REGULAR CAST, GUEST CAST & CREDITS
SYNOPSIS by Sally Dye
COMMENTARY 1 by Adriane Saunders
COMMENTARY 2 by Zero and E
NON-ORIGINAL MUSIC SAYS WHO?
Amy Aquino (Agent Virginia Kerr)
James Lesure (Agent Craig Blair)
Stephen Markle (Sen. Douglas)
Kevin West (SD-6 Agent Kelsey)
Daniel Faraldo (Manolo)
Newell Alexander (Congressman)
Dan Istrate (Public employee)
Vladimir Skomarovsky (Kholokov)
Kevin Sutherland (CIA Agent)
Loren Hayes (CIA strike team leader)
Sarah K. Peterson (six-year-old Sydney)
Written by Jeff Pinckner
Directed by Ken Olin
Broadcast on ABC, 9-10pm, Sunday nights.
This commentary is by Sally Dye.
Scenes from previous episodes, culminating with Sydney believing that her mother lied to her about the safety of the building in Madagascar where the "bible" was supposedly located. Sydney visits her mother's cell, only to find it empty. The only thing left is Irina's earrings.
Sydney testifies before a Senate committee that her mother intended to kill her, and that her father saved her life.
In Vienna, a man is gunned down in his car. Sloane identifies the man as Neil Hador and says that an organization known as the Triad is responsible. Hador was a Triad member who had sold info to SD-6 about sixteen "next generation" weapons being tested by the Triad. Sydney is to infiltrate the Triad agency in Budapest and get info on these weapons. When Sydney and Vaughn discuss her countermission, Vaughn tells Sydney that he thinks Jack manipulated the satellite coverage of the mission in Madagascar, perhaps to set up Sydney's mother. Sydney is indignant that Vaughn is implying that Jack might have almost killed the two of them just to remove Irina.
Sydney attends Francie's restaurant opening. The place is packed because Will invited all of his therapy group. Jack comes in and interrupts Sydney's dancing with Will to give her more info on her countermission, which is to reprogram the access to the Triad computers so that the CIA gets the info from them. He tells her that the government is going to press charges against Irina and seek the death penalty.
Vaughn runs into a fellow agent, Craig Blair, who is transporting an explosives expert who was apprehended in Madagascar. It turns out to be Manolo, the guy Jack hired to wire the house near Sambava. Vaughn tells Manolo they have satellite pictures of him rigging the house with explosives. Manolo says he was working for the CIA, and his contact was Jack Bristow.
In Budapest, Sydney and Dixon prepare to infiltrate the weapons testing center. Marshall has given Sydney a tube of lip gloss that is really a camera. She gets into the computer room and downloads the info to the CIA. She then gives Dixon a dummy IP address. Sydney then goes to photograph the weapons, avoiding several guards on the way. When she reaches the testing room, she sees a one-way window into a room where sixteen blindfolded children are assembling weapons. Sydney is stunned, but photographs them and their instructor.
Back in LA, Sydney and Vaughn discuss what Sydney discovered in Budapest with Agent Virginia Kerr. They realize that the "next generation" weapons are the children themselves. Agent Kerr explains that the procedure is to identify children around six years old with specific traits and then program them with the skills needed to be spies. They are taught linguistics, weapons proficiency and problem-solving techniques. After a relatively short period of indoctrination, their memories are "reset" and they are sent home, to be contacted when they are grown and recruited as spies. Kerr says there was a rumor that the KGB had experimented with a similar program in the '80's.
Sloane shows Jack the registry from the bed and breakfast, which shows what is supposed to be Emily's signature, made weeks after she died. Jack suggests that an enemy is trying to get at Sloane through his grief. Sloane confesses that Emily's death was not from cancer. He details how he put sodium morphate in her wine, which caused her to die in her sleep. But he says he did it to prevent her further suffering and to keep the Alliance from murdering her in a more unpleasant way. Jack vows to find out who's doing this. Sloane suggests that he check on whoever else was being considered for partner in the Alliance.
Will and Sydney discuss their childhoods. Sydney tells Will about her mother being on trial. She says she's become closer to her father through all of this.
The man in the photographs from Budapest is identified as Valery Kholokov, a KGB agent whom everyone had believed dead. Sydney insists on being the one to go to Buenos Aires to apprehend him. Jack tries to dissuade her, but she says she knows what it's like to be used and she wants to be sure he is taken into custody so he can't program any more children. When she leaves, Vaughn confronts Jack about Manolo. Jack says that Irina is evil and must be eliminated by whatever means necessary. Vaughn says if Jack doesn't tell Sydney what he did, then he (Vaughn) will.
At home, Sloane gets out of the shower and sees a glass of wine on the vanity that wasn't there moments before. He checks his security system and finds it was disabled from within the house ten minutes before.
In Buenos Aires, Sydney gets into Kholokov's compound. The rest of the team takes care of the guards, and she goes to get Kholokov. They fight briefly, but he is subdued and taken away by the agents. Sydney sees an intricate building block puzzle on the table and solves it, but then wonders how she did it.
Back in LA, Sydney asks Agent Kerr how she could have solved the puzzle so easily. It was as though she remembered it from an earlier time. She thinks perhaps her mother might have used the programming techniques on her as a child.
Sloane has the wine he found tested and discovers that it contained VTX, an antidote for heart-attack inducing toxins, such as sodium morphate. If a person who had taken sodium morphate were given VTX, they would appear to be dead, but would revive in a matter of hours.
Sydney undergoes regression hypnosis. She sees herself as a six-year-old in her room. She hears her father talking to someone about Christmas. She sees the puzzle she solved, and she sees her young self solving it. Then she sees herself putting a gun together -- much the way the children in Budapest had done. Someone puts a hand on her shoulder and praises her -- it's Jack.
Sydney confronts Jack about her memories. She says she had always thought when she heard him talking about Christmas that he was planning her gifts. But now she knows he was referring to "Project Christmas", which was the project that Irina Derevko was sent to the US to steal information on -- a project that Jack Bristow was developing for the CIA -- training children to be future spies. Sydney says he took away her choices -- programmed her to be a spy -- and then set Irina up so that she couldn't tell Sydney about it -- and she will never forgive him.
Sydney goes to CIA hq to see Vaughn. She doesn't speak, just goes to him, and he holds her while she cries.
This commentary is by Adriane Saunders.
Episode 27 is "The Indicator", but I hope not of things to come. Missing again is the signature bam, bam, bam letter at a time Alias intro. Instead, we get what must be the "adagio" movement in the symphony that is "Alias". The week's episode starts with a slow motion "walk in" by Syd to her mother's now vacated CIA cell. Bring Irina back! Bring her back! The inimitable Irina Derevko will no doubt return to the plot, but not this week for this episode. Fooey, for sure!
Meanwhile, Syd wants to "stand in" her mother's cell to the accompaniment of mood music with lyrics. Were those her mother's earrings she picked up in the cell? Watch it when Syd picks up small "trivial" things, like the small bauble "fished" from the floor in last Season's two part thriller, "The Box". That turned out to be a miniature grenade perfect to provide Syd the distraction to save everyone's life at SD-6 Headquarters. What part Irina Derevko's earrings will play in some future episode remains to be seen.
Next, in Vienna a well-orchestrated but rather over-the-top assassination of an SD-6 informer occurs. How many bullets does it take to kill one man sitting in a car?! Especially one about to be blown up anyway by those very same assassins! Pizzazzie effects but definitely an "overkill". The "Triad", to which the now dead informer Neils Haber belonged, hoped to prevent an information leak to SD-6. But, informer Haber had already informed.
Sloane knows about the 16 "next generation weapons" the Triad is developing. Enjoy the clues hidden sometimes in the labels Alias uses. Remember "The Man" from last Season, a seemingly trite label that at the last turns out to be singularly appropriate and a rather clever piece of misdirection. "Next generation", though not so clever, turns out to be literal but still unexpected.
Syd and Dixon are sent to Budapest to photograph the "next generation weapons". Those weapons turn out to be children, 6-year-olds. The plot this week orbits around the premise that children--in a few weeks--can be programmed to be spies to be later activated as adults. How is not clear, nor is whether such "preschool" programming is even possible. Maybe in a comic book?
Or, maybe ignore probabilities and simply enjoy the action. Accepting the premise that 6-year-olds can become mini-Manchurian Candidates, programmed and triggered as adults to be assassins is a stretch. All I remember myself--as a 6-year old in school--is memorizing multiplication tables from flash cards and running around the playground at recess with a bunch of other kids pretending to be horses. And I was considered a "high achiever", having already learned to read in kindergarten! Suspend belief and enjoy the action.
Relationships are "where the action is" in this episode. Vaughan and Syd. Syd and Jack. Sloane and Jack. Jack and Vaughan.
For starters, Vaughan clues to Jack having set the explosives in Madagascar last week "to set up" Syd's mother Irina. Syd is angered but when--in the end--she learns the truth, she cries on Vaughan's shoulder, her mascara running from her tears and the rain. Wow! TV remembered what a mess tears make of a woman's makeup! How often do we ever see that!
Syd vows to "never forgive" her father for programming her, as a 6-year-old, to be activated later an adult spy. This is what Irina knew and reminded Jack of in an earlier episode with the line: "You haven't told her what you did to her after I desappeared, have you?" A CIA hypnotic session, requested by Syd, draws that 6-year-old memory to the surface.
Syd confronts her father, telling him, "You took away my choices in life. You programmed me to be a spy." All parents do that, "program" children to be something or other. What after all is socialization and schooling but "programming"? That aside, can anyone really take away our choices? We always have choices. Those choices may not be the choices we would like, but they are still choices.
Syd's choice, in the face of her father's duplicity, is to despair but I sympathize. Morality is not high on Jack's list of "things to be". Interesting to note that morality matters so little to Jack and so much to Syd. Syd cannot bear even to "lie" to her friends. Contrast that with Jack.
Vaughan confronts Jack. He is now certain Jack ordered the explosives wired into the house in Madagascar specifically to frame Irina, regardless of the danger to Syd. Jack calls Vaughan "naive", and says, "Evil must be eradicated by whatever means possible." In the name of "evil", how much evil is done? A flawed morality. Definitely with Jack and Syd, like father, like daughter does not apply.
Sloane with Jack signals more clues to what is to come in Season Two. Sloane wants Jack to find out who "forged" his supposed-to-be-dead wife's signature in the register of their--when she was alive--favorite Bed and Breakfast. My guess is his wife did, Emily Sloane. But that, as they say, is another story. For now, the trigger is the lie to Jack by Sloane that Emily knew about SD-6 (true) but assumed it to be part of the CIA (the lie).
Remember Season One the scene of the beach when Sloane tells his wife exactly what he does and for whom. Remember her horrified reaction, later to be followed by her forgiving him just before she drinks the wine he has just doctored. Emily knew--or even now knows--perfectly well what SD-6 is. So, why the lie to Jack? What is Sloane up to now? The end of the conversation clues me.
Sloane is after the person who might be a rival for his seat, as partner, in the Alliance. "When I was chosen, someone else was not," Sloane tells Jack. Evidently win-win possibilities are not entertained by Sloane, only winner-loser. Sloane "confesses" to Jack he poisoned Emily to save her being killed by the Alliance (for knowing about SD-6) or by potentially having her cancer return and dying from that. For that logic, I "won't even go there". Could this be what is meant by "cutting off your nose to spite your face"?
A comic book chemistry lesson follows--after Sloane has a glass of wine which appeared in his bathroom analized at SD-6. The results clue us--or maybe prepare us--for "how" Emily Sloane might have avoided death, despite the Sodium Morphate (poison) in her wine. There is an antedote: VTX. This VTX would have made her appear dead for 12 hours. After that she would revive, assuming of course no one had already embalmed or buried her before the antedote kicked in. Risky! But, that is a reason--if we need one when the time comes to "resurrect" Emily Sloane.
A small joke of note, particularly considering Sloane's antics with his wife, is uttered in Budapest earlier in the plot. Syd wants to access vital statistics records. The attendant tells Syd, "Over there the documents for marriage and death. But there's no correlation." A small joke. This reminds me how seldom anyone cracks one in Alias. A joke. If not for the irrepressible SD-6 tech expert Marshall explaining his inventions--this week a lip gloss that fires small cameras--we would have no crack ups. Well, maybe the occasional off-the-wall preposterous plot premise (rare) might still prompt a smile. For the most part, though, there is little amusement in Alias, little laughter.
But, with all the action that hardly matters. Everything moves so fast.
This commentary is by Zero and E."Some things you need to experience for yourself."
THINGS THAT WORKED:
-On a dime
Given the high velocity with which Alias tackles such a vast breadth of emotion, it is incredible that each theme is captured with the potency, depth, and accuracy it deserves. This script, especially, demanded that the cast fully embody the flexibility of topic and mood inherent in Sydney Bristow's story. We sometimes take the actors' ability to rapidly change gears for granted, but the performances in this episode were VERY impressive.
Never before has Michael Vartan been called upon to perform such diverse emotional roles in a single episode. He carried the responsibility with remarkable skill. Mr. Vartan possesses the perfect subtly, his eyes often conveying more than his words. In Vaughn's basement rendezvous with Sydney, it is his gaze rather than his discourse that speaks the truth that he suspects. In the CIA Rotunda, as Jack delivers what should have been Vaughn's line "See you at home", Vartan's eyes lend him a quiet power that wordlessly expresses his character's anger. And then there is the "Hey Daddy" scene, where Vaughn is just a normal guy catching up with an old friend. Their lighthearted banter is so natural and appealing that we're making plans to play some b-ball ourselves. In the final scene, the simple motion of readjusting his jacket instilled the moment with an air of spontaneity. So, when Vaughn looks up, catching sight of Sydney, when he stands and goes to her, we lose ourselves in his concern.
Not to be outdone on her own show, Jennifer Garner was pretty good herself. Much like Mr. Vartan, Ms. Garner had to summon a ridiculous array of emotion, ranging from a carefree exuberance at Francie's restaurant to a strikingly familiar grief at the episode's end. Every gesture, every look, every syllable she utters is so convincing that the reality of her character is never called into question. We especially admired Sydney's confrontation with her father. As she spoke of her false memory, her voice held a sorrowful tone of broken innocence that both expressed her present grief and echoed the shattered hopes of her past. Very moving.
-The execution of the Visual
Our general opinion of the directing, cinematography, and editing of this episode? Uh...Wow.
This episode displays a tremendous range of emotion, requiring frequent shifts in momentum and tone. The combined effort of directing and editing, however, made these transitions exceedingly smooth.
Direction is about timing, about setting a rhythm and pulse against which the interplay of mood and action develops. The opening sequence is mesmerizing. The simplistic grace of Sydney's stride infuses the scene with an intricate poeticism of movement. The shifting bars, the dancing interweave of lines, adds an elegance and fluidity to the texture of the composition. Even without the moment's context and implications, it would be beautiful to watch.
When we push through to Vienna, Mr. Olin apparently thought he was pushing through to a feature film. Dear Lord, it's a movie. The cinematic realism was compelling and crisp, giving the violence an accentuated punch.
While it is clear that Mr. Olin has no problem pulling off stunts of this magnitude (remember Q&A?), he also handles subtleties with amazing skill. We absolutely loved the inverted image of Sloane in the transparent globe on his desk. The shot of glass through glass was spectacular, with the intersecting lines and curves creating an interesting visual effect. In addition, the use of surveillance footage (film filming film) and multiple mirrors creates a fascinating matrix of repeated images. Also, you've got to love how we follow Sydney's spy-cam as it projects into the ceiling tiles.
-Jack and Sydney- An unspoken apology
"Some things you need to experience for yourself. I imagine every parent tries to protect their children from that truth."
Even before Sydney learns his secret, Jack offers an indirect acknowledgement of the damage he has done. It is a verbal recognition, an implied confession that he has not allowed his daughter to experience life for herself, that he has instead forced false realizations upon her. More than once he has blinded her from the truth, binding her to a path that he has predetermined. By failing to inform her of the true nature of SD-6, by lying to her about her mother, by withholding information about Will's investigation, and by concealing her involvement in Project Christmas, he kept her from making her own decisions and reaching her own conclusions.
In the beginning, we watch father and daughter walk arm in arm away from the symbol of Irina's absence. And, with Sydney's solitary journey through the rain at the episode's end we are left with a sense of heartbreaking futility. It has never been so clear how far these two are from escaping the tragedy of their lives.
The devastation in Jack's voice, the concern in his eyes when he asks, "Sydney. What is it?" is telling of a father who knows his daughter is hurting and fears that he is to blame. He had too little faith in the strength of his growing relationship with Sydney to trust that she could ever forgive him. So, instead of testing the fortitude of their bond against the weight of truth, he forges more lies in an attempt to escape the consequences of his past.
But then there is that moment when his entire demeanor reflects the realization that the past IS unavoidable, that he WILL be held accountable. He swallows, bracing himself.
"You took away my choices in life. . . . I will never forgive you for this." And she walks away.
This is the risk of protecting your child from the truth, of forgetting their personhood. This is the cost of not letting someone live their own life, mistakes and all. Jack was so desperate to reach a point of reconciliation with his daughter that he was unwilling to admit that he had taken such liberties with her life. Yet Jack's manipulation of Sydney since her childhood is as much a prophecy of her future as any Rambaldi manuscript. Once again we return to theme of self-determination, the questions essentially posed in Q&A. To what extent are we defined by the aspects of our lives that we cannot control? What are the limits of freewill? What delineates self?
-Vaughn- "When you're at your absolute lowest..."
In this episode Vaughn represents the road not taken by Jack. Unlike Jack, he makes the difficult decision to voice his concerns to Sydney, choosing to be honest despite the possible backlash. During their meeting in Mikro Self-Storage, after clear hesitation, he expresses his misgivings regarding their mission to Madagascar. But, when Sydney refuses to listen, Vaughn doesn't press her. He chooses not to force the truth. He allows her to come to her own conclusions. And because he does not take this freedom away from her, because he refuses to betray her trust, he is the one she turns to in the end.
This is also representative of the evolution of Vaughn's character. Look back to the pier scene in "A Broken Heart" episode 4 of the first season, when he tells Sydney that she can come to him in her darkest moments. Now, in episode 5 of the second season, we find Ms. Bristow at her absolute lowest, her most depressed. As before, she has just been betrayed by her father and is looking to her friend for comfort. But here is the subtle difference: in the pier scene, when Sydney reaches out for Vaughn's hand, there is a moment of self-consciousness when he looks down, overtly aware of the contact. Though it does not detract from the genuineness of his sentiments, it does reveal his inability to separate his desire for her from his desire to help her. It is the emblematic immaturity of a novel relationship. Some twenty episodes later, the narrative of their dynamic has progressed, and we find Vaughn embracing Sydney with a selfless sincerity that is the result of a matured relationship.
-Marshall-This usually goes without saying...
....but this time we HAD to say something.
"You want your lips to be supple."
Somehow, in an episode laden with tragic implications, Kevin Weisman pulls off one of his funniest scenes to date. Marshall was HILARIOUS. Don't ask us why, but the use of the word 'supple' had us on the floor and his fascination with his own image projected on the SD-6 monitors was hysterical. We've loved Marshall's scenes from the beginning, but this was a true classic.
-Things said/Things left unsaid
This episode is about choosing words carefully, both for the character and the writer. During the scene in the CIA Rotunda, after Sydney interrupts a meaningful look between Jack and Vaughn, language, the game of words and glances, becomes a tool in the power struggle between the two men, as Jack attempts to commandeer the flow of information. You can see the tension in Vaughn's eyes as he dares Jack to confess. And you can feel in Jack's glare and his words "That's all" that confessing is the last thing he's going to do.
The exchange between Sloane and Jack is yet another instance of how the absence of words can carry just as much weight as actualized dialogue. The fact that Sloane, once again, chooses to expose his own duplicity is telling of his need for honesty and moral justification. But what he elects NOT to disclose is just as revealing. In informing Jack of Emily's knowledge of SD-6, he neglects to mention that he professed to her the truth of his life in its entirety. And here the gap narrows between Sloane and Jack. It is the half-truths they tell to justify their actions to themselves, to feel that they have somehow apologized. His confession is indicative of the inexplicable interdependence of humanity, while his silence alludes to the guilt that he has acknowledged but refused to name.
Finally, there are the words that Sydney does not allow her father to speak.
"Sydney. Understand something-"
"-No Dad, you understand something."
In this rapid descent from the false apogee of their relationship to a point of devastating fragility, what would Jack have said? What could he ever say that would satisfy her? But the truth is, if Jack feels that there ARE words that could begin to excuse his choices, the same possibility exists for Irina to justify HER actions.
It was so simple, yet so effective, to see Will struggling with his identity on the park bench with Sydney. Insecurities from his childhood resurface, as he once again must find his place in the world. Though he tries to make light of the situation (Tommy Marijuana and Tommy Crystal Meth), who IS he now, if not a reporter?
After all he's gone through, he wants an affirmation of his personal significance. But, whether he realizes it or not, he plays an important role in many people's lives.
-Guest Stars/Extras-Infiltration at its finest
We admire the writers for having enough respect for the realism of the Alias universe to write the extras with as much integrity and skill as they do the series' regulars. Casting does a fabulous job of finding such amazingly talented actors to fill these auxiliary roles. And the guests themselves are phenomenal, often creating memorable scenes that build an authentic sense of history with only a few short lines. A couple guests in particular stood out in this episode. There was an instant camaraderie when Craig approaches Vaughn and calls out "Hey Daddy." Their brief exchange creates the impression that these two have known each other for years, though their dialogue is fairly simple. And Agent Virginia Kerr, the woman who agrees to hypnotize Sydney, moves and speaks with such comfort and confidence that we are compelled to believe that she truly works for the CIA.
Really, with these actors, who needs to suspend disbelief?
-Budapest and Buenos Aires-Simplify, simplify, simplify
These missions were a joy to watch. The first had a wonderful low-tech, no-frills appeal. It was all lock-pickin' and sweet-talkin'. And we loved the squirrelly Hungarian man. The second mission was more of a classically militant, hard core, black leather, ready-steady-go ambush. And, if we could have one CIA gadget to run wild with, we'd spend our summer evenings launching ourselves across the cul-de-sac with Syd's catapult.
THINGS THAT DID NOT WORK:
In this section we usually discuss elements of the current episode or the progression of the season in general that we feel are lacking in some way. This week, however, we having nothing to add that we have not already addressed in our previous reviews.
DETAILS WE APPRECIATED:
-Again, some fabulous cinematography. The cold lighting used in Vaughn's meeting with Manolo gave the scene a mysterious bleak edge. In contrast, the bleached cerulean hue of Sydney's regression possessed a sort of sterile warmth that was effectively disconcerting. Also, there was another nice reflection metaphor when we see the faint image of Sydney's face overlaying the rows of blindfolded children.
-Both "Dead Drop" and "The Indicator" ended with Sydney desperately embracing men who care deeply for her. There is a fascinating parallel here in terms of motivation and consequence. Jack shattered Sydney's illusions of Irina and Vaughn shattered her illusions of Jack. No, Vaughn did not force this disillusionment, but he was certainly the catalyst and, like Jack, the comfort.
-Just so you know that we're keeping tabs... Sloane's still on the hard liquor for this episode.
-Talk about character continuity... six-year-old Sydney flawlessly executes the hair tuck.
-We loved Francie's restaurant. We'd hang there if we could, but we'd be content just to watch Sydney have a little fun with her friends. It's great that Francie took Jack's advice on the red walls. What's the place called? Is it a full-scale restaurant or just a bar? We'll probably be filled in during subsequent episodes but, hey, we're curious.
-We love that Mr. Pinkner decided to have Vaughn drop Russek's name. It is a clever piece of narrative continuity and a great reminder of the history we share with these characters.
-The scene with Manolo had a couple of nice intertextual shout outs to last season. Vaughn once again confuses soda with a bargaining tool and his satellite photo bluff is reminiscent of a scene from "Spirit" (episode 01.10).
"Russek never transmitted a thing, did he?"
"Of course he didn't. If you got the SD-6 transmission, why the hell are you asking me?"
"I never got the SD-6 transmission. It was just a hunch."
-When we pushed through to Vienna it was one of the few times that we have followed someone other than Sydney through a letter. (The other that comes to mind is Bogotá)
-"But your consistent shortcoming, and you should know this, is your naive sense of morality. Evil must be eliminated by whatever means necessary." We don't buy this. Jack is talking in his "Santa Clause" voice. Yes, he may draw different lines regarding morality, but is he not struggling with the consequences of his OWN naiveté? Is this attitude not the result of the humiliating betrayal that transformed him into the stoic man that he currently is?
-When Irina said, "You haven't told her what you did to her after I disappeared, have you?" she must have known that Jack would do whatever possible to dispose of her. We cannot forget that, whatever else she may or may not be, she is a calculating woman.
-There were some really unsettling scenes in this episode. The echo of children pulling triggers was fundamentally chilling and the image of a young Sydney in button-sewn overalls, gun in hand, was even more so. The shower scene with Sloane possessed its own brand of creepiness. Somehow Sloane's human side makes him all the more frightening, turning domestic normalcy into something far more uncomfortable. So, by the time the wine materializes, we're already freaked out, giving the seemingly metaphysical appearance of the glass a drastically more horrifying edge.
Zero 7, "This World". Label: Quango Records
Cornershop, "Brimful Of Asha". Label: Beggars Banquet
Thicke, "Alone". Label: Interscope Records
Miriam Gauci/BRT Philharmonic Orchestra, Verdi's "Canzone del Salce - Ave Maria". Label: Naxos
Beck, "The Golden Age". Label: Geffen Records
Joni Mitchell, "River". Label: Reprise Records
This episode does not feature the standard opening title music; and, although credited, Lena Olin does not appear.
Television Without Pity. Recap One Potato, Two Potato, Three Potato, Four. The Indicator - Syd was raised to be a spy and trusts her dad no more. See how I worked in the childhood rhyme thing? But it's too difficult to keep up and I'm basically lazy so, you know, moving on...Syd goes to Budapest and comes across sixteen next-gen weapons, which just happen to be children who are trained as spies, which eventually leads to her discovery that her father actually trained HER to be a spy. In other news, NAKED SLOANE. Yes, the "ew" is implied.
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