Oracle

Overall

To be honest, as I sat down to watch this episode, I feared that it would be another "Forever". Last season, the episode before "Commencement" packed in the action abruptly, without bothering with pace or emotion.

O ye of little faith!

From the bittersweet birthday party to the quiet scene in the loft, underlining all the tension in between, human relationships and emotions were directing everyone's paths. Lois wasn't annoying. Lana wasn't Clark-bashing. Clark wasn't Lex-bashing. And not only did the negatives disappear, but they were replaced with positives. Lois was actually...nice. Someone you could want Clark to be with, in the distant future. Lana admitted that she didn't want to hurt Clark. Clark entered Lex's study with the words, "Are you okay?" Yet there was tension in abundance. Clark and Lex fought a civilized verbal battle. Lionel...well, every scene with Lionel involved tension, from Clark torn between the light side and the dark side, to the suspend-your-breath confession scene. Caroline Dries maintained the tenuous balance between characteristic behavior and plot conflict, and that made this story amazingly lifelike.

Verdict: 10

Good/Bad Moments

1. "From scratch." "I never would have guessed." "You should have seen the first two." Sweet moment.
2. The whole party had a bittersweet atmosphere that was very appropriate. I was wondering how Clark would handle his first birthday without Lana and Jonathan, and he – and all the others – handled it very naturally. It was very natural that Chloe and Lois would come over and try to make it more festive, with Lana and Jonathan's conspicuous absence; and that they wouldn't entirely succeed, but would make a different sort of memory, with Lois's characteristic cake and Chloe's support. That Clark would smile and be pleased, but that Chloe would recognize that it was something he had to get through ("You handled the whole party thing really well, by the way."). There was also symbolism. In "Calling" Lana brought Clark a small perfect birthday cake and his first kiss; in "Oracle" Lois presents him with a lopsided, character-filled rum cake in Superman colors. Finally, for those who remembered, there was a poignancy in the fact that this isn't, technically, Clark's birthday – it's the anniversary of the day he was found by Jonathan and Martha.
3. "He's going to do something terrible." "I'm sorry, Clark, but to save this world, you're going to have to kill Lionel Luthor." That sent me reeling.
4. Nice that Lois saw through Lana's pretenses. "Look, I know I'm not versed in the whole girl-talk thing…" They allowed Lois to have insights instead of mind blocks this episode. (As opposed to the crayon-bearing Lois in "Fragile".)
5. "…but your dad Hamlet-ing you?" Funny, characteristic line for Chloe.
6. "I think something's already in motion." Interesting turn of phrase, reminiscent of Jor-El – "already in motion".
7. "It depends on what it was." "Would it? I mean, is there anything we could find that could make Clark Kent kill someone?" I thought Clark's predicament was very believable.
8. "I know that he's been smuggling some of the deadliest viruses in the world into this country, with your help." "Well, don't worry, Dad, we're not going to put them in any Halloween candy." Another fantastic Lex-line. This was definitely his real voice. (Dialogue voice, not vocal voice.)
9. "It's under control." "Your business partner's a man who seems to be able to appear at opposite ends of the earth simultaneously. How much control do you have over him?" I liked the picture Lionel painted of someone beyond human control. It set up the Lex-Milton Fine scene that followed very well.
10. "This is one enemy you don't know, and not knowing who you're in bed with can make for a very uncomfortable awakening." This was a very real Lionel-line. He hasn't spoken like himself since Season Three (except his line of admiration for Martha's self-sufficiency in "Cyborg") and it was good to have him working his proverbs in.
11. "Clark, have you thought about the fact that if Lionel knows your secret, he might have told…" "Lex?" Pause. "Knowledge is power. Lionel would never level the playing field." Wow. This was like a Season Three dialogue...everyone speaking very intelligently, including Clark.
12. "Maybe it's not so mysterious." "Wait – you think maybe you're the weapon that Lionel's talking about?" That was such a leap that I was momentarily confused. If it were true, Clark would have been a genius. However, since it wasn't, nothing's changed. :)
13. "It looks like I'm not the only one who needs an outlet." This was a good line. The "Fade" flirtation was about as easy to swallow as a golf ball – we needed this glimpse of their relationship, a little insight into why they work together so well. Lana has always pitied Lex, and sensed his need for her. This line tapped into that.
14. "The future. I'd like you to be by my side when it arrives." This was another good line, showing the epic sweep of Lex's mind. He's got an innate sense of drama.
15. "Why don't you trust him any more?" "Because I think he might be reporting back to something a little higher up." That was a good double-meaning.
16. "I know things are strained, but something's going on that Clark needs to know about." Lionel calls about the symbols. That was a good way to cover the bases – showing that Lionel wants Clark to see the symbols enough to risk contacting him first, even after Clark's threats; and showing the fake Jonathan overhearing the conversation, giving a reason for the tension between him and Martha while he delivered his message. (Milton would have been strained and withdrawn anyway, but this suddenly made it all more plausible.) Everything locked together.
17. "How long, Martha?" Dark music, Jonathan sitting in the shadows. Not letting Martha touch him. "And soon, neither will a lot of other innocent people." Speaking strangely, like he's not used to saying these compassionate things. We could tell something was wrong, sense the strain, so it might have been more intense if they had waited on showing us Milton Fine transforming. That moment was freaky enough ("Jonathan" watching her outside the window) without showing him transform into Milton. Instead they could have waited until "Jonathan" and Lionel both tried to persuade Clark to listen to them. We would be figuring it out along with Clark, our distrust growing, until at last Clark decided it for us; and when "Jonathan" rose and called Clark "Kal-El" everything would click. That would have been a more dramatic exposition.
18. "I think he meant Lionel had something to do with his death." Zoom in on Clark. Wonderful moment. We never really saw a believable reaction from Clark after Jonathan's death. All we saw was the hollow "Vengeance".
19. "I'm not really thirsty." This indication of distrust was another "re-use" – he also refused to drink in Season Three's finale. While this wasn't nearly as funny as his refusal in the plane, it communicated a great deal, and I can understand why Caroline Dries used it.
20. "But I seem to be shockingly cut out of the loop." "A fact you've probably known for weeks." They're both experts in strategy, reading each other's weaknesses and strengths, all sorts of thoughts going on behind their masks. This acting was spot-on.
21. "You must have thought I would inherently believe your CIA bluff." "And that's why I chose you…for your insatiable distrust…" Milton Fine is in control, before he ever shows his powers. His line about choosing Lex showed that. Interesting, how in all their conversations the power is gently rolled from one to the other.
22. "And I'm sure you didn't waltz in here thinking I would just roll over." "No, not you. Not without a bone." "I'll take the truth." Their conversation was like an elaborate series of chess moves.
23. "I'd be foolish to hand it over to someone whose agenda is still up for grabs." Nice turn of phrase. The intelligent dialogue of this episode worked marvels for the characters.
24. This was a great situation, with Jonathan on one side and Lionel on the other and Clark trying to figure out who to believe. "Your father would never make you a murderer, Clark." "Do it, son. Do it." "Listen to me, Clark." The dark side and the light side...except reversed from their usual positions.
25. "I was fairly certain Milton Fine was a Kryptonian, but I wasn't aware that shape-shifting was one of the Kryptonian's miraculous abilities." "It isn't." "Then Fine's not a Kryptonian." Clark gets that look of discomfort. This was a fascinating exchange, with Clark uneasily trying to adjust to Lionel being, on the surface, a "good guy" and Lionel speaking with such ease about it. It was as if a curtain between them had suddenly been whipped up and Clark was caught off guard while Lionel had seen through it the whole time.
26. "And whatever voice I am channeling…I believe that what I wrote…is meant for you." This was a little reminiscent of "Commencement" when Lana turned the stone over to Clark, but so much better that there was no danger in the comparison.
27. Great transition to the Daily Planet. The music this episode reminded me of end-of-Season-Two's soaring music.
28. Beautiful shot after Chloe says, "I think we know someone who does," and the view goes to Metropolis.
29. It was lifelike that Lana told Clark where the lab was, and later admitted, "I just don't want to hurt him," and felt uncomfortable when Lex had his little rant about Clark. Last episode was too Season Four-ish, when she so readily shared how Clark had mistreated her, and in a way took her revenge by trying to keep her new relationship secret.
30. "Impressive. Looks like I underestimated your willingness to tackle a nonprofit venture." Nice little line.
31. "So you went behind my back and mass-produced a vaccine for mankind." Lex is breathing heavily from fear, but is strongly keeping it in check. This was a good portrayal of Lex. He's such a compound of strength and weakness. His self-control wasn't invincible, the way Michael Rosenbaum sometimes plays him.
32. "Are you okay?" This was the perfect way for Clark to enter. *Applause* I've waited for that Lex's-study-entrance for three years. No favors to beg, no attacks. I don't think that's happened since the Season Two finale.
33. The conversation that followed was classic Clark and Lex. Yes, Clark was a bit childish once, but he didn't say it angrily – he said it like a friend who was hurt. "All those years we were friends. Were you just waiting for me to step aside so you could swoop in and make your move?" "I don't know, Clark. And all those years you told Lana you loved her. Were you just waiting to walk away and break her heart?" Lex came up with the perfect reply. The acting was spot-on – not teeth-clenching angry, not ultra-defensive, but like they were speaking aloud things that had silently troubled them for some time.
34. Martha turns on the light, and Lionel's reflection appears in the door. Nice touch.
35. The confession scene with Lionel and Martha was starkly real. "…he never let me explain." Long silence. Martha looking at him in a new light, understanding. Smallville should consider more silences like that. They're profound when, as now, there's nothing to be said. It makes the viewer suspend his breath and lean forward. I found myself putting myself into Lionel and Martha's positions.
36. "I'm sorry if things got awkward. I was really hoping that Clark wouldn't end up in all this, I just don't want to hurt him." "I don't either. I care about him too. But then I have to remind myself that Clark's specialty is barging in where he's not invited and then somehow making you feel like you're the one who should apologize." "Okay, I have a great idea. How about a moratorium on the Clark topic?" This was a very real conversation.
37. Lex sees the mark on his wrist, then says calmly, "I don't know." This was perfectly acted. We saw everything going on behind his mask.
38. "…but, then again, I think like a red-blooded human." Such a good line. Caroline Dries has been excellent at capturing the tone of the characters' dialogue, Lex's subtle and understated humor, Lionel's statements in the form of proverbs. The actors have also taken to her script very naturally.
39. After Lex's thumb healed itself, the look on his face was of suppressed excitement. Perfect acting.
40. Lifelike that Lana said, "What happened?" twice. I don't know if it was in the script or if it was cut that way in the editing room, but it flowed well.
41. "I thought you'd be outside Lana's dorm with your binoculars by now." I like how, strangely enough, with Clark reading his father's card, Lois's entry and her slightly flippant line didn't seem like a jarring interruption. The gentle lighting, the lack of background music, her lowered voice, all somehow made it seem natural and even sympathetic.
42. "I appreciate the concern, but Lana and I are none of your business." I really liked Tom Welling's gentle, dry delivery of this line. This was miles away from his "Fade" conversation with Chloe.
43. "But you've got to trust your gut that you did this for a reason. Whatever reason guys have for dumping hot, smart, fun girls these days." This was funny, because Lois wasn't being clueless or obnoxious, she was just following her train of thought. And it was making sense.
44. Lois's pep talk to Clark was the exact opposite of Martha's pep talk to Lois last episode. Martha was, strangely enough, encouraging Lois to go through dating all the wrong guys so she'd recognize the right one when she met him (?) while Lois, more sensibly, advised Clark to save his love until he was ready to find a treasure.
45. "There are times when I think you don't know me at all…and others when I think you know me better than anyone." Writers, take notice. All we've been seeing are glaring examples of the former. I really would like to see the latter – and not in a cheesy, awkward, stumbling way. A mutual understanding can run beneath the surface and we'll still recognize it...like in this scene.
46. "Speaking of saving things…" "My cake!" This flowed very naturally.
47. "Thought you just came here to get tipsy on Lois's rum cake." That made me laugh. Most of the last scene was just to fill time, but it was so lifelike that it was more like a bonus snapshot into their lives than filler.

Details

1. Nice touch, that Clark, Lois, and Chloe wore blue, yellow, and red, respectively.
2. "You're the one who taught me, 'Keep your friends close and your enemies closer.'" This was a reference to "Rogue" in which Lex gave Clark the same advice. Although Caroline Dries tends to reuse old lines, this particular "re-use" worked perfectly as Clark and Lex's relationship became more and more real (like it was in "Rogue"), and therefore more and more intense.
3. The symbols behind Lionel's eyes seemed to be random. One line I read was LKARTPI.
4. Nice real-life touch, that the date was Thursday, May 4.
5. "He's going to drown you all in your own blood – just like he did me." Incidentally, how did Milton Fine know about Lionel's role in Jonathan's heart attack? Was he making it up on the fly, or had he been a witness to the events in the barn?
6. "Don't touch me. Don't do it." It was interesting that Fine knew what was coming.
7. When Lionel opened the giant safe and showed Clark the papers, two of the papers hanging out were exact copies of each other.
8. Why couldn't Clark read the symbols that Lionel wrote? He's never had difficulty reading symbols before, and when Chloe isolated the ones that said "Zod is coming" he read them without difficulty. On the other hand, they were scattered randomly across the page, and I was only able to make out two distinct words, so perhaps they were encoded.
9. One of the words on the first page they give Chloe is "world" (it's upside-down, in a column on the right). On the next page, the top word is "Vessel".
10. "I've had three exes put under military surveillance." Who would they be? She's dated two guys, one from "Aqua" and one from "Fade". The one from Aqua disappeared into the ocean, the one from "Fade" is dead. She herself said that Aquaman was the first guy she ever dated. Being kidnapped by the guy in "Exposed" (who she met once, when he kidnapped her) is hardly the same thing as dating him.