to his scheme, it might have been better to know how critical it was.
Getting the bolt, and the process of achieving that goal, drove the whole episode forward rather well, so the complaint is a small one. The main issue is how the bolt was used. Filing down the bolt into the proper size Allan wrench was a clever move, but if the Allan bolt is right there and accessible, what’s the point of comparing the filing-down bolt to a tattoo on his arm? Especially when the tattoo could have been damaged or altered by any number of factors?
I consider this an ongoing flaw in Michael’s plan, but in this case, there is an explanation that I can live with. Basically, Michael might have anticipated that his activities would have to be “quick and dirty”, especially when it comes to messing with prison equipment. There are enough areas of “exposure”; he doesn’t need to be seen fiddling with the toilet. So using the tattoo as a rough guide for the retooling of the bolt is a way to minimize suspicious behavior. (Granted, he’s not at all careful about getting the bolt or keeping it to himself, but I had to try!)
Throughout the episode, Michael runs into difficulties with the people that he had assumed he could manipulate. He clearly wasn’t expecting the level of violence that he’s experienced. When it comes to the technical aspects of his plan, I have little doubt that he’ll be 99% correct about how to handle it. But he seems to assume that his manipulation of the people around him will be equally simple. That’s clearly not the case, and he’s already making concessions to get what he needs for his plan.
This speaks to that psychological aspect of Michael that I mentioned in my review of the pilot. Michael is a fairly complex individual, but he’s got issues. I get the feeling that he’s somewhat detached from reality, and that’s where this is going to get him into trouble. The final scene is a great example of his dedication, but it’s also an example of why his assumptions are so flawed. Did he really think he could stare down a desperate mobster?
Anyway, the conspiracy angle continues to expand. My concerns remain the same: the conspirators have been far too casual in their methods to be effective at keeping the truth buried. That said, they did a very good job of setting Lincoln up, since he supplied a solid motive on his own! There’s a chance for the writers to explore question of guilt and responsibility, and that’s a good thing. I only hope that Robin Tunney’s character becomes a little less annoying.
Whatever the case, I liked this episode better than the pilot. I was impressed at the level of violence that was present, given the network restrictions; it may not be as strong and deep as a series like “Oz”, but as a companion to “24”, it works well enough. If I were the writers, though, I would show more of Michael’s thought process, so the audience could internalize his short-term goals and share in his anxiety.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
1.3: Cell Test
Written by Mike Pavone
Directed by Brad Turner
I’ve come to the conclusion that enjoyment of this series will be entirely dependent on my ability to shut down certain impulses in my brain. Specifically, the parts that would take a lot of the story seriously. I’m not sure that the writers were really looking for me to laugh hysterically at certain moments, but it kept me from rolling my eyes too much.
Don’t get me wrong…this is not a bad show, and it’s far better than the pilot led me to believe. It’s just that there’s a point at which Michael’s well-considered plans seem awfully naïve and pathetic, and it’s fun watching it all fall apart. Why? Because clearly the writers have constructed a way for Michael to overcome all (or most) of these obstacles, and seeing that unfold is going to be rather amusing and exciting.
Michael recognized that the weak link of his plan (besides his survival) would be his cellmate. All of his activities would have to be filtered through a complete stranger whose identity would be unknown until he arrived. What strikes me as odd is the loyalty test that he conceived. It’s one thing to see if a cellmate will spill about a possible cell phone; it’s another to expect him to put his life on the line for possible escape.
Where Michael goes wrong is the psychological aspect of his plan. He’s not very good at figuring people out. He might know what other people know, their connections and resources, and everything that fits into his elaborate scheme, but he relies far too much on every little detail coming together. He never accounted for the fact that other inmates might react violently to his attempts at blackmail, and he certainly didn’t pay attention to his cellmate.
Sucre was hardly silent regarding his personal issues, and Michael knew all about his deep devotion to his woman. One can only assume that Sucre mentioned his concerns regarding Hector in the process, since he told everyone else about it. If Michael truly understood how critical his cellmate would be to his efforts, then he would have been devoting a lot more time to knowing and understanding his cellmate’s emotional and mental state.
How hard would it have been to use Sucre’s concerns about his fiancé and Hector into motivation? Michael completely misses that opportunity. More to the point, he’s far too open in his conversations with Sucre, especially since Sucre doesn’t see any upside to preserving Michael’s interests. By the time the lunatic is assigned to his cell, Michael’s fumbling becomes almost comic.
By my count, at least six inmates (including Michael and Lincoln) who potentially know about Michael’s plan. That’s way too many people at this stage of the game. Making things worse, Veronica is running around setting off alarm after alarm to the Secret Service agents behind the cover-up. Every time Veronica visits Michael, I can’t help but wonder how long it will take the agents to figure out that Michael has something up his sleeve. Michael’s survival wouldn’t last far beyond that point!
Felicia’s death will hopefully give Veronica pause. She needs to be a lot more careful. Of course, part of the conceit of the series is that time is of the essence. This pushes everyone to make mistakes, and they make incredibly stupid and impulsive decisions. Killing Felicia wasn’t the smartest move; it could have been handled more cleanly, and she could have been used to expose other weaknesses. And assigning Lincoln to mentor his own son is a recipe for LJ’s future occupation as potential hostage/victim.
That parting shot, however, was a moment of genius. I was still laughing well after the promo for the next episode. Like I said…a lot of the enjoyment is going to be watching this flawed, short-sighted individual pull off something miraculous against overwhelming odds.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
1.4: Cute Poison
Written by Matt Olmstead
Directed by Matt Earl Beesley
Quite against my expectations, I am enjoying this series. It’s still completely ridiculous at times, and there are about a million plot holes along the way, but it’s just so much fun. The writers really amp up the tension in this episode, and there are even moments that one might call “tongue in cheek”. What really impresses me is how well the elements are coming together.
First, the things I didn’t like. For a conspiracy that supposed has every detail worked out, it sure took long enough for them to realize what was going on with Michael. Wouldn’t they have made an effort to know about Lincoln’s entire family before the set-up, and wouldn’t they have been keeping a close eye on family members with a likelihood of wanting Lincoln exonerated? Sounds logical to me, but it’s not until this point that the conspiracy seems to get their act together.
I also couldn’t buy into the idea that Warden Pope would be so kind to a convict who all but blackmailed him just a few episodes ago. This entire subplot is rather hard to swallow, and all it does is provide a means of increasing Billock’s hatred for Michael, which is already well established. There’d better be a reason for this plot device later in the season, because right now, it’s just bad writing.
Most of the other issues are related to Michael’s plan and his execution of it. I like the fact that each episode centers on some specific aspect of his scheme, and that the audience is given some insight into Michael’s thought process. I still don’t think it’s enough, but the writers clearly believe that the tension is best maintained if the audience is kept largely unaware of why Michael is doing what he’s doing.
It’s very methodical, of course, but it also involves a lot of clear exposure. It’s hard for me to believe that he’s managed to get so far. Haywire’s ravings were, at least this week, easily dealt with, but like the scenes with the warden, they should have some impact later in the story or it becomes little more than a contrivance. Haywire only needs to be there long enough for Sucre to figure out what should have been obvious right from the beginning.
Watching Sucre go from hating Michael’s guts to being Michael’s best friend is rather amusing. Michael might want to pay attention to that. He’s still not doing the best job of reading people. To paraphrase what the Hot Doc said: his personality is going to get him killed if he doesn’t wise up. Sucre has a vested interest in helping Michael now, so he’s in the game. If Sucre can turn that fast on a dime, then there’s no reason to believe he wouldn’t rat Michael out if it was better for him in the long run.
I have to say that I did like Haywire and his obsessive behavior. He brought an absurdity to the whole episode that gave it a certain charm. It’s something that the scenes with Veronica were missing completely. Robin Tunney is a good actress, but she’s not clicking in the role yet. Perhaps the fact that the conspiracy has finally caught up with Michael will give that part of the story some heft.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
1.5: English, Fitz or Percy
Written by Zack Estrin
Directed by Randall Zisk
Michael’s plan takes a major step forward in this episode, as he determines which route to take once he and his allies are past the fences. From a certain point of view, this element of his plan is entirely logical; he must find a means and vantage point from which to observe response time to possible escape. Unfortunately, where the episode breaks down is in his alibi.
I mentioned in my review of the pilot that the most ludicrous element of the series thus far must be the relationship between Michael and Warden Pope. I don’t care how interested Pope might be in rehabilitation; there’s no way he’d let an inmate have that much free access to his office. I can only assume that the writing staff realized that there would be a huge plot hole in the story, and they somehow came to the conclusion that this Taj Mahal model was the way to solve it. (And this element is critical, because Michael’s tattoo plainly demonstrates that the Warden’s office was key to his plan.)
I’m just not buying it. At the very least, Michael’s activities would be scrutinized like crazy for weeks, if not months. As it is, his escape plan is too dependent on luck and random chance. But even if one takes Michael’s relationship with Pope at face value, there’s one other major sticking point. The removal of those concrete blocks, just behind his cell, should have been rather obvious to the guards running through the bowels of the prison, and since they knew they were looking for Michael Scofield, that alone should have been enough to implicate him in an escape plan.
Another thing that troubles me is the fact that Michael clearly has three street names incorporated into his tattoos, and yet not one official made the connection. It’s one thing when there’s a certain code involved; the “Cute Poison” thing was just obscure enough. But those street names are a huge tip-off to anyone suspicious of Michael and his motivations…which brings me to my final issue with this episode.
Even if I were to accept that the relationship between Michael and Pope was logical and that his activities were accepted to be as presented, then one thing is now on the table which should throw his presence into complete suspicion: his relationship to Lincoln is now public knowledge. Even if everything else were taken as coincidence and misunderstanding, that connection should be viewed with intense suspicion, especially since they interact so often.
Granted, this episode was filled with tension, especially during Michael’s initial recon of the escape route and Pope’s crisis of conscience. And I recognize that this is not “Lost”, where deep consideration of every plot and character arc is rewarded; this is all about suspending disbelief to the extreme and having fun in the process. I just worry that the writers are going to overcome my ability to do so.
Oddly enough, this time around, Veronica wasn’t a complete annoyance. Her scenes were actually rather interesting, touching on the current fascination for forensics and my desire for that plot thread to become as intricate as the main thread. Of course, it took her way too long to realize that her advocate was working for the wrong side, and unless there’s some kind of surveillance that we haven’t seen, he’s way too calm about her reaction.
Supposedly the next few episodes are going to make a few plot elements connect a bit more strongly, and all I can say is that I certainly hope so. It’s not as if I’m giving up on the series, or that this was a bad episode. It’s just that it relied way too much on contrived reactions to information and events, even for a series built on such entertaining ground.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
1.6: Riots, Drills, and the Devil
Written by Nick Santora
Directed by Robert Mandel
In the previous episode, a number of plot contrivances were required for the story to work. As it turns out, the writers were probably just trying to get to this part of the story on schedule. Since this two-part story brings the season about a third of the way, this is typically when the arc begins to complicate in a more serious fashion. Everything to this point was introduction of the situation and the main characters, such as they are. Now, one would expect, everyone likely to know about the escape plan does know.
Events require a lot less contrivance this time around, because the previous episode took that hit. Sure, it shouldn’t be so easy for Michael to come and go, but if his scheme in the previous episode didn’t screw that up, nothing will. So when it comes down to shutting down the air handling system, I buy it. Just as I accept the consequences.
The riot itself evolves slowly but surely, and it escalates in ways that are consistent with the characters and their previous development. Bellick takes a bad situation and makes it worse, and from where I’m sitting, he’s the one responsible for the situation getting out of hand. He waits far too long to take his men seriously. When dealing with a maniac like T-Bag, getting him even more worked up is a huge mistake.
The rookie guard Bob weaves in and out of the most important moments in the riot. Lincoln gets to show his true colors by trying to save Bob’s life. Granted, he gets beat down rather nicely for it, but he tries. If there’s a questionable moment, it’s when T-Bag conveniently tosses Bob into Michael’s cell, thus revealing the hole in the wall. The fact that Bob knows about this is a problem; the fact that T-Bag knows is an even bigger problem.
Of course, the timetable is such that the escape attempt can’t be too long coming. I’d be shocked if it took longer than mid-season to happen. At least, the first attempt, since I doubt it will go smoothly. I don’t think the series can go the entire season within the prison walls, if only because Michael’s plan is relatively simple, based on what he mentioned. As long as Lincoln and Michael are in the prison, it’s too easy for the conspiracy.
What I really like about this episode is the intensity level. It’s through the roof, to say the least. Sara’s situation is horrific, and while the promos gave quite a bit away, it’s still not going to be easy for her to get out unscathed. Nor will Lincoln have an easy time of it. The riot has literally thrown everything wide open, and the chaotic nature of the story allows the audience to feel the anxiety over how it will all play out. More than even the race riot, this two-parter takes advantage of the setting.
As usual, the one weakness is the conspiracy angle. It shouldn’t have been that easy for someone to track the source of that phone call to Washington, DC. For one thing, the conspiracy shouldn’t have been stupid enough to make that call, let alone leave a trail behind. I still think Mr. Helpful is a conspiracy mole, because at this point, the conspiracy is looking stupid otherwise. That side of the story was not properly conceived.
Still, that’s a minor point in comparison to the intensity of the rest of the episode. I was quite surprised at how engaging this episode was, especially after being disappointed last time around. Hopefully the second half of the two-parter will be equally as strong, especially since the series needs to go into its MLB hiatus on a high note.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
1.7: Riots, Drills, and the Devil: Part II
Written by Nick Santora
Directed by Robert Mandel
The previous episode was going to be hard to top, in terms of intensity, so I wasn’t surprised when the tone of the episode dialed back a bit. Once Michael got his hands on Sara, I knew that she’d be all right, because the stupid FOX promos gave too much away. Had that situation remained unspoiled going in, events might have been a lot more disturbing.
As it is, the anticipated shift towards a more complicated phase of the story arc is underway. The tension between Warden Pope and Captain Bellock now has another aspect to it, because the governor believes that Pope is too soft with the inmates. This riot and the danger to Sara, on top of the information the Secret Service has on Pope, puts Pope in a very bad situation. As the escape plan comes to a head, Bellock could end up running the efforts to get the escapees back.
Michael has also made a snap decision that could undermine his plans completely, if things continue as they are. Saving Sara demonstrated what kind of man he is for her, but he was also caught in a blatant lie. Clearly she’s suspicious of his intentions, since he wouldn’t have lied unless there was something to hide. He might have done better to minimize his explanations, rather than make something up that he should know a doctor would question.
For those looking to really screw Lincoln, there’s now a metal pipe and all kinds of other objects with his fingerprints and someone else’s blood all over it. Even if it was self-defense, no one else saw the circumstances and there was a prison riot taking place at the time. Despite the complete lack of security cameras in key locations throughout the facility, I’d bet that this will be on camera and force Michael to move even faster.
His plan is in jeopardy, however, because they have too many people involved, and T-Bag is a complete psychopath. It wasn’t hard to guess that Bob was a dead man, but T-Bag was also making sure that Michael understood the stakes. There’s also the small matter of a big hole in the wall, which happened to be nearby some maintenance equipment. I would expect that the equipment was being used for something, and that means the hole could be discovered.
Things look to get even more insane in the episodes to come, but we have a bit of a breather first, whether we like it or not (thanks, MLB). Now is probably as good a time as any, since this is basically the end of the introductory phase of the season arc. Now things will get a lot more complicated, and I look forward to seeing what the writers come up with.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.8: The Old Head
After a short break for the evil that is Major League Baseball, the series returns with a big ol’ jump into the complication phase of the season arc. Actually, I consider this more of a transition between the end of the introduction and the meat of the story, because this really brings the full “escape team” together, if one counts our friend with the dead cat.
Michael is faced with a number of curve balls in this episode, and he’s forced to make concessions that he normally wouldn’t. Perhaps the most impressive thing is that he manages to deal with people a little bit better than his past activity would suggest. The only time he really stumbles is with Sara, which is understandable. Even Mr. Westmoreland doesn’t really throw him off.
The beginning of the episode presented the real issue: Michael is just over the halfway point in his very short window of time. At this point, I can’t see how he’ll make it. Sure, the plan is moving along quickly, but he’s still operating on luck. Just having T-Bag around is a huge liability. I still don’t understand how that big hole in the wall will remain undiscovered for days on end, and after the riot, things are back to status quo way too fast.
But this series is full of plot conveniences, because the story is only meant to hang together long enough for the momentum to remain constant. And this episode certainly keeps the story moving forward. Actually, one has to wonder if the network wanted to save money by cutting back on guest stars. Talk about cleaning house!
Captain Bellick is thankfully just as frustrated, because just as he seems to get all the power to abuse that he could possibly want, he ends up getting blamed for the fire in the break room. Never mind how crappy it must be to have a break room in the middle of a storage shed! But I can’t help but laugh every time the jerk finds himself under the 8-ball again.
Meanwhile, we have LJ running around with a picture of one of the Secret Service agents on his phone (leave it to a government employee to have no clue about technology), but no support system. Veronica is in the middle of the woods, “off the grid”, with someone who still doesn’t seem to be who he says he is. And there’s only 17 days until Lincoln’s execution. No pressure!
As usual, I see flaws here and there. Sara isn’t stupid, so why hasn’t she figured out how Michael knew about the crawlspace and the prison layout? In this case, her attraction to Michael might be getting in the way, but I still would hope that she would be smarter than that. Is she trying not to believe what she must suspect? I feel like this was an ill-conceived plot thread.
I’m also not sure how the Escape Squad is going to work fast enough to make that “on-ramp”. After all, they should be making some progress on the job they were assigned to do. I assume that will be covered in the next episode, but still, I was hoping that the plan would be a little more fleshed out by now. But then again, this is “Prison Break”, and as I already said, I have to shut down the higher brain functions and enjoy.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.9: Tweener
Written by Paul Scheuring
Directed by Matt Earl Beesley
With this episode, the season arc is clearly in the throes of the “complication” phase. All characters are in motion, physically or emotionally, and the conflicts are evolving in unexpected directions. What makes this episode work so well is the exploration of Michael’s psychology and how it impacts every choice he’s made since the beginning of the series. I’ve always suspected that his emotional state is less than perfect, but Sara uncovers information that strikes at the heart of Michael’s thought process.
So Michael is not only a genius, but he takes in detailed information and how all of that information fits together. That explains why his tattoo could involve sometimes vastly indirect references to information that he could easily associate with the aspects of the prison design he needed to utilize. It also explains why he can sometimes make mistakes in judgment, because sometimes things plain to him are far from obvious to other people.
But Michael is also a rescuer, often to a fault and against his self-preservation, and that explains the entire rationale for his plan. Michael is sometimes too compassionate, and so he’ll throw himself into the fray for a perfect stranger when it fits his moral point of view. It drives his decision to put T-Bag in his place, finally, and in that sense, it’s a good thing. But it also leaves him vulnerable, and that’s something that could factor into the plot in the near term.
Speaking of T-Bag, it’s a lot of fun to have such a strong villain, and it makes it all so much more satisfying when Michael gives him a shot to the knee. I love the fact that these two enemies must work together towards the same goal. I find T-Bag to be very easy to hate, and for that reason alone, he adds something vital and important to the series. (Sucre, on the other hand, is quickly becoming Most Likely to Die Very, Very Soon.)
I was also happy to see Abruzzi’s character thread addressed again. Talk about bad timing! Though it’s good to know that Abruzzi knows how to improvise, despite the lack of actual results from his torture technique. And here I was throwing out old, burnt-out light bulbs as if they were useless. So what’s likely to happen when the new PI crew discovers the big hole in the floor?
As impressed as I was with LJ in this episode, I’m still not feeling the Nick/Veronica plot thread. The conspiracy seems to be complex enough, but it’s not even remotely interesting. Also, the Secret Service agents were pathetic again. They didn’t think to run a trace on the number calling LJ’s cell phone, and then track the location of that signal? Or how about having one agent scan under the cars in the lot while the other stays high? Bad technique overall. (I’m still not sure that Nick can be trusted, though.)
The further into the season we get, the more intriguing it becomes. It all comes down to the strength of the characterization. Michael is a compelling “hero”, and his associates are all different enough to keep the prison situation from getting stale. When the series hits that extended hiatus for “24” at the end of the month, it won’t be so easy as many people thought to let it go.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.10: Sleight of Hand
Written by Nick Santora
Directed by Dwight Little
I’m actually surprised at how much I enjoyed this episode. It made me realize how much I like Abruzzi, even though he’s clearly a murderer and not the nicest guy in the world. There’s just something about him that makes the character worth watching. That’s one of the elements of a good story: strong, vibrant characters. The plot is often beyond any suspension of disbelief, but because the characters are so interesting and fun to watch, it doesn’t matter.
I can’t say much for the intelligence of the underworld in the “Prison Break” universe, given how easily Michael threw Falzone to the law enforcement wolves. I guess the Peter Principle works in every organization! Michael has a rather interesting sense of honor, but it’s entirely consistent. If he thinks you’re an innocent, he’ll protect you beyond all reason. If he knows your intentions are less than pure, he’ll play you for all it’s worth.
The writers managed to pull off a nice move with Abruzzi, highlighting how ruthless he can be under the right circumstances. It’s been hinted at before, but the last few episodes have done a lot to flesh out the character. But the writers made it abundantly clear that something was going on, beneath the surface, and still kept the story from being transparent.
This episode also had a lot of good human moments. Lincoln has always been focused on his son, but the poignant flashback in this episode drove it home. The more we learn about Lincoln’s life, the more real his situation becomes. It’s no longer just a plot device; Lincoln has days left if the plan doesn’t come together.
Similarly, the “relationship” between Michael and Sara is becoming more and more complex. If the prison break takes place soon, which the timeline strongly suggests, then all of this must be building to something that will happen right before or after that occurs. Wouldn’t it be intriguing if Sara were to convince herself that helping Michael on the outside is the right thing to do?
As usual, the conspiracy was the weak link, but even that is becoming a little more interesting. Granted, it’s because an NSA agent is finally running around and hurting the bumbling idiots from the Secret Service, and there’s hope that he’ll punish Veronica for being so damn boring. Imagine what that would do to LJ!
I’m not sure what I think of C-Note coming into the story so far into the tale, though it does represent a complication that Michael cannot afford. The Escape Squad is already too big. The likelihood is that one or more of them will not survive the prison break or the period shortly thereafter. Also, one of them could easily turn on the others, but that’s expected, since things will really go crazy.
I’m simply impressed at how easily this series has managed to get past my usual annoyance over convenient and over-the-top writing. I’ve said it many times: this is hardly a deep and well-layered story, but it’s easily one of the best shows of the season thus far.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.11: And Then There Were 7
Written by Unavailable
Directed by Jesus Trevino
Another episode, another thrill ride. I don’t know why I bother mentioning that fact anymore, because it’s almost a defining quality for the series at this point. The further into the season we get, the less I worry over suspension of disbelief. If the show was terrible, it might be another story, but this is highly entertaining with strong characterization.
(Incidentally, I’m having my basement waterproofed and I was home sick all day on the day this premiered, so I was treated to the sound of people breaking through concrete for hours on end. Consequently I found this episode to be somewhat satisfying, in an odd sort of way. But that could be the cold medication talking.)
As usual, things get a little crazy with Michael’s plan. OK, he was a bit naïve to think that his watch of gold would remain among his possessions, but the writers made up for that by making the thief the most idiotic man on the payroll. Here’s a clue: if you’re going to steal from the inmates, don’t flaunt it on the grounds!
Hello, Holly! Don’t know about the hair, but I’ve always found Michael’s wife of convenience to be intriguing from a purely biographical context. And now that she’s been involved in the plot, so does Sara, which ought to complicate the situation in several unfortunate ways. I had assumed that Sara would help Michael outside of prison, given her philosophy, but now that might not be the case.
I really like the interaction between Michael and Sara, and not just because Sara is a hot redhead. When Sara puts Michael off, it’s painful. You want things to work out, even under these insane conditions. Similarly, you want the Escape Squad to make it, even though that would mean convicts running in the streets. The writers manage to push the audience into supporting some odd notions, and I have to give them credit for it.
I’m also impressed by the fact that I actually enjoyed the whole Veronica plot thread. OK, it had a lot to do with them being tortured, but what’s not to love about that? Too bad Mr. CIA/NSA/Whatever was so easily thwarted. That didn’t seem right to me, but I like how our bumbling Secret Service agents took advantage of the situation!
So now the Escape Squad is too big (no kidding!), and at least one person has to go before the big break-out. It should be fun to see it all shake out, especially now that Bellick has a damn good reason to watch Michael and his cohorts very carefully. I can’t tell who might be the likely castoff, but it probably comes down to whichever character has less to do with Michael’s success after the break.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.12: Odd Man Out
I’m not even sure where to begin with this episode. It had me completely entertained throughout the entire hour. Whatever reservations I might have had regarding suspension of disbelief have been sufficiently addressed. If something can go wrong, it will, and people can make impulsive, fatal decisions. Three characters make bad choices in this episode, and those choices will no doubt resonate through the rest of the season.
I found it fascinating that Abruzzi would have such an abrupt change of heart, and though it was a little convenient in terms of timing, it worked on a certain level. When he nearly broke down at the news about T-Bag’s nephew, it was completely believable. I am endlessly appreciative for how well the writers have manipulated the audience into cheering on a bunch of convicts, and how much they made me like Abruzzi.
However, his decision to forgive T-Bag and give him a chance to do the right thing was incredibly ill-advised. I was actually expecting what happened, which was part of the power of the scene. You knew what was coming, but it still had to play out. Of course, in a perfect world, the two of them would have taken each other out, but the tension now should really go off the scale. After all, Abruzzi was critical to Michael’s plan.
The second very bad decision was made by that incredibly annoying new inmate, whose name I can’t remember. Any deal made with Bellick is a bad deal. I’m not sure where they’re going with Bellick now, especially since there’s only one episode until the deadline for Lincoln, but he’s definitely gunning for Michael and he could easily uncover the plot at the last minute. The new guy is just begging to be killed!
The third very bad decision, of course, is Lincoln’s decision to hit the guard. Sure, the circumstances gave him few options, but there had to be a better way! And it had to come, of course, on the heels of so much drama and intrigue to figure out who would be the odd man out. Michael must be ready for some violence at this point.
I would also say that the Secret Service agent made a mistake by jumping onto Veronica’s Save Lincoln campaign, but I wonder if that will, in fact, lead to a stay of Lincoln’s execution so that the escape plot will be postponed until the end of the season. I suppose we’ll just have to see what happens with the next episode.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.13: End of the Tunnel
Written by Paul Scheuring
Directed by Sanford Bookstaver
There has been much talk and knashing of teeth over this whole “fall finale” business, and to a certain extent, I have to agree. Fox designed this schedule as if it expected “Prison Break” to fail, despite the fact that it was one of the most anticipated series of the season. Once again, it is impossible to understand the thought process of the typical Fox executive. It’s going to be a long, long wait until March (and where do they intend to put the series then?).
On the other hand, I must admit, this cliffhanger is one hell of a great place to pause and reflect, especially since the escape plan hits snag that is best described as catastrophic. I guess Michael never heard of Murphy’s Law, hmm? Though, as usual, things only happen at the perfect or worst time on this series. None of the personnel notice the holes in walls, but they jump right on the drain that sounds a little “off”!
One of the best aspects of the episode had to be Michael’s slow but steady nervous breakdown. The man is seriously close to something ugly, especially since it’s beginning to dawn on him that failure means the death of his brother and several more years in prison with the likes of T-Bag and Bellick. That would be enough to drive any man crazy, but considering the time and effort he put into the plan, having everything fall apart at the end might just overcome his sanity.
So Abruzzi is dead (complete with rumors of trouble with the actor), Lincoln is down to his final days, and halfway through the escape, the plan hits a major snag. Never mind the fact that a lot of people have heard enough to wonder about the PI crew; how are they going to avoid the fact that they are stuck in that room with a guard seconds away and T-Bag throwing down at the worst possible moment? Good stuff, all around.
Even the Veronica-centric plot threads were full of the goodness, even if they were largely predictably. Sure, we all knew that Veronica would have her source killed and the information stolen at the last moment, thus undermining her credibility with the press, but it still made for fun prime time viewing. And it was interesting to see how Veronica’s efforts actually threatened to derail Michael’s escape plan.
In terms of the typical season arc structure, this episode is pretty close to the end of the “complication” phase. Usually that comes around episode 14-16. The writers took the escape plan far enough that backtracking will be hard to justify, so the question is: will Michael be forced to abandon his escape plan and develop something on the fly? Or will the escape actually continue forward and culminate in the next episode or two? There’s still a lot of ground to cover in the first season (9 episodes, at least), so it really could go in any direction.
One thing that I really love about this series is the pre-planning. The man running the show has mapped out the series for at least the first two seasons, and he clearly has a broad concept of where he wants to go from there. In the meantime, the key is to have fun without over-thinking it. Contrast this with “24”, which has the same “mindless” entertainment value, but often hits the skids when the writers don’t know where to jump next. This series is an example of how consistently entertaining this kind of series can be when the writers know where they’re going and can focus on making it as exciting as possible. And that’s why it will be a long wait until March.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.14: The Rat
Written by Matt Olmstead
Directed by Kevin Hooks
It’s been all but forever since this series was on the air, so there are those who might be disappointed by the fact that this is one of the least “active” episodes of the season. But from a more reasonable perspective, this is the perfect way to come out of the hiatus. It gives everyone in the audience a chance to reinvest in the characters and remember the context from the first 13 episodes.
As it happens, new shows are typically only given an initial 13 episode order, so the networks can evaluate progress and determine if they want to throw more money into the game. For instance, the first season of “24” was written in two distinct periods of time, and one can tell the difference between the first 13 episodes (very tightly written) and nearly everything that came afterward (amnesia, anyone?).
So this episode was conceived after the first 13 episodes were constructed as a definite story arc, meant to come together at the point where the initial prison break was foiled. The story needs to generate momentum again, despite the high-energy lead coming out of the previous episode. Focusing on character tensions, thus reminding the audience of the stakes and the connections established, makes perfect sense.
The arguments for a stay of execution provided a quick and dirty overview of the conspiracy to date. Absence must indeed make the heart grow fonder, because I wasn’t nearly as annoyed with Veronica this time around. I still think she’s less effective than the producers must believe, but when she’s not annoying, it makes the show more anjoyable.
I really like how Michael panics in this episode. I forgot how much he holds inside, so there are scenes where his emotions are barely contained beneath the surface and it’s all captured behind his eyes. It’s also fun to watch the Escape Squad react to the fact that the plan failed. It’s going to be a long road to the end of the season, when a break is most likely to take place, so the “politics” of the situation should have plenty of time to complicate.
I liked the fact that the easy answers were slowly and methodically removed from the board. Even Michael’s gambit with the rat failed, largely because of the other rat in his midst. One thing doesn’t quite make sense, however. If Bellick really thought that Michael could get a rat into the electrical box for the chair, wouldn’t that be enough for him to inspect the cell and its surroundings more closely? Or did Bellick simply assume that Michael was getting help?
Ending the episode before the anticipated execution, with no solution to the problem in sight, was a good way to ramp up the tension again without resorting to shock value. All the tension was related to the situation, mapped out in advance, and how the characters dealt with that situation, consistent with their previously established motivations and personalities. And the episode worked all the better for it. It’s a strength that a more established series on the same night might want to consider.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/2
Final Rating: 8/10
*****
1.15: By the Skin and the Teeth
Written by Nick Santora
Directed by Fred Gerber
The previous episode was a great re-introduction to the series, and as expected, it marked the beginning of the arc that would stretch throughout the rest of the season. It also avoided a number of the plot contrivances that had been the status quo for the series since the pilot. “Prison Break” is the spawn of “24”, in terms of demanding suspension of disbelief, but when there’s clearly a gameplan in place, it’s a lot easier to forgive.
As expected, the execution was delayed, which effectively means that the rest of the season will defer to Michael’s contingency plans. Since the previous episode was all about removing the likely possibilities for delay in Lincoln’s execution, one would expect that the rest of the season would be about removing the likely possibilities for Michael’s success. Not only does that help escalate the tension, it also pushes Michael to the breaking point.
Michael’s psychology doesn’t really allow him to contemplate failure, which is one way to explain away his ability to sear off a section of his back without screaming his head off. Frankly, I can’t believe that the guard didn’t notice he was there or hear his whimpering, even over the noise, but that’s not the most ridiculous plot twist.
The worst plot hole concerns the reaction to Michael’s injury. There’s no way that his explanation would hold water, especially under the intense scrutiny that Bellick has him under lately. I can buy the fact that Sara wouldn’t report the chunk of prison guard uniform in Michael’s burnt flesh, but why wouldn’t a guard notice the odd fact that a prisoner is mysteriously burned at the same time that his uniform gets a big hole burned into it?
What it does, however, is throw a major roadblock into Michael’s latest plan, which was proceeding rather nicely, despite several minor issues along the way. Sucre has shown himself to be a strong source of support for Michael, and this episode demonstrates that very well. For that matter, the entire team is doing their best to keep things on track while Michael works out the next step. The question is: how long can that last?
The writers also throw another interesting angle into the plot: the apparent intervention by Lincoln and Michael’s father. Why he would wait until the last moment to slip that information under a judge’s door is hard to understand, but there’s plenty of time for explanations between now and the end of the season. I have to wonder what else he has up his sleeve, especially since the exhumation didn’t work out as intended. But that’s the point, isn’t it? They’ve got me more than a little curious to see how it will all work out, warts and all.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
1.16: Brother's Keeper
Written by Zach Estrin
Directed by Greg Yaitanes
When the promos talked about a flashback episode, I was expecting something more along the lines of what “Lost” does every week: interweaving past and present to advance a particular character’s thematic development. Instead, the entire hour was devoted to the past. It threw me off at first, because I was constantly waiting for the jump forward to the “present”, but I got over it rather quickly.
There’s a saying: “The past is prologue”. That’s certainly the case here. This episode was packed with revelations, and I don’t think there was one moment that I didn’t enjoy. OK, some of the Veronica scenes still left me cold, since I don’t really like the portrayal of the character, but they were easily outmatched by the rest. I think the first moment that got my attention was the revelation that Lincoln’s entire predicament began with a moment of sacrifice for Michael. Given Michael’s psychological issues, it makes absolute sense that he would latch onto his guilt and let it drive him to such an extreme decision.
The previous episodes haven’t provided much opportunity to delve into C-Note’s background, so this is the chance to make him a lot more sympathetic. Given the circumstances of his life before prison, it’s no surprise that he would be looking for the chance to get involved in Michael’s gambit. I’m a little worried, though, because it’s rare for a character to be given a sympathetic back story so late in the game without the subsequent tragedy. (Then again, his character’s situation would make for a very interesting second season plot thread!)
Sucre’s story, as expected, was a little more comedic in its tragedy. I’ve liked Sucre for a while now, especially since he placed his loyalty firmly in Michael’s court, and it’s hard to see him screwed by his own cousin like that. And now that we’ve gotten a good look at Maricruz and her wild ways, it’s quite obvious why Sucre wants out!
Having told several stories of men with good intentions gone wrong, it was nice to balance that with T-Bag’s history. The scenes with the children were played to the hilt, building on the audience’s expectations, and the revelation was all the better for it. I wasn’t completely convinced that T-Bag was making a turnaround before being caught, but that really doesn’t matter. This episode only confirms that T-Bag is one hell of a character.
Not to be outdone, Sara has her own checkered past, and it’s a doozy. I never would have pegged her for an addict, but it fits the evidence at hand. Now it’s clear what the Vice President was holding over Sara’s father, at least in part. Though I have to say, even made to look like a junkie, Sarah Callies is incredibly gorgeous! The real question that comes out of that story, however, is Bellick’s weakness. Is he also a former junkie, and if so, how will that play into the rest of the season?
All the shots covering Michael’s plan, especially the new elements that weren’t mentioned before, will inevitably factor into the next escape attempt. But that’s something I liked about this episode. Though each story was covered in enough detail to be compelling on its own merits, there were tons of elements that factor into the “present” storyline. It’s the kind of episode that screams for a second or third viewing, just to take it all in, and that’s what made it one of the best of the season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
1.17: J Cat
Written by Unavailable
Directed by Unavailable
The show took a bit of a beating after the previous episode, especially with the more local critics. A number of people claimed that the flashbacks broke the tension, that it took some of the edge from the characters, and even that the characters were revealed as less interesting than ever before. I can’t really agree with any of that, especially when critics compare it negatively to “24”, which has revealed a number of weaknesses of late.
The fact is (and I’ve said this a number of times), one of the best aspects of the series is the fact that it’s planned out so far in advance. There’s the occasional plot element that seems to disappear, but for the most part, the plot is surprisingly consistent. This entire episode is predicated on several dangling plot threads that suddenly resurge in importance, and it’s quite clear that the writers knew where they were going.
So Michael is forced by his own decisions and circumstance to run through every possible means of remembering what the pattern on his back was, and it doesn’t work. In typical fashion, he works out a way to place himself in a position to get that information by thinking outside the box: getting himself tossed into the psych ward, so he can find out what Haywire remembers about his tattoo. It’s a brilliant direction to take the plot, because it takes Michael away from the center of the Escape Squad, forcing them to act on their own.
That, in turn, leaves them incredibly vulnerable. Sucre does his best under the circumstances, but comes up completely short in the process. And while the threat represented by Tweener is ultimately dealt with (in nasty fashion), the escape plan is completely in disarray. It’s a shock that the guards didn’t find the hole in the wall already, since one would expect the cell to be inspected once Sucre is in custody, but with Michael in the psych ward, everything is up in the air.
Outside of the prison, there were additional complications. LJ’s situation will inevitably factor into the second season, if only because Lincoln will want to protect his son against the conspiracy. Also, one of the big questions about the conspiracy seems to have an answer: Lincoln was selected as the patsy on purpose, because his father was a Company Man and found himself in a position to threaten the Vice President’s objectives. It’s all hanging together quite well, and a lot of my earlier concerns about the plot have been addressed.
Sometimes it’s a good thing to know where the story is going. This was something that “Babylon 5” did extremely well, for example: telling you what would happen and then slowly filling in the context, revealing surprising twists and turns along the way. That’s where we’re at with this series now. The actual prison break has a new timeline (perhaps 10 days at most), which brings us to the end of the season. This episode tosses a number of complications into the mix, and there’s not much time to get them resolved. It’s the perfect way to ramp up to the end!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.18: Bluff
Written by Unavailable
Directed by Unavailable
This episode started with a set of serious problems for the Escape Squad, and it just continued to get worse. Michael can be damned clever, but making Haywire puke using his fingers? Nice touch! He couldn’t anticipate that the guards would toss up his cell for auction that quickly, though, could he? C-Note pulls together a plan pretty damn fast, and since the writers actually pay attention to continuity, it leads to bad news all around with his old crew.
The closer we get to the actual escape, the more convoluted it gets. Michael’s little scheme to use Haywire (still a fun character!) has its clear disadvantages. Mess with someone who makes connections and force them to remember things, and it’s sure to backfire. And getting a message to Sucre means giving out a piece of information that he didn’t need out in the open.
The best thing about having Michael off on his own, as I said in my review for the previous episode, is the time taken to focus on the rest of the team. T-Bag may be smooth with the cards, but C-Note is much better with the bluff. I’ll say this: televised poker is a lot more interesting than I would usually give credit for, and it’s even better when one’s invested in the stakes.
The writers are clearly making everyone sacrifice something they value for the chance to escape, and it makes it so much better than if they were complicating Michael’s plan to save his brother. But now that they’re becoming more and more invested, even more of the minor players are getting a clue. And frankly, that just adds to the possibility of a high body count before the end, since the minor players become convenient cannon fodder.
It all comes together very nicely in the end, and the Escape Squad seems to be back in the saddle, minor setbacks like Sucre notwithstanding. But then new complications arise. Nick seems to be in with “The Company”, which is once again acting very much unlike the CIA. I’m tossing out my original interpretation: it’s either NSA or something a lot more secretive. The writers did manage to overcome my original misgivings regarding Nick, so I’m impressed!
At this point, it looks like “The Company” has its own reasons for framing Lincoln, and they don’t seem particularly interested in whatever the Vice President had in mind. It would be quite the twist if the Secret Service and VP wound up warring with “The Company”, since it would certainly give Michael and Lincoln some room to maneuver. Assuming, of course, that they aren’t too busy protecting or saving Veronica and LJ from either side!
I said it before, and I’ll keep saying it: when things are planned out well, it shows. This series is building towards a strong finish, and I can’t wait to see what the writers have in store!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.19: The Key
Written by Paul Scheuring, Zack Estrin, and Matt Olmstead
Directed by Sergio Mimica-Gezzan
Right from the beginning, there’s a sense that situations are coming to a head, even if answers are somewhat vague at this point. Lincoln’s little accident wasn’t an accident; the Vice President wanted him out of the way. Fortunately, Lincoln’s father was ready to take advantage. And that might have left Michael and the others inside the prison with no one else to break out, which would normally be a good thing…except, of course, Abruzzi is back and nothing is that simple!
I’m glad to see him back, because it adds the kind of complication that might work out better in the end. I don’t completely buy the idea that he would heal so much in such a short time, but I’ll take what I can get, since I like the character. I also like Sarah, which is why I think it stinks that Michael would use her obvious attraction to him and betray that trust, even for a second.
As predicted, “The Company” is not the CIA; instead, it is something far worse. It’s essentially the Illuminati with corporate leanings, and if you cross The Company, they get back at you through your family. So now Lincoln’s situation makes a little more sense. The implication is that the Ecofield issue exposed the VP’s brother, which in turn has exposed her. Thus eliminating both the brother (for all intent purposes) and Lincoln (to punish his father) is the VP’s way of getting back in the good graces of The Company.
It’s interesting that Pope would let Bellick push him into such a precarious position, especially when he has to know that Lincoln’s “escape” would put him on the wrong side of a conflict with the VP. And Bellick is clearly not paying attention. He lets Tweener get worked up in his situation with the friendly new cellmate, which he ought to know could have serious consequences, especially if certain truths get out in the wake of this nasty incident.
Michael’s little gambit with his “wife” (Holly Valence is such a hottie!) was pretty clever, especially since it kept Michael from directly screwing over Sarah in the process. Too bad for him that Sarah isn’t stupid. C-Note’s move with T-Bag was also well done. The game in the junkyard was also a nice touch, since it thwarted the desires of the VP while keeping alive the chance of an escape, should Michael work out that part of the plan.
Now for the real question: is Nick only working for Abruzzi, or is Abruzzi also working for The Company? Just who is Nick working for and what is his endgame? Michael adds his own complication by finding compassion for Tweener, and Lincoln is all but out of reach just as Bellick gets just what he was looking for. With only three episodes left for the season, the situation looks more hopeless than ever. And that, of course, is exactly why this has turned out to be one of the best new shows of the season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.20: Tonight
Written by Zack Estrin
Directed by Bobby Roth
This one was full of surprises right from the beginning. I never saw the attack on Bellick coming, and I certainly didn’t expect Westmoreland to be the one to take the shot. But it did serve to accelerate the timeline a bit, which takes an already tense situation to the next level. This also wipes clean the possibility that Michael was using Tweener. Michael’s psychology becomes his Achilles’ heel once again.
Michael lays it all on the line with Sarah, which is quite a gamble, considering the fact that she already feels used and abused. Since she’s not a complete idiot, she figures out that Michael really was, in effect, planning to involve her from the beginning. Appealing to her for Lincoln’s sake was a much smarter move, but his lack of people skills is frightfully apparent at this point. The worst part is, Michael has no idea what the consequence for Sarah might be.
Abruzzi’s actual plans are a lot more disturbing than initially apparent, especially since three seats would make it very easy for him to grab Michael and Lincoln for someone else. Like, for instance, The Company. The point is, all the foreshadowing of a bloody escape continues to come together right from the beginning. Westmoreland is only the first casualty.
The Vice President’s issues with The Company actually lead her to make a mistake, and it helps Michael is his bid to save Lincoln. The President himself gets in her way, and as already mentioned, Sarah is not stupid and can read between the lines. Her father did the rest. Other matters conspire in Michael’s favor, like Avacado’s imminent return.
It doesn’t take long for that to change, of course, once Bellick’s absence is noted at the worst possible moment. The end of the episode is a nice reminder of why everyone wants or needs to leave Fox River. It’s important to remember the stakes for each character, because that psychology is what will drive them to survive the escape and what lies beyond.
Finally, that silly Taj Mahal demonstrates its importance to the story. In fact, if there was ever a case where the advance planning of the writing staff was evident, this is it. It’s actually quite elegant in its own way, especially since it completely betrays the trust that Pope gave to Michael. And in essence, Michael becomes the kind of man that he pretended to be to help his brother regain freedom.
I didn’t watch the promos for the next episode, because there’s no way I would want this season finale to be ruined, and FOX has no integrity. This promises to be one of the best finales of the season, and I’m very happy that this series is coming back. It’s going to make for one very long summer!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
1.21: Go
Written by Matt Olmstead
Directed by Dean White
The episode begins with Michael counting the cost, at least mentally, of his violence against Pope. The rest of the crew is chomping at the bit to get moving, and the lines are already being drawn. It’s gut check time, and not everyone is holding up to the pressure very well. Unfortunately for them, the zero hour has arrived: the break is on!
Since it’s no surprise that some of the inmates make it out, It doesn’t take long for things to go wrong. C-Note’s old crew makes a move to take him out, at exactly the wrong time. Bellick gets closer and closer to getting free. Nick reveals that Veronica is meant to be his hostage, to ensure that Michael gives Abruzzi what he wants. One by one, the Escape Squad members slip into the tunnels. Sarah still hasn’t gotten the infirmary open, which is just one problem Michael needs to solve, once it’s too late to turn back. By the time Bellick starts howling, the tension is unbelievable!
Meanwhile, the Vice President finds herself in the crosshairs of The Company. And because of her ambitions, she has become a complete liability. This could, however, make her more dangerous in the second season. Similarly, Sarah’s decision to return to the prison could foretell a fall of her own.
The episode flies by; by the beginning of the third act, when the sirens begin sounding, it feels like five minutes passed since the opening frame. Michael’s plan is quite ingenious, especially since it’s so simple. I’m not so sure that Nick’s plan makes much sense. Perhaps it’s a symptom of the questions surrounding Abruzzi’s return; was Nick always meant to hold up Veronica just that long? Whatever the case, it pretty much ends his involvement with the series!
The Escape Squad finally makes it to the infirmary, their destination way back in “End of the Tunnel”. Unfortunately, two things go very badly for the plan. Haywire makes his presence known, and Pope’s secretary realizes that something is amiss. That drives the tension for the final act right through the roof. My heart was racing with every new member of the Squad that made it over the wall. Westmoreland was an easy guess for the first casualty, and Sucre’s cousin was the other easy mark. But who could blame the writers for making the most out of that final scramble?
Just on the virtue of the final act alone, this was one of the best episodes of the season. It’s also very clear that the casualties have yet to be fully counted. Bellick will be found, and his need for vengeance will be great. He also has at least one prisoner to interrogate for information. There’s a lot of time left for things to go wrong for Michael and Lincoln, especially once the rest of the Squad starts turning on each other. I can’t wait to see who survives!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
1.22: Flight
Written by Paul Scheuring
Directed by Unavailable
The writers took a chance by staging the break-out in the penultimate episode. After all, most shows would mark the cliffhanger right at the moment where Michael is making that last ditch effort to climb to the wall. But the writers of “Prison Break” have a plan, and they have kept to it, with very minor exceptions. So this episode feels more like a pilot for the second season, preparing the audience for the plot threads and situations to come.
It’s a bit surprising that all of the Escape Squad survived to the end of the episode. I figured Westmoreland was dead by the end of the previous installment, and Sucre’s worthless cousin was never getting out anyway. But everyone else made it? Quite unexpected. I figured Tweener or Haywire would get caught, at the very least, but they actually seem better off than the main group.
As for them, I couldn’t work out why the plane left without them, unless they figured that Abruzzi was cutting it too close. Whatever the case, they are in serious trouble now, because they are literally yards ahead of half the law enforcement in the greater Chicago area! In that final scene, all I could think was that one good shot each would have ended the running pretty damn quick!
Thankfully, that’s not the case, and it was fun seeing everyone scramble for position and speak to their hopes for the future. We were duly reminded that Abruzzi hasn’t forgotten why he allied with Michael in the first place, which will probably come up in the second season. And T-Bag will probably survive his little encounter with an axe, even if he deserves to bleed out slowly. Bellick is going to be the least of their problems!
I love how all the lead-up with the VP and her troubles with The Company came to a momentary head. I guess she does, in fact, have her own resources! I didn’t see that assassination coming at all, and this just raises the stakes for Michael and Lincoln in the second season. That was one hell of a great plot twist. (And I imagine that Veronica’s confrontation of the VP’s brother will directly factor into the new president’s agenda.)
One thing I didn’t see coming was Sarah’s death, even though the writers planted all the right seeds in earlier episodes. I expected her to relapse, especially if she came under suspicion, but I never thought she would overdose like that. It’s a sad end to the character, but imagine how that’s going to screw up Michael when he finds out. His psychology isn’t going to allow him to let it go.
Perhaps the best thing about this finale is that it doesn’t really feel like a finale. This was structured like a number of “regular” episodes this season, right down to the cliffhanger at the end and the intense stakes. It’s just that some events were bigger and had more impact. That’s why I have very little concern about the second season. If it’s planned out even half as well as this season was, it’s going to be one hell of a ride.
This is the part where I would usually launch into a discussion about the season as a whole, but I’m doing things a little differently moving forward. The “Prison Break” 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
(Season 1 Final Average: 7.8)
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