Vaugh to Weiss, of previous post-breakup blues: "You built many many ships in many many bottles." Hee.
The über-suits, Jack and Sloane, doing their slo-mo power walk. Um, okay. You're cool, mean,
Sloane: "recuse" -- Jack: "in-country" Gosh, I love when you guys use those special words. We're all very impressed down here.
Nadia freaks out in the meeting and just wanders off to the edge of the room. Okay, there are many times I've wanted to do that during meetings, but still. Unprofessional, much? You couldn't have shuffled some papers, chewed your lips? And then we learn she's had hallucinations and visions. Of course she has.
In the café--I knew it was Anna on the phone, just like later I knew Sark's escape was a big set-up. Sigh. I hate when I can anticipate plot developments. I like to be surprised instead. Not surprised by writerly insanity, but nicely surprised.
"She's going to kill my sister!" And she keeps calling Jack "dad." Which she's always done, but somehow in this scene I find myself really wishing they weren't all family. It's getting very soap operatic and not in a good, Buffyish way. The plotlines seemed full of artificial tension. I don't entirely know what I mean. But there's this burnt-out, tired quality to some of the storytelling that I identify with a show reaching a difficult age.
Some plottiness, Syd posing as Anna--I must have zoned on the details here. Syd's instant makeover was amusing. And her hooker lines amused me. Her target, the fellow in the bar, was Sebastian Roché, from Odyssey 5--yay! He had little to do, but he screamed well when his finger was cut off. And how great was that? I rather liked that bit.
Anna, to Nadia: "Your sister is a curse." Yep. At the end of this scene, we get this long long lonnnnnnnnng close-up of Nadia. They couldn't cut that and use the time for something more interesting? And then: branding! Branding is always good.
So for a guy who has "recused" himself, Sloane is all over this mission.
Anna and Syd in the boutique--cat fight! "She can have the blouse." Hee. But the lighthearted song. It reminded me of that "sisters" promo for Syd and Nadia a few weeks ago. I don't know that that works for me.
Something something, why did Anna trust Syd? Was the putty stuff a fake or the real thing? I can't even remember.
And then, Sark. Ahhhhhh. God, he's so Spikey to me. He's Human!Spike. Such a lovely lovely boy. I'm afraid he may nudge out Connor for Sociopath of the Month. (Sorry, Kita!) Sark and Vaughn as "family." Yep. There's the all-in-the-family theme cropping up again. Sark: "I'm not afraid of the dark." Oh, Sark. You're dreamy.
Weiss/Nadia feels very forced.
I like the recurring doctor guy, who was looking over Nadia's brand in this ep. He's pretty. He and Weiss need to date.
Rambaldi's daughters, and the mysterious object over which they will do great battle. *eye roll* One will survive. There can be only one! I'm guessing--just, you know, taking a wild leap here--that it's going to be Syd.
Sark again, with the tracking device: they'd blow off his *head*? Jesus, people.
Dad to Syd: "Can I trust you to maintain your professionalism?" Syd: "Of course." Uh, excuse me. *WHAT* professionalism?
Anna's motives for capturing Nadia are unclear to me.
(My notes here say: I liked that ES Lexus commercial. ;>)
And here I wrote: Sark! Of course. You rock! LOVE him! OMG! (Hee.) "Why run at all?" -- "For the bubbly, of course." Me: squeeeee! Sark was definitely the best thing about this ep.
9:52 to 9:56 -- they gave us four whole minutes of show then cut to commercials again. Thanks, guys.
My notes: "Plot, what plot."
Also: "Nadia shot! Yay! I should care."