Voice of Reason: Smallville: Season Seven: Blue




Blue Overall Smallville just went back to its roots. Quibble if you will over the revelations in this episode, but even the most diehard fan of S1-S3 must admit that virtually the entire thirty-nine minutes was devoted to recapturing the best elements of the old days. Clark's brooding curiosity about his heritage, Lex taking a younger guy under his wing, the return of awkward sweetness between Clark and Chloe, a Lana-Clark hug - it was all there but Jonathan and Martha's loving support. Even Jor-El's role, while typically confusing and unreasonable, resumed its imposing-yet-sad tone. Granted, the episode paled in comparison to the episodes it referenced. And there were some glitches and odd moments, like the utterly useless reappearance of the Kryptonian dagger. But, as it now stands, it looks as if this episode righted more wrongs than it committed. Jor-El The show boldly examined the discrepancy between Jor-El's behavior with Clark and the testimony of others regarding Jor-El's caring qualities. Clark even tells Jor-El that he knows what Jor-El was like on Krypton, and asks what happened. Although we have not yet received an answer, the fact that the writers are acknowledging the discrepancy gives hope that there is a plausible explanation for Jor-El's change of heart. So That's Why... Grant's implausible job as very young editor and Lois's implausible job as illiterate reporter are both addressed, if not explained in detail. Although Grant assures Lois that her journalism won him over first, her clearly out-of-place behavior in the basement - not to mention the screenshot of the article she wrote - say otherwise. And once Grant's identity is revealed, his "amazing" success recalls Chloe's S3 deal with the devil (a.k.a. Lionel). Lana's Darkness One unfortunate problem is that Lana's darkness, which should be internal and beneath the surface, has become the talk of the town. Lara remarks to her calmly that she is afraid that her darkness will be found out. Lana has no problem talking with Clark about whether or not she's reached the point of no return...although someone truly tempted by evil would never have that conversation. And Clark assures her that there is hope for her. It is impossibly hard to believe that someone being wooed to the dark side would have these obvious conversations. Grant is Julian In a controversial twist, Grant's true identity is revealed to be Julian Luthor. There is an upside and a downside to this revelation. The upside is that two events of the season are made more plausible - Grant's arrival at the Daily Planet, and Lex's reformation. If Lex only recently discovered Grant - and I think we can safely assume this is the case - then he has experienced two miracles. His life was mysteriously saved, and he found his brother who he thought was dead. If that is how the beginning of the season played out for him, his change of heart - saving meteor freaks and releasing his 33.1 "collection" - is far more compelling. Another plus is that after all of Lex's psychological trauma related to Julian, after he deluded himself into thinking that he had killed him...his possessiveness should play into the future very well. He has his brother, the little brother he always wanted, the brother he thought he had in Clark. It should be good to see this played out in Lex's story. The downside is that with Julian alive, the powerful story told in "Memoria" becomes confused. In "Memoria," we were told that Lex's mother had smothered Julian. However, Lex pretended that he had done it to shield his mother from Lionel's wrath. As a result, Lionel's hatred of Lex was born. Lionel never forgave him. Eventually Lex had pretended for so long that he believed that he had killed his brother. When Lionel and Lex realized that Lillian was in fact Julian's killer, they both dwelled briefly on the different relationship they could have had. Lionel: If I'd known...if I'd seen... Lex: What? Lionel: Things would have been so different between us. Lex: Yes, Dad. You might have actually loved me. (Lex goes on to reject Lionel's advances.) If the story that Lex told is true, and Lionel knew that Julian was alive the whole time, then this very powerful story just became pointless. Does this plot mean that Lionel honestly knew that Julian was alive the whole time - making his lifelong anger toward Lex completely inexplicable? Or was Lex lying, and nobody knew that Julian was alive (except perhaps some honest servant who came to the rescue)? It has been suggested, on the other hand, that Julian is actually a clone. Julian complains that he's not one of Lex's lab experiments. Lex claims that he has some control over Julian because without him, Julian would be nothing. It's improbable, but ever since Lana was possessed by a witch, nothing is impossible on Smallville. This explanation, of course, would be a sign that the show has officially jumped the shark. As delightful as the possibilities for this plot are, its backstory will have to be handled with extreme care. Looking Forward The episode left us with several things to look forward to, including but not limited to the following: Clark was always interested in the story of Julian. One hopes that he will meet Julian under his true name, and - much as he tries to fight it - be glad for Lex. Clark's reaction will have to really pull from the old seasons. (Or else he could be left out of the loop...but hopefully that won't be the case.) Lionel finding out that Julian is alive Lex finding out that Grant/Julian is still seeing Lois Who finds Kara first? Clark or Lex? Clark's fate...and whether he gives in to Jor-El's will or takes a stand against him Conclusion This may not have been a perfect episode, but it was simultaneously a) warmly familiar, b) highly original, c) pivotal, and d) filled with highlights that managed to be genuine, showstopping highlights. The show returned to its roots, yet we can safely say that we've never seen an episode like this before. Overall, an episode that will change Smallville...and hopefully all for the good. Verdict: 9.7 Good/Bad Moments Fitting and subtle that the episode opens with the wind blowing, signifying change. This was ominous and intriguing. Beautiful opening scene, with dark and brooding music as Clark looks at the photograph of Lara and ponders on his parents. First, troubled Clark always works. If you feel like you have to save the world, you’ll always have that uneasy undercurrent. Second, I could almost imagine that Clark was studying the octagonal key from Seasons Two and Three instead of a photograph. Which, as inverted as it sounds, really is progress. Clark’s yearning to explore his heritage – delving into his roots to see his future more clearly – is strongly reminiscent of the best elements of the earlier seasons. "I have an idea. I will tell you everything there is to know about the incredible Lara-El – in the morning. Get some sleep, okay?" This moment didn’t quite work, since Kara was still obviously energetic and would have talked to Lana had she been there. It was necessary to dispose of Kara before Clark heard the call of the crystal, but this felt like a rushed way to do it. The sequence with Clark hearing the crystal calling to him, Clark plunging the crystal into the slot in the Fortress of Solitude, and Clark being pierced by Kryptonian light reflected “Rosetta,” when Clark heard to key calling to him, placed the key into the slot in the cave, and was pierced by Kryptonian light. Personally, I believe the “Rosetta” sequence was more powerful because viewers had spent months wondering what would happen if the key went into the wall – curiosity which was heightened when the episode began with a provocative dream sequence and an unexpected awakening. In this instance, the same anticipation wasn’t built up. Viewers hadn’t really wondered about the effect of the crystal in the slot, and the results weren’t as unexpected and hard to contain. Still, the cinematography was beautiful, and the whole sequence felt like a “Welcome back to the real Smallville” invitation. Nice continuity that Lara thinks that Clark is Jor-El. For the viewers who worried that the writers have forgotten the earlier seasons, this was both clever and reassuring. Clark, with a mixture of hesitation and boldness: “I’m Kal-El.” Now this was meaningful. Over the past few years, Clark has avoided acknowledging that he is “different”. In the beginning, it was simply because the Kryptonian heritage was strange to him…even threatening. His initial discomfort and later downright dislike of the name “Kal-El” has symbolized that. Now, however, he has a reason to identify himself as someone different, someone of Kryptonian heritage with a Kryptonian name. And acknowledging that difference brings him another step closer to his destiny. “Oh, I’m more than okay. I thought I’d never see you again.” It’s hard to comprehend how Lara, if she were really that overcome with emotion, can remain so formal. She still speaks in a very slow, studied tone, more as if she’s posing during a social engagement than if she has just been reunited with her son. “I want you to admit something. Your decision to hire me was based on hedonism, not journalism….I knew it. My job is a total fraud.” It was good that the writers addressed this controversial point. Even if we can’t trust Grant’s glib reply, flashing his copy of Lois’s old story, at least the story of her hire gains some credibility. It doesn’t come off as an “In Some Fairytale Universe” move. The conversation between Zor-El and Kara was well-written. Although we resisted trusting Zor-El, his tack of persuasion and Kara’s response were compelling. And the mournful piano and “now for the good stuff” drums struck the perfect balance between pathos and foreboding. Lionel shouts: “Kal-El is following his own destiny. I will do nothing to stop his course.” I’m still bewildered when I feel like cheering for Lionel, because I’m certain that he remains innately slimy. It’s as if there’s a dichotomy – a Lionel who is a threat to Clark, to whom Clark must stand up, and a Lionel whose strange connection with Clark is fascinating and even, at times like these, inspiring. I’m not sure I understand it; all I know is that this was the latter Lionel, and I was delighted. It was slightly cheesy when Zor-El, flying backwards, wobbled and smiled. Lionel, being wheeled away, feebly calls out for Clark. Now this I understand. This was a good situation for both Lionels. For the Lionel who has experimented on Clark and murdered Marilyn and who hides a secret darkness, this was a moment where the tables were turned and Clark was the strong and dependable man of the two. For the Lionel who has a strange and even fatherly connection to Clark, this was a moment where we saw the father figure depending on the son. No matter which side of Lionel we were perceiving, the moment was gratifying. Lara: "You've already lost me. Your real mother died with Jor-El." This was an interesting moment, serving as a reminder that Clark's real parents are dead and that those with whom he communicates are replicants. Some viewers have discussed whether the "spirit" of Jor-El and his wild fluctuations and unhelpful cryptic warnings are unfaithful to the real Jor-El. This moment seemed to, intentionally or not, encourage that line of thought. Lana stands in the way. "Let her go." This was actually a nice moment. We have no idea what she was planning to do...or why Kara sent her there in the first place...but in the context of her conversation with Lara, this seemed like a deliberate effort to show Lana's inner goodness. "The weak must be sacrificed for the greater good, something that your father could never understand. He could have saved Krypton if he wasn't such a feeble-minded pacifist." Obviously, Zor-El's perception of Jor-El is distorted by hatred; but I am assuming there is a grain of truth to his picture of Jor-El as someone who resisted unnecessary sacrifice and valued life. This sensitive picture of Jor-El seems unlike the S2 Jor-El who told Clark suddenly, "These people have served their purpose. It is time to leave them." Which, again, suggests that the Jor-El who lived on to communicate with Clark is very different from the Jor-El that other Kryptonians remember. Clark stares at his reflection in the window. "My abilities. What did he do to me?" It took away from the moment when he examined his face; it would have been better for him to wipe away the blood and stare at the blood on his hand. As it was, it appeared that he was more taken with the sight of his injured self than with the looming threat of the guy who was trying to beat him up. Chloe rushes up and inspects Clark's scrapes solicitously. "Oh my God. You said it was bad, but I didn't expect 'raging bull' bad." There's something sweet and comical about this moment at the same time - sweet as Chloe, completely unselfconsciously, puts her hand on Clark's face, and comical as we compare Clark's injuries to injuries on other shows. He's not actually that badly hurt. "Hey, listen, a little advice? Until your wedding day, refrain from wearing rings of any kind." This was a cute moment. "Kara betrayed me." Clark was too quick to assume this, since Kara told Lana to help Clark, and the only information he had to indicate Kara's "betrayal" came from Zor-El. "Wow. I guess however twisted and evil Zor-El is, he's still her dad." This reaction from Chloe felt stilted. It was too glib. "Look, Clark, my Yaris gets awesome mileage, but I seriously doubt it'll get us all the way to the North Pole." This was a wince-inducing plug. Nice pool table scene, instantly recapturing the days when Clark and Lex would circle the table and talk about women. There was something bittersweet about seeing the same situation play out with someone other than Clark. It indicated both that Clark and Lex had both moved on, yet revealed that when they had played pool together, they were like brothers. Beautiful shot as Clark and Chloe both watch the eclipse signifying the end of the world. It was a blend of Heroes and Jericho. The shot of Clark and Chloe looking up at the eclipse is reminiscent of this shot from Calling: I appreciated the return of the dagger. However, it was unfortunate that the dagger was as useless in this episode as it was in its last appearance. Lara, warmly: "Of course you didn't, sweetheart." Lara has genuine emotion here. Although she is still dignified, she is not formal. It's a shame that, since she was capable of feeling and showing warmth, she showed it with Kara rather than Clark. Kara is shoved toward the Fortress's "keyhole". The next we see of her, she wakes up in Detroit, in the pouring rain. Beautiful cinematography: we really felt her lostness. I had expected her to stagger into Lex’s arms, but this works too. "Your emotions are a part of who you are." This line has been used so many times that it has lost its effectiveness. Clark himself has already used a similar line twice this season ("Well, it's part of who I am. And it's who I want to be. I'm proud that I was raised to care about people..." - Bizarro, and "My feelings are part of who I am, whether you like it or not." - Kara). This point is clear; it's time to move on. Clark hugs Lana, telling her that she's not that far gone. This was a sweet moment. However, it still felt awkward. It was hard to believe that characters would so freely discuss whether someone has an inner darkness or whether someone is too far gone...with that someone. Lois, irritably: "Just keep your pants on." In the background, Chloe glances at them. This was a fun moment. Details The photograph of Lara has very vibrant colors for a picture taken about 22 years ago. As Clark assures Kara that Lana has gone to visit Nell, his expression seems to indicate that he’s making it up, perhaps covering for some boyfriend-girlfriend argument. Yet there’s no trace of this in his scenes with Lana later. Was he lying, or telling the truth with a weird expression? Ever since they tore down the cave wall set, Clark’s means of transportation to and from the Fortress of Solitude have been a mystery. Here it’s clear that the crystal transports him to the Fortress. However, it’s unclear how he and his mother return to the farm. It’s also unclear why it takes them all night to return. Lois’s old article on cage fighting reads, “ Kansas homegrown spirit is raising more than No. 1 Grade A Corn Fed Beef. Right now it’s raising the bar in illegal betting on extreme prize fighting./ Undercover reports have discovered an illegal chain hosted, surprisingly, by Fort Ryan’s Hangar 44. This military twist brings greater suspicion to an already dodgy and uncivilized craze sweeping America. Some call it brutal or barbaric. Some call it good ole entertainment – just like bar room brawls in the Westerns./ The world of extreme or ultimate fighting can be judged as a sport – but some liken it more to testosterone pumped up social rejects looking for a brawl in a cage. Some consider it a sad excuse for causing bodily injury on another….’Beating another man to a bloody pulp and possibly inflicting deadly injuries should not be accepted by an educated society,’ states Scott Bader, PhD. ‘However, entertainment, thus economics always seems to take first place.’/ Fighting styles, combat types, strategies and an audience in a ‘controlled’ environment fouls include (but certainly don’t stop the fight): eye gouging, biting, or groin attacks. Everything else seems fair game. Kicking, punching, hitting, kneeing or stomping the head of a grounded opponent, twisting (?) and knocking your opponent unconscious./ An assumption underlying much of the discussion is that, at the very least, wealth did America no good in its battle with nature. An editorial in last week’s UK Guardian…” Tell me again why Grant hired her? It’s hard to believe that neither Lois nor Grant noticed Chloe opening and closing the door. Lionel immediately knows who Zor-El is: “Your words won’t help you here, Zor-El.” Yet later, he doesn’t seem to know who Lara is: “He’s looking for a woman. Lara. Her name is Lara.” This seemed inconsistent. When and regarding what does Lionel have Jor-El’s body of knowledge? Since he didn’t know who Kara was, and Clark felt the need to lie about Kara’s identity, it seems that some things Kryptonian can and should be hidden from him. Which leaves the extent of his ability to speak for Jor-El and know Jor-El’s knowledge in doubt. The leaves outside Oliver's window are still the exact same shade of gorgeous red. "Kara told me you were here. She said you might need my help." This was a fascinating moment. Did Kara engineer this meeting because she feared what her father might do? If so, what sort of help did she think that Lana could provide? Why not simply join Clark herself - or at least stop by and give him a useful warning? It is unclear when Kara left the farm for the Fortress. Zor-El told her to depart for the Fortress early in the episode, but later she tells Lana to meet Clark, saying that Clark might need Lana's help. The fact that she stayed and sent Lana as a sort of cryptic warning indicates that she was torn between love of Zor-El and distrust of Zor-El. It would have been interesting to see a scene in which Kara scrambled to leave for the Fortress, feeling torn, and finally told Lana to meet Clark at the tower. This could have replaced the bewildering scene that Lana and Lara shared. We can accept that Lara’s DNA not only contains her genetic codes but also her memories up to a certain point…it’s science fiction. But how on earth did Lara’s DNA keep his father’s ring? "I, on the other hand, did a little research." Here Zor-El's language is very human. Why couldn't Lara have warmed up to this extent? "The blood of the House of El runs through your veins just as it does mine. As much as you want to deny it, your destiny is to rule." There is a striking similarity between Zor-El's line here and Jor-El's mandate in the spaceship to "rule with strength...that is where your greatness lies". It's unclear whether this was intentional. "I told you you'd come to love this town." Interesting detail: Lex persuaded Julian to join him in Smallville. "Remember, if it weren't for me, you'd be nothing." Obviously Lex pulled some strings to get Julian/Grant into his new position at the Daily Planet. However, this still doesn't give us any hints as to when he discovered Julian. Has this been a process, quietly paving the way for Grant to get the job...or did Lex immediately manipulate matters and plant Grant in a position for which he was nowhere near qualified? Zor-El gleefully tells Lara that it is their duty to repopulate the world with Kryptonians. Since Jor-El doesn't have an on/off switch and appears to monitor all that Clark does, we can assume that he's listening to this. Why does he say nothing? Chloe: "You don't have to grind your finger off!" This line made me expect some sort of Heroes twist in which Clark cuts off his finger - which, free from the blue kryptonite, promptly regenerates. The eclipse is surrounded by chemical trail clouds. That's somehow almost as disturbing as the eclipse itself. During the eclipse, the lighting is beautiful. Every scene is lit with hushed, golden light and filled with misty colors. It gives the episode a "classic" feel. Lara intends to stab Zor-El, but Kara volunteers instead. Zor-El knocks the dagger out of Kara's hand, then walks past Lara. He proceeds to stand with his back to Lara, his full attention on Kara, for nineteen full seconds. Then Lara, instead of stabbing him, rushes forward and says, "Zor-El, she's your daughter!" This felt very clumsy. Since Lara was the one who brought up stabbing Zor-El with the dagger, why was she unable to follow through and stab him...even when Zor-El was about to kill Kara? It is possible to clearly read the Kryptonian letters on the dagger in this episode. (Those with clearer reception may have been able to read them in "Vessel".) They simply read "RTDSME". "Clark, the crystal! You're the only one that can stop the eclipse." Kara rushes to Lara, who is on the other side of the Fortress now, and exclaims offscreen, "Aunt Lara!" The audio needed to be quieter as she exclaimed; it still sounded as if she were close to Clark. Even if she had been fairly close, usually that volume is reserved for when a character is onscreen. "Kal-El, Zor-El must be destroyed. Shatter the crystal!" Everyone seems to have forgotten the dagger on the floor. What was the purpose of showing the availability of the dagger, since it doesn't occur to anyone to use it? Since Clark no longer had superhuman strength, nor any of his other powers, how was he able to shatter the crystal? Lois reads the text message: "Already miss you. Can't wait until tonight. - GG" It is unclear if Grant has discovered the bugs Lex planted yet. However, since Lex knows that Grant and Lois had sex, Grant should have known that Lex was monitoring him. Naturally this text message won't escape Lex's notice. (At least, realistically speaking. I also thought that Lex would find Clark's fingerprints on the vial that saved his life in "Rage," but it's never come up.) "Our dear old dad told the world you were dead and then secretly gave you up for adoption, all because his wife was terminally ill." First, this makes no sense. Lionel knew that his wife was going to die, so he put his son up for adoption? Second, considering the revelations of "Memoria," it is certainly to be hoped that Lionel did no such thing. Otherwise Lex's lie and Lionel's consequent hatred would have no real significance in their relationship. It is revealed that Grant is Julian, which sheds an odd light on his phone conversation in "Wrath": "Don't worry, sir. It's been taken care of. I give you my word." Julian calls his brother "sir"? Or one of his brother's minions "sir"? "I know what you were like on Krypton! What happened to dedicating your life to help others?" This is a valid question. I hope the writers will answer it. Screencaps courtesy of www.devotedtosmallville.com (or, in a few instances, captured personally) © Voice of Reason, 2007