Prison Break Review Blog

2007-2008 Season Post-Mortem Part 3: “Prison Break”

Administrator — Sat, 24 May 2008 00:11:13 +0000

This season, I’ll be summing up this unusual 2007-2008 season with a post-mortem on the majority of the shows I’ve reviewed during the year, ranking from the very worst to the very best. In some cases, the term “post-mortem” is all too applicable. This is Part 3 of this 11-step journey, focusing on the third season of “Prison Break”.

The third season began in about as goof a place as the writers could have hoped for: Michael, Mahone, T-Bag, and Bellick in a Panamanian prison, with Lincoln on the outside struggling to help Michael get out. The final moment of the second season had been intense, and unlike the first prison Michael had to escape, there was no master plan. Michael was up against his greatest challenge yet. And with the Company holding Sara and LJ hostage, pushing Michael to escape with a fellow prisoner on a tight deadline, the elements were all there.

All too soon, it started to fall apart. The dark, foreboding halls of Sona soon gave way to a sunny, sunlit plaza with prison trappings. The situation was still very dangerous, but it lacked the visual tension of Fox River. It was also apparent that the formation of Escape Squad Part Deux would be less inventive. It didn’t take long to recognize who would eventually be a part of the team, and what it would take to get them there.

After setting up the Michael/Mahone conflict in the second season, the writers seemed to ignore it for a bit too long in the third. Instead, the nemesis is a character code-named Susan B. Anthony (subtle, it is not), a woman with a horrible past as a covert operative and something of a bloodlust. She’s supposed to be a femme fatale, but it doesn’t quite work. Lincoln also gets a new love interest, but it took a while for the chemistry to develop.

These were problems that could have been resolved with the right balance. For example, Whistler and Lechero were too good additions to the cast, and they added something to the story that would have otherwise been missing. The same was not true, unfortunately, of T-Bag and Bellick. T-Bag, at least, was eventually critical to the overall season arc, based on his position as Lechero’s toady. Unfortunately, that took a very long time to become apparent.

Bellick, on the other hand, was given almost nothing to do, and every minute that focused on the character felt like an eternity. Initially it was fun watching the abusive guard get his protracted comeuppance, but episode after episode of degradation quickly became tedious and excessive. I’m not sure what the writers thought they were doing with the character that was so interesting, but I suspect they discovered that they had no idea what to do with him at all.

All of which pales in comparison to the most egregious error made during the season: the inexplicable decision to kill off Dr. Sara Tencredi after a discussion with the network convinced the producers that her death would be a great motivation for Michael. With the very public announcement that Sara will return alive and well in the fourth season, her apparent decapitation stands as a ludicrous reminder that the writers have no long-term game plan. It’s hard to tell if the decision to kill Sara or the one bringing her back was the greater insult to the fans.

So, while the return to the original premise of breaking out of prison was welcome, the execution was less than stellar. It didn’t help that the full Sona story was cut short by the writers’ strike, but many of the wounds were self-inflicted. It’s hard to see how the writers will keep the story fresh for the fourth season, given that the series has already exceeded its reasonable lifespan. That said, the third season earned a Critical Myth average rating of 7.2, just a hair below the second season and still slightly above average as a whole. Hopefully that’s a sign that the series still has enough going for it to justify its continuance.

Episode 3.13: “The Art of the Deal”

Administrator — Wed, 20 Feb 2008 02:45:12 +0000

While watching this episode of “Prison Break”, I had the distinct feeling that the producers knew the season might be shortened. This felt less like a mid-season cliffhanger and more like the end of the current phase. Unfortunately, it may also be the end of the series as a whole. After all, the third season was initially on the bubble, and the ratings are hardly stellar.

If this were the end of the road for “Prison Break”, it would be premature. At the very least, a 13-episode fourth season would allow the writers to finish out their intentions for the original third season arc and perhaps bring the series to a satisfying conclusion. I would be willing to accept the current status quo as the end of the story, if necessary, but some elements are obviously not addressed to my full satisfaction.

Michael’s ongoing war with the Company moves to a new phase, as he pursues Gretchen to exact vengeance for Sara’s death. This is quite a departure for Michael, because the idea of killing has never been easy for him. On the other hand, it’s been some time since the cost of Lincoln’s freedom has dwelled on Michael’s mind, so after Sammy’s death, this is just another step down that path. This is obviously one thread that should be continued.

Gretchen and Whistler are still pursuing their mysterious agenda, and it would seem that Mahone has rejoined the Company. I’m not entirely sold on Mahone’s current motivations, but his options are limited and it would allow for the Michael/Mahone chess game to resume. If there is a fourth season, that dynamic will be incredibly important. This is another thread that would be badly serviced by cancellation.

Other than that, the other characters could end their respective journeys right where they are. Lincoln, LJ, and Sofia are positioned for a possible happy ending, since none of them are wanted in Panama at this point. That could always change, forcing them to go on the run with or concurrent with Michael, but it would be unnecessary and would probably appear forced.

T-Bag seems to have a plan to get out of Sona, but given his current status in the prison, this wouldn’t be the worst ending in the world. After all, he may have introduced the idea of democracy among the inmates, but the end result is his elevation to a Lechero-esque leadership role. Bellick has been all but useless all season long, so it would be fine to leave him there to rot (no offense to Wade Williams, of course). Sucre’s fate is the most unfortunate, since he has little freedom to act on his own behalf, but he made the conscious choice to sacrifice himself for Michael’s benefit. In many respects, the Sona plot threads need not continue.

So it feels like the show could reduce down to the conflict between Michael and the Company, which would be an interesting departure. Perhaps the fourth season would be bought on the premise that Michael and Mahone would be the only long-term characters remaining; new characters could be brought in more cheaply to finish out the series. If the show were renewed with the existing cast in place, I’m not sure how well it would work. It may be better to cut losses after all, unless the writers can develop one final arc to bring the concept to a more satisfying close.

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

Final Rating: 8/10

(Season 3 Final Average: 7.2)

Episode 3.12: “Hell or High Water”

Administrator — Tue, 12 Feb 2008 23:42:20 +0000

As anticipated, Escape Squad Part Deux managed to get out of Sona, but the process was far from simple and Michael had to balance out intentional harm against long-term gain. Also, for the first time, Lincoln’s side of the plan was revealed in all its glory, and it’s great to see how well both brothers were able to play to their strengths. The escape was relatively straightforward in the end, and the real tension came from the unexpected consequences.

Michael did a nice job of using Lechero, Bellick, and T-Bag as fodder for the true escape. I was anticipating some casualties, so it was a bit surprising to see everyone survive. Lechero could have easily been killed under the circumstances, and Bellick is still little more than a convenient punching bag at the end of the day. T-Bag, on the other hand, remains the most dangerous wild card in the deck. I can’t say that I saw this fate coming for Sucre, but it does add to the ongoing complications. Clearly some plot elements will remain within Sona for the foreseeable future.

Meanwhile, some nice nods to continuity came with the escape. Lincoln couldn’t help but notice that Michael picked up another stray in the process of getting out of prison, and his grudge against Mahone and the death of his father is front and center. With all the other distractions and issues, I thought Lincoln’s desire to avenge his father was short-sighted, and sure enough, it led to Whistler’s unexpected getaway. With both Whistler gone and the bird guide in T-Bag’s hands, Michael and Lincoln will have some serious explaining to do.

At this point, there would usually be little need to delve into the conspiracy or worry over the eventual resolution of plot threads. After all, the mid-season cliffhanger is usually just a way to kick the season arc into the next level for a (hopefully) strong finish. The writers’ strike has completely disrupted that plan. The next episode, the anticipated action-packed cliffhanger, has now been dubbed the third season finale, and there is no word on a fourth season pickup.

The obvious issue is that the writers didn’t anticipate ending the season at this point, and it would seem there were no plans in place for a fourth season at all. So there is a real possibility that the writers were preparing to end the series with the third season (since the concept is effectively played out at this point), and a real danger that there will be no fourth season at all.

This is unfortunate, because despite some slow episodes here and there, the third season has been a welcome return to form. Nothing will ever match the first season, but this season had its own flavor and the story deserved to be told. I want to see how Michael and Lincoln save LJ and find the peace they were looking for, and I want to find out if Sucre can be rescued from his impending imprisonment. I want to see T-Bag and Bellick get their just deserts, and I want Mahone to get back on his feet again. But most importantly, I want the overall struggle with the Company to get full resolution, giving this upstart series a strong and worthy finish.

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

Final Rating: 8/10

Episode 3.11: “Under and Out”

Administrator — Wed, 06 Feb 2008 02:08:37 +0000

The most exciting episodes of “Prison Break” usually center on the moments just before and during each new escape attempt. The pressures increase dramatically, and the divisions between the members of each escape squad deepen as the zero hour approaches. In the first season, all efforts were bound by Lincoln’s impending execution date. In this case, the stakes are raised, with LJ and Sofia in the line of fire.

Relatively speaking, the escape from Fox River was a clean operation compared to the storm about to break over Sona. For one thing, the authorities will not (or rather, should not) hesitate to gun down anyone they find outside the prison, and Susan’s cadre within the Company is hardly going to let everyone go without a scratch once they get what they want. Susan’s methods have been too brutal to avoid similar tactics after the escape.

This brings up an important point. While the drama has centered entirely on the escape from Sona and Whistler’s connection to the Company, the writers have yet to establish any firm connections between the arc of the first two seasons and this latest situation. I, for one, would like the writers to bring it all into perspective, because Michael and Lincoln’s momentary victory over the Company at the end of season 2 was derailed by the Sona gambit. If they manage to survive until the end and win the day, that final victory will need to represent closure on everything since Michael’s initial walk through the doors of Fox River.

In terms of this particular escape attempt, there’s every reason to think that the members of Escape Squad Part Deux will end up betraying each other from the moment they breathe free air. At least one of them should get caught in no man’s land after those crucial 30 seconds, but it’s still unclear what Susan and her people will be willing to do and for whom. More than that, there’s Lincoln’s plan, still waiting in the wings, and that could be meaningful in the hours after the escape.

The odds favor Michael, Lincoln, and Whistler, or there wouldn’t be much of a plot for the rest of the season. After his seeming recovery from his withdrawal, Mahone is another good candidate, because he’s just as intelligent as Michael. Lechero had been evading capture for years, and he has a support system outside of Sona. That leaves T-Bag, Bellick, and Basketball Boy. Given T-Bag’s popularity and ingenuity, he will likely survive, so things are not looking good for Bellick and the red shirt right now.

Thankfully, it appears that the writers have been thinking ahead, and there’s enough story already waiting for the characters once they leave Sona. The writers’ strike has thrown off the timing quite a bit, but the writers usually have a nasty cliffhanger in mind for episode 13 of each season, so there’s no reason to expect anything different this time around.

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

Final Rating: 8/10

Episode 3.10: “Dirt Nap”

Administrator — Thu, 24 Jan 2008 00:45:49 +0000

Written by Matt Olmstead and Seth Hoffman
Directed by Michael Switzer

With the second escape deadline quickly approaching (as well as the end of this artificially shortened season), several Sona-specific plot points need to be addressed. In particular, the anticipated gathering of all “carryover” characters into the escape plan has to be completed, the challenge to Lechero’s leadership has to be resolved, and questions about Whistler’s true identity have to be answered. Many of those issues are tackled in this episode.

There was little doubt that Sammy was going to die in this episode. The real question was whether or not Bellick would die as well. Frankly, his character would not be missed. The writers have done little to justify his survival past the second season. So it was fun to watch the character face impending death at Sammy’s hands, even if it never came to pass. Now he’s part of Escape Squad Part Deux; maybe that will lead to some better material.

Giving Michael the responsibility for Sammy’s death is a lot more interesting, though, because he’s not a killer at heart. His psychological issues wouldn’t allow for that. This was a matter of survival, so he did what was necessary, but it’s another death to weigh on his conscience. He might have felt responsible anyway; he’s been haunted by the consequences of the original prison break since day one. It’s a miracle that he’s held it together this long. Hopefully the writers will keep all of that in mind moving forward.

Sammy’s coup served a dual purpose, of course, by heightening the tension. Part of the dramatic hook of any prison break storyline is the threat of detection. That threat needs a face; the guards on the towers are a poor substitute for Bellick in the first season. Sammy fit the bill perfectly, stepping into Lechero’s footsteps. Now it may come down to the most unlikely threat of all: that damn kid with the basketball, who may do something foolish in the hopes of getting Michael’s attention.

Besides the resolution to Sammy’s coup, the episode offered some of the best conversations between Michael, Mahone, and Whistler in quite some time. It’s good to see Mahone coming through the other side of his drug addiction, even if the worst is probably yet to come. His ordeal may be bringing him towards respect for Michael, which could be very interesting, since they both have a reason to hate the Company.

Together, they push Whistler’s buttons rather well, and after recent events, he seems to feel the need to justify his actions. Their skepticism was refreshing, and his constant nattering meshed well with the later revelations about his secret life. Sofia’s discovery could have an impact on Lincoln’s plan, whatever that might be, and that should complicate matters even further once the escape takes place and every moment becomes crucial.

In the end, this was a vast improvement over the past few installments, largely due to the strong pacing and the intent focus on the escape deadline. The plot twists were less bizarre, and the characters seemed to act more in keeping with their established strengths and weaknesses. I still hold out hope that Lincoln’s scheme will reflect his street smarts more than some Michael-esque genius.

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

Final Rating: 7/10

Episode 3.9: “Boxed In”

Administrator — Tue, 15 Jan 2008 23:15:16 +0000

This episode ushers in some major action, which is probably a good thing. It helps distract from close inspection, which I suspect the episode would not suffer well. Events spiral out of control in a manner that constantly threatens to descend into utter and complete chaos. It’s hard to believe that Michael would trust anyone within the Panamanian military, especially since Michael and Lincoln have both been warned not to say anything to anyone.

Granted, Michael is not in his comfort zone. Michael likes to plan and scheme his way out of situations. He can improvise, given his intellectual talents, but it puts him under enormous pressure. Add to that a horrible track record for reading people, and one can imagine that Michael might fail to consider other options. Still, after what happened to Sara, there’s every reason to think that his latest ad-lib could backfire.

From a writing perspective, the Panamanian general seemed rather capricious in his decisions to accept information or, alternatively, torture people. His intuition was uncanny; he seems to pick out the liars instantly. Strangely, Susan B. (or Gretchen, or whoever) seemed to play right into it. Despite having the best chance of claiming innocence, she revealed her experience with black ops by enduring the torture with little or no reaction.

This was enough to give Michael a reason to hope, but then the general foolishly ignores his suspicions about Susan by minimizing security with her in the field. The man who caught Lechero certainly didn’t seem so bright by the end of the episode. Yet his death seemed to be incidental in the end. Michael and Whistler are simply tossed back into the prison, as if nothing happened.

Equally dubious was Lincoln’s plan with Sucre. It was clear from the beginning that they were pretending to argue, and Susan’s organization should have been able to figure that out. The writers do suggest that Sucre could turn on Lincoln if the money is good enough, but that feels like a red herring. Mostly I was disappointed in the obviousness of it all. The actors didn’t sell the deception at all.

I’m still waiting for Bellick to be anything but a waste of time (despite signs that this might actually come to pass), so the highlight of the episode was the interaction between Mahone and T-Bag. T-Bag’s subplot with Sammy has restored my interest in the character, and Mahone’s compromised situation is fascinating to watch. It still feels like Mahone is starring in his own show, but as events converge, he should get more opportunity to interact with Michael, who remains his most powerful foil.

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

Final Rating: 6/10

Episode 3.8: “Bang and Burn”

Administrator — Wed, 14 Nov 2007 00:37:54 +0000

The previous two episodes took the season arc in an unexpected direction, promising tensions and situations that might finally bring urgency to the season arc. Surprisingly, this episode seems to slip away from that promise, choosing confusion over well-orchestrated chaos.

One major question seems to dominate the episode, especially once the “bang and burn” reference is explained: if the Company had the resources and ability to break Whistler out of jail, including the ability to deal with him directly, why did they need to use Michael and Lincoln? The potential for getting Whistler killed is much higher during an unarmed escape attempt, and Michael had little to no information to work with to make plans.

Granted, the Company could have seen Whistler’s situation as an opportunity to use Michael before having him eliminated under circumstances that would be left unquestioned. But based on the apparent need to get Mahone’s testimony against the conspiracy, they had enough room to maneuver as it was. They could have killed Michael and his family, eliminated Mahone, and rescued Whistler with far less complication and little possibility of exposure.

That realization dominates the episode, and while contrived storytelling has always been a hallmark of “Prison Break”, that kind of loose logic is just plain annoying. Similarly, the purpose of Mahone’s hearing had little point to it, other than to remove him from the board to complicate Michael’s escape plan. I had some hope that it was to push him back under the thumb of the conspiracy, just to make things interesting, but the motivations don’t make sense within the story.

Lincoln’s situation becomes a bit more interesting, considering that Sofia is now both hot and available. Then again, after Lincoln’s decision to back down when LJ’s life was on the line, it seems odd that he would take such a precise shot for the sake of a relative stranger. This subplot also reveals how easily the Company could have assassinated Michael and Lincoln previously, when they had no clue they were in danger, once again bringing up uncomfortable questions.

This episode has been repurposed as the “fall finale”, but in reality, it was never supposed to have that kind of important function. As such, Michael’s removal from Sona is just another plot twist, and one that will likely be resolved soon after the show returns in the spring. Without much competition, the show should be able to survive such a soft pause, but this leaves me nervous about the eventual “season finale”, which may suffer a similar fate.

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

Final Rating: 6/10

Episode 3.7: “Vamonos”

Administrator — Tue, 13 Nov 2007 03:24:33 +0000

Written by Zach Estrin and Kalinda Vazquez
Directed by Vincent Misiano

(Note: This review only covers the second half of the two-episode event for 05 Nov 2007; a previous review covered episode 3-6.)

I was initially concerned when Michael’s apparent anger towards Whistler was revealed to be another diversionary tactic. I thought Michael’s reaction to Sara’s death was understandable and far more interesting, but the ruse does make the escape attempt more chaotic as a result. In fact, this episode is overflowing with tension, bringing the first phase of the season to a powerful climax.

Once the escape attempt was shattered, the Sona subplot became somewhat predictable. Certainly Michael and Whistler weren’t going to fight to the death, and Sammy wasn’t going to be shot for trying to escape. That would have quickly eliminated T-Bag as a player in the game (much as Bellick continues to be a complete waste of time). But this situation does result in something unexpected: Lechero’s fall from power and his subsequent desire to join the escape effort.

Lincoln’s race to save LJ was more exciting, largely because there was a greater chance of disaster. While nearly everyone at Sona had to survive to keep the plot thread intact, LJ’s survival was hardly necessary. Lincoln’s failure to save LJ could have resulted in severe consequences, and to a certain extent, his reprieve dilutes the impact somewhat.

Meanwhile, Mahone’s subplot takes the expected turn, as his own fortunes appear to be tied to the conspiracy’s need for his cooperation. I still believe that he will end up being manipulated by the Company again, and that his fortunes will continue to spiral out of control. My hope, of course, is that he remains in some kind of uneasy alliance with Michael and Lincoln, if only to keep that strong cast chemistry alive.

All in all, this was one of the best episodes of the season thus far, right down to the unexpected moment at the end of the hour. If the writers could manage to bring the energy and tension back to this level more often, the season could recover from the mismanagement of Sara’s fate. It remains unclear how the writers’ strike will effect the season arc, however. The next episode will be the “fall finale” instead of episode 3-13, and the remaining episodes in the can will be used to offset the decision to pull “24” from the spring schedule entirely. Hopefully the episode chosen to end the season will be strong enough to serve as a finale.

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

Final Rating: 8/10

Episode 2.6: “Photo Finish”

Administrator — Tue, 06 Nov 2007 17:39:51 +0000

Written by Seth Hoffman
Directed by Kevin Hooks

(Note: This review only covers the first half of the two-episode event for 05 Nov 2007; a subsequent review will cover episode 3-7.)

This is generally the point in the typical season arc where the introductory phase ends and the complications begin. Considering the fact that the story was driving towards a supposed escape attempt, it’s natural enough for that plan to end badly. As the deadline approaches, things go wrong again and again, culminating in a moment that changes the landscape of the third season completely.

I mentioned in a previous review that Michael’s entire psychological state was centered on saving Sara, and knowledge of her death would send him into a spiral of anger and despair. The logical consequence would be a break between Michael and Lincoln, since LJ’s life would be left in the balance. In this episode, that’s exactly what seems to happen.

It’s always possible that the writers could be applying a liberal dose of misdirection, but enough has gone wrong in the escape plan to suggest otherwise. Besides, too many of the Sona-specific plot threads are still wide open, and that’s all this season has going for it. The conspiracy angle is slightly more interesting now, given what we know about Susan from her conversation with LJ, but it’s still not nearly as compelling as the writers seem to think it is.

While the situation in Sona is sliding into something more chaotic and thus more interesting and less predictable, the writers may have shot themselves in the foot yet again. Mahone’s presence in Sona, particularly as an uneasy ally for Michael, was one of the few draws for this season. This episode takes Mahone out of the prison, and that could be a major setback. This show needs a presence like William Fichtner to balance some of the less impressive cast members. All is not necessarily lost; he could find himself forced into working for the conspiracy with Lincoln, for example. But this only makes me more worried for the series and its future.

I also wonder how this series will handle the effects of the writers’ strike, especially if it protracted. Suddenly the late spring return date for the final nine episodes could be a major advantage, since it gives the production time to catch up, if the strike ends after a couple months. Barring that, “Prison Break” has always equipped the fall finale (episode 3-13, in this case) with a strong cliffhanger, and that could be used as an ersatz season finale if necessary.

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

Final Rating: 7/10

Episode 3.5: “Interference”

Administrator — Tue, 23 Oct 2007 23:58:03 +0000

Thanks to the Major League Baseball playoffs, “Prison Break” took a short break early in the schedule. I’m not sure that it was a good thing for the series, since it gave fans a very long time to think about the drama behind the scenes. This episode, if nothing else, tries to bring the focus back on the main plot element: Michael’s struggle to break Whistler out of Sona.

The break gives the sense of urgency in this episode an odd quality, as if the deadline is suddenly out of place, but the writers keep the tension going and Michael appears requisitely stressed to the gills. His need to save Sara is the only thing driving him forward right now, and it makes her death more crushing. When he discovers the truth, he may never forgive Lincoln for keeping that secret. Especially since Lincoln is keeping the pressure on Michael to ensure LJ survives.

It’s also interesting to note that Michael’s scheme completely fall apart because of a single mistake. Not only does it drive home the consequences of failure, it also reinforces the idea that Michael is less capable when forced to improvise. This opens the door for Mahone’s integral part of the gambit, reminding the audience that an anxiety-free Mahone is an incredibly insightful Mahone.

For my part, the mystery surrounding Whistler and the Company is one of the weak points of the season arc. It actually makes the first season conspiracy seem relatively straightforward and interesting. The new complications regarding Whistler and his mysterious past feel extraneous. The writers are going to have to bring that into more focus if they want this mystery to be compelling to the audience.

In terms of the subplots, T-Bag’s apparent fall from grace in Lechero’s eyes could give him a reason to push for inclusion in Michael’s latest Escape Squad. Michael would have no reason to include him, but Mahone’s “tab” might be all the leverage T-Bag needs. One would expect Bellick to push his way into the plot, since there’s absolutely no other reason for the writers to have him hanging around. And of course, Sucre’s current troubles could quickly land him in the prison as well.

As intriguing as this episode is, it’s far too early in the season for the actual escape attempt to occur, so this deadline imposed by the Company feels needlessly artificial. It’s a transparent ploy to generate tension in the story, both for Michael within the prison and Lincoln on the outside. The only way to counter the problem of expectation is a terrible consequence for Michael’s inevitable failure. Having already delivered one such message, how can the Company possibly escalate the risk? The success with the answer to that question may determine the season.

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

Final Rating: 7/10