Voice of Reason: Smallville: Season Seven: Action

Action

Overall

This episode may well be the most confusing episode of "Smallville" ever to air.

First, there was the revelation that Lana has, elaborately enough, purchased thousands of acres of land and kept Lionel locked in a cabin guarded by a well paid half-insane woman. Why? We'll probably never know. Lionel suggests 1) that Lana thinks she imprisoned Lionel to protect Clark, but 2) she really imprisoned Lionel for revenge. Either explanation seems implausible.

Second, there was the baffling relationship between bratty Rachel Davenport and passive Clark. Although Rachel's shallowness and self-centeredness were constantly on display, tender music played when she and Clark shared the screen. Moreover, it was Rachel who was chosen to give Clark his cape. Given that there are half a dozen other people who could have given Clark his cape, making the moment far more significant (think Lionel, Martha, Lana, Lois, Chloe, Lex...), it was highly disappointing for Clark to receive the symbolic gesture from a rather witchy movie star. Every scene between Clark and Rachel made me personally want to protest.

Third, the whole plot of Clark being stalked by the aspiring murderer/PA was based on several unbelievable premises – 1) the idea that Clark would allow the movie to be shot on the Kent farm, when Kara or the Martian Manhunter might drop by at any moment, 2) the idea that Clark would, in the middle of the crowd, open up his fist and stare at the bullet instead of slipping it discreetly into his pocket, and 3) the idea that the insane PA would change his mission from murdering the actress (weird enough) to convincing Clark to save the world by murdering Clark’s girlfriend (way too weird). It was hard enough to believe that the PA would make one of those his mission, much less both. Granted, the PA was insane and illogical. However, his lack of coherent thought made his plot incoherent, which was a problem for the episode. This series of unbelievable events was too much to swallow.

Fourth, Lionel brutally killed Marilyn. See Moment (ad) for more on this, but suffice it to say that his motivation was as confusing as Lana's.

Finally - and most significantly - it was unclear what message the writers were trying to send with the movie-Clark parallel. Particularly in reference to the superhero's girlfriend. Are the writers saying that crazy fans should stop whining about breaks in the mythology and live with the fact that Lana is staying, or are the writers saying that the crazy fans are right and that Lana must go? At times they seemed to protest the fans; at other times, they seemed to agree. In the effort not to mimic the self-parodying style of Supernatural's "Hollywood Babylon," the writers became confused as to what they were trying to say. (It does seem significant, however, that the mouthpiece of the fans - Ben - was thrown into an insane asylum.)

Unfortunately, the one place devoid of confusion was Clark's perspective on saving the world. Throughout the episode, time and time again, people told Clark that he was meant for greater things. Each time, he rejected the idea. The episode ended with dark music as he set his cape on the fence and walked away, completely uninterested. There was no question here - Clark was farther from his destiny than ever.

Aside from that clearly disappointing aspect, the episode was pulled in every possible direction. It wasn't sure what it wanted to say about Lana's existence or motivation for her sick plots, it wasn't sure what it wanted to say about the PA's goals and crazy perspective, it wasn't sure what it wanted to say about Clark and his weird relationship with Rachel, it wasn't sure what it wanted to say about Lionel's newfound violence. The result was chaos.

Verdict: 4.

(Why? Because Lex and Clark had a civil conversation, Caroline Dries wrote some brilliant dialogue for Lionel, and several intentionally entertaining moments made me laugh.)

References to the Future

The references to the future varied from heavy-handed to barely there to hopeful to ominous. Here’s a look at the most significant references.

“Who doesn’t love the story of the small-town boy who grows up to save the world…?” It was enough that Warrior Angel was a superhero and was Smallville’s symbol for Superman…blue outfit, red cape, arch-enemy and all. Chloe announcing more parallels without a real context was too much.
“It turns out that not all the fans are all that enthusiastic about the film’s interpretation. The movie stays true to the mythology in all ways but one: in the comics, Warrior Angel’s girlfriend dies.” The fans are quietly mocked here. The message seems to be that fans are overreacting, and that mythology can be changed without ruining the story.
“Who needs Warrior Angel when we’ve got our very own Clark Kent?” Nice. It was jocular, it had an olive-branch context, and coming from Lex, it was all the more significant.
“One of my favorites. It’s the first time the arch-rival Devilicus gets the upper hand.” At first I read this moment as an indication that Lex enjoyed Devilicus winning. However, now I think this was the wrong interpretation. After all, Lex loved and admired the bald Warrior Angel. Instead, this must have been Lex’s favorite because Devilicus’ triumph over Warrior Angel forced Warrior Angel to new heights – which was the same reason other Warrior Angel fans were so passionate about the issue.
Lex describes the events of the comic book, Devilicus killing Penelope and forcing Warrior Angel to embrace his destiny. Primarily, of course, this simply serves as a clue to understanding the fans and their perspective. However, there are two other potential interpretations. 1) The writers are agreeing that fans are right – it’s pivotal that the hero be free of the girlfriend. And/or, 2) Lex, Smallville’s Devilicus, is going to kill the hero’s girlfriend, a.k.a. Lana. Another confusing moment of ambiguity.
“In the comic book world, when you’re destined to save mankind, you’re destined to be alone.” This reminder that Clark is destined to be alone suggests, again, that the writers are agreeing with the fans – the hero must be free of the girlfriend.
“Nice catch, superhero.” We probably all agree on this reference, so I won’t go into it here.
Lex to Lois, comparing her to other journalists: “Do you really think you’re different?” Nice line.
“I saw what you did. It’s your job to save the world. Save it.” There is a number of ways to react to this line. 1) We can be offended that the crazy fan who symbolizes crazy Smallville fans is telling Clark to save the world already. Are we being mocked? 2) We can be disappointed that Clark’s reaction is, “This guy is nuts. He’s lost it.” Saving the world seems farther away than ever when Clark rejects his destiny so flatly. It doesn’t get any clearer than that. 3) We can be delighted that someone in the Smallville universe is telling Clark to save the world. It’s a reference to the future! Personally…I tend to side with 1 and 2.
“…no one believes in heroes anymore. Including you, Clark.” This could be a message to the fans that the writers recognize how far Clark is from his destiny and are acknowledging the error? Should we take hope that the writers see how Clark has fallen? Or was this simply confirmation that Clark is going to keep dreaming of normality and failing to recognize his destiny?
“You need help. You just don’t know it yet.” Was this 1) acknowledgment that Clark needs help, with the implication that he will receive it? 2) a mockery of insane Smallville fans who rant that Clark needs help? 3) a sign, intentional or unintentional, that Clark will fight “help” every step of the way?
“[Ben thought] that I was supposed to stand for something greater. It was my job to save the world.” Clark says it mockingly, which pains us. Chloe, insinuatingly: “He didn’t think ‘organic farmer’ was a close second?” Clark, firmly: “This guy’s delusional, Chloe. You couldn’t possibly agree with him.” As encouraging as it is that Chloe sides with the crazy fans on this issue, it was highly disturbing to see Clark repeatedly and firmly denying his destiny. He doesn’t even consider the possibility that Ben’s proposition might be valid; he promptly and categorically rejects it. This exemplifies why so many fans were disappointed with Clark in this episode.
“Until he gives up his own desires and focuses on the rest of the world, thousands of lives are at stake.” The problem here is that most of the viewers were cheering for Ben. There is no denying that he was completely right about Clark’s future. And the fact that the character who made this statement was thrown into an insane asylum is highly discouraging.
“I know it’s not easy being a superhero’s girlfriend, Lana. But Clark has to face his destiny. Alone. And you’re standing in the way.” Again, it was unclear if the writers agreed or disagreed with this.
“Millions of people look up to Warrior Angel. What if those people could look up to you instead?” This was a solid future reference. It had context and the writers’ intentions were clear.
“But one day the world will need you more than I do, and I don’t want to be the one holding you here.” Lana is not a small-town girl. She’s proven that she can, so to speak, “run with the big dogs”. She can handle the stress, she’s always been stalked, and she can definitely enjoy city life. So why would she hold Clark to Smallville?
“I’m not going anywhere. For the first time in my life, I have everything I’ve ever wanted, and it’s right here on this farm with you.” Clark confirms that everything he loves will have to go before he’ll finally accept his destiny. That’s…depressing.
Ominous music plays as Clark withdraws the cape from the box…and leaves it on the fence. He doesn’t even bring it inside. The final image is of him walking away from his destiny. That is, in a nutshell, what made this episode depressing.

Good/Bad Moments

Chloe has finally created a backstory for Kara. Late as this development was, I appreciated the continuity of this moment, and the fact that Lex would soon find said backstory.
“Rachel Davenport is not just a star. She’s practically her own constellation.” I appreciated that Chloe got a smart, unusual line. Chloe used to deliver nothing but smart, unusual lines, but over the past three years her dialogue had become disappointingly normal. This was a great, refreshingly characteristic moment for her.
“You were already asleep when I got home from Nell’s. And you looked so cute I couldn’t bear to wake you.” This was a sweet line, but Lana’s delivery was very studied and…well, coochy-coo-ish.
“After all these years of reading these articles, you’d think I would have figured it out.” “I guess people only see what they think is possible.” This was a nice moment, providing much-needed justification for Lana’s combined suspicion and obtuseness.
“Warrior Angel’s about to stand me up. It’s heartbreaking.” “In his defense, I’m sure he has a good excuse.” It’s a nice touch that Clark identifies with the superhero’s plight. This is good. Not great, but good.
Rachel: “You know, it’s refreshing for someone to see the real me. Not just the tabloid version.” She is self-conscious, self-promoting, and self-consumed. Yet Clark seems to be sympathetic. I didn’t understand this moment.
Chloe is ushered up, looking stiff and starstruck. Rachel graciously extends a hand: “Hi.” Chloe giggles a little as she hesitantly takes the hand: “Hi.” This is completely unlike Chloe. She’s daunted by no one, even doing the unthinkable and standing up to Lionel in Season Three. She’s comfortable wherever and whenever. What was this about?
Lionel, pale and clammy, lies in bed in the cabin. Offscreen, a female voice coos, “You decided to join us.” I expected the camera to reveal Lana sitting there. Although it instead revealed Marilyn, it seemed obvious from the start that Lana was the hidden hand behind Lionel’s imprisonment.
“Tell me the truth. Are you different from other men?” “How can you ask me that? You barely know me.” “I know you well enough to see that you walk around with a secret so powerful, it won’t let you close to anyone.” From the opening line, it was clear that they were rehearsing. Maybe this was supposed to be a cute Superman reference, but it felt more like the beginning of a joke where we already knew the punchline. (Hence its place in Moments rather than References.)
“You can’t hurt me if you love me.” Rachel makes a dive for Clark’s lips. This was a delightful bit of self-parody, as Rachel exaggerated Lana’s aggressive role over the years.
“You know what, I’m gonna go to the kitchen. Have some cookies and drink whole milk.” I know she was joking about the cookies and milk, but Rachel seemed far too comfortable in the Kent home.
“Well, I didn’t want to freak her out, but Chloe might have found a clue about the attacker.” This was a strange delivery. It sounded like she said that Clowy might have found a clew about the attackher.
I was delighted that Lex and Clark managed to have a civil conversation. Clark didn’t find it necessary to angrily defend himself from Lex’s insinuations about hero-dom, and Lex didn’t find it necessary to bump and nudge Clark out of his comfort zone. Moreover, their voices were actually normal. They weren’t spitting harmless lines at each other, and they weren’t calmly delivering venemous lines; for once, both words and manner were normal and courteous. This was writing, directing, and acting coming together. Kudos to all.
“Actually, that’s why I’m here. I was wondering if you could help me with a reference. You’re the biggest Warrior Angel fan I know.” I love it. Clark sounds open, he doesn’t speak demeaningly, and even though he’s running to Lex asking for help again…at least he’s asking for help again. Of course, practically speaking, he could always try the Internet, Wikipedia, etc., but this works.
“I have to admit, yours is the last nose I’d expect to find in a comic.” This was oddly phrased. I pictured a comic drawing of Clark’s nose.
Dark music. Lex: “He shoots her.” Clark, startled, looks up. Lex goes on to describe Warrior Angel arriving too late to save his girlfriend, all the while with a backdrop of ominous music playing behind him. There’s a sense of foreboding here that led some viewers to believe that Lex, as Smallville’s Devilicus, will shoot Lana, Smallville’s Penelope. However, the dark music continues to play as Clark says, “But I read the script. In the movie version, Warrior Angel saves his girlfriend’s life,” and Lex replies, “Sounds like Hollywood went for the happy ending.” This appears to indicate that we are supposed to worry, not for Lana, but for Rachel Davenport, playing Penelope.
“In the comic book world, when you’re destined to save mankind, you’re destined to be alone.” Another reference to the loneliness of hero-dom. As encouraging as it is to see the theme of a hero bearing burdens alone, they started Season Six with the same theme – Clark isolated from almost everyone and bearing the weight of the world…or theworldaffectedbyphantoms…on his shoulders. The theme quickly died. I hope that these references are part of a larger plan.
Devilicus fires, no bullet emerges, and Warrior Angel toddles up and grabs the imaginary bullet way too late. Funny moment. I’m not sure if it was supposed to be funny – the awkward, slow attempt to catch the bullet while Clark catches the bullet in reality – but it was entertaining.
“Nice catch, superhero.” This was an unfortunate line.
It was good to see Lois wearing glasses and bangs and sneaking into Luthorcorp in an attempt to write a Daily Planet article. Refreshing to see that Lois is good for more than punch lines and skin exposure.
I appreciated it that when Lex confronted Lois, he didn’t bully her and she didn’t bully him. It didn’t turn into a rewarmed battle of wills; instead, more believably, he appealed to her rationally, and she responded in kind by showing him the evidence. In Smallville’s earlier seasons, the reason I loved the show was because the characters were so intelligent and well-spoken, making for interesting relationships and fascinating interaction. This scene hearkened back to those days. I could believe this exchange.
Lois shows Lex the “LL” initials. I have in my notes, “Lana Lang, I presume.” The problem with Lana’s kidnapping plot was that we could see it coming far before the big reveal
Lionel slowly and painfully pulls his hand out of the bear trap, scratching it. Although having his hand in a bear trap in the first place was a clue that this moment would come, its gruesomeness was definitely a surprise. All of Lionel’s scenes felt too long, but this one in particular seemed to last forever: there was nothing to enjoy and everything to skip.
Lionel shouts, “But I don’t have time!” before knocking Marilyn out. This didn’t play out believably: he gave her ample time to duck or dive out of the way. They should have cut that line, or at least had him start it before she stood up. As it was, it was definitely a TV moment.
“How long have you and Rachel been dating?” Cute moment, taking a jab at reporters and fans who speculate about relationships without proof. (Hayden and Milo fans, take note.)
“Are you an aspiring actor?” Fun moment.
Clark enters, to find Rachel surrounded by twinkling lights, getting a massage. Although the message, to me, is that Rachel is taking too many liberties and is generally insufferable, tender music plays behind the moment. Again, I was baffled. The writers seemed determined to make their relationship sweet and Rachel sour at the same time.
“How did he escape, Marilyn?” “I don’t know.” “I’m not paying you to make mistakes.” This was a shock. It was conceivable that Lana would knock Lionel out with a shovel, given her hatred for Lionel in the past; but the way she addresses Marilyn is the short, cruel way a villain addresses an underling. Moreover, she finds the situation so emotionally intense that her voice trembles. This was so different from anything we’ve seen from Lana before that I feared that fan speculation could be correct – that this Lana could be a clone.
Lana answers the phone with a smile. “ Clark, hi. Just watching a movie with Aunt Nell.” I appreciated it that the writers went the extra mile, so to speak. They didn’t let the magnitude of Lana’s secrets and lies escape us – this moment inexorably demonstrated the lengths of her duplicity.
Lionel gruesomely kills Marilyn. He’s merciless. First, this clearly hearkened back to Lex’s slaying of his demons in the S3 premiere. Was this significant? Second, whether the S3 reference was intentional or not, what was the significance of the moment? Is Lionel becoming Lex rather than vice versa? Is Lionel facing his own demons? Is Lionel-without-Martha far more villainous than Lionel-with-Martha? Did Lionel simply go into a panic from being held prisoner? Did the strenght of Jor-El help Lionel to escape his bonds? Or was this just a sign that Lionel was going to be Lana’s worst enemy this season? I had a hard time understanding this moment.
“Oh, God, I can’t escape work for three seconds? How did you find me?” Rachel, frustrated, takes it out on the PA. This moment seems like confirmation – she’s a jerk. This makes the decision at the end all the more inexplicable.
“If Ben is this fractured, we’re going to need to loosen a few screws…” Chloe made some very awkward hand gestures here. Allison Mack seemed unenthusiastic here; this felt like another TV moment.
In the loft scene between Lionel and Lana, Lionel had completely regained his knack for intelligent, nuanced dialogue. Applause to Caroline Dries.
“It’s hardly reassuring to read your own obituary. But then again, you should know that, shouldn’t you?” Nice line.
“They said that you were being held captive by a crazy woman.” “Ah heh heh heh. Indeed I was. You.” Delightful moment.
“I would never be involved in something like that.” “Oh, please. That line stopped working for you the day you faked your own death.” Lionel is hysterical here.
“I’m sure that you’ve managed to convince yourself that you did everything for the sake of Clark Kent.” We hadn’t had the faintest idea why Lana did what she did. This suggestion – that she would buy a large amount of land and pay a wild-haired woman to keep Lionel prisoner so that Lionel couldn’t hurt Clark – came as a surprise. Would Lana really be that obsessive and delusional? That puts her on the level of Ben.
“Lana, please listen to me. You are on the edge of a dangerous precipice. You could easily tumble down into some place very dark and very hard to escape.” Lana’s facial expressions here are a fascinating study. Initially, Lana listens, honestly worried; but by the end she’s forced a smile and is ready with a reply. Does this moment imply that Lana is concerned about the implications of her actions?
“I don’t believe your good intentions. You’re not trying to protect Clark. This is about retribution. Let him go, Lana, before it’s too late.” First, the idea that Lana would follow through with such a maniacal scheme for the sake of revenge is at least equally hard to believe. One hopes that Lionel was unsuccessful in divining her conscious and subconscious motives, because his suggestions (protection and revenge) were both inadequate. Second, if Lana’s motivation was revenge, then why would Lionel follow up with, “Let him go, Lana, before it’s too late”? Revenge had nothing to do with Clark. This moment was baffling.
“There’s nothing to say. It was all in my head.” This was a nice moment. Ben recognizes that Clark is the hero and that he must not be betrayed. In the future, it’s possible that Ben could be cured and become an idealistic ally.
When Clark looked in the box and drew out the red cloth, the color of the cloth combined with the folds and wrinkles made it look like Rachel’s bathrobe. This moment was briefly confusing, since we had only seen a closeup of Warrior Angel wearing the cape once.

Details

Now the Talon is advertising “Super Mocha Mondays”.
After offering to let a movie be shot at his farm, saving the star, making the front page, and doubtless getting pestered by reporters, Clark stands in front of the house and barehandedly plunges fence posts into the ground. That’s not too bright.
It’s interesting to note that, even though Lex no longer enjoys reading the Warrior Angel comic books, 1) he keeps his comic book collection in a hidden compartment in his study, and 2) he gives permission for the moviemakers to use the Talon, at least for hair and makeup purposes.
“I got my start on a medical drama. Two seasons of bad memories.” This line clearly didn’t have anything to do with anything. It was so blatantly out of place that I assumed the actress must have gotten her start on a medical drama, and this was a backhanded shout-out. However, she didn’t. Neither did Tom Welling. Neither did the writer, Caroline Dries. So…why the line? I feel like I'm missing something here...if I am, let me know.
“No offense, Ms. Davenport, but the only accident here is that Clark saved your life.” This was an odd moment. Why would Chloe preface her statement with “no offense”? There was nothing inherently offensive about saying that someone tried to kill Rachel. This suggested that there might be something offensive about the way she said it. In consequence, I kept scanning the line looking for a way it might be offensive, and concluded that referring to Rachel’s being alive as something that wasn’t supposed to be might be considered offensive. In which case it would have been better for Chloe to simply phrase her response differently.
“Besides, orphanages, hospitals? Nobody goes to bed Satan and wakes up Oprah. It’s a front.” Actually, Lex was playing the do-gooder in Season Six. In “Sneeze,” Chloe read the headline, “Lex Luthor Donates Millions to Rebuild City.” Yes, he appears to be changed to us. We’ve seen him in his most private moments. But to Lois, there shouldn’t be a recognizable difference in Lex’s behavior. He was never a public Satan: he was always portraying himself as the public Oprah.
The posts on the board read:
DevilicusRebel: “When will Davenport learn? Our Hero lives in Solitude. Her blood will unleash the truth.”
AngelBabe: “DevilicusRebel – what’s wrong with you! Love conquers all! Get a grip – if the gal pal lives, Hollywood makes a buck or two more luring not just the comic book geeks like you – but their GIRLFRIENDS too!”
Strangely, the top reads, “You are now logged in as DevilicusRebel”.
Lex looks at a picture of Kara pouring coffee. This brings up an interesting question. Now that she’s left the Kent farm, is she still working at the Talon? Presumably not, since Clark notes that when she returns she will appreciate the backstory Chloe established for her. If they were never going to show Kara working at the Talon, then why did they have Kara get a job at the Talon?
“Was a fan. I haven’t picked up a comic since we were friends.” Lex explains that comics lost their appeal when he and Clark broke off their friendship and he began to see good and evil as grey. 1) This is an interestingly postmodern comment. Are the writers portraying postmodern philosophy as misguided? 2) Was there a correlation between his broken relationship with Clark and his changed view on good and evil? He mentions them as if they corresponded. 3) Which broken friendship was this? The real break was at the end of Season Three, but they temporarily patched things up in Season Four. Season Four showed Lex blurring his moral line a great deal, however. On the other hand, the friendship supposedly didn’t beyond repair until Lex touched the crystal and became Alexander, prompting Clark to charge in and beat him up. Judging by Lex’s Season Four behavior, though, I’d guess it was a reference to the first time their friendship broke.
“This could be a clue to the next attack.” The paper Clark hands Lex isn’t the same paper he examined in the loft. This paper has AngelBabe quoting DevilicusRebel in his/her reply, rather than replying below DevilicusRebel’s original post.
Clark opens his hand to reveal the bullet. As I mentioned before, the reasonable thing for Clark to do would be to slip the bullet into his pocket and dispose of it later.
The Luthorcorp building now towers higher above the Daily Planet than ever. Here’s a brief history of the rise of Luthorcorp, so to speak…

Insurgence (leaping from Daily Planet to Luthorcorp)

Trespass

Action
Lois Lane made it past security with a security card bearing the name “Sadie Blodgett”. This is a reference to the comics.
Clark says with authority, “Let’s go. We’re leaving now. This place isn’t safe anymore.” Rachel doesn’t have any bodyguards? There isn’t anyone with whom she must consult before relocating to a different city?
“One post and all of a sudden you’re everyone’s favorite boy wonder.” Shouldn’t that be “you’ll be”?
The PA tasers Lana while holding her down. Since he’s making contact with her body, shouldn’t he get shocked too?
The camera has a circling upward shot of the Daily Planet…and there’s no towering Luthorcorp building in sight. Granted, the shot only covered three sides of the Daily Planet building, so perhaps we are to assume that the shot of the fourth side would have revealed the Luthorcorp Building.
Clark catches Lana, gazing into her eyes. As the lights of the building flash past, we hope he’ll float to a stop. Instead he lands on a car, hard. 1) Who’s paying for the car? 2) This confirms that Clark had to have flown or floated in “Hidden”…or else caused some major damage.
Once again, the main plots appear to be resolved 31 minutes in. Interesting. I wonder if this is going to become Smallville’s new format. Recently each episode’s main events have had serious repercussions – ten minutes’ worth – and so resolution of the main plotlines have come early. This probably eliminates filler and shows us what we really want to see, so this works for me.
Not only was Lois’ article horribly written, but after the first three paragraphs it turned into the familiar report on the second meteor shower, which has been popping up ever since the beginning of Season Five: “The search for Metropolis Billionaire and CEO of Luthorcorp has been concluded on a happy note. Lionel Luthor was found alive wandering on a highway near Reeves Dam. He was hospitalized overnight for observation and treated for dehydration but is otherwise healthy. Luthor is happy to be back at the helm of Luthorcorp./’I would like to extend my appreciation to all involved in the search. I remained optimistic at all times and everything is back to normal. Thank you for all of your attention.’ Release of Luthor’s statement came from his Publicist./An influential icon in the Cultural Arts field and a scientific leader of Research and Development, Lionel Luthor is an integral part of Metropolis’ Society. His presence was severely missed and suspicions were arising./Scientists are describing the events that took place in Smallville, Kansas as an incredibly rare astronomical event. The Small town was hit by its second meteor shower in sixteen years. Twenty-three people are dead, and scores of others are injured. Among the dead were the Metropolis socialite Genevieve Teague and her son Jason Teague…”
We didn’t notice until he appeared in the loft, but Lionel has gotten a haircut. Was it cut by Marilyn?
The leftmost Warrior Angel comic book still has a blood stain from Ryan’s nosebleed in “Ryan”. Nice continuity.

Ryan

Action
“Because I’ve been known to believe in something even after the whole world tells me I’m wrong.” If Lex wants the comic book geek’s help, why does he quote the villain?
Rachel gives Clark a prop - a red cape. Would she really leave him the cape? That’s the kind of gift that you either wonder what on earth to do with it, or auction it on eBay. Clearly Clark doesn't think much of it, as he leaves it on the fence.

Screencaps courtesy of Devoted to Smallville and SVFan.com




Action Overall This episode may well be the most confusing episode of "Smallville" ever to air. First, there was the revelation that Lana has, elaborately enough, purchased thousands of acres of land and kept Lionel locked in a cabin guarded by a well paid half-insane woman. Why? We'll probably never know. Lionel suggests 1) that Lana thinks she imprisoned Lionel to protect Clark, but 2) she really imprisoned Lionel for revenge. Either explanation seems implausible. Second, there was the baffling relationship between bratty Rachel Davenport and passive Clark. Although Rachel's shallowness and self-centeredness were constantly on display, tender music played when she and Clark shared the screen. Moreover, it was Rachel who was chosen to give Clark his cape. Given that there are half a dozen other people who could have given Clark his cape, making the moment far more significant (think Lionel, Martha, Lana, Lois, Chloe, Lex...), it was highly disappointing for Clark to receive the symbolic gesture from a rather witchy movie star. Every scene between Clark and Rachel made me personally want to protest. Third, the whole plot of Clark being stalked by the aspiring murderer/PA was based on several unbelievable premises – 1) the idea that Clark would allow the movie to be shot on the Kent farm, when Kara or the Martian Manhunter might drop by at any moment, 2) the idea that Clark would, in the middle of the crowd, open up his fist and stare at the bullet instead of slipping it discreetly into his pocket, and 3) the idea that the insane PA would change his mission from murdering the actress (weird enough) to convincing Clark to save the world by murdering Clark’s girlfriend (way too weird). It was hard enough to believe that the PA would make one of those his mission, much less both. Granted, the PA was insane and illogical. However, his lack of coherent thought made his plot incoherent, which was a problem for the episode. This series of unbelievable events was too much to swallow. Fourth, Lionel brutally killed Marilyn. See Moment (ad) for more on this, but suffice it to say that his motivation was as confusing as Lana's. Finally - and most significantly - it was unclear what message the writers were trying to send with the movie-Clark parallel. Particularly in reference to the superhero's girlfriend. Are the writers saying that crazy fans should stop whining about breaks in the mythology and live with the fact that Lana is staying, or are the writers saying that the crazy fans are right and that Lana must go? At times they seemed to protest the fans; at other times, they seemed to agree. In the effort not to mimic the self-parodying style of Supernatural's "Hollywood Babylon," the writers became confused as to what they were trying to say. (It does seem significant, however, that the mouthpiece of the fans - Ben - was thrown into an insane asylum.) Unfortunately, the one place devoid of confusion was Clark's perspective on saving the world. Throughout the episode, time and time again, people told Clark that he was meant for greater things. Each time, he rejected the idea. The episode ended with dark music as he set his cape on the fence and walked away, completely uninterested. There was no question here - Clark was farther from his destiny than ever. Aside from that clearly disappointing aspect, the episode was pulled in every possible direction. It wasn't sure what it wanted to say about Lana's existence or motivation for her sick plots, it wasn't sure what it wanted to say about the PA's goals and crazy perspective, it wasn't sure what it wanted to say about Clark and his weird relationship with Rachel, it wasn't sure what it wanted to say about Lionel's newfound violence. The result was chaos. Verdict: 4. (Why? Because Lex and Clark had a civil conversation, Caroline Dries wrote some brilliant dialogue for Lionel, and several intentionally entertaining moments made me laugh.) References to the Future The references to the future varied from heavy-handed to barely there to hopeful to ominous. Here’s a look at the most significant references. “Who doesn’t love the story of the small-town boy who grows up to save the world…?” It was enough that Warrior Angel was a superhero and was Smallville’s symbol for Superman…blue outfit, red cape, arch-enemy and all. Chloe announcing more parallels without a real context was too much. “It turns out that not all the fans are all that enthusiastic about the film’s interpretation. The movie stays true to the mythology in all ways but one: in the comics, Warrior Angel’s girlfriend dies.” The fans are quietly mocked here. The message seems to be that fans are overreacting, and that mythology can be changed without ruining the story. “Who needs Warrior Angel when we’ve got our very own Clark Kent?” Nice. It was jocular, it had an olive-branch context, and coming from Lex, it was all the more significant. “One of my favorites. It’s the first time the arch-rival Devilicus gets the upper hand.” At first I read this moment as an indication that Lex enjoyed Devilicus winning. However, now I think this was the wrong interpretation. After all, Lex loved and admired the bald Warrior Angel. Instead, this must have been Lex’s favorite because Devilicus’ triumph over Warrior Angel forced Warrior Angel to new heights – which was the same reason other Warrior Angel fans were so passionate about the issue. Lex describes the events of the comic book, Devilicus killing Penelope and forcing Warrior Angel to embrace his destiny. Primarily, of course, this simply serves as a clue to understanding the fans and their perspective. However, there are two other potential interpretations. 1) The writers are agreeing that fans are right – it’s pivotal that the hero be free of the girlfriend. And/or, 2) Lex, Smallville’s Devilicus, is going to kill the hero’s girlfriend, a.k.a. Lana. Another confusing moment of ambiguity. “In the comic book world, when you’re destined to save mankind, you’re destined to be alone.” This reminder that Clark is destined to be alone suggests, again, that the writers are agreeing with the fans – the hero must be free of the girlfriend. “Nice catch, superhero.” We probably all agree on this reference, so I won’t go into it here. Lex to Lois, comparing her to other journalists: “Do you really think you’re different?” Nice line. “I saw what you did. It’s your job to save the world. Save it.” There is a number of ways to react to this line. 1) We can be offended that the crazy fan who symbolizes crazy Smallville fans is telling Clark to save the world already. Are we being mocked? 2) We can be disappointed that Clark’s reaction is, “This guy is nuts. He’s lost it.” Saving the world seems farther away than ever when Clark rejects his destiny so flatly. It doesn’t get any clearer than that. 3) We can be delighted that someone in the Smallville universe is telling Clark to save the world. It’s a reference to the future! Personally…I tend to side with 1 and 2. “…no one believes in heroes anymore. Including you, Clark.” This could be a message to the fans that the writers recognize how far Clark is from his destiny and are acknowledging the error? Should we take hope that the writers see how Clark has fallen? Or was this simply confirmation that Clark is going to keep dreaming of normality and failing to recognize his destiny? “You need help. You just don’t know it yet.” Was this 1) acknowledgment that Clark needs help, with the implication that he will receive it? 2) a mockery of insane Smallville fans who rant that Clark needs help? 3) a sign, intentional or unintentional, that Clark will fight “help” every step of the way? “[Ben thought] that I was supposed to stand for something greater. It was my job to save the world.” Clark says it mockingly, which pains us. Chloe, insinuatingly: “He didn’t think ‘organic farmer’ was a close second?” Clark, firmly: “This guy’s delusional, Chloe. You couldn’t possibly agree with him.” As encouraging as it is that Chloe sides with the crazy fans on this issue, it was highly disturbing to see Clark repeatedly and firmly denying his destiny. He doesn’t even consider the possibility that Ben’s proposition might be valid; he promptly and categorically rejects it. This exemplifies why so many fans were disappointed with Clark in this episode. “Until he gives up his own desires and focuses on the rest of the world, thousands of lives are at stake.” The problem here is that most of the viewers were cheering for Ben. There is no denying that he was completely right about Clark’s future. And the fact that the character who made this statement was thrown into an insane asylum is highly discouraging. “I know it’s not easy being a superhero’s girlfriend, Lana. But Clark has to face his destiny. Alone. And you’re standing in the way.” Again, it was unclear if the writers agreed or disagreed with this. “Millions of people look up to Warrior Angel. What if those people could look up to you instead?” This was a solid future reference. It had context and the writers’ intentions were clear. “But one day the world will need you more than I do, and I don’t want to be the one holding you here.” Lana is not a small-town girl. She’s proven that she can, so to speak, “run with the big dogs”. She can handle the stress, she’s always been stalked, and she can definitely enjoy city life. So why would she hold Clark to Smallville? “I’m not going anywhere. For the first time in my life, I have everything I’ve ever wanted, and it’s right here on this farm with you.” Clark confirms that everything he loves will have to go before he’ll finally accept his destiny. That’s…depressing. Ominous music plays as Clark withdraws the cape from the box…and leaves it on the fence. He doesn’t even bring it inside. The final image is of him walking away from his destiny. That is, in a nutshell, what made this episode depressing. Good/Bad Moments Chloe has finally created a backstory for Kara. Late as this development was, I appreciated the continuity of this moment, and the fact that Lex would soon find said backstory. “Rachel Davenport is not just a star. She’s practically her own constellation.” I appreciated that Chloe got a smart, unusual line. Chloe used to deliver nothing but smart, unusual lines, but over the past three years her dialogue had become disappointingly normal. This was a great, refreshingly characteristic moment for her. “You were already asleep when I got home from Nell’s. And you looked so cute I couldn’t bear to wake you.” This was a sweet line, but Lana’s delivery was very studied and…well, coochy-coo-ish. “After all these years of reading these articles, you’d think I would have figured it out.” “I guess people only see what they think is possible.” This was a nice moment, providing much-needed justification for Lana’s combined suspicion and obtuseness. “Warrior Angel’s about to stand me up. It’s heartbreaking.” “In his defense, I’m sure he has a good excuse.” It’s a nice touch that Clark identifies with the superhero’s plight. This is good. Not great, but good. Rachel: “You know, it’s refreshing for someone to see the real me. Not just the tabloid version.” She is self-conscious, self-promoting, and self-consumed. Yet Clark seems to be sympathetic. I didn’t understand this moment. Chloe is ushered up, looking stiff and starstruck. Rachel graciously extends a hand: “Hi.” Chloe giggles a little as she hesitantly takes the hand: “Hi.” This is completely unlike Chloe. She’s daunted by no one, even doing the unthinkable and standing up to Lionel in Season Three. She’s comfortable wherever and whenever. What was this about? Lionel, pale and clammy, lies in bed in the cabin. Offscreen, a female voice coos, “You decided to join us.” I expected the camera to reveal Lana sitting there. Although it instead revealed Marilyn, it seemed obvious from the start that Lana was the hidden hand behind Lionel’s imprisonment. “Tell me the truth. Are you different from other men?” “How can you ask me that? You barely know me.” “I know you well enough to see that you walk around with a secret so powerful, it won’t let you close to anyone.” From the opening line, it was clear that they were rehearsing. Maybe this was supposed to be a cute Superman reference, but it felt more like the beginning of a joke where we already knew the punchline. (Hence its place in Moments rather than References.) “You can’t hurt me if you love me.” Rachel makes a dive for Clark’s lips. This was a delightful bit of self-parody, as Rachel exaggerated Lana’s aggressive role over the years. “You know what, I’m gonna go to the kitchen. Have some cookies and drink whole milk.” I know she was joking about the cookies and milk, but Rachel seemed far too comfortable in the Kent home. “Well, I didn’t want to freak her out, but Chloe might have found a clue about the attacker.” This was a strange delivery. It sounded like she said that Clowy might have found a clew about the attackher. I was delighted that Lex and Clark managed to have a civil conversation. Clark didn’t find it necessary to angrily defend himself from Lex’s insinuations about hero-dom, and Lex didn’t find it necessary to bump and nudge Clark out of his comfort zone. Moreover, their voices were actually normal. They weren’t spitting harmless lines at each other, and they weren’t calmly delivering venemous lines; for once, both words and manner were normal and courteous. This was writing, directing, and acting coming together. Kudos to all. “Actually, that’s why I’m here. I was wondering if you could help me with a reference. You’re the biggest Warrior Angel fan I know.” I love it. Clark sounds open, he doesn’t speak demeaningly, and even though he’s running to Lex asking for help again…at least he’s asking for help again. Of course, practically speaking, he could always try the Internet, Wikipedia, etc., but this works. “I have to admit, yours is the last nose I’d expect to find in a comic.” This was oddly phrased. I pictured a comic drawing of Clark’s nose. Dark music. Lex: “He shoots her.” Clark, startled, looks up. Lex goes on to describe Warrior Angel arriving too late to save his girlfriend, all the while with a backdrop of ominous music playing behind him. There’s a sense of foreboding here that led some viewers to believe that Lex, as Smallville’s Devilicus, will shoot Lana, Smallville’s Penelope. However, the dark music continues to play as Clark says, “But I read the script. In the movie version, Warrior Angel saves his girlfriend’s life,” and Lex replies, “Sounds like Hollywood went for the happy ending.” This appears to indicate that we are supposed to worry, not for Lana, but for Rachel Davenport, playing Penelope. “In the comic book world, when you’re destined to save mankind, you’re destined to be alone.” Another reference to the loneliness of hero-dom. As encouraging as it is to see the theme of a hero bearing burdens alone, they started Season Six with the same theme – Clark isolated from almost everyone and bearing the weight of the world…or theworldaffectedbyphantoms…on his shoulders. The theme quickly died. I hope that these references are part of a larger plan. Devilicus fires, no bullet emerges, and Warrior Angel toddles up and grabs the imaginary bullet way too late. Funny moment. I’m not sure if it was supposed to be funny – the awkward, slow attempt to catch the bullet while Clark catches the bullet in reality – but it was entertaining. “Nice catch, superhero.” This was an unfortunate line. It was good to see Lois wearing glasses and bangs and sneaking into Luthorcorp in an attempt to write a Daily Planet article. Refreshing to see that Lois is good for more than punch lines and skin exposure. I appreciated it that when Lex confronted Lois, he didn’t bully her and she didn’t bully him. It didn’t turn into a rewarmed battle of wills; instead, more believably, he appealed to her rationally, and she responded in kind by showing him the evidence. In Smallville’s earlier seasons, the reason I loved the show was because the characters were so intelligent and well-spoken, making for interesting relationships and fascinating interaction. This scene hearkened back to those days. I could believe this exchange. Lois shows Lex the “LL” initials. I have in my notes, “Lana Lang, I presume.” The problem with Lana’s kidnapping plot was that we could see it coming far before the big reveal Lionel slowly and painfully pulls his hand out of the bear trap, scratching it. Although having his hand in a bear trap in the first place was a clue that this moment would come, its gruesomeness was definitely a surprise. All of Lionel’s scenes felt too long, but this one in particular seemed to last forever: there was nothing to enjoy and everything to skip. Lionel shouts, “But I don’t have time!” before knocking Marilyn out. This didn’t play out believably: he gave her ample time to duck or dive out of the way. They should have cut that line, or at least had him start it before she stood up. As it was, it was definitely a TV moment. “How long have you and Rachel been dating?” Cute moment, taking a jab at reporters and fans who speculate about relationships without proof. (Hayden and Milo fans, take note.) “Are you an aspiring actor?” Fun moment. Clark enters, to find Rachel surrounded by twinkling lights, getting a massage. Although the message, to me, is that Rachel is taking too many liberties and is generally insufferable, tender music plays behind the moment. Again, I was baffled. The writers seemed determined to make their relationship sweet and Rachel sour at the same time. “How did he escape, Marilyn?” “I don’t know.” “I’m not paying you to make mistakes.” This was a shock. It was conceivable that Lana would knock Lionel out with a shovel, given her hatred for Lionel in the past; but the way she addresses Marilyn is the short, cruel way a villain addresses an underling. Moreover, she finds the situation so emotionally intense that her voice trembles. This was so different from anything we’ve seen from Lana before that I feared that fan speculation could be correct – that this Lana could be a clone. Lana answers the phone with a smile. “ Clark, hi. Just watching a movie with Aunt Nell.” I appreciated it that the writers went the extra mile, so to speak. They didn’t let the magnitude of Lana’s secrets and lies escape us – this moment inexorably demonstrated the lengths of her duplicity. Lionel gruesomely kills Marilyn. He’s merciless. First, this clearly hearkened back to Lex’s slaying of his demons in the S3 premiere. Was this significant? Second, whether the S3 reference was intentional or not, what was the significance of the moment? Is Lionel becoming Lex rather than vice versa? Is Lionel facing his own demons? Is Lionel-without-Martha far more villainous than Lionel-with-Martha? Did Lionel simply go into a panic from being held prisoner? Did the strenght of Jor-El help Lionel to escape his bonds? Or was this just a sign that Lionel was going to be Lana’s worst enemy this season? I had a hard time understanding this moment. “Oh, God, I can’t escape work for three seconds? How did you find me?” Rachel, frustrated, takes it out on the PA. This moment seems like confirmation – she’s a jerk. This makes the decision at the end all the more inexplicable. “If Ben is this fractured, we’re going to need to loosen a few screws…” Chloe made some very awkward hand gestures here. Allison Mack seemed unenthusiastic here; this felt like another TV moment. In the loft scene between Lionel and Lana, Lionel had completely regained his knack for intelligent, nuanced dialogue. Applause to Caroline Dries. “It’s hardly reassuring to read your own obituary. But then again, you should know that, shouldn’t you?” Nice line. “They said that you were being held captive by a crazy woman.” “Ah heh heh heh. Indeed I was. You.” Delightful moment. “I would never be involved in something like that.” “Oh, please. That line stopped working for you the day you faked your own death.” Lionel is hysterical here. “I’m sure that you’ve managed to convince yourself that you did everything for the sake of Clark Kent.” We hadn’t had the faintest idea why Lana did what she did. This suggestion – that she would buy a large amount of land and pay a wild-haired woman to keep Lionel prisoner so that Lionel couldn’t hurt Clark – came as a surprise. Would Lana really be that obsessive and delusional? That puts her on the level of Ben. “Lana, please listen to me. You are on the edge of a dangerous precipice. You could easily tumble down into some place very dark and very hard to escape.” Lana’s facial expressions here are a fascinating study. Initially, Lana listens, honestly worried; but by the end she’s forced a smile and is ready with a reply. Does this moment imply that Lana is concerned about the implications of her actions? “I don’t believe your good intentions. You’re not trying to protect Clark. This is about retribution. Let him go, Lana, before it’s too late.” First, the idea that Lana would follow through with such a maniacal scheme for the sake of revenge is at least equally hard to believe. One hopes that Lionel was unsuccessful in divining her conscious and subconscious motives, because his suggestions (protection and revenge) were both inadequate. Second, if Lana’s motivation was revenge, then why would Lionel follow up with, “Let him go, Lana, before it’s too late”? Revenge had nothing to do with Clark. This moment was baffling. “There’s nothing to say. It was all in my head.” This was a nice moment. Ben recognizes that Clark is the hero and that he must not be betrayed. In the future, it’s possible that Ben could be cured and become an idealistic ally. When Clark looked in the box and drew out the red cloth, the color of the cloth combined with the folds and wrinkles made it look like Rachel’s bathrobe. This moment was briefly confusing, since we had only seen a closeup of Warrior Angel wearing the cape once. Details Now the Talon is advertising “Super Mocha Mondays”. After offering to let a movie be shot at his farm, saving the star, making the front page, and doubtless getting pestered by reporters, Clark stands in front of the house and barehandedly plunges fence posts into the ground. That’s not too bright. It’s interesting to note that, even though Lex no longer enjoys reading the Warrior Angel comic books, 1) he keeps his comic book collection in a hidden compartment in his study, and 2) he gives permission for the moviemakers to use the Talon, at least for hair and makeup purposes. “I got my start on a medical drama. Two seasons of bad memories.” This line clearly didn’t have anything to do with anything. It was so blatantly out of place that I assumed the actress must have gotten her start on a medical drama, and this was a backhanded shout-out. However, she didn’t. Neither did Tom Welling. Neither did the writer, Caroline Dries. So…why the line? I feel like I'm missing something here...if I am, let me know. “No offense, Ms. Davenport, but the only accident here is that Clark saved your life.” This was an odd moment. Why would Chloe preface her statement with “no offense”? There was nothing inherently offensive about saying that someone tried to kill Rachel. This suggested that there might be something offensive about the way she said it. In consequence, I kept scanning the line looking for a way it might be offensive, and concluded that referring to Rachel’s being alive as something that wasn’t supposed to be might be considered offensive. In which case it would have been better for Chloe to simply phrase her response differently. “Besides, orphanages, hospitals? Nobody goes to bed Satan and wakes up Oprah. It’s a front.” Actually, Lex was playing the do-gooder in Season Six. In “Sneeze,” Chloe read the headline, “Lex Luthor Donates Millions to Rebuild City.” Yes, he appears to be changed to us. We’ve seen him in his most private moments. But to Lois, there shouldn’t be a recognizable difference in Lex’s behavior. He was never a public Satan: he was always portraying himself as the public Oprah. The posts on the board read: DevilicusRebel: “When will Davenport learn? Our Hero lives in Solitude. Her blood will unleash the truth.” AngelBabe: “DevilicusRebel – what’s wrong with you! Love conquers all! Get a grip – if the gal pal lives, Hollywood makes a buck or two more luring not just the comic book geeks like you – but their GIRLFRIENDS too!” Strangely, the top reads, “You are now logged in as DevilicusRebel”. Lex looks at a picture of Kara pouring coffee. This brings up an interesting question. Now that she’s left the Kent farm, is she still working at the Talon? Presumably not, since Clark notes that when she returns she will appreciate the backstory Chloe established for her. If they were never going to show Kara working at the Talon, then why did they have Kara get a job at the Talon? “Was a fan. I haven’t picked up a comic since we were friends.” Lex explains that comics lost their appeal when he and Clark broke off their friendship and he began to see good and evil as grey. 1) This is an interestingly postmodern comment. Are the writers portraying postmodern philosophy as misguided? 2) Was there a correlation between his broken relationship with Clark and his changed view on good and evil? He mentions them as if they corresponded. 3) Which broken friendship was this? The real break was at the end of Season Three, but they temporarily patched things up in Season Four. Season Four showed Lex blurring his moral line a great deal, however. On the other hand, the friendship supposedly didn’t beyond repair until Lex touched the crystal and became Alexander, prompting Clark to charge in and beat him up. Judging by Lex’s Season Four behavior, though, I’d guess it was a reference to the first time their friendship broke. “This could be a clue to the next attack.” The paper Clark hands Lex isn’t the same paper he examined in the loft. This paper has AngelBabe quoting DevilicusRebel in his/her reply, rather than replying below DevilicusRebel’s original post. Clark opens his hand to reveal the bullet. As I mentioned before, the reasonable thing for Clark to do would be to slip the bullet into his pocket and dispose of it later. The Luthorcorp building now towers higher above the Daily Planet than ever. Here’s a brief history of the rise of Luthorcorp, so to speak… Insurgence (leaping from Daily Planet to Luthorcorp) Trespass Action Lois Lane made it past security with a security card bearing the name “Sadie Blodgett”. This is a reference to the comics. Clark says with authority, “Let’s go. We’re leaving now. This place isn’t safe anymore.” Rachel doesn’t have any bodyguards? There isn’t anyone with whom she must consult before relocating to a different city? “One post and all of a sudden you’re everyone’s favorite boy wonder.” Shouldn’t that be “you’ll be”? The PA tasers Lana while holding her down. Since he’s making contact with her body, shouldn’t he get shocked too? The camera has a circling upward shot of the Daily Planet…and there’s no towering Luthorcorp building in sight. Granted, the shot only covered three sides of the Daily Planet building, so perhaps we are to assume that the shot of the fourth side would have revealed the Luthorcorp Building. Clark catches Lana, gazing into her eyes. As the lights of the building flash past, we hope he’ll float to a stop. Instead he lands on a car, hard. 1) Who’s paying for the car? 2) This confirms that Clark had to have flown or floated in “Hidden”…or else caused some major damage. Once again, the main plots appear to be resolved 31 minutes in. Interesting. I wonder if this is going to become Smallville’s new format. Recently each episode’s main events have had serious repercussions – ten minutes’ worth – and so resolution of the main plotlines have come early. This probably eliminates filler and shows us what we really want to see, so this works for me. Not only was Lois’ article horribly written, but after the first three paragraphs it turned into the familiar report on the second meteor shower, which has been popping up ever since the beginning of Season Five: “The search for Metropolis Billionaire and CEO of Luthorcorp has been concluded on a happy note. Lionel Luthor was found alive wandering on a highway near Reeves Dam. He was hospitalized overnight for observation and treated for dehydration but is otherwise healthy. Luthor is happy to be back at the helm of Luthorcorp./’I would like to extend my appreciation to all involved in the search. I remained optimistic at all times and everything is back to normal. Thank you for all of your attention.’ Release of Luthor’s statement came from his Publicist./An influential icon in the Cultural Arts field and a scientific leader of Research and Development, Lionel Luthor is an integral part of Metropolis’ Society. His presence was severely missed and suspicions were arising./Scientists are describing the events that took place in Smallville, Kansas as an incredibly rare astronomical event. The Small town was hit by its second meteor shower in sixteen years. Twenty-three people are dead, and scores of others are injured. Among the dead were the Metropolis socialite Genevieve Teague and her son Jason Teague…” We didn’t notice until he appeared in the loft, but Lionel has gotten a haircut. Was it cut by Marilyn? The leftmost Warrior Angel comic book still has a blood stain from Ryan’s nosebleed in “Ryan”. Nice continuity. Ryan Action “Because I’ve been known to believe in something even after the whole world tells me I’m wrong.” If Lex wants the comic book geek’s help, why does he quote the villain? Rachel gives Clark a prop - a red cape. Would she really leave him the cape? That’s the kind of gift that you either wonder what on earth to do with it, or auction it on eBay. Clearly Clark doesn't think much of it, as he leaves it on the fence. Screencaps courtesy of Devoted to Smallville and SVFan.com © Voice of Reason, 2007