06.23.07
Posted in Reviews at 4:16 pm by Administrator
Written by Robert C. Cooper
Directed by Robert C. Cooper
And so it ends, the unlikely and impressive ten-year run of “Stargate SG-1”. Considering the fact that the series had been declared over after nearly every season since it’s initial Showtime cancellation after the fifth season, it’s hard to reconcile the fact that this series finale is relatively self-contained. No doubt some fans will wonder why the series didn’t wrap up the major plot threads before the end of the series.
The answer, of course, is that the series is not really over in the traditional sense. The series is spinning off into at least two direct-to-DVD films, one of which will be the resolution of the Ori plot arc. In fact, that film (“The Ark of Truth”) will cover much of the ground originally intended for this season’s finale; plans were changed when the cancellation order and film offer came down. Knowing that they could just delay the resolution to the films, the producers felt no need to manufacture a final episode with true closure.
On the one hand, this could be seen as slight to the fans, who may now be required to buy (or rent) a separate DVD just to see how the story ends. Since the decision to delay resolution was made by the producers, it could be interpreted as a marketing ploy. It’s a fair criticism, because not every fan out there is going to understand or know what the films represent. They’ll just see the series finale as a frustrating cop-out.
On the other hand, any series with such a long history (and a distinct lack of planning) will struggle with a truly satisfying and all-encompassing finale. There’s always one more element that “should have been there”. Looming large over this finale is the memory of Jack O’Neill and the almost-perfect eighth season finale “Moebius”; a number of fans still consider that to be the true ending of the series. So this finale was never going to be universally satisfying with the weight of so much expectation.
The result was an episode that could have run at any time, with very little in the way of closure. Perhaps that was for the best. Some might say that the episode provided emotional closure, but with the reset button firmly in place by the end, it’s elusive at best. If there’s a sense of anything in this series finale, it’s that the team carries on like they always have. There really is no end. The mission continues. It’s the kind of non-ending that only works because we know, as fans, that there’s more on the way. Who needs closure when the story isn’t over?
Once has to wonder, though, if the character development (such as it is) will now disappear. Character has always been somewhat expendable in the “Stargate” franchise, with a simple set of quirks in place of true progression and growth. The films will be more about plot than delving into character depths. So we’re unlikely to get insight into Mitchell, for instance, which quite a shame, as it will feed into the impression that he was an unnecessary addition.
The relationship between Daniel and Vala gets a tentative payoff, which was a nice touch. The two of them have been dancing around each other for a while, and this was a capable enough way to show that they could ultimately find a life together, The reset button keeps that from getting in the way in the future, of course, so the satisfaction is tenuous. (One might also find fault in Daniel’s harshness with Vala, which was not redeemed by his recognition of how badly he hurt her.)
All in all, this just didn’t feel like a real series finale, because the elements that would have been present were shifted to the films and some of the characters (Carter, at least) will move to “Stargate: Atlantis” or the proposed new series. This just didn’t feel like the end of a ten-year saga; it was just another episode. And while that made sense from a certain perspective, I couldn’t help but feel that it send off the series with a bit of a whimper.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
(Season 10 Final Average: 6.9)
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06.17.07
Posted in Reviews at 1:06 am by Administrator
Written by Alan McCullough and Alex Levine
Directed by William Waring
After a number of episodes focusing on stand-alone concepts, the season arc comes back in a big way in this penultimate episode for the series. The name of the game, as usual, is plot progression, even when it requires severe willful suspension of disbelief to accept the logic that allows for that progression.
No matter how well they leave the door open, this felt like a way to take the ridiculous Ba’al plot thread and bring it under control. The ending mitigated that measure of control, but we now have less Ba’al clones to worry about, and that’s a good thing. Given the age of the series and the constant possibility of cancellation (which is now coming to pass), having such a massively open-ended plot element lingering the background was simply not a good idea.
That’s why bringing Ba’al into the prelude to the conclusion of the Ori arc was a genius move. It helps make sense of Ba’al’s actions since the fall of the System Lords, and it’s the kind of leverage he would try to find and utilize. It also allows the writers to complicate the capture of Adria, which might otherwise have been a bit too easy.
Unfortunately, after setting the stage for a final showdown over the solution to the Adria problem, the writers toss a major plot convenience into the mix. Despite taking precautions on more than one occasion to keep an anti-Prior device around Adria, they completely blow it during the most important moment. If one of those devices had been in the room when the toxin was being administered, Adria would have been gone and, if Ba’al and Adria are to be believed, the Ori fleet would be without Ori and Orisi.
Instead, Adria is able to ascend, which is a nice set up for the conclusion of the arc in “The Ark of Truth” film, if nothing else. I’m just not sure that the writers took the most logical path to that end. More than once, the characters mentioned Adria’s eventual ability to overcome the anti-Prior device; why not use that plot point to explain her ability to ascend at the end, even with one of the devices in the room? A minor change, but one that switches plot convenience with plot payoff.
That final act is really the only weak link in the episode, despite my annoyance that the Ba’al plot thread was kept open when it could have been easily closed. It’s enough, however, to keep the episode from achieving its full potential.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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06.11.07
Posted in Reviews at 11:32 pm by Administrator
Written by Joseph Mallozzi and Paul Mullie
Directed by Peter DeLuise
At this point, it’s expected that the writers will avoid the Ori arc completely until the last couple episodes. Just judging by the description of this episode, it was apparent that this would be another stand-alone effort. It’s not a question of disappointment or dashed expectations anymore; it comes down to finding some measure of contentment with what the producers chose to drop into the second half of this incredibly uneven season.
The theme is relatively simple: the divergent fortunes of two fathers and daughters with a lot of bad feeling between them. The “A” plot is the conflict between Vala and her father, who has come to Earth with the news that Arkad’s fleet (from the previous episode) is still on its way. In reality, he’s even more of a con artist than his daughter, and he’s there to make a few rotten deals and move on.
The writers attempt to make Jacek amusing, and given how ridiculous the various schemes and plot turns become, there’s little doubt that the intentions are right there on the screen. That makes the lack of hilarity a major stumbling block. Some moments were amusing, like Teal’c’s final moments in the “Vagina Monologues” (wouldn’t Teal’c check the name of the show on the tickets, at least?), but most of the interplay and the scheming was too smarmy to accept.
The issue here was Fred Willard, who never communicated enough seriousness to be convincing as anything but a poor con artist. Every time the camera hits his face, his expression reveals the snake-oil salesman at the heart of the character. That makes it impossible to accept that anyone would be fooled by him, which undercuts the effectiveness of the concept. Vala, despite being over the top on most occasions, can switch on the charm and sincerity when the situation demands it.
With the “A” plot failing on so many levels, the “B” plot hasn’t got a chance. In this case, General Landry is trying a bit of rapprochement with his ex-wife, and he recruits his daughter, Dr. Lam, to facilitate the process. When things get crazy with Jacek, Landry comes close to pulling out of the planned dinner, thus threatening to ruin whatever ground he’s gained with his daughter. In the end, he makes the right call, in counterpoint to Jacek’s choices.
This might have been more effective, however, if the writers had included Dr. Lam more often in the tenth season, beyond the occasional medical crisis. The details of her relationship with her father, never explored in any depth, are so far out of mind that one is left wondering why it needed to be addressed at all.
Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 1/4
Final Rating: 5/10
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06.04.07
Posted in Reviews at 11:45 pm by Administrator
Written by Damien Kindler
Directed by Andy Mikita
With the season and series rapidly drawing to a close, each and every stand-alone episode becomes a new source of frustration. The battle against the Ori must inevitably continue, yet since “The Shroud”, very little movement has been evident. This episode, at first, seemed to be the perfect opportunity to meld character exploration with plot progression. In the end, however, neither aspect was meaningfully explored.
Ever since the liberation of the Jaffa Nation, the Jaffa have struggled with the concept of freedom. As is often the case historically, those brought together against a common oppressor in the name of revolution will ultimately turn on each other within the resulting power vacuum. And as already seen in the ninth season, other powers will inevitably attempt to support one or more factions in the hope of taking control, or at the very least, destabilizing a weakened people.
Enter Arkad, a previously unseen figure among the Jaffa, who seems to be allying with the Ori and opposing a supposed violent and self-enslaving Jaffa Council. Arkad claims to be battling these violent factions, including one planning to attack Earth. It’s fairly obvious that Arkad is the one planning the attack, and his attempts to sound reasonable and legitimate are ridiculous.
This is meant to complicate what is a fairly conventional revenge tale, and one that feels tacked on to Teal’c’s character. Granted, Teal’c and Bra’tac have a fairly intricate past, so it’s not unreasonable to suspect that vendettas exist with other Jaffa, but this seems to come out of nowhere, given its importance. It’s far more likely that the writers wanted to turn back to the tensions among the Jaffa and felt the need to personalize the situation for Teal’c, thus prompting this story about Arkad as the man who engineered his mother’s death.
This is unnecessary for the purpose of complication. If Arkad’s actions had simply resulted in IOA orders to stay out of Arkad’s ways, yet Teal’c was willing to go after the enemy because of Bra’tac’s near-death, it would have been sufficient and consistent with previous episodes. The sentimental ending between Teal’c and Bra’tac would have still made sense (even it it does feel incredibly redundant), and the writers would still have the rationale for Teal’c and the rest of the team to face off against each other.
While this situation continues to set up Teal’c and Bra’tac as the de facto leaders of the Jaffa, that wasn’t really necessary at this point. That concept has been on the table for quite some time, as has the idea of Teal’c leading the charge to clean out the Jaffa of traitors. It would have been better if the episode had been centered on that process rather than yet another reason for its initiation.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
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