Aqua

Overall

We knew that it would come eventually. After the heartrending, the breathtaking, and the beautiful comes the filler. Only Smallville's filler usually involves "one villain per episode" deals; so this episode, filler though it may be, broke the mold.

Considered as filler, it really wasn't bad. We met another hero with a completely new personality, we saw another friendship forged, we met the intriguing Dr. Milton Fine, and we watched Clark and Lex walk the tightrope in their communication without ever really falling. That's an accomplishment. Considered as an individual episode, however, this one falls short. Chloe's non-role…see below, Lana's entire role of six lines…see below, and Lois's entire irrelevant, impossible "romance"…well, see below. While the boys clashed, bonded, and intrigued us in the way they did it, the girls contributed nothing but a few light laughs…and groans.

Verdict: Half the episode they should have kept. The other half they should have tossed out and started from scratch. 3

Clark and Lex's Communication

(Before you read this, you might want to read my "Lex" article.)

This episode was key to establishing Clark and Lex's communication: how much they would interact, and how they behaved to each other. The way that the writers dealt with it was good, given the plot they were working with (Clark confronting Lex, who is terrorizing the planet and the people). In the first major Clark-Lex split, at the end of Season Three and the beginning of Season Four, Clark met him with anger. First hot, then cold, but always anger. Now he and Lex were communicating more believably, and (believe it or not) in a way where you could easily remain sympathetic to Clark.

Overall, Clark was, appropriately, subdued and sad. "Sad" is a simple word, but it fits. He isn't reproachful, regretful, or mournful. He misses what was, but knows it can't be any other way. Sad. Overall Lex was still a bit manic, his tone changing a few times every conversation, so there isn't a single quality like Clark's quiet sadness to attribute to him, unless it's lack of depth. As he spoke to Clark, he did not have that enigmatic, unfathomable quality, but was easily readable. In previous conversations before the breakup, there was always a sadness, what Allison Mack called "a touch of soul", in the way he spoke some of the lines. There was also a feeling, when he talked to Clark, that he needed family: it was his defining quality, the bond. Now all that was gone. The defining quality was emptiness. Lex was a machine.

There were several different overtones to their communication.

1. At times they spoke like acknowledged "group" enemies, who must get together to discuss an issue and so treat each other with respect but make their point firmly. This was the tone when Clark and A.C. came to Lex. In this conversation, Clark was the mediator, the balance between A.C.'s hotheaded accusations and Lex's cold courtesy and then wild anger ("Exactly who are you?"). While A.C. made his accusations, Clark looked away as if to distance himself from what was going on; when he did speak, he was careful and tactful (!) but quietly and impersonally firm. When Lex addressed him in A.C.'s presence he took the same tone, distant and business-like, until A.C. aroused his anger and he told Clark, "Clark, the days of you barging into my home and giving me sage advice are over." Which I didn't object to, because I hated it when Clark barged into Lex's home and gave him sage advice. It was too ludicrous. (Lex giving Clark sage advice, however, is another story altogether.)
2. The second tone came from Lex, when A.C. stormed out, and he adopted a friendly and familiar, almost jocular tone of voice, which did not show in his eyes. Clark, however, remained the same. "New friend's got a bit of an anger problem." "He gets that way when someone tries to destroy the things he loves." Lex, looking earnest: "Clark, I'm not trying to destroy anything." "Lex, don't try to cover it up. The days of me believing your lies are over." The last line could have used tweaking, as it is a weak argument for Clark to accuse Lex based on his lies. Lex has always been frustrated by Clark's lies, so, at least to Lex, this is merely the pot calling the kettle black. Also, it was unclear whether Clark was intentionally playing off Lex's early words in (a) or whether his copying was inadvertent. That tone returned briefly later, when Lex quipped, "You didn't tell him about my pitchfork, did you?" and grinned as if expecting Clark to appreciate the joke. Both times, Lex was machine-like. His subtle sensitivity was gone: he felt nothing.
3. The second general overtone was that of familiar, personal enemies, who know each others' weaknesses and are subtlely feeling out who's the strongest (think Lionel and Chloe). "Clark. Thought the next time I saw you, you'd be waving a banner in a picket ------ outside LuthorCorp" "You know, Lex, I thought I'd…do you have any new developments?" "Well, Clark, it's funny you should ask. The project was derailed by some misguided vandals." "Maybe it just wasn't meant to be." "Maybe. Say, how's your friend?" "I don't know, I haven't seen him." "Well, if you bump into him, tell him I'm looking forward to seeing him again." There was something humanly, mischievously pleasing about that dialogue, as they both sparred between the lines.
4. But the final overtone was my favorite. It was almost like a couple who has broken up (don't take that analogy the wrong way) and who look at each other and know things have changed, and are maturely dealing with it – the wound isn't overly-sensitive – and are, for the sake of what used to be, interested in the other's activities. At least, that was where Clark was. Lex was in the same hardened spot as usual. "Lex, you've got to stop and think about where your life is headed." "All the time." Then Lex gets serious, although he delivers his line nonchalantly. "It's a complicated world, Clark. Only the naïve view it in black and white." "You know, the other day, a professor of mine…he accused LuthorCorp of being evil, and you of being just short of the devil." "You didn't tell him about my pitchfork, did you?" Lex grins toothily and looks at Clark as if expecting him to appreciate the joke. Clark looks at him soberly. "I defended you." Lex's smile fades. Perhaps the first thing that has hit home for him since the meteor shower. Clark walks out. "I guess I am naïve." That overtone was the most genuine, and left me with the question: did it hit home? In many ways, that was the most important question for me in this episode. I hope it gets answered.

The crafting of their encounters was at times rudimentary. Why did Clark pay Lex that second visit? It began challengingly, as a victor visits the field of battle to look at the slain. It ended with Clark telling Lex how he had defended him, reaching for something human, although coming across as a little egotistical. Although it was a relief to see Clark visiting for a reason other than to pull strings, it was unclear what the purpose of his visit was, unless it was simply to talk. Which I would like to see again. (If you remember, I watched the fourth season out of order, and it was weeks before I could tell if Clark and Lex were speaking or not…in the middle of the season.)

Overall, there were so many different levels of communication with Lex and Clark that it's impossible to judge from them what the future holds. But in this case, that's a good thing. They had more meaningful talks in this episode than they ever had in the fourth season as friends. The talks could lead to meaningful contention or meaningful, destined-to-be-thwarted friendship. At this point, anything is possible.

Lana

Lana had about six lines in this episode, and one of them was, "Clark!" Although it's difficult to judge with so little material, her overall attitude seemed to be very clone-ish. In the first season, she was afraid that her role as head cheerleader, popular girl, homecoming queen, and jock's girlfriend would define her. It's now official. Her role as a flirt, popular girl, beauty queen, and Clark's girlfriend currently define her. Even the way she said coyly, "Think you missed a spot," and pointed to her lip was impersonally flirtatious: cut out half the screen and you wouldn't know if she was talking to Clark or Jason. Where, oh where is Lana Lang? (Answer: She disappeared somewhere in Paris. Right.)

Chloe

Chloe seemed to lose her "special role" in this episode. At least, it was greatly simplified, boiling down to a conversation with Clark on the beach that could have been cut altogether without anyone noticing, and the scene in which she uncovered the information about A.C., which also did little.

Also, last episode began with Chloe starting to leave for college. Now she's partying by Crater Lake. Incidentally, last time there was a party by Crater Lake, in "Cool", she didn't even know why she was there and intended to leave after a few minutes, disliking the attitudes of the "cool kids" and the entire lack of intellectual stimulation. Her attitude then was, "What's the point?" Now she's gossiping to Lois about Clark's love life and having a teenage-y time. I found that uncharacteristic.

Dr. Milton Fine

Probably everyone else has read innumerable spoilers about Dr. Milton Fine, but I try to stay away from that sort of thing: so here, untainted by premature knowledge, is the impression I am getting of Dr. Milton Fine.

From the first point of interaction, Clark and Dr. Milton Fine had an intriguing relationship. Dr. Milton Fine singled him out, knew who he was, chose to give him the favor of a job offer (though, for some unknown alien reason, Clark idiotically turned it down). Clark was unafraid to speak directly to him, even counter him. This relationship is unique, and has potential for the future. This was one of probably two things that left you thinking, "I wonder where they'll go with this."

In many ways, Dr. Milton Fine reminded me of Lex. The early Lex. He gave Clark opportunities he didn't give everyone; he counseled Clark; he spoke in platitudes; he had a subtle sense of humor; and Clark felt comfortable coming to him. I hope that they aren't going to do what they did to Chloe and Lana last season, and make up for losing one person's personality (Lana's/Lex's) by transfering that personality to someone else (Chloe/Dr. Fine).

It was unclear if Dr. Milton Fine knew who Clark was. There was that connection, but a) how would he know who Clark was, if the first two Kryptonians didn't know, and b) if he did know, what is his motivation? From what Jor-El has said about dark towers, and since we have seen Dr. Milton Fine's construction, very dark-tower-like, it seems that he is Clark's enemy. But if his goal was simply to fling Clark into the Phantom Zone, why didn't he do so? He made no effort to get Clark alone. It seems then that what he wants to do is not physical but persuasive. Perhaps trying to get him to turn against Jor-El. It's all guesswork at this point, though - at least to someone unspoilerized.

Good/Bad Moments

1. Sorry, writers and Lana fans, but it was hard for me to watch Clark rubbing Lana's back with suntan lotion as they flirted and giggled and were self-conscious. It seemed for a while in "Hidden" that we were going back to the days when he knew her to be inaccessible, either through her choice or through his. They could be close, even date, but there was an invisible line of intimacy they both knew they could not cross. I appreciated that line because a) it kept the relationship unique in its mutual understanding and respect, and required genuine esteem instead of thoughtless lust, and b) it gave the writers more options to tie in the dilemma of Superman's destiny vs. Clark's romantic aspirations. In other words, Clark had to make tough choices and do the right thing. Now in their whispers and giggles and everything else, there's no opportunity for that kind of depth, for those kinds of choices. If Clark were to be faced with such a destiny dilemma interrupting his Lana-time, it would be more comedic than dramatic.
2. The forced banter in the beginning with Lois, Chloe, Clark, and Lana…another unfortunate method of filling airtime and accomplishing nothing. Corny.
3. "The world needs heroes…now more than ever…" Chloe sounded like a commercial.
4. Lois is drowning, and A.C. drifts under the water checking her out. Then Clark appears and the two of them stare challengingly at each other. Guys, she's drowning.
5. The first real bit of comedy – when Lois wakes up, sees A.C., and grins widely, looking from side to side as if unsure if it's a dream. That wasn't cutesy (Lois's No. 1 problem) and it wasn't too slapstick (Lois's No. 2 problem).
6. "Come on, we've got to get you back to the farm." Why is it Lana who is saying this? Answer: So that Chloe and Clark can, conveniently, have their token semi-private conversation which tells you nothing you didn't know already. I like the potential of their new rediscovered relationship, but this wasn't the way to use it. This was just filling airtime.
7. "Lex is not a saint, but I hardly think you can put him in the same category as those guys." "An honest opinion. I like that." Clark hesitates, but feels the need to speak out. Dr. Milton Fine meets his uncertain gaze and gives Clark his approval. Another point of connection.
8. The conversation between Lois and A.C. in the Talon went way too long. It was dragged out long enough already, and their awkward, contrived kind of flirtation increased the torture. "You show me how to dress the way you like, and I'll show you how to swim." And how many times did Lois state and re-state that she knew how to swim? The fact that he kept accusing her of not knowing wasn't funny, it was repetitive filler. It was, "But I can swim." "So can I. I swim like a fish. I practically live in the water." "Prove it." That was the most stilted flirting that I've ever seen.
9. "Never apologize. If you're going to show up late, at least do it with conviction, Mr. Kent." There was that subtle touch of humor underneath the business-like tone. Another moment where Dr. Milton Fine reminded me of Lex.
10. "What are you doing?" Lois looks uncomfortable when A.C. fingers her hair, as if this is unfamiliar to her. And I think it's safe to assume that this is her first "romance", which perhaps explains why her flirting was so revolting.
11. Camera lifts up to show the sinister unknown of the lake. I had hoped they were going to do some computer effect like moving forward, looking down into the lake, and plunging in to show exactly what was causing the sound. But this worked.
12. "The best part of my job…watching possible dreams become reality." Lex isn't that cliché. He knows what's fake-sounding and what isn't.
13. Nice, the closeup of the glass of water being filled. It told you what you needed to notice, wordlessly.
14. "What are you doing?" as Lois puts her hand on his forehead. That was the only natural connection they had, unconsciously using the same line.
15. "You really don't listen, do you?" "I try not to, I get distracted." That was one of the rare moments with real humor. Almost every Lois-attempt at humor fell flat in this episode, since Lois conversations are usually created for the sole purpose of stringing corny jokes together. Her conversations end right about where they begin: nothing happens but jokes. The reason this line was humorous was because his question wasn't a set-up but was said in a cross between amusement and frustration as a result of something she was doing, and what she did resulted in something: the discovery that A.C. felt cold instead of hot. Any humor was not contrived but incidental.
16. And now, back to the cutesy punch lines. "Does that line ever work on anyone?" "Figured it was a one in ten shot, but you're worth the risk." A.C. acts as if he just completed a heroic action of putting himself out on a limb for her. A.C., it was a pickup-line. "You barely know me." "I know enough. You're abrasive, sarcastic, you never shut up." "Yeah, and those are my good qualities." Did we learn anything from that dialogue?
17. Then A.C. kisses her. The stimulating conversation inspired him. Lois pulls away and glares at him. "Look, just because you saved my life when I didn't need saving doesn't give you the right to slobber all over me." "Sorry." "You should be." Lois tackles/kisses him. Badoom-ching!
18. "Clark, are you sure you're not just upset that he's stealing your hero thunder?" It's lines like that which contribute to the oversimplification of Clark Kent. Clark has only once been upset for that reason, and that was because the other guy had stolen his powers. He was also fourteen or fifteen at the time. And at that time, Clark worked through it and learned to maturely live with it. It's as if now they're trying to make Clark more teenage-y and jealous and insecure than he really is. Now is the time for Clark to be getting over his insecurities and looking at the things outside of himself. The Superman attitude.
19. A.C. was so insufferable in the beginning. Even in the Talon, he was basking in the spotlight with the girls gathered around him. He spoke, even when he spoke with conviction, as if he was used to being asked about these things by adoring fans – like he was making an earnest statement for the press. On the other hand, Clark was pretty insufferable too, staring coldly at him like Jonathan used to stare at Lex. "Do you really believe that, or is that just a pickup line for the girls?" Someone like Clark only comes out with something like that if he feels insecure and defensive. Writers, it's time to let Clark grow up now.
20. I liked the tie between A.C. and Clark – that both of them ultimately cared about the planet. A.C.'s concern was more about ecological equilibrium, Clark's will (hopefully) be about the people and their safety; but they are both, in their own way, out to save the world.
21. "Clark, [come here a sec]. There's a cinnamon bun I need your opinion on." That was so quirky that I had to laugh, even if it made absolutely no sense.
22. "I don't need an overly protective brother, especially one who's not my brother." To me, that line was an attempt at making a relationship where none existed. Lois and Clark have never gone through anything together. All they've ever done is seen each other every day at the breakfast table and such, and when guests stay at your house that's what happens. Life adjusts to accommodate the guest. Not everyone who stays at your house becomes family. Pete was more like family than anyone, and he never stayed over: he was family because he and Clark had gone through a lot together. That's the bond.
23. "Am I the only one who thinks there's something fishy about this guy?" That startled me and made me laugh. Corny, but I like double-meaning dialogue, as long as it's tasteful. (By "tasteful" I mean plausible, not "I had a nightmare about a guy in a cape" or "With my luck I'd probably end up sitting across from the clumsiest guy in the building," etc.)
24. "You know you're right, I was being a jerk. I think I'll go apologize." He leaves, and obviously not to apologize. That was a good moment, with that look on his face, incompatible with what he was saying.
25. The water-fight-scene was difficult to understand because you didn't know what had brought them to that point. Clark just thwarted A.C., who was trying to do something with a bomb, so A.C. wants to fight him. And Clark wants to fight A.C. because he was setting off a bomb. But at that point you don't know what exactly either was trying to accomplish, what each of them stood for. It's as if they're acknowledged enemies, since they meet each other in the water to fight, and start banging each other up right away, but you've got the feeling of, "Did I miss something?"
26. "If I didn't know any better, I'd think somebody was jealous." Good guy sees bad guy do something bad. Good guy tells girl he loves, who is attracted to bad guy, about what bad guy did. Girl gets mad and tells good guy that he's lying. Girl indignantly uses stock line: "If I didn't know any better, I'd think you were jealous." Can't they come up with anything more original than that? Particularly as in this case, it isn't even "good guy tells girl he loves".
27. It was an interesting moment when A.C. entered the barn. You expected the fight to pick up where it left off, and from Clark's posture it seems that he too expects some form of aggression. But A.C. is enthusiastic. "Man, I thought I had the hook-up…That was awesome, bro!" The way he rejoiced over it was the first sign that he didn't have villainous intentions when he set off that bomb.
28. "Just trying to stop the bomb you set off, 'bro'." And for the first time A.C. gets serious. Which was a relief, after all the posturing. You almost felt like when he talked to the others he felt like he was talking to people who were inferior, who couldn't understand. Then the first time he was serious was with Clark, whom he now felt to be his equal. Or perhaps that's a cynical way of looking at it, and he was merely like Clark, not himself unless he was with people who knew about his powers. Though he wasn't particularly deep with Lois, who must have noticed that his swimming wasn't exactly the average.
29. A.C. was so intense and melodramatic when he met with Lex. He was too angry with what Lex was doing to compromise his tone. Interesting to see a hotheaded hero for once. Not my favorite type, but it worked well because it allowed Clark to be the balance, and display some tact. (See "Clark and Lex's Communication".)
30. "One, you called me a 'tool'. And two, most people I know need scuba gear to breathe underwater." This scene was a replay of "Asylum", when Lionel watched as they strapped Lex down and tortured him with electroshock treatment. Lex was Lionel in this scene – perhaps not quite so demonic as Lionel was, since Lionel pretended to be on the right side and had the gall to comfort Lex – but still malicious, vengeful, wicked. This whole idea of turning Lex into Lionel's clone is unrealistic. (See "Lex" article.)
31. "He doesn't know anything about this." Clark didn't know the whys and the hows, but he had seen more than Lex had. A.C. was covering for him, which was a good angle, if underdeveloped.
32. A.C. really does mean it, and does believe what he does. "Shut down Leviathan, and I'll tell you everything you want to know." "Please. Pl – please. I don't care what you do to me, but please destroy that weapon." That actually took me aback. My whole focus was on getting the water for him at that point, especially with the way Lex was dwelling on it.
33. "Wow. Okay, you convinced me." They didn't need the rest of Lex's lines: those two sentences, and the way he said them, said enough.
34. The whole scene with Clark rescuing A.C. was anticlimactic. You were expecting something deeply dramatic, and when they gave you something so obvious the result was almost comedic.
    Usually Clark rushes up, snaps the bonds, and does something involving his unique abilities. Now Clark enters and stands there looking at the dying kid, staring at him until A.C. asks for water. Then he looks around and turns the crank for the sprinkler. Turning cranks isn't that dramatic, once you take out the compelling background music and dramatic camera shot. And when the result was just that A.C. got sprinkled, I almost laughed out loud. They made you move on quickly with the camera being lowered and A.C. breaking his bonds and standing there drinking the water, but the initial impact of the sprinkler was more comical than dramatic.
35. "I knew I'd find you here. Are you okay?" That was one seriously delayed reaction.
36. "You might be able to. With a little help." Poorly written line. Actually, terribly written line. How about, "But I can." Or at least, "Not alone, you can't."
37. After all that, they didn't actually show what Clark and A.C. did. They just showed the let-down, after they had destroyed it. That was anticlimactic. They passed up a lot of changes for great computer effects and serious drama in this episode.
38. Lex moves to the window just in time to see A.C. shooting through the water. I like it when they know that they've been completely thwarted.
39. For my take on the Clark-Lex communication, see "Clark and Lex's Communication".
40. "Maybe we should start a junior lifeguard association or something." Not the best line – a bit too corny.
41. The highlight of the Clark-A.C. interaction, for me, was their private conversation in the barn after it was all over. Nothing they said was just for the appearances or even for taking a stand…they were just talking. "But Lex will. He's seen your abilities, he won't stop looking for you." "…Good luck finding me."
42. "Stay out of trouble, all right, A.C.?" "Try to get in some, Clark. Stay super, bro." Fist to fist. For me that was a bit stilted. I appreciated what they were trying to do, but since you didn't see them actually destroy Leviathan together, it was hard to appreciate the idea of their working together and forming a bond through it all. It would have been stronger if it had their experience on screen to back it up.
43. "I don't want someone who changes his mind as often as they change their clothes." That's a pretty concise description of Clark, although for a professor he makes a pretty obvious grammatical error. ("someone," "his mind," "their clothes". It should be "someone," "his mind," "his clothes" or "people," "their minds," "their clothes".) Perhaps Clark will start forming more supportable opinions and allegiances now.
44. "Every decision a man makes has a……effect on his life. You made the right decision, Mr. Kent." Again, sounds like Lex. The old one.
45. And, of course, Lois and A.C. have a mushy farewell, as if they've gone through so much together…
46. "I've just never had anyone to guide me through the shark-infested waters of romance, not that I can't take care of myself." I thought that was uncharacteristic, as if Clark (in all his experience) would be "guiding" Lois, and Lois would acknowledge it in that way.
47. "You know, I've known a lot of guys who wanted to take over the world. But I've never met anyone who wanted to save it." That was a good line.
48. "Lois, I promise that some day, you'll meet someone even more special." You could see that coming, but with the Superman french horns in the background, it made a better ending than you would have expected. Still, since the two of them know nothing about each other, the line rang a bit false. You saw Lex and Clark meet, and after six episodes they were closer than Lois and Clark are after a year. Lex and Clark actually had profitable interaction in which they talked with each other about dating, the future, and saving peoples' lives – that's what made them close. In "Crusade" the writers had something going when Lois and Clark worked together, Lois wasn't the shallow comedy character, they talked to each other quietly and seriously, Lois saw Clark in his Kal-El stage…there was potential. The writers need to bring an actual relationship like that back into the picture before endings like this will mean anything.

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© Voice of Reason, 2007