Anna S. (eliade) wrote,
Anna S.
eliade

Alias 4.2



There is not much joy in this post. This just bored me. I want them to break some new ground. Nothing is going on here. Nadia and her angst bores me. Weiss--does not bore me. He rocks. (Though he has rocks in his *head* if he really believed Syd worked for a bank, for crying out loud. Why did they make him so d-u-m on that point? It's insulting.) Sloane has got nothing to do. Jack is given his Jacklike little manipulations and dad-angst blah blah blah. Syd is annoying the fuck out of me, and represents something larger that bugs me, which is the near-relentless shoptalk of the characters. They speak Agency and they speak Exposition and it's dull, dull, so deadly dull; once in a while they break for reverse-Oedipal tragedy and once in a greater while they toss us a shot of snark to wake us up, but the formula here is failing.

The fake sex ploys, the expenditure of valuable screen time on a damsel-in-distress scenario, Syd delaying any pre-emptive attack on Bishop and then inexplicably getting bested by him *offscreen*, the cardboard A-plot, the generic party that failed to highlight any *real* character interactions, interactions played for their own sake and not as prop plots--I'd yawn here but even that would be more effort than it's worth.

Marshall this ep: Meh.
Vaughn: *zzzzzzzzz*

I did like how Vaughn described Weiss's romantic muddles and how he has to "pick up the pieces" afterwards. How boyfriendly is that? It's adorable; the words themselves, but also how he said it, taking for granted the friendship--in a sweet way, I mean--and that it's his job to do that.

Weiss, man. Weiss *anyone*. Weiss/Syd, Weiss/Vaughn, Weiss/hot wedding-dress mannequin. Whatever. Bring it on. Except, perhaps, for Weiss/Nadia. *sigh* I actually liked her role last season; now that she's been assimilated into the Borg CIA, she's being sapped of all her edgy qualities and sapping everyone else at the same time.

And overall, with APO, there's this similarity to S4 Angel, where it's like the walls close in, and everything seems to converge into one emotionally claustrophobic set, in this case, the APO (in AtS, the Hyperion). SD-6 worked beautifully in that way. APO, so far, does not. They're trying to have their cake & eat it--the attempted reworking of SD-6's dark dysfunction is the piece of old cake they've saved in the freezer, and APO is the full comfy tummy they think the viewing audience wants. Where everyone is chummy, cheek-by-jowl and Doing The Right Thing For America. Everyone has gotten a bit shinier, their culpability glossed over, their failings submerged in plot, and a whitening agent has been poured into their darkness to create a wan grey wash over all things.

God, I miss the days when Will was forced to become a heroin addict and deliberately kamikazee his career. When Syd's roommate was a homicidal, semi-cloned spy whose face fell into the flat affect of a sociopath every time Syd turned her back. When Sark ruled the world! When Sloane left slime tracks wherever he went! When Syd couldn't get through a single ep without crying because she actually had a hell of a lot to cry about!

But still. I have a show to watch again. That's something, and if I stick around, it could get better. I just need to train myself to remember to tune in every week, to watch the 37 minutes of commercials that support quality television programming, and to ogle Syd's 66 breasts-worth of credits.
Subscribe
  • Post a new comment

    Error

    default userpic

    Your reply will be screened

    Your IP address will be recorded 

    When you submit the form an invisible reCAPTCHA check will be performed.
    You must follow the Privacy Policy and Google Terms of use.
  • 2 comments