July 21st, 2010
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The road to redemption is a rocky path.
There is no question that the conclusion to Angel’s first season, “To Shanshu in L.A.,” was a bridge to the second season, with the return of a figure from Angel’s past and a prophecy which indicated that there might be, to quote Angel, “light at the end of the tunnel.”
However, it’s important not to mistake momentum for structure, and “Judgment” makes it extremely clear that not everything is as clean as it seems. The show doesn’t abandon the ramifications of the first season finale, but it does indicate that moving on isn’t an immediate process: rather than clearly establishing a path to salvation, providing the series with a distinct sense of direction, the premiere instead focuses on how the characters are confronting their new reality, and how they will continue to confront it for the rest of the season.
“Judgment” is not interested in turning the series on its ear so much as it desires to establish that nothing has changed but the determination of our lead characters, which sets the stage for an engaging, and unpredictable, second season.
“Dead is Dead”
April 8th, 2009
Forgiveness is a really interesting emotion, primarily because of how subjective it is. There is a great moment in “Dead is Dead” where Locke suggests that he and Ben discuss the elephant in the room, being the fact that Ben, you know, murdered him, and Ben immediately heads into a long and rambling explanation of how he had to do it, how it was the only way, how he knew he couldn’t leave it to him, etc. Locke, meanwhile, just shrugs: “I was just looking for an apology.”
Locke, of course, has a very different value of forgiveness, having been through so much, and in his new resurrected form Locke is more sure of himself than ever; he forgives Ben because he’s now alive, and he now has purpose, so who is he to really complain?
The problem with the episode is really not a problem at all: Benjamin Linus’ flashbacks are designed specifically to show us those moments where his empathetic nature emerges, some sign of the young boy who went into that Temple returning as part of this new individual. However, in the present day, we see that Ben is still just as much a monster as before, and I think there’s something inherently problematic in the way he treats these situations with such moral dichotomy.
But it’s supposed to be problematic, and Michael Emerson delivers another knockout performance, and “Dead is Dead” succeeds based on the show’s emphasis on his duality.