SMALLVILLE: SEASON 5
5.1: Arrival - 5.2: Mortal - 5.3: Hidden - 5.4: Aqua - 5.5: Thirst - 5.6: Exposed - 5.7: Splinter - 5.8: Solitude - 5.9: Lexmas - 5.10: Fanatic - 5.11: Lockdown - 5.12: Reckoning - 5.13: Vengeance - 5.14: Tomb - 5.15: Cyborg - 5.16: Hypnotic - 5.17: Void - 5.18: Fragile - 5.19: Mercy - 5.20: Fade - 5.21: Oracle - 5.22: Vessel
5.1: Arrival
Written by Todd Slavkin and Darrin Swimmer
Directed by James Marshall
I wasn’t initially interested in “Smallville”. As a kid, I wasn’t really into DC Comics, and while I saw all of the films in the theatre, I didn’t find Superman to be the most interesting character in the world. I was a fan of “Roswell”, and saw a lot of the same elements. It wasn’t until the second season finale that someone convinced me to take another look, and I was strongly intrigued. Once the third season came along, I was hooked. Now, I have all the DVDs and I’ve seen everything I missed in the beginning.
I was quite impressed when the fourth season arc led directly into the creation of the Fortress of Solitude. So I was equally impressed when the design was very close to the design used in the films, yet appropriate for “Smallville”. I also liked the update to the Negative Zone, though in some other respects, that didn’t work as well as I would have hoped.
The fact that Chloe revealed her knowledge to Clark, and that her survival began the process of Clark turning his back on Jor-El and the legacy of his homeworld, was one of the better moments in the episode. I like the fact that this barrier has been dropped, and now that Chloe knows something about Clark that Lana doesn’t know, she may not feel so unwanted. (Though how a gorgeous young woman like Allison Mack could ever feel unwanted, I don’t know!)
Less effective is Lana and her gambit with the Followers of Zod. In fact, that entire plot element didn’t work for me. Lana should have been toast more than a few times in the episode, just as it didn’t make sense for Lois or Jonathan to survive their encounters with the FoZ throughout the episode. Needless to say, the resolution of the whole problem of the FoZ seemed way too quick and easy, given the buildup. That was a real disappointment, since the arrival of two people with Clark’s power should have been more substantial.
Lex acts exactly as one would expect, tracking down just enough information to know that Clark is lying to him, yet little enough to jeopardize Clark and his secret directly. The writers have been walking that fine line for so long that it will be interesting to see this latest overt deception take him further over the edge. I like this aspect of the series best of all, and it still doesn’t disappoint: Clark’s own need to keep the truth from Lex actually contributes a great deal to Lex’s descent into evil. Clark helps create his own most famous nemesis, and this season is likely to pay some of that off.
One thing I wasn’t expecting, though I should have seen it coming, was the loss of Clark’s abilities. How that works is going to be interesting to explore, if the writers bother with explanations at all, because it may not be what Clark thinks it is. Could Jor-El really do something like that so indirectly? And what would be the point? Regardless, Clark is foolish to jump right into the assumption that the condition is permanent and that his relationship with Lana won’t hit serious problems in the near future.
Despite my dislike of the Followers of Zod element, I look forward to this season. I find James Marsters to be a strong genre actor, and I’m intrigued by the possibilities presented in the premiere. And even more than last season, the three young women at the center of Clark’s life have truly blossomed into adulthood, and that additional maturity really shines through. If this is the final season, as is widely rumored, then this is a fine enough start.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.2: Mortal
Written by Steven S. DeNight
Directed by Terrence O’Hara
The producers and promotional people keep telling us that this is the season where “everything we’ve been waiting for” will finally happen, and I suppose they’re following through. It makes me believe that this is the final season, but one cannot deny that it gives the storytelling a bit of a jolt. Clark finally has to come face to face, so to speak, with his legacy and all the choices that come with it. And making him fully human, however short-lived it might ultimately be, is an important part of that.
In essence, the way I see it, for Clark to appreciate what he really has to offer for Earth and the human race, he must see the strengths and weaknesses of those he must protect. He must also recognize that he cannot be human to fulfill the role he needs to take. One thing that is interesting about Superman as a concept is that, even as the ideal hero, he stands apart and largely solitary from those under his protection. (And of course, it also gives scope to his growing rift with Lex, which takes a major step in this episode.)
But it’s Clark’s connection to humanity and his appreciation of human emotions that keeps him from taking on a superiority complex. Clark has been given the chance to live as a human for most of his life, using his abilities to facilitate human goals and societal needs. He’s learned the pitfalls of placing his own needs above those of others, and his moral foundation is a human one. Had he come to Earth fully Kryptonian, he might not have taken consideration of humanity.
Still, Clark has never been able to live as a simple human being. He’s emulated human life, but he’s always had those abilities to fall back on. Now, he must live as a human being in full, with all the ups and downs. And of course, that means recognizing that humans can’t readily defend themselves against super-powered villains. Intellectually, he knew that already, but now he knows it more personally.
In short, the strength of this episode is not the moment where Clark and Lana finally get together. Sure, that’s a satisfying moment for fans of the series, but if anything, it’s actually a mistake. Clark ought to know by now that he cannot simply put his past on the shelf and move on. The way I see it, this will only serve to lay the foundation for a final, horrific separation at the end of the season/series. When Clark regains his power (and of course he will), he will have to go right back to keeping secrets. It’s going to be painfully fun to watch!
Anyway, I feel the strength is in the lesson that Clark begins to learn. Clark gets to be human so that when he regains his power, he appreciates it more. Clark is getting to learn how much he takes for granted, and how much he still has to learn. He’s been learning that along the way, but I think that’s one major theme for the season. Like on “Buffy”, the transition from high school to young adult life is a good metaphor for recognizing all the things that are so transparent during those teenage years. (And this is why I hope the series, which is doing very well against horrible competition, continues after this season.)
Dare I say that it continues to be so with his relationship to Chloe. As one smitten by Allison and the character of Chloe (the hottest one in the opening credits!), I can’t see how Clark can be so ignorant of her feelings. But that’s part of the lesson, too, because Chloe continually places herself in the line of fire to prove herself. I hate to say it, but I fear she may be a victim of her unrequited love before the series ends.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
5.3: Hidden
Written by Kelly Souders and Brian Peterson
Directed by Whitney Ransick
This is the kind of episode that I both love and hate. I love many of the scenes in terms of their own content and presentation. A lot of moments hit home exactly as the writers intended. But I hate some of the choices that were made in terms of the overall story. This is especially the case when it comes to Clark’s resurrection and the overall reaction to it.
So Smallville had its share of nuclear missile silos; I suppose that’s easy enough to accept, though one has to wonder how the rain of meteor rocks didn’t set one or two of the warheads off, given the effect of kryptonite on nearly everything else. Whatever the case, I suppose it was just a matter of time before some maniac decided to use those weapons against the mutated populace. Having that person be obsessed over Chloe (a natural enough phenomenon) gives the premise a little more heft.
It is one of the basic tenets of the series that Clark is ga-ga over Lana despite the fact that he acts as though he cares just as much for Chloe. It’s just that the stars go in his eyes when Lana’s around, because she’s been the focus of his obsession for years. Even so, his actions with Lana are complicated by the fact that she’s in the dark about his true nature, and Clark thinks that he’s protecting himself and Lana by not telling the truth. Whatever his reasons in the beginning, it’s definitely an issue now, though the writers have to jump through silly hoops to maintain it.
Chloe, on the other hand, knows all about Clark and his unique nature, and she still doesn’t turn her back on him. I’m not saying that Chloe is more worthy than Lana; as much as I prefer Chloe myself, I don’t hold anything against Lana, as I know others do. It’s simply that Clark isn’t looking at the big picture. He definitely doesn’t want to see Chloe hurt, and he basically puts his life on the line for her in this episode, so there’s something there, even if it’s love for a close friend. Chloe has no issues with his true nature and supports him in his decisions to save the world, and she’s put her life in the line to protect that secret.
Of course, drama is built on complication, and in this case, there’s more complication with Lana. Chloe isn’t shocked by Clark’s survival; Lana ought to be nearly catatonic at the whole situation. Instead she pulls the ultimate Scully and insists that Clark is normal despite the fact that he died right in front of her eyes and showed up without a scratch hours later. And of course, as one might have predicted, Clark has to accept that he’s not human and never will be, and that there is a price for turning his back on his legacy.
Speaking of which, this is where the story didn’t work for me. For one thing, Clark’s reversion to his former state occurs far too quickly. For this plot element to work best, it needed more time to establish itself. Making it such a short-term plot element betrays its true purpose: allowing the Clark/Lana relationship to culminate just long enough to make Clark’s restoration a major issue.
There’s also this issue of the consequence of Clark’s decision not to return to the Fortress of Solitude at the appointed time, which is coming back to haunt him. I like the idea of Lionel Luthor being the temporary “familiar” for Jor-El, since it allows Jor-El to be a more direct presence in Clark’s life. It also adds another thing to Lex’s list of possible grievances against Clark. But the whole “life for life” thing is a bit contrived.
So who would be the likely victim? My money is on Jonathan or Chloe. Jonathan would be the continuity-conscious favorite, because he must die at some point. But that wouldn’t be very shocking, given the past troubles in that regard, so would the writers retread? If it’s a question of shock value, or stabbing at the heart of Clark’s support system, then Chloe is a more dramatically satisfying victim.
Whatever the case, this was an episode with plenty of strong scenes that were, in my opinion, tied together with a rather weak context.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
5.4: Aqua
Written by Todd Slavkin and Darren Swimmer
Directed by Paul Shapiro
I’m sure that a lot of DC fans were practically dripping with anticipation at the thought of Aquaman coming to “Smallville” for a visit, but since I knew very little about the character, I wasn’t all that thrilled. And the episode itself did nothing to draw in those with little interest in the fanboy aspect of the premise. The plot itself was a real stretch, as if the writers had no idea how to justify Aquaman’s visit beyond a completely contrived situation.
OK, so I’ll admit, seeing Lois and Lana in skimpy swimwear was a plus (why not for Chloe, damn it?), and they made Erika look about as hot as she ever has, but this was all about playing up the future hero. A hero which, in this case, was woefully miscast. I have little doubt that the female fans were able to appreciate the lunkhead, but the actor could barely deliver his lines.
Also annoying were all the needless puns about water, fish, and worst of all, the absolutely needless reference to the eventual JLA. It’s hard to enjoy an episode that is so desperately groan-worthy. Even the scenes with Lex were way over the top, with very little subtlety, which has always been one of the more interesting hallmarks of the character.
Far more interesting were the scenes with Professor Fine. James Marsters is practically a genre icon at this point, thanks to his portrayal of Spike on “Buffy” and “Angel”, so for a moment or two, it’s hard to get past that and pay attention to what he brings to this character. In that respect, this is probably the best episode for his introduction. It gave everyone, including Marsters, a chance to find the right dynamic for the character.
I like the fact that Fine begins as something of a sympathetic character, a mentor for Clark. I have no idea if that’s where the character began in the comics, but given where Lex is finally going, it helps Clark see the transition and a resource for uncovering the sins of LuthorCorp. Add Jor-El’s possession of Lionel to the mix, and Clark has plenty of potential to become Lex’s primary adversary.
Fine will eventually become a problem himself, of course, which ought to blend into the season arc rather well. The question will be where the series goes from here. Assuming that this episode was atypical of the season (and I hope it was), then the ratings should hold and the network should have every reason to bring the show back next season. I just hope Aquaman stays far away from Smallville if it does.
Writing: 1/2
Acting: 1/2
Direction: 1/2
Style: 1/4
Final Rating: 4/10
*****
5.5: Thirst
Written by Stephen S. DeKnight
Directed by Paul Shapiro
I had the feeling that this episode would be less than satisfying, given the promos, but I had been hoping for a more affecting episode. Let me put it this way. Mix hot young women, vampirism, and outfits made of vinyl or leather, and it’s hard not to get something I’m going to enjoy. I’m a typical male in this respect, and proud of it. Which makes it all the more telling that this episode just about dashed every hope I had of an entertaining hour.
A lot of people criticize Kristen for her acting skills (or, from their point of view, lack thereof), but I really don’t think that was the problem here. I think it was the approach to the story. The whole concept is a very bad example of a holiday-themed episode, but instead of taking a direction that might have been more memorably sexual in nature, like “Spell” before it, there’s a campy tone that makes it all fall apart.
The writers clearly wanted it both ways. They wanted the sexually charged nature of an out-of-control sorority with a taste for blood, and they wanted Lana to be a part of it. They even had Chloe in an intriguing outfit for once, though they did hold back a bit, since she was still conservative compared to the rest of the crowd. Yet for all the corsets and shiny, shiny material, the camera angles were more suggestive than revealing.
But even that would have been acceptable had the tone of the episode given the audience something more to appreciate. The campy approach to the story left little meat to the tale, and in fact, it detracted from one of the main goals of the episode: explaining how Chloe managed to get a job at the Daily Planet.
The beginning of the episode made it clear that Kahn thought Chloe was a joke, a brat handed a job because of all the wrong reasons. Kahn herself was too campy by far, but the set-up was clear. Chloe needed to show that she could come up with something impressive enough to get an entry-level shot at the Planet.
This is what bugged me the most. This is supposed to be a story that gets Chloe her break, however tiny? More importantly, this is the kind of story that Chloe thinks will get her that break? All right, if one assumes that this episode is entirely from her point of view, perhaps the tone of the episode is intentional, but I find it hard to swallow that Chloe would ever find this substantial enough to constitute her one shot.
Consider that the only good thing about this episode was the role played by Professor Fine. I was surprised to find that the episode gained immediate gravitas once Marsters hit the screen. So why couldn’t this episode have been split into two aspects: Clark dealing with the Lana problem, with a healthy dose of dark sexuality, and Chloe going to Fine for a story related to Lex, which just happened to interconnect to Clark’s side of the tale? It’s a very minor difference, but it would have connected Fine and Chloe, which might have planted some powerful seeds for future development.
Instead, this episode was like every shot with Lana in that leather corset and tight, tight pants. It painted one hell of a picture, and every so often, there was a brief glimpse of how hot she could be. But most of the time, it was little more than a tease, promising something substantial and delivering little more than a blur.
Writing: 0/2
Acting: 1/2
Direction: 1/2
Style: 1/4
Final Rating: 3/10
*****
5.6: Exposed
Written by Brian Peterson and Kelly Souders
Directed by Jeannot Szwarc
This episode is a little better than the previous installment, mainly because it approaches the material with a bit more seriousness. Yet the same problems that plagued the past two episodes are present yet again: the self-aware camp that destroys the credibility of the entire enterprise. First there was the Aquaman debacle, followed by a terrible “Buffy” spoof, which was really unnecessary. Here we have a “Dukes of Hazzard” reunion, which perhaps five people wanted to see.
The main attraction, of course, was Lois in stripper gear. This is the third episode in a row to depend strongly on sexuality, and it probably works better this time around because it is completely unapologetic. The previous episode had Lana running around in tight leather, yet took pains to keep it off screen. Lois and her temporary stripper family were on constant display, and as usual, vinyl and leather work wonders with the male demographic!
Erika is just a little too good at the stripping thing, but I’m not going to complain. It’s long since been awkward to think that Clark and Lois will eventually be together in a major way, since they now know way too much about each other for the later events to proceed as previously depicted. In a way, that’s fine, since so many elements of the series have placed it in an “alternate universe”.
That said, I find the interplay between Clark and Lois to be somewhat distracting, because they try too hard to be funny and witty about it. This is mostly a problem with Tom Welling, who does befuddled very well, but he tends to come off as naïve during situations that ought to be a lot less lurid for him at this point. Sure, Clark is still strictly whitebread about nearly everything in the world, but it gets a little overdone.
I’m not sure what I think about a political race between Jonathan and Lex. For one thing, Jonathan wouldn’t have nearly as much political capital for even a state senate run. What possible experience in governing could he claim? Sure, Lex is in the same boat, but Lex is also a businessman who has the contacts to get things done. It would place Clark in another difficult position in terms of his old friend, but it smacks of a writing staff reaching for a purpose for characters past their prime.
I’m still confused about how the writers choose to portray Chloe. No, I wasn’t expecting her to go pole-dancing (despite personal thoughts on the subject), but she typically runs around with plenty of cleavage. Yet when they could play up her looks, they dial it back every time. Very weird. Whatever the case, her run-ins with the Metropolis Police do a lot to expose her shortcomings, and like the previous episode, it makes me wonder why she still has a job. They make a lot of her naïve approach to the job, but like Clark’s reaction to Lois, it’s overstated.
Anyway, I’m growing tired of the recent trend of campy episodes, so I hope that the promos don’t lie and the next episode is darker and more serious.
Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 1/4
Final Rating: 5/10
*****
5.7: Splinter
Written by Steven S. DeKnight
Directed by James Marshall
After three less than inspiring epsiodes, the writers finally return to more substantial storytelling ground. Nothing that happens in this episode is particularly original, but it’s still a lot of fun to watch Clark go into Ultra Oliver Stone mode. More importantly, Professor Fine gets to put his Kryptonian origins on his sleeve and bring the apparent arc for the fifth season into sharper focus.
As usual, the first 6-7 episodes are the “introduction” phase of the arc, and the transition into “complication” begins here. I take the past several episodes within that context, and try not to worry over the course of the rest of the season. It should be more like this episode, if I have any sense of where the story is going. In other words, we ought to see a more direct exploration of Clark’s choice between taking control of humanity or serving as humanity’s champion.
We all know where it’s supposed to go, and nothing in this episode suggests otherwise. I actually hope against hope that the situation will be more nuanced; wouldn’t be great if Fine wasn’t quite the villain that everyone anticipates? It’s entirely possible for him to operate within the same morally grey areas as Lex, only on the Kryptonian side of the equation.
As it is, Clark gets to realize that being paranoid doesn’t mean that someone isn’t hiding the truth or out to get you. And for that matter, Lex has clearly been trying to get his hooks into Lana for years. One has to wonder how many of the paranoid delusions were fed by Clark’s secret fears, based on what his subconscious keeps telling him and he keeps ignoring.
The usual things were a lot of fun: Marsters did a great job with the role of Professor Fine (he seems more and more comfortable with every new episode), Lex and his use of Lana has some interesting possibilities, and Chloe’s revelation that she knows about Clark ought to shake things up. I’m a little worried about that whole “I’d die before giving up your secret” thing, because I still think it’s blatant foreshadowing.
Speaking of Chloe, I wanted to clarify a couple statements. I mentioned that the producers seem to want to have it both ways with Chloe. Often, she is portrayed as very conservative with her appearance. Yet quite often, she has a mow-cut top with cleavage prominently displayed. This is an episode with plenty of examples. Not that this is bad at all, but it’s a little odd for an outfit to be designed specifically to highlight Chloe’s chest if she’s supposed to be the conservative one!
Anyway, what else is there to say? I love how easy it is to figure out that Fine is behind the whole situation, and how the writers let the audience just go along for the ride as the truth is revealed. There were a few missed opportunities along the way, since I was waiting for more continuity references throughout, but there’s enough to keep me happy. In fact, that’s probably the best way to summarize my take on the episode.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
5.8: Solitude
Written by Todd Slavkin and Darren Swimmer
Directed by Paul Shapiro
Better late than never! A rather nasty cold took me out over the weekend, so I didn’t get to see this episode until last night. This was a nasty way to tease Clark over the fact that someone close to him is going to die, but that’s not where the main criticism lies. It has more to do with subtlety, or rather, the lack thereof.
Before I go on, I will say that I enjoyed the episode for what it was. It had some emotional depth, the usual intrigue over who knows what about whom, and a nice battle between Clark and Fine. I thought the various hints about Lois and her future with the Daily Planet were fun, if a little obvious, and I can’t help but enjoy the fact that elements of “Superman II” are still going strong. Sure, it was revised for this series, but it’s still fun, especially since I’m not even close to being a purist.
At the same time, I like it when motivations are somewhat less than obvious. My main problem with this episode is how quickly it lays everything out on the table. One thing I liked about Fine thus far was his lack of obvious menace. The writers made it clear that he was connected to the two “Disciples of Zod” (or whatever they were called), and this episode follows up on that. However, I wonder if it might have been more interesting to leave both Jor-El and Zod, as well as their supporters, equally questionable in their practices.
One thing that I’ve always liked about “Smallville” was the hint that Jor-El wasn’t quite so benevolent as the popular impression of him has become. I never remembered Jor-El as anything more than the doomed monarch of Krypton (again, not a DC fan, don’t know the comic version well at all). This series made his goals far more ominous, especially in terms of how Kal-El was supposed to reign over humanity. His actions thus far have always been murky yet reliably self-interested, and that plays directly into Fine’s hands.
It might have been better to let Zod remain an attractive alternative to Jor-El. Imagine the possibility of Fine as a philosophical messenger for Zod, trying to convince Clark to join Zod through relative morality. It would have been an interesting three-fold path for Clark: the “Boy Scout” morality of the Kents vs. the two sides of the Kryptonian struggle, both of which would vie for Clark’s support.
Such a conflict would have forced Clark to find his own sense of morality and purpose, rather than simply echoing what the Kents have taught him. After all, in the end, Clark must stand apart from humanity as its advocate. Thus Clark must decide, as a Kryptonian, why that is the right choice. The Kents show him the best aspects of humanity, but they cannot teach him how to apply his legacy to his future. Clark must decide that through exclusion.
So while I enjoyed the smackdown well enough, I was somewhat disappointed in the fact that Zod’s point of view became something so clearly defined as destructive and evil. It does nothing to clarify Jor-El’s point of view, and frankly, what little we did hear still doesn’t sound sufficiently different from Zod’s philosophy.
As for the rest of the episode, Chloe got into that facility far too easily, and she also seems to be working out how everything fits together a little too well. Again, it’s a bad sign that she’s towards the top of the “slated to die” list. I still think it could be Jonathan, since his death has been presaged forever, but the writers are laying it on extra thick.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
5.9: Lexmas
Written by Holly Harold
Directed by Rick Rosenthal
I actually forgot that this episode was on this past week, so with the holiday shopping and snowstorms to contend with, it took a little time for me to catch up. In the meantime, I’ve noticed a rather negative response to this episode within the fandom. In fact, one could call it loathing. Perhaps it’s a question of anticipation, but I don’t necessarily agree. I think the main plot of the episode was quite good and entertaining.
Recently, “Dead Zone” aired a Christmas episode, which met a more divided opinion. While that episode had its share of sugary holiday goodness, it was also effectively outside of normal continuity. What could have been an annoying departure became instead a flight of fancy. One didn’t have to worry over character arcs or motivations. That left the audience to enjoy the episode on its own terms, divorced of the usual “mythology”.
This is where the writers of “Smallville” trip themselves up. The central premise is a lot of fun, and while it includes a great deal of Christmas-related themes, it also works as a simple character piece. Knowing that Lex is destined for a future of immorality and power-mongering leaves the entire tale with an ongoing sense of tragedy. Clearly, something must go wrong, and Lex must make the choice in line with his future. Seeing that play out may be annoying for some, but since I love the character and the exploration of his psychology, I found it quite good.
It makes perfect sense for Lex’s plot thread to interconnect with the season arc and the larger concerns of the series mythology. Had the episode been nothing but Lex’s moral dilemma, then it would have probably worked as a departure from the norm. But the writers couldn’t focus exclusively on the “A” plot, and as a result, we have a subplot that tosses the series’ logic to the winds in some vague attempt at Christmas relevance.
It’s never a good thing when writers try to suggest that, “Yes, Virginia, there is a Santa Claus in the (insert series here) universe”. At least, I’ve never seen it work well. It comes across as needlessly cloying and sentimental. More than that, but there’s usually a certain set of rules at work, and having Santa Claus in the mix typically doesn’t fit within those rules. This is a perfect example of that problem.
I was slightly annoyed when the writers were trying to turn Clark into some pseudo-Santa. Sure, it made sense to a certain extent, but it was also rather cheesy. It all went downhill from there. Of course Clark must meet someone with suicidal tendencies and play the angel, and then of course it must turn out to be the worst of clichés: the stranger in need who is, in fact, the real Santa. (Never mind how often Chloe and Clark openly discuss his true nature, within earshot of several strangers!)
So on the one hand, I could have easily bought the “A” plot with Lex as within continuity. Lex has always been interested in Lana, even if that interest has sometimes been jealousy more than pure emotion, and his father would use tragedy to teach Lex a lesson about power. Lex would also choose to defeat Jonathan the easy way, rather than risk an increase in power. It all flows well with the season and character.
But the “B” plot is a horrible mishmash of Christmas clichés that don’t even work on sitcoms anymore. It betrays a lack of confidence. Why not go against the grain and keep the tale dark, avoid the easy sentimentality? I would rather have seen more substantial glimpses of the future than one single hint that Clark had run into some other “mythological hero”.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.10: Fanatic
Written by Wendy Mericle
Directed by Michael Rohl
This episode had a lot of promise, because the idea of Lex going hardball on Jonathan was actually something to look forward to, since “Lexmas” indicated that most of Lex’s better qualities would be sacrificed for the goal of attaining power. In fact, that episode went to great lengths to demonstrate how Lex had turned the corner towards true self-centered evil. But instead of going that far, the writers dial back Lex’s lesson in ego.
Instead of having Lex be the mastermind behind the attacks on Jonathan, thus demonstrating and presaging his future political ruthlessness, he plays things in the middle again. He wants power, but he can’t bring himself to attack Clark’s father directly, beyond spending money to bash him on the issues. He can’t even step out of the way while underlings do his dirty work with nothing but implied consent; he’s adamantly against the physical attacks, despite being more than happy to dig up dirt and break Jonathan down in every other fashion.
I could have bought it more if Lex had an objection because of the natural bounce in the polls that Jonathan would get should he survive. Instead, he objected on moral grounds. Isn’t he supposed to be setting aside morals to achieve his goals? Whatever the case, this would have been an interesting direction for Lex to take in the future: a young man with near-infinite resources, learning to use those resources to distance himself from direct connections to the actions required to preserve and expand his own power base. Instead, he remains in something of a holding pattern, and one that has gotten a bit old.
It doesn’t help that Samantha Drake was incredibly annoying as a character, and the actress couldn’t seem to keep her line delivery from becoming childish. Once she shaved her head, it was creepy enough, but I just didn’t like the character or Lex’s response to her. A better version might have been a more serious and seductive character who could lure Lex, over more than one episode, into agreeing to act against Jonathan, and only then take it past what Lex would readily accept on practical grounds. (Oh, and those comments on his security go on the list of Least Observant Moments Ever.)
At least the writers addressed something that made sense to explore: how are Clark and Lana dealing with their sex life, now that Clark has those powers back? Clark has reason for concern; his hormones have set off the heat vision several times without his control, and Lana’s not the most sturdy individual. Still, one had to feel for Chloe. I’m beginning to agree with the people who want Chloe to evolve into the future Lois through some plot twist; she really does deserve to get the man in the end.
One subplot that did work was the interaction between Lionel and Martha. The writers often forget some of the early dynamics between the characters, but when they do, it’s a lot of fun. Was Lionel acting of his own accord, or was Jor-El ensuring that Jonathan would continue to push himself to a early grave? That’s one thing the writers haven’t explored at all: the connection between Lionel and Jor-El and what that means for Clark and Lex.
So Lana has all but worked out what happened during the meteor strike all those years ago, and Clark has to decide what to do about that. If the writers are going to take this up credibly, Lana must work it out and have serious issues with Clark, given her parents’ death. More than that, but she could be drawn to Lex in the process, which would feed his ego. Of course, it could be a lot more complex, but if they are going to start knocking people off, it should mean something, and that means the character development should get better attention.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.11: Lockdown
Written by Steven DeKnight
Directed by Peter Ellis
As the writers prepare for a number of plot twists in the milestone 100th episode, the story turns out to be a step above filler. Sure, there’s the death of a minor supporting character, which is a bit surprising, but there’s relatively little movement in the overall plot threads and just about none in the character department.
Was anyone surprised by Jonathan’s reaction to learning about Lionel’s donation? What else was that character going to do? It would have been more interesting in the long run (especially if Jonathan is the character about to die) if his implied consent remained intact and his election integrity under at least short-term question. If Clark is destined to emerge with his own set of ethics, why not have him struggle with the legacy of Jonathan’s example?
Anyway, tying the “lockdown” situation, designed specifically to throw a Lex-sized wrench in the Clark/Lana relationship, to the season premiere was a nice touch. In fact, there were quite a few nice continuity references throughout the episode, even if the characters were just doing what the plot required. Lex’s interest in Lana I can understand, looking back on the second season and onward; Lana’s friendship with Lex is a bit more forced.
Clearly the writers are implying that Clark will have to tell Lana the truth if he wants to have any chance at a future with her, and that presents an interesting dilemma. How can she know the truth and survive into the future of the mythos? Perhaps this is going in the right direction after all. Some elements of the mythology should remain intact, but why not firmly establish this as an “alternate” version of the story? All the media presentations can’t hang together, so why not vary from the conventional wisdom in a more pronounced fashion.
Of course, the writers have to continue with the hints that Clark will end up with Lois, which was cute at first, but now has become incredibly tiresome. I don’t mind her as a character in most episodes, but this is a perfect example of something that doesn’t need to adhere to the strict bounds of the mythos. Let Clark end up with Chloe, since the two have far better chemistry, and just accept that this is a story about archetypes, not comic book continuity!
OK, I know that none of that will ever happen, but as much as I like this series and its particular brand of storytelling, some of the constraints get on my nerves. The fact that the ratings are stronger than ever will just give the producers more reason to stick with a “winning” formula, no matter how the story and characters suffer as a result.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.12: Reckoning
Written by Kelly Souders and Brian Peterson
Directed by Greg Beeman
There was a lot of hoopla over the possibility of who would die in this episode. Early projections pointed to Chloe, if only because she’s one of the few non-comics characters on the series. However, it’s become very clear in the past several episodes that Chloe is the new Pete, the one friend that Clark can count on to discuss his unique situation with and get strong advice. That being the case, Chloe simply wasn’t in the line of fire. Instead, it came down to two obvious choices.
The structure of the episode was definitely meant to mirror the ideas in “Lexmas”. Just as Lex let the fear of losing Lana in some possible future lead to a presumably final turn towards the dark side, Clark lets his overwhelming fear over losing Lana lead to the loss of his moral compass. Lana is made even more of a pivot point for the struggle between Clark and Lex, and as each of them deal with personal demons based on possible futures that only they truly understand, the writers get the chance to explore how the two characters diverge from similar roads.
That said, the parallels could have been stronger, and the depth of emotion could have been more obvious. One big problem with this episode is Tom Welling. Usually, I don’t mind his acting, but this time he wasn’t displaying nearly enough pain and suffering, despite the iconic imagery and near-perfection of the funeral scene (love that song by Peter Gabriel!). After Lana’s apparent death, Clark’s reaction was just not convincing enough.
Also, while I am intrigued by how the writers have slowly but surely placed Lana as the central source of conflict between Clark and Lex, I can’t help but wonder if things would have been far more interesting if the writers had killed both Lana and Jonathan. Talk about learning a harsh lesson!
Chloe made a very good point, which is something that Clark will no doubt dwell upon in future episodes: Clark didn’t have to forego telling Lana the truth; he simply had to tell her what he had experienced after revealing the truth, thus giving her the chance to change her own destiny. Clark and Lex both fail to see why they cannot get what they want: neither one is willing to take Lana’s desires into consideration.
To a certain extent, it looks like I’ll get my wish. Jonathan still has a secret that could undermine the memory of his moral character, and thus force Clark to question his own moral code. Clark doesn’t have the best track record for making choices on his own, and he already has a tendency to make choices for people in the name of “doing what’s best”. That’s one of the dangers of power in general: all the good intentions in the world can still lead to megalomania. It may be too easy, however, for Clark to use Lionel Luthor as an excuse for whatever Jonathan was hiding.
Perhaps the most annoying thing about this episode is that the end result is a relatively strict adherence to continuity: Jonathan dies while Clark is still young. That’s not much of a shocker; the writers basically resorted to a trick to show the audience what they probably would have enjoyed (a deviation from expectation), only to slip back into all-too-familiar territory. And that possible accidental death for Lois was just wrong!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
5.13: Vengeance
Written by Al Septien and Turi Meyer
Directed by Jeannot Szwarc
I’m going to try to ignore some of the things that I found annoying about this episode. I could complain about the horrible acting of the guest actress, or the number of silly little plot contrivances along the way (Martha going to that part of town alone, Clark falling on the necklace, all the beat-over-the-head references to Clark’s future, etc.). I could also mention that I realized something that didn’t quite make sense in recent episodes: what ever happened to the idea that Jor-El was working through Lionel Luthor? Or was that supposed to be some part of the subtext of his involvement in Jonathan’s demise?
I’m not going to dwell on the negative because there were moments that I thought met the potential of the moment, something that several episodes have missed by a mile. In this case, I was looking for Clark to show a genuine anger, to be tempted by his resentment over his father’s mortality, to act out and to not be the perfect moral hero. I was looking for Clark to start, and hopefully not finish, a journey of self-discovery for the rest of the season.
I’m not convinced that the darker side of Clark will exist past this episode, since that’s not the way the writers think (long-term character arcs have not been the strength of the series), but I was happy with the portrayal of an angry and bitter Clark. Tom Welling clearly enjoyed the chance to show that anger behind his eyes, and for once, I actually found his acting to be nuanced. (OK, nuanced compared to most previous episodes!)
More than that, but I loved the final scenes. The previous episode, for all its hype, twists, and turns, didn’t really give the audience a chance to absorb the impact of Jonathan’s death. As manipulative as the video in the final scene might have been, it still worked beautifully. I really didn’t realize how massive the loss was until I saw him on the video. Sometimes a character will get under your skin without your knowledge, and it’s only obvious once the character is gone.
So I really liked the fact that Clark was tempted by negative emotions, from something other than the artificial influence of red kryptonite, and while I would have preferred to see that play out over time, I’ll take what I can get. And though we’ve seen it about 2000 times before, I couldn’t help but enjoy the interplay between Lex and Lionel. (That’s part of what reminded me of the whole Jor-El thing, though, so it certainly wasn’t perfect.) Sooner or later, the battle between Lex and Lionel must come to an end, and just as Jonathan’s death is leading to Clark’s ownership of his morality, Lionel’s exit should lead directly to Lex’s final turn towards amorality.
I must also note that I really liked Chloe in this episode. Her role on the series looks to be shifting. While Chloe had been there to give Clark some sense of direction from time to time, she’s now there to help Clark find his own way. And she’s also rather hot in this episode, which is never a bad thing! I even found the interplay between Lex and Lana to be a nice advancement of that story arc. I know some fans don’t buy it, but I’ve seen it coming for quite some time (even if only in my head), and it added a nice accent to an episode that gave me a lot of what I was hoping for.
Writing: 2/2
Acting: 1/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
5.14: Tomb
Written by Steven DeKnight
Directed by Whitney Ransick
Let me get this out of the way first, because it dominates my thoughts on the episode. I’ll watch just about anything with that much screen time for Allison Mack. To sport a cliché, she could be reading the phone book with that smile and those eyes and I would happily spend an hour staring at my screen. Not to mention that she’s getting more attractive as she matures (I actually think the same applies to Kristen as well, though not to the same degree).
I was looking forward to an episode devoted to Chloe for quite some time, because I think she’s a fairly important part of Clark’s life right now. Without Jonathan, Chloe serves as Clark’s conscience, constantly questioning his rationale for each decision, usually in his best interests. Even when she would clearly rather see Clark find happiness with her, despite her protests to the contrary, she focuses on being a good friend and helping him understand what he wants.
So when the writers turn to an episode to focus on Chloe, I’m happy to see it happen. Except, of course, when it turns out that the episode concept is a bit lacking. The underlying concept isn’t so bad, even if the situation with Chloe’s mother hasn’t been referenced much at all over the past five seasons, since it’s always fun to explore the psychological issues of a character. But the writers set up an interesting situation and then force it into a resolution that doesn’t quite make sense.
One thing that really bugged me was the lack of law enforcement response to Chloe’s “abduction” from the hospital. Even if the new sheriff is wet behind the ears, the situation is severe enough that Chloe should’ve been the subject of a concerted manhunt. After all, there’s evidence that she’s experiencing hallucinations, suicidal tendencies, and she’s already demonstrated that she’s a flight risk. Are we supposed to believe that Lex wouldn’t push for full mobilization, especially checks on anyplace where she would reasonably go (like Lois’ apartment)?
Perhaps I’ve also been spoiled by shows like “Millennium” and what not, but this particular killer seemed like a softer version of what the writers were really hoping to describe. And just how did Chloe get her arm free at the very last moment? That felt a little too convenient. Worse, though, was the idea that this killer could do so much research on Lois and Chloe and not know that Lois was supposed to have self-defense training.
Speaking of Lois, if she figured out that this guy was the killer, why did she leave her apartment door unlocked before dialing the phone? And where were her self-defense skills in that scene? It all felt like something cobbled together without much concern for character consistency, which is an old problem that never seems to get rectified on this show. And didn’t Clark and Lana break up in the previous episode?
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.15: Cyborg
Written by Caroline Dries
Directed by Glen Winter
Like with the Aquaman episode, I’m assuming that long-term Superman/DC fans will get more out of this than the casual fans. I don’t know a damn thing about Cyborg, and frankly, this episode doesn’t make me eager to find out more. Much of this episode is another excuse to dredge up the whole “Clark struggles with the question of telling Lana the truth” thing, which has been done to death. And there’s yet another scene with Lana demanding the truth, railing at Clark for not telling her what she should already know. (Is every staff writer going to get to write their own breakup scene?)
Speaking of which, whatever happened to the fact that she knew someone or something had come down in a UFO during the original meteor shower? Why hasn’t she considered that, especially in light of an episode like this? Clark’s not exactly careful around people in this episode, and if Lana looked foolish before, it’s even worse now that her suspicions are supposedly heightened.
With the Cyborg plot elements being connected to what feels like an endless breakup, I was looking for anything else that might salvage the episode. A few things came to mind as the hour progressed. For one, I love Chloe’s sense of style, especially the conservative yet sexy use of low-cut camisoles under a smart jacket. She may be used for little more than exposition, but it’s highly attractive and distracting exposition!
I also liked the fact that Lex was more overtly sinister in this episode. He has been before, but considering what he’s been like around Lana of late, this is a nice change of pace. The escalated tension between Lex and Clark is also worth the time, since neither of them holds back anymore. I’ve always liked the idea that Lex and Clark started as friends and then slowly became enemies on a personal level, so it’s fun to see this evolving, even in a haphazard fashion.
I’m not sure what to make of the whole Lionel/Martha subplot. It’s becoming clear that Lionel knows the truth about Clark and that it was that information that led to the end of “Reckoning”. Lionel seems to be using the information as leverage to get closer to Martha, which is disturbing, given their previous history. But is it more of a bid to get closer to Clark? And is that confirmation that the connection between Lionel and Jor-El is in some way intact?
Anyway, this wasn’t the worst episode in the world, but since a great deal of the subtext was related to Cyborg and what some members of the audience already knew about the comics character, it wasn’t the most accessible episode of the series. There were some good moments, but aside from the very final scene, nothing special.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.16: Hypnotic
Written by Todd Slavkin and Darren Swimmer
Directed by Michael Rohl
This is a tale of two episodes. One episode picks up on one of the better aspects of the fifth season: the emergence of Brainiac (aka Spike) as a formidable villain, something that the series hasn’t cultivated in any meaningful way in past seasons. (The fourth season had an arc structure, but it was a disappointing story overall.) Brainiac has been out of the picture for the entire second act of the season, which only makes his return all the better.
This entire episode plays like a major turn in the plot, as though this is supposed to give a sign for what’s to come as the season comes to close. And for the Brainiac/Lex side of the episode, it works just fine. Clearly, Fine has a plan, and that plan involves samples of blood infected by some kind of killer virus. Fine mentioned the idea that men from another world visited the ancient peoples of Central America (it’s a fairly well-known legend), so it stands to reason that the two ideas are linked.
Given that ancient peoples knew about Krypton in some fashion, it’s equally possible that the struggle between Jor-El and Zod represents something that goes back as far. Could there be something in the genetic code of certain descendents of ancient peoples, modified by this virus, which will provide Fine with a weapon against Clark? If that’s the case, will Lex’s alliance with Fine represent the scheme that sets them at each other once and for all?
Of course, that ties into the “other” episode: the Clark/Lana show, which is frankly a mess. Once again, after breaking up about 1857 times in the past several episodes, Clark and Lana are getting along just fine like nothing ever happened. There’s a point at which this becomes a joke, and I think they passed that around “Reckoning”. It’s hard to feel anything when the moment comes, because it’s been robbed of any meaning.
What’s worse, the final breakup is strung out until the proper timing for the arc, despite the fact that it makes no rational sense. It’s one thing when form and structure are followed, yet the execution is such that it feels like a natural progression of the story. That happens in just about every other genre series with an arc structure. It’s a completely different thing when it’s just tossed together as though the writers aren’t even talking to one another, and then someone comes in and “fixes” it to make it look the way it should.
Lex does cross the line in a major way, but no one actually discovers that fact, so what’s the difference? It would only matter if Clark were to learn the truth behind this little plot right around the time that he discovered that Lex was helping Fine with his agenda. There’s a chance that will happen, but I wouldn’t put money on it. And that’s too bad, because it would at least give meaning to a plot element that was damned annoying.
Simone didn’t come across as seductive so much as super-slutty, which has its time and place, but not when the woman is portrayed by an Elizabeth Shue-wannabe. If Simone had been a bit more substantial, if her control over Clark had been portrayed in a somewhat less bland fashion, it might have worked. Basically, Simone’s control over Clark needed to be more dangerous. Having Clark reveal his powers, yet Simone protect those secrets for no apparent reason, was a bit hard to swallow.
And so for me, this was really two different episodes. One intriguing, one annoying. The sad thing is that I’m not particularly surprised. At least there’s still the intriguing half to keep me entertained!
Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 1/4
Final Rating: 5/10
*****
5.17: Void
Written by Holly Harold
Directed by Jeannot Szwarc
I’ve been less than pleased with the progress of the series since “Reckoning”, largely because there wasn’t any depth to the character exploration in the wake of Jonathan’s death. One episode with hints of darkness in Clark’s personality doesn’t really cut it, and several episodes with different versions of the breakup between Clark and Lana is really pushing it. But this episode, despite the “Flatliners” plot grab, actually engaged my interest.
I’m not sure I buy Lana’s motivations, since she’s been a lot stronger than this emotionally under far more difficult circumstances, but it’s fun to see her crawl through the mud for a little while. I love how they stripped away the glamour, because too often, Lana is presented as if she’s a model on assignment instead of a character with emotions. I wouldn’t call this an acting tour de force, but it’s a lot more range for Lana than usual.
I was almost fooled into believing that Clark wouldn’t be the one to save Lana from herself. It would have been a lot more interesting if Lex had been her hero for a change. Granted, he gave it a good shot, and there was a plot-driven reason for Clark to be there in the end, but it was still a bit too convenient. Sooner or later, the writers have to shake up the format.
The main point of this episode, beyond revealing Fine’s survival to Clark (which gave Lana more than enough time to self-destruct), was the plot device afforded by the NDE drug. Allowing the living to speak with the dead is a time-honored plot device, especially in the SF genre, and as usual, it provides some nice plot development opportunities.
I liked the fact that “Lexmas” was referenced, because in a lot of ways, that episode had been rendered useless by later events. There was no sense of a change in Lex or a consideration of consequences. Now he’s brought face to face with his mother, who challenges his decision not to change his ways and make amends. His description of the encounter, as revealed to Lana, speaks volumes. As usual, Lex and his descent is one of the best things about the series.
On the other side of the spectrum, Jonathan tells Clark what kind of man/symbol he’s destined to become. For all that it’s played to the melodramatic hilt, it was hard not to respond to Jonathan’s return. And this also provided Clark with a moment of doubt, which is what I’ve wanted. And when Fine returns in full force, he better play on all those doubts. If Clark’s doubts are never addressed in a meaningful way, Jonathan’s death would (like Lex’s vision) be rendered almost meaningless.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
5.18: Fragile
Written by Darren Swimmer and Todd Slavkin
Directed by Tom Welling
Based on the descriptions for this episode, I wasn’t expecting much. Sure, Tom was directing, but how often have such directing debuts gone horribly, horribly wrong? Too often, they are fairly mediocre and completely devoid of a particular style. I’m not going to claim that Tom’s direction was unique or distinctive, but it got the job done. The only person who failed to get good direction in many cases was Tom himself; too often, he was overly giddy and smiling like an idiot.
As far as the story goes, it worked for me, at least for the most part. Clark really is the right person to reach Emily and get her to open up, though it happens remarkably fast to meet the demands of the episode. But a lot of pitfalls were avoided, and I wasn’t rolling my eyes most of the time, even when Emily’s and Tyler’s powers made automotive glass shatter in shards instead of little glass beads!
That said, one problem with the main plot is perhaps the most obvious. A lot of people knew that Emily’s ability was to shatter glass, and that those abilities went out of control when she was upset. Even those unaware of Emily as the probably source should have figured out what was going on quickly enough. So why were so many people standing there, when the glass started rattling right next to their heads, as if waiting to be killed? The teaser was the worst offense, because the idiot stood there and waited for the mirror to rip her apart!
I was expecting the Lex/Lana subplot to annoy me to no end, but it actually wasn’t so bad from where I was sitting. Then again, I’ve always felt that Lex wanted his shot at Lana, going back to at least the second season, so it felt like natural plot progression to me. I was a little annoying that Chloe couldn’t figure out what was happening, considering how observant she usually is, but it was a minor source of irritation.
The most annoying and unnecessary problem with the episode had nothing to do with Tom’s direction or the plot itself. It was that ridiculous “Hunt for Fine” sponsored by AOL. First of all, I hate overt product placement, especially when it clashes with common sense. Why in the name of hell would Lex be using AOL for something he wants to keep secure and private? Wouldn’t someone like Lex have a secure network of his own, or at least something he could use?
The worst of it is that it didn’t mesh at all with the plot as a whole. It felt like the AOL references were out of nowhere and tossed into the story without any thought. It made the whole mess far more egregious, and if I were Tom Welling, I’d be pissed that my directorial debut was completely compromised by needless corporate shilling.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
5.19: Mercy
Written by Steven S. DeKnight
Directed by James Marshall
I’m not sure what the difference was this time, but I really felt like this was the right kind of episode for the series. From what I understand, it borrowed the central concept from the recent “Saw” horror films, but since I find needless gore and blood tedious (violence needs mature context to be potentially interesting), I haven’t seen those films. Regardless, I like the idea at the heart of this episode: Lionel must face the demons of his past in a very personal way.
Lionel has always been chasing after Martha, so the recent twists in his relationship to Clark have been very interesting indeed. Particularly, I like the fact that Lionel, through his connection to Jor-El, has taken it upon himself to step in as a father figure for Clark, in his own peculiar way. Clark, of course, isn’t buying it, and we finally get to see some darkness in Clark. I like it when a situation challenges Clark’s morality, and as I’ve said before, Jonathan’s exit should lead to moments where Clark questions how to respond.
Of course, it’s made so much better by the fact that Lex gets to watch the whole thing, and it burns in his gut like nothing else. Lex might have gotten the feeling that he won Lana from Clark, but on some level, he must know that he’s taking advantage of Clark’s mistakes, not winning on his own merit. Now he sees Lionel treating Clark as something special, a surrogate son, and he has to be wondering why he wasn’t deemed as “special” as Clark.
In essence, this gives Lex another personal reason for discovering what Clark has that he doesn’t have. One of the underlying themes of the series has been the pursuit of power. Clark began with inherent and almost spiritual power, and Jonathan taught him to understand himself and view that power as a means of helping others who are powerless. Lex had power as well, but it was artificial and material, and Lionel taught him that the acquisition of power was paramount over all else.
This is a huge turning point for Lionel, though he’s unlikely to reform completely. Martha serves as a redemptive figure for Lionel. He continues to find reasons and ways to live up to her faith in his ability to change. Did he know that the gun was empty? Possibly, but it plays better if Lex comes up with that on his own, as if he’s casting for some way to explain away Lionel’s apparent selfless act.
As much as the scheme at the center of the plot is a nice nod to continuity, it isn’t nearly as satisfying as it could have been. For one thing, who remembers that whole Apex deal from the earlier seasons? I can’t even remember when it took place; the back and forth between the Luthors has been going on for so long that the sequence of events is now just a jumble. It might have been better if it was a more recent victim of their struggle, but considering that it was a solid episode for once, I’ll take what I can get.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
5.20: Fade
Written by Turi Meyer and Al Septien
Directed by Terrence O’Hara
I’ve said before that one of the elements missing since “Reckoning” was an exploration of Clark’s dark side. As seen on shows like “Angel”, specifically the second season, it was demonstrated that a character can slip into dark territory without the artificial means of a spell or device. Angel slipped in his morality without losing his soul; so could Clark, the white knight, be tempted by immorality without touching red kryptonite.
Unfortunately, that hasn’t really happened. Clark has been tempted here and there, but never pushed into taking a step he might regret in a lasting way. And that’s unfortunate, because it falls into one of the pitfalls of the Superman character as a whole. No character is fun without flaws to be exploited.
This episode could have much better if Clark had been tempted to let Graham take a few shots without stepping in the way. Or short of that, if Clark had accepted a couple of those gifts that Graham offered. Anything other than the same old holier-than-thou attitude that Clark has had since day one.
Granted, Clark plays the angry-ex very well, and as usual, he manages to completely overlook Chloe’s feelings on the subject. I was ready to slap the boy in this episode, because she’s put up with way too much of his crap over the years. And for all that Clark is angry with Lana and Lex for getting together so quickly, he really has no right to decide anymore. It’s within that jealousy that Clark’s dark side could have slipped out.
Because Erica is the only one of the young women on the cast willing to get all but naked on a regular basis, one course she’s the one in the shower and the one being chased by Graham. Though Clark and Lois have seen each other in the buff enough times to generate some level of interest, it’s still nice to see them at odds. I really don’t like her, but she does make a convenient target (and one the audience would love to see taken down a few pegs).
I actually like Lex and Lana together. Wouldn’t it be fun if Lana really fell under his influence and went a little bad? Enough to start helping Lex put the pieces together? Anyway, as usual, Lex is playing all sides to his own advantage. He seems to be helping Fine with this supervirus, but at the same time, he’s tracking Fine and trying to find out Fine’s true purpose.
This will no doubt tie into the season finale, but I’m more than a little concerned. So far, the season hasn’t been coming together very well, especially post-“Reckoning”. In fact, this season’s arc is making the fourth season arc look substantial in comparison. The final two episodes could change my mind, but as things stand, if the series might end soon, there’s very little indication of a strong conclusion.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
5.21: Oracle
Written by Caroline Dries, Daniel Sulzberg, and Neil Sadhu
Directed by Whitney Ransick
Much like “Supernatural”, this season of “Smallville” ends with a two-part season finale. The writers certainly look to be shaking things up, and there are actually a few references to episodes from earlier in the season. Lionel’s status since the premiere is now a little more clear, and Lex’s alliance with Fine is a nice bit of double- and triple-crossing.
Even so, it highlights one of the biggest problems with the series, and one that I’ve harped on forever. The season arc itself has been anything but consistent, and the writers drop some payoffs into the episode that don’t fell as profound because of that inconsistent structure. Every writer seems to have a different take on the status of the Clark/Lana/Lex love triangle this season, and it has severely weakened the season arc as a result.
One thing that has worked is the arc for Clark and Lex, which took them from uneasy footing towards outright opposition in a fairly progressive fashion. It was obvious from the beginning that Lana would factor into that conflict between former friends, but there’s a touch of nuance in that Clark has allowed his distrust to blind him to moments of possible redemption for Lex. This episode is a good example: Lex is doing the right thing, but Clark is letting his own worst impulses rule his assumptions.
And that’s what I really liked about this episode. Clark struggles with his morality. He’s confused enough that he doesn’t see the obvious. He knows, on one level, that his father would never condone murder, but he’s dealing with his own rage and anger. As I’ve said all along: it’s the exceptions that prove the rule, and without moments like this, Clark is just an aloof, perfect icon without any understanding of what he’s protecting. Through the resistance of temptation, Clark demonstrates that he does, in fact, have the answers within him.
The virus/vaccine thing came a little out of nowhere. Apparently it was introduced and fleshed out through the whole “Hunt for Fine” game on AOL, which is a bit of a cheat. The writers should have spent less time on endless iterations of the Clark/Lana breakup and included vital plot information in the actual episodes. Whatever the case, it wasn’t hard to figure out that the goal of the “vaccine” was to create something else entirely.
To speculate on the season finale: Brainiac seems to have prepared Lex as the perfect vessel for the arrival of a certain Kryptonian general. That’s definitely an interesting move, since Fine has spent a lot of time using LuthorCorp to develop a means of crushing human resistance. Why not have his master rule over the organization that owns that system? It also works metaphorically. Jor-El and Zod battled to the end, and now Clark and Lex (the sons, one way or another) will carry that battle on Earth. Granted, this will probably spill over into the sixth season, assuming that the CW network picks it up, but it should make for a more satisfying ending than we might have expected.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
5.22: Vessel
Written by Brian Peterson and Kelly Souders
Directed by James Marshall
I’ll give it to the writers: when it comes to season finales, they usually manage to make it work. The set-up may not be the most elegant process in the world, and there may not be a sense of ongoing consequences in every instance, but the stories usually manage to come together. In this case, the effectiveness of the story was hampered slightly by the relative lack of cohesion within the season arc. The pieces are ultimately pulled together, but it’s not a perfect fit.
The finale works best on a thematic level. The season was driving home the fact that Clark’s inability to tell Lana his secrets destroyed that relationship. He was letting his fears and insecurities get in the way, and it pushed Lana right into Lex’s waiting arms. There’s a deep sense of irony as a result. Lana does freak out about Lex’s apparent abilities, but she’s willing to stay with him and support him, even when everything else is going to hell. When Clark discovers that, it should be a rather telling moment.
Taking the long view, this is an interesting payoff for some of the symbolism from earlier seasons. The idea of Clark and Lex as friends or brothers, driven to opposite sides in a powerful conflict, goes back to the discovery of the caves. This episode puts Clark and Lex on the same level, though in many respects, Lex is not himself, even before he is inhabited by Zod. Perhaps the writers felt that it would be going to far for Lex to attack Clark fully with every possible ability, since it would take that interpersonal conflict much further than easily reconciled.
I do like the fact that Lionel is continuing to act, consciously or unconsciously, as Jor-El’s spokesman. I still question Jor-El’s motives. At least, I question the version of Jor-El that has been contacting Clark since the beginning of the series through the ship and the Fortress. Like Fine in the previous episode, Jor-El tries to use his parental authority to push Clark into killing someone, and the knife ultimately serves to “download” Zod into Lex. Doesn’t that seem a little convenient?
I also liked the scale of destruction that came with Zod’s arrival (though I thought it was Gotham City in the DC universe, not NYC). But when did Lana become so capable of taking care of herself, especially as compared to Lionel and Chloe? I was very worried that Chloe would get stabbed in the riot; keeping it vague was better than the nasty non-“Smallville” images that popped into my head. But why would Chloe run into the middle of a riot, and why would Clark be dumb enough to overlook her affections yet again?
All that said, I’m a little perplexed by the direction of the plot. So the virus was always supposed to be a computer virus? The vaccine was always just an excuse for Lex to create the Zod Cocktail? While a number of things were clicking thematically, aspects of the plot felt tossed together. I think the central conflicts remained the same, right down to Clark in the Phantom Zone, but Fine’s viral gambit felt a bit ret-conned.
I’m also not sure why Fine would take Martha and Lois to the general vicinity of the Fortress. They played up the disturbing Martha/Lionel thing again, right down to Lois telling Martha that it might not be a bad thing, but the rest of that plot thread didn’t seem to make sense. Are they thinking of using Martha and Lois as hostages, to convince Clark to hand over the Fortress to Zod?
Whatever the case, it’s a good place to leave the season, especially if the CW really has already picked “Smallville” up. I suppose one benefit of failing to develop a strong season arc is that the finale only has a few particular elements to address, and everything else is up for grabs. It had to deal with the Zod/Brainiac plot thread and the Clark/Lana/Lex triangle. This finale covered all of that well enough, and for once, there’s no telling where the series will go next.
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 “Smallville” 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: 2/4
Final Rating: 8/10
(Season 5 Final Average: 6.5)
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