“Time Will Tell”
July 6th, 2010
Warehouse 13 ended its first season on one of those cliffhangers that I generally despise – like White Collar’s mid-season finale late last year (where it seemed like Peter was the series’ big bad), the show ended on a note which implied a huge change in direction (in this case that Artie had been killed in the explosion at the Warehouse’s entrance, and that Leena was in league with MacPherson) but which in reality was entirely inconsequential. Any uncertainty you have about Artie being legitimately dead is ended within a few minutes, and any concerns about Leena are erased when she continues to appear in the main credits.
I’m fine with the fact that a sci-fi procedural isn’t going to make these sorts of huge changes, but my response to the second season was very much dependent on how they used the uncertainty surrounding the finale to its advantage. While it may be cheap storytelling in a lot of ways, Warehouse 13 has the unique ability to explain away sudden twists under the guise of expanding its catalogue of artifacts with inexplicable powers – while I thought White Collar took a few episodes to recover from the bait and switch, Warehouse 13 uses its pre-existing rules in order to leap frog over the initial uncertainty to confidently map out the season to come. “Time Will Tell” is a strong premiere, although in a different way than I had expected, giving viewers one last glimpse at the first season’s highly personal conflict between Artie and MacPherson before replacing it with a more generic, but also more inventive, narrative.
It’s a decision I think works in the show’s favour, going against the common logic of these types of procedurals by through simplification rather than complication while continuing to embrace the quirky, charming potential within the series’ premise.
“Across the Sea”
May 11th, 2010
[For more discussion of the episode, check out my breakdown and analysis of critical responses to “Across the Sea.” Also, for a review of the series’ penultimate episode, What They Died For, click here]
Do metaphors count as answers?
It’s the question I found myself returning to throughout “Across the Sea,” a story which feels so designed to discover answers that it never quite achieves a narrative in its own right, although I don’t necessarily mean that as a slight to its effectiveness. However, while you could argue we get some facts and details that help us piece together previous events, there is very little of what one would call “clear” answers in the hour. What we get are extended metaphors meant to give meaning, rather than clarity, to that which has happened before and that which will happen in the future.
Considering the breadth of questions we as an audience have at this stage in the show’s run, there is no chance that the show will ever be able to make everything perfectly clear, and when tonight’s episode actually tried to provide “answers” it often felt unnatural, inorganic. Where the episode worked best is in using metaphors and abstract ideas to solidify human emotions and character motivations: this is the story of Jacob and his nameless twin brother (who we’ll call Esau for the sake of the Biblical connection, even if their mother’s name makes it less than perfect), but it both implicitly and explicitly gestures to what we’ve seen unfold on the island for six seasons, and in doing so gives greater meaning to that journey even if the “why” question remains unanswered.
I don’t think “Across the Sea” is by any means perfect, but I think it did a most admirable job at crafting a story which crystallizes the show’s journey thus far, worrying less about the big picture and more about establishing where the individual portraits the show has created fit into the mysteries of the island (which may remain unsolved).