The Terminator Review Blog

Written by Josh Friedman
Directed by Jeffrey Hunt

It’s quite unfortunate to realize that this is, more likely than not, the series finale. For all that it resolved some of the open questions surrounding Catherine Weaver and her goals, it was clearly meant to be a springboard to a new and even more complicated arc for a potential third season. As such, this is going to be one of those shows that will probably end incomplete, much to the frustration of its loyal audience.

And that loyal audience will be frustrated endlessly for many years to come. Not only will the fans have to accept that the show is open-ended, but they will have to put up with all the late-comers who, despite the many online sources available to them, will simply assume that the producers and writers chose to leave the series on a cliffhanger because their DVD set or download description says “series finale”. (Doubt me? Look at the fans of “Stargate Atlantis”, and how many people based their “series finale” without bothering to realize that the series was cancelled after the entire final season was already in the can! But I digress.)

For the most part, the episode unfolded just as one would expect it to unfold: Sarah was rescued in a rather public manner, and Weaver’s endgame was exposed. Sarah’s rescue was a bit more overt than I had expected, actually, and gave those looking for some serious Cameron action a nice parting gift. I can only imagine how much the finale cost them in the end!

More importantly, the finale never quite let go of the titular focus; a lot of time was spent on Sarah and her situation. Not just her incarceration, but rather, her overall health. John was left wondering if a damaged nuclear power core from a terminator could, over time, cause cancer. It’s not a silly question, but it does lead to one of the most sexually charged moments in the history of the series. That it was essentially glorified hardware maintenance makes it even better.

The bottom line is that Cameron has, one way or another, gotten under John’s skin. He’s willing to do whatever it takes to restore her in the end, which is not particularly the smartest move. In fact, it’s hard to argue that it’s a necessary move. Which is why it’s surprising that Sarah didn’t try to talk John out of leaving with Weaver. They had very little reason to trust Weaver, after all, and considering how important John is supposed to be to the survival of humanity, letting him leave to times and parts unknown seems unusually out of character.

That said, the plot twist/cliffhanger seemed to be designed to demonstrate why John Connor specifically needed to be the one to lead the fight against SkyNet. John and Weaver follow John Henry into a future where John wasn’t around to organize the resistance. This would likely be the future created when John left with Weaver in the first place. Where that would lead/would have lead to is practically impossible to predict, but it would have allowed for more time with Derek, Kyle, and the original Allison from Palmdale, so it couldn’t have been bad.

It also would have likely been temporary, and explored concurrently with whatever Sarah and Ellison wound up doing in their own time. Under the circumstances, it seemed like John Henry was doing something very specific at Cameron’s request. Perhaps this is related to all the glimpses we’ve had to a future where John Connor is an unseen leader, with Cameron and others apparently in charge. It’s hard to say, because we’re left with only a glimpse of what the writers had in mind for the future.

There were a number of loose ends left by the end of the season, particularly in terms of the many timelines in play and how it was all meant to fit together. The final twist promised to shed light on some of those loose ends, so it’s all the more disappointing that the series might end on that note. That said, it can’t be claimed that FOX wasn’t patient. They gave the series an entire second season, when they could have easily cancelled the show after the first. One might quibble over the decision to move the show to Friday nights and disregard DVR numbers, but in the end, this was a show with a small but devoted cult following. It’s always difficult to see a show with so much promise and quality die so young.)

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

(Season 2 Final Rating: 7.8)

Written by Toni Graphia
Directed by Charles Beeson

This penultimate episode of the season (and perhaps, series) continues the process of wiping out John Connor’s support system, while bringing him ever closer to a confrontation with Catherine Weaver and whatever she has up her sleeve. As usual, even when the action is mounting, the emphasis remains on character.

I still believe that Weaver will turn out to be the leader of a faction among the machines that opposed the genocidal plans of SkyNet. Weaver wanted the Turk, I imagine, to co-opt the basis of SkyNet and create, in John Henry, an equally powerful AI with human ethics. Why this would translate into SkyNet (either the future version or the “current” version) sending a terminator to take out Savannah is not quite so clear.

It could be a matter of SkyNet waging a kind of war with John Henry, trying to take something that John Henry values. If SkyNet wants to weaken and subsume a potential threat, perhaps gaining something in the process, then stripping away John Henry’s support system is a logical part of the equation. Taking out John Henry also means eliminating competition for resources.

Pretty much the same thing has been happening for John, and losing Derek was just the most recent and most crushing example. Derek was John’s touchstone to his father, and while he made a mistake with Jesse, he was still John’s loyal soldier. He’s dispatched so quickly and methodically in the middle of the operation to save Savannah that it’s a lot more shocking than it would have been otherwise.

John’s reaction is one reason why Riley had to go first, however. John’s entire season arc has been about holding on to his innocence, even as he feels it slipping away with every passing moment. Looking at John now, one can see how hardened he has become. Considering where the character started, this is proof positive that they had a plan for his evolution.

The writers also pulled quite the coup by killing Derek in the first act, thus effectively masking the notion that anything else of huge importance would happen before the end of the episode. Sarah’s arrest comes as a complete shock, and it definitely appears that Weaver set her up to eliminate a potential obstacle to her own plans. After all, Sarah doesn’t know that John Henry isn’t the same as SkyNet (assuming that supposition is true), so Weaver must assume that Sarah will do everything possible to derail her plans.

It all comes together in the next episode, which may turn out to be the series finale. The producers promised that the season arc would be resolved, even if the episode sets the stage for a third season. It seems foolish, with the new film only a couple of months away, to take this show off the air and fail to capitalize on renewed interest in the franchise. But FOX has been more patient than I thought they would be, given the ratings, and if this is the end, I’m thankful for the excellence that we did receive.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Natalie Chaidez
Directed by Guy Ferland

This episode starts off a bit slow, allowing the fallout from Jesse’s betrayal and apparent death to sink in for all the characters. The slow pace is almost standard for this show by now, so when things hit the proverbial fan in the final act, it’s more effective. I really didn’t see it coming, because it felt like a prelude to a more active two-part finale. In essence, that’s exactly what it is, but the ramp-up started a little early.

The fake-out with Sarah and her possible cancer was very well done, because her emotions were authentic and it was entirely possible that the story would take such a turn. It also tied the much-maligned “Sarah Trilogy” from earlier in the season to the current action, reminding the audience that this is indeed a season arc and not a collection of disconnected moments.

I noted at the beginning of the season that Catherine Weaver’s activities did not seem to match what would be the logical beginnings of SkyNet. Specifically, her decision to instill John Henry with human ethics seemed contrary to the notion of wiping out humanity. My theory was that SkyNet was not a monolithic entity, but rather, a conglomeration of at least two opposing philosophies when it comes to the human race.

Now it seems that the situation is slightly different. Weaver may come from a different timeline, one in which SkyNet is devoted less to the destruction of mankind than control over it. This makes sense of her comment in a previous episode that human beings often disappoint her. The existence of the original worm program developed by Miles Dyson, the one supposedly destined to become SkyNet in “Terminator 2″, seems to be a serious concern for her. (Alternatively, this is the program that was introduced by Charles Fischer in “Complications”.)

So it appears that SkyNet has been operating all along, propagating itself, struggling to survive, and that might become a rationale for its eventual actions. After all, there had to be a good reason for the machines to turn on humanity and attempt genocide. This would put it down to simple survival, and therefore a struggle of survival of the fittest. John Henry, therefore, stands as another threat. More importantly, SkyNet would gain much if it were to take control of John Henry, and by extension, everything that Weaver has been building to create the future she desires.

In the process (and during the conversations between Derek and Cameron), the writers suggest that Cameron, Jesse, and perhaps Weaver all originate from the same timeline. Derek’s future is different from any of theirs, and it’s quite possible that Sarah’s Kyle was from a different timeline as well. The key being that Jesse’s future was one in which humanity was losing the war, which is very different from Kyle’s description.

Then again, the initial time jump in the pilot could have altered the timeline in such a way that the future described in the original film is no longer valid. Instead, we have a three-way war that isn’t going so well. This would explain why John was trying to forge an alliance with Weaver’s faction among the machines (if that is what was happening in the previous two episodes). And it would fit the concern that using machine against machine only serves to weaken John’s perspective on the threat they all pose.

The producers have promised that the current arc will conclude and the associated mysteries will resolve in the next two episodes. I think they’ve been putting their cards on the table for a little while now, and we might even get some clarification on Cameron’s role in John’s future life. With the secondary cast now effectively wiped out, I’m looking forward to the endgame.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Ashley Miller and Zack Stentz
Directed by Guy Bee

This episode is not only full of resolution, but also marks the arrival of John Connor as a fully realized character. Previous to this point, it was easy to dismiss John Connor; he simply wasn’t yet convincing as the leader of the future human crusade. Much of this episode could be seen as a retcon, but given how careful the writers have been since the pilot, it’s entirely possible that this was the intention all along.

In fact, John’s confrontation with Jesse nearly overshadowed every other aspect of the episode. I was so amazed by his demonstration of resolve, how well he had been keeping his cards so close to vest, that I was practically ready to download the entire second season and rewatch everything right then and there. John was so specific about his reasons for recognizing who Riley had to be that it should be easy enough to find those moments from those earlier episodes.

The writers have been taking their time with John, and while that has been frustrating at times, this is the right kind of payoff. It also serves to highlight the problem with all of this time travel and timeline manipulation. We simply don’t know which “version” of the future everyone is from, and that means assumptions could be very, very wrong.

What we now know (after many hints) is that Jesse doesn’t come from the same version of the future as John’s father. John’s father came from a future where John was winning the war. In Jesse’s future, John is too close to the “metal”, and this is leading to a slow but steady defeat. And to that the loss of an unborn child, and it’s no surprise that Jesse would want to drive a wedge between John and Cameron.

It’s not entirely clear which version of the future Derek comes from: a hopeful future in which John is winning, or a desperate future where John is out of his depth. And it’s quite possible that there is a decision point that leads to one or the other, something that has yet to be revealed. All things being equal, one would expect that it has something to do with someone we already know: Sarah, Derek, or Cameron. It may be that this will come into play before the end of the season.

The titular last voyage of the Jimmy Carter does more than just provide a basis for Jesse’s motivations. It might also prove out a theory that I’ve had since the beginning of the season. Could the T-1000 seen in the Jimmy Carter, the one that John was trying to forge an alliance with, the same one that has become Catherine Weaver? If so, then it lends much credence to the theory that Weaver represents a splinter group within SkyNet. It would explain why Weaver wants to incorporate human ethics into the aborning John Henry, despite her bloodthirsty ways.

Right down to John’s final emotional outlet in his mother’s lap at the end of the episode, this was easily one of the best of the season. It gives me great hope that the season will end on a high note. Even if the series comes to a premature end in a few short weeks, the writers have outdone themselves.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4

Final Rating: 9/10

Written by Ashley Edward Miller and Zack Stentz
Directed by Guy Norman Bee

With this episode, the resolution phase of the season begins in earnest, as Jesse’s plan to drive a wedge between John and Cameron comes to its fruition. Riley’s death may have been a bit premature and it may have taken place in an unanticipated way, but it still serves Jesse’s interests. This episode is about the expected fallout from the news of Riley’s death, particularly the suspicion thrown on Cameron and Jesse’s psychological issues with her conscience.

John is willing to trust Cameron at her word, but he does have his doubts. Cameron’s recent behavior sets the stage for their assumptions, but her own defense is scattered and inadequate. There were any number of things that Cameron could have said or done to prove her innocence, and even if the Connors were doubtful, it’s all circumstantial. All it took was a cursory inspection of Riley’s body to convince John that Cameron wasn’t involved (at least, that’s how I intercept his expression in the morgue).

In the meantime, Derek is willing to assume that Cameron killed Riley, and that she’ll have to be dealt with, but he also seems to realize that Jesse’s story doesn’t track. One can imagine that Sarah, John, and Derek will have it out regarding Cameron, and Derek will come to the realization that Jesse’s comments were a bit too on the nose. This is not particularly surprising, so one can hope that the writers have some twists and turns to bring to the table.

One might expect that Jesse’s “flashbacks” would explain both the differences between her future and Derek’s future (since they’ve all but admitted they come from different timelines) and her obsession with Cameron. While a general distrust of “metal” makes sense, Jesse’s actions have always seemed a bit personal. This particular mission could explain quite a bit about Jesse’s motivations since her arrival.

The portions of the episode devoted to the Connors, Cameron, Derek, and Jesse were mostly setup for the second part of this story, so none of it felt particularly out of place. It was the logical extension of what had come before. The scenes with Ellison, Weaver, and John Henry, on the other hand, felt out of left field. This is a continuation of Ellison’s mandate to teach John Henry human ethics, which still doesn’t quite equate in terms of the development of SkyNet. In proximity with the more portentous plot threads, it must hold some vital importance, but the meaning is somewhat elusive at this point.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Toni Graphia and Daniel Thomsen
Directed by Jeff Woolnough

After the poorly-received trilogy of character-driven episodes focused on Sarah, the writers return to the larger canvas with this episode. In essence, this is the beginning of the final leg of the season, as events begin to spiral out of control.

Riley’s suicide attempt was just the beginning of trouble for the Connors, because it happened in the Connor home and after Riley’s freakout with her foster family. Those chickens come home to roost in this episode, and they coincide with an interesting new malfunction for Cameron. It looks to be quite a rough time. Riley’s death is going to bring external and internal pressures that have been lingering in the background for quite some time.

Externally, the Child Services investigator seems like a minor threat, but anything that brings unwanted attention to the Connors is a disruption that cannot be tolerated. Riley’s death is only going to throw more suspicion on them, especially given the coincidental timing. Considering how many times Sarah has wanted to move on and escape potential detection, this is just another such trigger. Internally, the Connors have every reason to believe that Cameron was the one who killed her. John, particularly, has reason to suspect Cameron, given her admission that something unexplained is happening to her.

Jesse’s plan was rather brutal in its simplicity, and while it didn’t quite work out in terms of the details, the end result works in her favor. Cameron is the most likely suspect under most circumstances, and Derek has never told the Connors about Jesse. In fact, the only person who might have a reason to suspect Jesse is Derek, and right now, he has no compelling evidence to connect Riley’s death to her. (Her absence from Derek’s mission, of course, is the likely starting point for his inevitable investigation.)

The pacing in this episode was still a bit slow and methodical, much like the previous episodes, but the momentum of the plot was more than enough to overcome that slight drawback. The pieces are moving into position for one hell of a conflict to round out the season, and Riley’s death is likely to be only the first among many.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

Written by Natalie Chaidez and Denise The
Directed by Scott Lautanen

The creators of the series have admitted that the episodes since the break were acknowledged as potentially challenging to the patience of the fans. They understood that these episodes, focusing on Sarah’s character and barely advancing the overall season arc, would not appeal to the fans looking for answers. When even the producers admit that there’s such a thing as too much character development, it’s telling.

In essence, the focus has been on Sarah because this is the first time she’s killed a fellow human being. It was bad enough to see John do it in the season premiere, and then try to help him deal with the psychological consequences. Sarah is having trouble sleeping (expressed in her drug-induced hallucination of the sleep clinic), and knows that it’s affecting her ability to protect John. Similarly, she’s still worried about her health, and the notion of Cameron becoming her protector. (Interesting how, in her dream, Cameron is much more overtly flirtatious with John.)

While the episode structure is quite clever, and manages to hide which version of reality is “real” until the final act, it does seem to be a bit too convenient in the long run. Sarah is feeling guilty about killing Ed Winston, despite the fact that it was clearly self-defense. This time, Winston is a much more potent threat, and tortures Sarah relentlessly. It’s almost as if this incident is meant to give Sarah a reason to absolve herself of the guilt by giving her a damn good reason to kill Winston without remorse.

That psychological shift is only viable if it is expressed in other ways in the future. Sarah has to come back from this experience with more dedication to her mission, and she has to act on her concerns. In other words, she needs to be proactive. This shouldn’t be reserved for positive developments, either; she should be willing to take draconian measures when she deems it necessary. Her apparent lack of remorse for shooting Winston in the head should mean a colder, more clinical Sarah.

If that is going to be the case, then this unofficial “Sarah Trilogy” (which makes little sense, given her name is in the title of the show) will eventually prove valid in retrospect. In fact, the real problem is not that this process took place, but rather, that it took place right after a long winter break, just after switching to a far more difficult night. The switch to Friday nights was always going to challenge the ratings, and this particular direction, however temporary, only contributed to the slide. This could be a case of doing the right thing, even the necessary thing, at the worst possible time.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by John Wirth and Ian Goldberg
Directed by J. Miller Tobin

Much like the previous episode, this installment takes its time getting to its point. That’s good for fans of the show, who by now understand that the pacing is going to be measured if nothing else. That’s not particularly good in any other sense, because it doesn’t even try to give new viewers a hook to bring them to the table. This is reflected in the ratings, which will probably lead to a cancellation after this season is over.

This episode is a slow boil, focusing heavily on the theme of coping with loss. After Sarah’s ordeal in the previous episode, this makes a certain amount of sense. But in a way, it’s an interesting smokescreen for the true purpose. It’s not just how people cope with loss, but how revealing it is when they don’t. Zoe’s behavior doesn’t fit, and it leads the Connor Gang to the truth about the “heating and cooling” company.

More importantly, it vindicates Sarah and her decision to pursue the drones as a possible explanation for those mysterious three dots. The drone turns out to be a prototype to the hunter-killer drones that have been seen during the future war. It makes sense that SkyNet would run its development through the model of government black projects. The implication is that ZeiraCorp, run by Weaver, was the one running that show, and Weaver eliminated the human work force to protect SkyNet interests.

This would appear to verify that Weaver is working to build the foundation for Judgment Day, which has not always been clear in the past. This still leaves open the question of why Weaver would bring in Ellison to teach John Henry human ethics. This may be explained by Weaver’s own use of Ellison to better understand human emotional responses. Previous episodes mentioned that selected humans (Greys) were selected to teach terminators how to understand and mimic human behavior. Ellison seems to have been recruited for the same purpose.

Where the previous episode seemed to touch on many ongoing plot threads, however lightly, this was focused on the mystery of what happened at the factory and the truth about what Sarah saw. While that continues to place the focus of the show on Sarah, as one would expect, it may have been a little too sedate. There is a vague sense that all of this is building to something substantial, but right now, it’s not quite in focus.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10

Written by Ashley Miller and Zach Stentz
Directed by Jeff Woolnough

Coming back off a long winter hiatus, the writers might have been tempted to make an event out of this episode. In a relatively subtle way, they did; we finally see the television version of Kyle Reese. But this organically introduced into the story as a part of Sarah’s serious medical situation, so it made sense within the more measured context of the season arc.

I truly enjoy the pacing of this show, because they’re taking their time to tell a solid story, rather than focusing on repetitive action sequences that will never match the pyrotechnics of the films. But it does challenge the expectations of many, and it certainly won’t help them bring in new audience on Friday nights. The character-centric nature of the series could be the very thing that leads to a premature cancellation (despite FOX’s unusual patience with the show thus far).

Sarah’s journey in this episode reveals both the depth of her strength and the extent of her mental instability. It’s quite possible that Sarah has depended on hallucinations of Kyle Reese to get her through trying times in the past. I thought it was interesting that the end of the episode made it seem as though Derek is beginning to fulfill that role in the “real world” now. (There are some shippy aspects to that, but I doubt the writers will be going there.)

John continues to stand up for his relationship with Riley, but he’s showing a distinct lack of confidence in that decision. Cameron and Derek both contribute to that, but his attitude doesn’t really change until he hears that his mother is hurt. Only then does it really sink in that choosing Riley has more than vague potential consequences. I doubt it will lead to John abandoning Riley, but he could be more conflicted than in the past.

Speaking of Riley, her decision to use a suicide attempt as a means of playing on John’s sympathies, knowing that he resented Cameron’s reaction to Jordan Cowen’s suicide, is hardly the product of a well mind. Riley has been unstable for a little while now, and Jesse is still not helping matters at all. The Riley situation promises to end very badly for everyone, especially once Jesse decides she’s lost her patience with the girl.

Unexpectedly, this episode also establishes Catherine Weaver as a sort of anti-Sarah. John Henry has become a child-figure for Weaver, and Weaver appears to be acting in his best interests by any means necessary. Beyond that, her motivations remain stubbornly difficult to pin down. Her company’s growing market share in Coltan would appear to fit the suspicion that she is helping to stockpile and prepare materials for SkyNet, but her desire to develop John Henry using Ellison doesn’t quite fit that model.

This is another episode that defies easy categorization. This still feels like a show that would fare better during a DVD marathon session, when the long view of the writers can be fully appreciated.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 7/10