Voice of Reason: Season Six: Crimson

Crimson

Overall

This episode seemed to be an example of writers trying to accomplish the right thing in the wrong way.

Red k episodes will always, always seem contrived. This is a Smallville rule that will probably never be transcended. Clark sent storming around a table of close friends and complete strangers shouting out his issues…situations like these always make us feel like Clark is being manipulated by yet another outside force. (As do any and all kisses between Lois and Clark.) It's time for Clark to be Clark, with his own motivation, doing things because he has some good reason for doing them. Paranormal removal of inhibitions should never be the precipitating factor in a major turning point.

However, the things that the writers accomplished with the turning point were good things. In random order:

Chloe and Jimmy broke up. Since Jimmy has had little or no effect on anything or anyone this season, brief plotting with Lois excepted, this didn't mean anything apart from what it introduced: Chloe is going to struggle with her feelings for Clark. In other words, the payoff really comes later. Meanwhile, however, the breakup itself, and the reason behind it, was good and well-executed. They had the perfect reason to break up, and enough events leading up to it that it didn’t seem abrupt. Moreover, Jimmy's accusations didn't make the viewer react with, "Ugh! You've got it all wrong!" but, refreshingly, with "Good point." Chloe always gives Clark the preference and the benefit of the doubt. Now she has to find out whether her behavior was merely reasonable or if there was more to it than logistics.

Clark declared his love for Lana. Clark couldn't honorably do this while in his senses - hence the red k gimmick - but now Lana does know how he feels about her. Moreover, it's pretty flattering. Even in the depths of utter selfishness, he tells her with complete honesty that what he wants is for her to be happy. Despite the horror of watching him crush her at the engagement party, this series of events actually seemed to lead to a partially fulfilling ending. See Moments at-ay.

"This is the present." This one line was almost enough to make the episode for me. It doubled as a message to the fans and a hint about the upcoming episodes. I could read into this for hours.

Lana uncovered part of Clark's secret. Intriguing. Disturbing. And, to a fan of this relationship, almost delightful. At last the writers have stopped beating about the bush. Whether the outcome is good or bad (and I think it will be good), it's such a relief for it to actually happen and not be covered up, patched over, lied about, or conveniently forgotten. See Moment bs.

And yet, I cannot wholeheartedly embrace this episode. Perhaps it's because there was an overall vibe of camp, from the Talon party to the Lois-Clark makeout scenes to Jimmy diving in slow motion for the green spray. Perhaps it's because of the closing spell-it-all-out conversation between Clark and Martha, in which Martha's remarking that Clark was "bottling everything up" just seemed to be an excuse for the fact that Clark hasn't been doing anything. Perhaps it's the fact that Lana finding the crumpled metal wasn't any better than Chloe seeing the car-catching…especially right after Clark gave Lois a great revelation that's sure to be in next season's opening credits. And perhaps it's because Clark and Lex simply can't be big boys in the same room.

Whatever the reason, I did like this episode…with reservations.

Verdict: 7.8.

Good/Bad Moments

The fact that Lois was going to be love-potioned, combined with bad memories of "Devoted" and Chloe cheerleading, made me come to this episode with a little skepticism. This was increased by the tacky Talon getup, bubbles and heart balloons and cupid costumes and all. They could have had a more tasteful opening – after all, the first and last scenes are the ones people remember. The first impression an episode makes shouldn't be, "Cheap!" Granted, they couldn't have changed this scene – if the unseen Talon manager had better taste, he/she wouldn't have invited Mystic Love-potion Lady – but they could have opened with a cute scene with Clark and Chloe in the car, one where you could enjoy their talk without feeling battered by the surroundings.
"You're not going to spend the rest of your lifetime hiding in the barn, either." This episode seemed to be full of apologies for Clark's passivity. Personally, I don't want apologies, I want change. A short while ago, Clark was combing South America for Zoners: that was change. Or, to be more accurate, that was a step in the right direction.
"Don't you think that after being trapped in the front seat of the Clark-Lana operetta I deserve a good V-Day?" Chloe implies that she suffers when she watches Clark and Lana's pendulum relationship. To me, this confessed a little more about her feelings than usual.
"Don't worry, Clark. Your achy-breaky heart will go away too one of these days." My emphasis. This was definitely a confession. She's telling Clark that she pined for him, but now she's moved on. Personally, I think it's a little strange that she would be so open about it, especially with the episode's implication that she's not over it.
"To me, Valentine's Day is like finding out how babies are born." "What?" That was such an odd way of putting it – I couldn't help but laugh. Jimmy is possibly the most consistent – and most dispensable – character in the show.
Hilarious as Clark and Lois simultaneously turn and stand side-by-side, awkwardly glancing at one another.
"Please tell me we weren't just set up." "Looks like it." "Us. That's like hot fudge and halibut." "I take it I'm the halibut." I would have liked it if this dialogue had continued like it began in the first two lines – two friends saying, "Oh brother," and getting alone in typical comradely fashion, perhaps plunging into an sympathetic complaint-fest, instead of swerving into uncomfortable, shallow banter. Clark and Lois never talk. It's like if they stay face-to-face or one-on-one for longer than two lines, the writers panic and force the conversation back to a juvenile level. (Yet another reason why Lana and Chloe – but particularly Lana – come across as better for Clark. Their relationships are mature, and their talks are deep.)
"Well, I've had my fill of fat babies with arrows." Granted, this was a nice connection – they think alike. Both mocking Cupid. I wish they could at least connect in this way more often – you can see how it would translate in a working relationship.
They shouldn't have had Lois say, " Clark." It was too over-the-top. It would have been less lovey-dovey and more ominous if she had just smiled.
"Lois." Martha, taken aback, looks at Lois. "Is Clark here?" Long pause. Then Martha recovers herself. "…Yeah. Come in." Martha's expressions here were perfect. Annette O'Toole shines in the confused, startled, innocent scenes (remember "Truth"), rather than the inspirational speech scenes. I wish she had more moments like this.
"Hey, Lois, listen, I'm sorry that Jimmy pulled you into that last night…" Clark is casually pouring orange juice – nice domestic touch, showing that he and Lois are comfortable together, despite the prior scene.
Clark cranes his neck and looks at Martha, who is still in shock. Her look of bewilderment is priceless.
It's interesting that Lois, after a relationship that toward the end seemed purely carnal, is now more interested in gazing swoonily at Clark's hands and slow-dancing. She even spent the time away from him to make him a cd and cd jacket. The love potion seemed a little "wonky" this episode, since later she goes back to being Smallville's sex symbol (which I hate).
"Lois, Lois, why don', why don't you put this on." Great stammering, trying-to-act-casual delivery.
"I know that we left things in kind of a weird place." "…I'll take credit for the weirdness, but to be honest, you're the one who did the leaving." Nice comeback. And I'm glad they were talking about it, instead of gliding conveniently past it. That was a major moment, a turning point, and it needed to be addressed.
"It seems like you've been walled up in the mansion." Again, this seemed like an excuse, only this time for Lana. It's a much better excuse than the excuse for Clark, since Lex really does have so many jerkish enemies (Clark) that Lana couldn't really have a plot with them and make the relationship last this long. Still – again – I'd rather see change.
"So, uh, does this mean that we just ignore the huge elephant named Clark in the corner?" "Whatever he's hiding, he chose to confide in the people that he trusts the most. And as much as I wish that I was one of those people, I can't hold it against you. I'm not going to ask you to betray Clark's secret, if you'll stop denying that he has one." Again, this was good. Lana wants everything out in the open – she's being perfectly honest – but she's not pushing. In the past, she has ranted about secrets but never shown a hint of reasonableness and balance. Now she's gained some perspective. She's seen what deception can do, and she wants to banish it; but she's recognizing that deceit and secrets cannot be equated. She doesn't have the right to demand to know a secret; she does have the right to call anyone's bluff.
Nice overhead shot of the Daily Planet.
"Lois is…[voice trembles] into me." Clark is shaken. Another great delivery.
"She's not herself, all right? It's like she overdosed on Love Potion #9 or something, and this isn't funny!" I loved this moment. Chloe convulsed with laughter, Clark remonstrating – it was just one of those "fireplace" moments where you enjoyed their being together. Their dynamic is sweet.
None of the music with Lois the lover seemed to have an attitude, so to speak. It was vaguely happy, but it didn't seem to fit what was happening. It didn't capture the comedy, the weirdness, or the discomfort – it just seemed a bit random.
"Not that I'm complaining, but isn't this a little sudden? I mean, all this time, all of a sudden, one kiss and you like me? No, I mean it. This is for real, isn't it?" Again, the potion definitely isn't as strong as possible. She has room to think, to question, to doubt. Was this supposed to indicate that, even with all the stops pulled out, Lois innately distrusts love? Or was it just a weaker potion than the "Devoted" cocktail?
Clark stares. "Oh, yeah, this is definitely real." That was such a jerk-ish reaction…still, it makes me laugh.
"Wait, wait, wait a minute. Wait. I knew I'd kissed you before." Slowly, she starts to smile. "In the alley. You're Green Arrow." Clark, calmly: "Hardly. I was just pretending to be so you wouldn't know it was Oliver." This was potentially the second-funniest moment of the episode.
"Oliver's not even in the same league as me." This would be great, if they hadn't already used this line. As it was, even in the different context, it seemed recycled.
Clark seems genuinely disturbed by Lois's dismissal of his real identity. He gets upset and turns away from the woman he was passionately kissing a moment before. Lois actually comforts him. "I like the dorky farmboy look!" "Dorkier than a hood and a quiver? Just because I don't wear a costume and splash my face all over the papers, I – " "Clark!" This was an intriguing moment. Oliver stirred something in him – a desire to help people on a larger scale. Inhibitions gone, he can express his insecurity as other heroes do apparently greater things. While compassion for the people would be a better Superman motive than guilt, it was interesting to see how deep his feelings ran on the matter.
"You know, Lois, I think that it's time for you to meet the real Clark Kent." Perhaps it's chance, but there's a slight curl on his forehead when he says this. This was a good image – Clark and Lois in the grey Daily Planet office, Clark about to reveal his identity, a slight curl in his hair…very Superman-ish. Except, of course, this wasn't the real Clark and Lois, and even the real Clark and Lois don't have much of a relationship. Good image, but ultimately it didn't have half the impact of Clark's leap in "Insurgence".
That was a creepy plaster doll in the nursery.
"I can't decide between Stegosaurus or Mr. Duck." At first I couldn't figure out what was wrong with this line. Then my brother pointed out that it was the same problem with, "And I want a ponytail!" Lex is "talking down" to people. It used to be that Lex would talk to Clark with the knowledge and class he'd been raised on. Now his once-rich dialogue has been degraded. He and Clark talk in precisely the same way when they're together, and when Lex takes on the daddy image, he does it – not with the Luthor ambition and pride – but with enjoyable little baby words. Somehow, this just seems wrong.
The first good musical moment came at last, as Clark led Lois onto the roof of the Daily Planet building. They've used this music before – the Rosetta-like flute, the mysterious high piano notes – but they've never but the strings behind it, moving it up a key. And the use of the horns was excellent. As Clark stood at the edge, looking up, his face glowing, the wind against him, it captured the mythic quality, the exhultation of the moment. This was like a Season Two moment…except, once again, it practically didn't happen.
Beautiful image as Clark and Lois rise above Metropolis. If only it had been a lifechanging moment, like the leap in "Insurgence"…
"Hm. Sounds kind of like you're jealous." "Of Lois?" "No, of anyone getting in between you and Clark." (Incidentally, wouldn't that be Lois?) Chloe's expression changes a little, but she's still denying it. "Come on, you spend all your time with him, and then you make up all these excuses. Why?" Chloe, exasperated: "You know what, Jimmy, on the list of personality quirks that I have learned to fall in love with, paranoia is definitely at the bottom." "Translated to 'Back off'." Chloe doesn't even deny it. "Yep." "Got it." Long pause. "Chloe – " "Pushing it." Chloe isn't in a negotiating mood. "Look, if you're really not jealous, then why are you bailing on your best friend's engagement party?" (Note 2: The Smallville writers use the term "best friend" very loosely. Clark and Chloe, Clark and Lois, Chloe and Lana, Chloe and Lois…they're all best friends.) Chloe's reaction here could be interpreted as stress, because she's trying to save Clark and Lois and she's running late for the party. It could also be tiredness, being tired of rescuing Clark and covering for him and having her behavior misinterpreted. Or it could be that she doesn't want to evaluate her own feelings too closely. Her change of expression, her quick dismissal…it could be a combination of all three.
Chloe forgets to kiss Jimmy good-bye, is almost gone, remembers, runs back and kisses him. Was her forgetfulness a product of extreme discomfort – a "get me out of here" reaction – or was this supposed to show that she really didn't look at Jimmy as a boyfriend?
"We've strayed so far from nature, we think we're above it." Jimmy closes his eyes, a little overwhelmed – "Yeah, yeah. Nature, good, greenhouse gases, bad, I get it – look." Funny reaction. (Although, technically, earth couldn't survive without greenhouse gasses.)
As everyone dined at the picture-perfect engagement party, Chloe looked at someone, Martha smiled at someone, and Lex smiled at someone. It wasn't clear who was smiling at whom. At first I thought Martha was smiling encouragingly at Lana, but then Lex looked at someone and smiled a bit shyly. Did Martha and Lex exchange a quiet acknowledgment? No, because Martha was looking at the wrong end of the table. My theory, after rewinding the moment several times: Chloe looked at Martha, a look saying, "How awkward," Martha looked back and smiled encouragingly, "Yes, it's strange, but we'll make it." Then Lex smiled shyly at Lana, and Lana reacted by looking beautiful. Then, the toast.
"Come on, Lex, you didn't think I was going to miss this, did you?" With a few words, Clark makes a mockery of the moment. The start of a truly nerve-pummeling scene. This is the worst Clark has ever been. As Kal he was misguided but still loving; now he is crushingly cruel. This was hard to watch.
"And look. My own mother would rather raise a glass with the enemy than stand by her own son." " Clark. You're not yourself." "It's okay, Mom. You're more a Luthor than a Kent these days, anyway. I mean, Dad's been what, dead a year? But who can blame you for joining the race with Lana, to see who's going to add the Luthor monogram to their name first." This was unexpected. Unexpected, but very consistent and revealing. Following the pattern of "Labyrinth," in the deepest recesses of his mind, Clark feels betrayed by Martha. He's afraid, insecure, and now, inhibitions removed, he's resentful. Strange that this was the one thing that the characters never talked about later…the issue brought to light that didn't even approach being hashed out. I would have liked more follow-up than a brief mention.
"Lex, he's obviously on something and he wants us to react. Please don't." In a way, this was a relief. Lana knows Clark so well. She knows that Clark would never do this under normal conditions. But she also has enough pride that she's determined not to go along with him. Lana was so surprisingly well-adjusted this episode.
"Chloe, I can't say I'm surprised that you're celebrating here. After all, once Lana's off the market, all those years of unrequited pining may actually pay off. (whispers) Can't say I haven't thought about it." This is a different Clark. Different in that he's not expressing frustration, and he's not trying to be hurtful and pay someone back. Does this moment imply that Clark sees Chloe as a plaything, ultimately just a tool and a pleasure for him? I doubt it. In "Labyrinth," he saw her as the only person he could count on to stand by him. I think this was just to reveal that he isn't as indifferent to her as they've both pretended.
"Why not choose the one person I hated the most?" Okay, I hated this. Clark is Superman. He isn't the jerk who barges in yelling at Lex for no reason. I wish they would give up on that Clark and get to the one who liked people, just disliked what they did.
Clark tosses Lex the rattle. "To Baby Luthor…the real reason that Lana's marrying you." This was so ugly. Even with Clark on red k, I just can't see him doing this. When he was living under his Kal persona, even when he felt like Lana had betrayed him, he just pushed her away – he didn't follow her and ruin her life. Red k Clark is selfish, not malicious. But this – this was carefully planned. He bought a rattle and tied a ribbon around it and carried it with him. This was premeditated cruelty…and I hated it.
It was interesting that nobody called security and nobody tried to stop Clark. They all sat stiffly. Even Lex stood and looked straight ahead as Clark circled him. It was as if they were all afraid of him, without knowing what he could do. The one thing I do find interesting when Clark is on red k is his sense of power.
"Lana is your past. I'm your future." Clark smiles. "This is the present," he informs her and millions of fans. This was the most pleasing moment of the episode for me. 1) It was just a great comeback. 2) It was a dramatic statement about the show. There is nothing to stop him from claiming Lana. Lois is the future…this is the present.
Lois goes through chocolate after chocolate, murmuring, "He wasn't good enough for me anyway," and "What does she have that I don't?" Jimmy, weirded out: "So weird to see her acting like a girl!" Cute moment. But the next moment it went back to over-the-top.
Lois shoving Chloe, the spray rolling down the table, Jimmy making his slow-motion dive…this went back to the campiness of the opening scene. Moreover, it was unnecessary. All Chloe had to do was spray.
"You humiliated me in front of my friends." "Come on, Lana, you hardly knew anyone at that party." Once again, Clark-gone-wild actually has some home truths coming out. This was another shockingly good reply, one that made me stop and think, "Hey, yeah." And Lana was quiet for a moment. That isn't the life for her, isolated and estranged from her loved ones, playing out a plastic image, and she knows it.
" Clark, what do you want from me? "What I've always wanted. For you to be happy." Now this was interesting. Clark doesn't come out with some selfish answer. Even with all inhibitions gone, the first thing he says is that he's always wanted her to be happy. Somehow this seemed to redeem him in her eyes. He really means it. She'll be miserable with Lex, and he's trying to save her.
"Lana, stop kidding yourself. You're never going to be satisfied with Lex. You can't marry him." Lana seems to be listening for a while. It's sinking in, even though she pulls herself together and tells him, "I've already made up my mind." (Interesting answer. She doesn't say she'll be happy with him…she says she's made up her mind. In other words, her choice was made in "Hydro" and she's not backing out now.)
"Even though you're still in love with me?" Lana was heading out of the loft. Now she stops. She's been virtually kidnapped, but she's willing to continue the conversation. This says something, to me. She doesn't deny it, either. Instead:
"What makes you so sure?" And Clark, for once, has the right answer. "Because I'm still in love with you." Lana starts to cry. And somehow it didn't seem like she was crying because she hated him and wanted to run away. It seemed to me that she was crying from the stress of the party, from sorrow about her choice, from the feeling that it was too late for happiness. Because then she kisses him. Some have said that this kiss was entirely forced…but her hand, engagement ring and all, creeps around his shoulder. She's kissing him and crying and regretting it…but she's kissing him.
"Marry me." I can't stand it that this is the proposal she will remember. The deluded, wild-eyed, passionate proposal. And yet, it's better that she knows he said it. She knows that even drugged up, he wants to cherish her and he wants her to be happy.
"I have given you every chance. I have stood in this spot so many times, waiting for you to say something. And you decide to do it now?" She's right. It was good to hear her say this, bring it all to light. Clark gave up his right to Lana when he made the choice not to trust her. Now it's too late.
When Lana ran to the railing and said, "Lex," the music was a direct rip-off of "Batman Begins". I'm not complaining, though, since I loved that music. Second good musical moment.
"Now tell me you don't love me." Lana's lips move – the music makes it a beautiful moment – but she can't bring herself to say it.
"You don't want to do that. You can't win. You don't even know the rules of the game." Watch this again. In the background, Lana's brow furrows. She's catching all of this.
"If I had known who you were going to turn out to be, I never would have saved you on that bridge." That's the wrong answer. If Clark had known, he should have stuck closer and tried harder, instead of pushing him away so many times. As Clark once told Jonathan, "Slamming the door in his face over and over only helps turn him into what you think he already is."
Nice camera shot as Clark and Martha stand looking out the window. They've never had one just like that before, moving over and gliding into the room.
Saying that Clark has been "bottling everything up" seemed like another excuse for the fact that Clark hasn't been doing anything. It's like the way, after a string of bad episodes, one character will say, "You've been stuck in a rut." Granted, Clark has been suppressing his feelings – "Hydro," "Rage," the end of "Wither" – but other times he's been waiting happily in the shadow of greater heroes.
"…basing every decision on what's best for other people. You never stop to think what's best for you." What point was Martha trying to make here? At first it seemed like she was going to urge him to be selfish more often, strange advice, but then it seemed like she was finding an explanation for his red k behavior.
Martha launches into a matter-of-fact spelling-out of the obvious. "I think there was a grain of truth in all of it. Every time you've been affected by red kryptonite, it hasn't changed who you are. It's just stripped away your inhibitions." We've all figured out how red k works, so this was unnecessary.
As was Martha's deep advice: "You need to start being more honest about how you feel." Smallville is all about Clark carrying a burden. Not being moody, but living his life with the consciousness that there are some things that only he can handle. I hope he doesn't take her advice.
Apparently Martha thinks better of it, too, because immediately after she urges him to be open and honest, he tries it: "I can't let her marry Lex." She promptly tells him to leave Lana alone.
"Thank God the ink wears off in a week." That was so unexpected. My brother and I burst out laughing. Even love-potioned Lois has her senses about her.
Hilarious as Lois tries to avoid stating the obvious and Clark tries to make her say it. It's interesting when Clark's sense of humor emerges for a moment.
Chloe's dialogue with Jimmy was well-crafted. Her unfailing defense of Clark (so good to see Clark getting defended, especially after this misadventure) must have seemed entirely unjustified to Jimmy. "Well, you're kind of brushing a landfill under the rug, aren't you?" "What, with Clark? So, he took the whole breakup jealousy way past the drunk-dialing stage. Can't arrest him for it." "He crashed Lana's party and told the whole world that she's eating for two." Chloe looks at him, not reacting. "Did I mention that he kidnapped her?" "I guarantee you Clark is beating himself up more than anyone right now, so we can just give the Clark-bashing a reprieve, okay?" "No. No, not until you admit that he royally screwed up." "You don't know him like I do." "And you remind me of that every day." Excellent build-up. Jimmy pushing Chloe, Chloe standing firm…and suddenly it takes a personal turn as you realize why Jimmy's pushing so hard. In a way, he's doing the opposite of what Clark was doing – "Say you don't love him. Say you don't love him." The fact that Chloe didn't recognize that was further proof that, when it came down to it, her heart was Clark's.
"You know, if I did the things that he did, you'd never even talk to me again, and don't deny that." "So what are you saying, I'm lying to you now?" "Can you really tell me that if you had the choice, you wouldn't rather be with him?" Chloe stares at him for a long time. Then she answers…too late. By the time it came out, we had read all the thoughts that ran through her mind.
"But then, I wasn't the one kissing him." Good moment of vulnerability for Lex. I feel bad for Lex, as I always do – Clark has treated him like dirt.
"And I wasn't the one holding a gun to his head…What were you going to do, Lex, shoot him?" "If I had to." "To save me or to hurt him?" This was interesting tension. When Lex first pulled the gun, that had to be a turning point for Lana. She was afraid for Clark in that moment – that had to be a self-revelation. I wish they'd spent a camera shot on it. Now we know how much it troubled her.
"If I ever let you slip through my fingers, I have no idea what I'd be capable of." This seemed vaguely ominous. It seemed to indicate that Lana was going to slip through his fingers…and that he was going to be capable of anything. If someone had told me that gameplan a year ago, I would have been frustrated – Lex going dark side over a woman? Now, however, any reason is better than some tacit understanding that he's a villain and we really don't know why.
The doctor waits in the hallway, as if by arrangement. "How is she, really?" "You know this isn't the most typical pregnancy, but everything's on schedule." The three dominant theories: 1) Somehow, it's Clark's baby. 2) Lex's freak ability to escape near-death experiences has affected the child. 3) Lex has done something deliberately to affect the pregnancy…after all, he's keeping this a secret from Lana. I doubt 3, because his expression isn't conspiratorial but thoughtful and a little disturbed. I don't see how 1 is possible, so the best bet is 2.
Lana unwraps the bent, battered tool. Mysterious music. This was a great ending. Some have suggested that Lana should be terrified of Clark, first kidnapped, then watching him try to kill her fiance, then witnessing his invincibility. But there's another side to the story. Lana has seen how Clark really feels about her, she's feared for his life, and now her thoughts are bound to wander to all the clues to his secret she's seen before. The time a Freak told her Clark was bulletproof, the time Clark showed up from across town…these thoughts are all tied to Clark's heroics. Plus, she's known Clark for years, and she knows his violence was due to some sort of drug influence. It seems more likely that she'll begin to see him for what he used to be…a hero.

Details

I find it odd that 1) Martha was invited to the engagement party, and 2) she accepted. She and Lana rarely had scenes together – in fact, the only scene I can think of is "Slumber" – and although she was like a mother to Lex at one point, that has been gone for a long time. Lex knows that Lionel is trying to win her over, and he despises his father for it. It seems like the last thing he would do would be to invite her. Then again, this could be interpreted as a low blow at Clark through Martha…making it even stranger that Martha accepted.
"I did a search on our favorite Martian Manhunter…" I can see the Martian, but why the Manhunter? That coincidental nickname was a bit of a stretch.
Lois tattooed her breast. I say it again – when will Lois be there for something other than overexposure?
The trees outside Oliver's window are perennially autumn-red. They were this color in " Reunion" and "Rage".
Lana invited Lois to the engagement party? Why?
"Star's Earth Essences." This was an interesting name, tying in the idea of another astral body and earth colliding.
"Something tells me Lois and Clark's destinies are a little more entwined than they realize." How did she know Clark's name? Jimmy just said Lois's name, but Clark should have been a complete stranger. Besides, the woman had no way of knowing that Clark was the first person Lois saw, since Clark left immediately afterward.
Jimmy certainly dropped off the Luthor blacklist quickly. The same day he makes his wry remark, he shows up at the mansion.




Crimson Overall This episode seemed to be an example of writers trying to accomplish the right thing in the wrong way. Red k episodes will always, always seem contrived. This is a Smallville rule that will probably never be transcended. Clark sent storming around a table of close friends and complete strangers shouting out his issues…situations like these always make us feel like Clark is being manipulated by yet another outside force. (As do any and all kisses between Lois and Clark.) It's time for Clark to be Clark, with his own motivation, doing things because he has some good reason for doing them. Paranormal removal of inhibitions should never be the precipitating factor in a major turning point. However, the things that the writers accomplished with the turning point were good things. In random order: Chloe and Jimmy broke up. Since Jimmy has had little or no effect on anything or anyone this season, brief plotting with Lois excepted, this didn't mean anything apart from what it introduced: Chloe is going to struggle with her feelings for Clark. In other words, the payoff really comes later. Meanwhile, however, the breakup itself, and the reason behind it, was good and well-executed. They had the perfect reason to break up, and enough events leading up to it that it didn’t seem abrupt. Moreover, Jimmy's accusations didn't make the viewer react with, "Ugh! You've got it all wrong!" but, refreshingly, with "Good point." Chloe always gives Clark the preference and the benefit of the doubt. Now she has to find out whether her behavior was merely reasonable or if there was more to it than logistics. Clark declared his love for Lana. Clark couldn't honorably do this while in his senses - hence the red k gimmick - but now Lana does know how he feels about her. Moreover, it's pretty flattering. Even in the depths of utter selfishness, he tells her with complete honesty that what he wants is for her to be happy. Despite the horror of watching him crush her at the engagement party, this series of events actually seemed to lead to a partially fulfilling ending. See Moments at-ay. "This is the present." This one line was almost enough to make the episode for me. It doubled as a message to the fans and a hint about the upcoming episodes. I could read into this for hours. Lana uncovered part of Clark's secret. Intriguing. Disturbing. And, to a fan of this relationship, almost delightful. At last the writers have stopped beating about the bush. Whether the outcome is good or bad (and I think it will be good), it's such a relief for it to actually happen and not be covered up, patched over, lied about, or conveniently forgotten. See Moment bs. And yet, I cannot wholeheartedly embrace this episode. Perhaps it's because there was an overall vibe of camp, from the Talon party to the Lois-Clark makeout scenes to Jimmy diving in slow motion for the green spray. Perhaps it's because of the closing spell-it-all-out conversation between Clark and Martha, in which Martha's remarking that Clark was "bottling everything up" just seemed to be an excuse for the fact that Clark hasn't been doing anything. Perhaps it's the fact that Lana finding the crumpled metal wasn't any better than Chloe seeing the car-catching…especially right after Clark gave Lois a great revelation that's sure to be in next season's opening credits. And perhaps it's because Clark and Lex simply can't be big boys in the same room. Whatever the reason, I did like this episode…with reservations. Verdict: 7.8. Good/Bad Moments The fact that Lois was going to be love-potioned, combined with bad memories of "Devoted" and Chloe cheerleading, made me come to this episode with a little skepticism. This was increased by the tacky Talon getup, bubbles and heart balloons and cupid costumes and all. They could have had a more tasteful opening – after all, the first and last scenes are the ones people remember. The first impression an episode makes shouldn't be, "Cheap!" Granted, they couldn't have changed this scene – if the unseen Talon manager had better taste, he/she wouldn't have invited Mystic Love-potion Lady – but they could have opened with a cute scene with Clark and Chloe in the car, one where you could enjoy their talk without feeling battered by the surroundings. "You're not going to spend the rest of your lifetime hiding in the barn, either." This episode seemed to be full of apologies for Clark's passivity. Personally, I don't want apologies, I want change. A short while ago, Clark was combing South America for Zoners: that was change. Or, to be more accurate, that was a step in the right direction. "Don't you think that after being trapped in the front seat of the Clark-Lana operetta I deserve a good V-Day?" Chloe implies that she suffers when she watches Clark and Lana's pendulum relationship. To me, this confessed a little more about her feelings than usual. "Don't worry, Clark. Your achy-breaky heart will go away too one of these days." My emphasis. This was definitely a confession. She's telling Clark that she pined for him, but now she's moved on. Personally, I think it's a little strange that she would be so open about it, especially with the episode's implication that she's not over it. "To me, Valentine's Day is like finding out how babies are born." "What?" That was such an odd way of putting it – I couldn't help but laugh. Jimmy is possibly the most consistent – and most dispensable – character in the show. Hilarious as Clark and Lois simultaneously turn and stand side-by-side, awkwardly glancing at one another. "Please tell me we weren't just set up." "Looks like it." "Us. That's like hot fudge and halibut." "I take it I'm the halibut." I would have liked it if this dialogue had continued like it began in the first two lines – two friends saying, "Oh brother," and getting alone in typical comradely fashion, perhaps plunging into an sympathetic complaint-fest, instead of swerving into uncomfortable, shallow banter. Clark and Lois never talk. It's like if they stay face-to-face or one-on-one for longer than two lines, the writers panic and force the conversation back to a juvenile level. (Yet another reason why Lana and Chloe – but particularly Lana – come across as better for Clark. Their relationships are mature, and their talks are deep.) "Well, I've had my fill of fat babies with arrows." Granted, this was a nice connection – they think alike. Both mocking Cupid. I wish they could at least connect in this way more often – you can see how it would translate in a working relationship. They shouldn't have had Lois say, " Clark." It was too over-the-top. It would have been less lovey-dovey and more ominous if she had just smiled. "Lois." Martha, taken aback, looks at Lois. "Is Clark here?" Long pause. Then Martha recovers herself. "…Yeah. Come in." Martha's expressions here were perfect. Annette O'Toole shines in the confused, startled, innocent scenes (remember "Truth"), rather than the inspirational speech scenes. I wish she had more moments like this. "Hey, Lois, listen, I'm sorry that Jimmy pulled you into that last night…" Clark is casually pouring orange juice – nice domestic touch, showing that he and Lois are comfortable together, despite the prior scene. Clark cranes his neck and looks at Martha, who is still in shock. Her look of bewilderment is priceless. It's interesting that Lois, after a relationship that toward the end seemed purely carnal, is now more interested in gazing swoonily at Clark's hands and slow-dancing. She even spent the time away from him to make him a cd and cd jacket. The love potion seemed a little "wonky" this episode, since later she goes back to being Smallville's sex symbol (which I hate). "Lois, Lois, why don', why don't you put this on." Great stammering, trying-to-act-casual delivery. "I know that we left things in kind of a weird place." "…I'll take credit for the weirdness, but to be honest, you're the one who did the leaving." Nice comeback. And I'm glad they were talking about it, instead of gliding conveniently past it. That was a major moment, a turning point, and it needed to be addressed. "It seems like you've been walled up in the mansion." Again, this seemed like an excuse, only this time for Lana. It's a much better excuse than the excuse for Clark, since Lex really does have so many jerkish enemies (Clark) that Lana couldn't really have a plot with them and make the relationship last this long. Still – again – I'd rather see change. "So, uh, does this mean that we just ignore the huge elephant named Clark in the corner?" "Whatever he's hiding, he chose to confide in the people that he trusts the most. And as much as I wish that I was one of those people, I can't hold it against you. I'm not going to ask you to betray Clark's secret, if you'll stop denying that he has one." Again, this was good. Lana wants everything out in the open – she's being perfectly honest – but she's not pushing. In the past, she has ranted about secrets but never shown a hint of reasonableness and balance. Now she's gained some perspective. She's seen what deception can do, and she wants to banish it; but she's recognizing that deceit and secrets cannot be equated. She doesn't have the right to demand to know a secret; she does have the right to call anyone's bluff. Nice overhead shot of the Daily Planet. "Lois is…[voice trembles] into me." Clark is shaken. Another great delivery. "She's not herself, all right? It's like she overdosed on Love Potion #9 or something, and this isn't funny!" I loved this moment. Chloe convulsed with laughter, Clark remonstrating – it was just one of those "fireplace" moments where you enjoyed their being together. Their dynamic is sweet. None of the music with Lois the lover seemed to have an attitude, so to speak. It was vaguely happy, but it didn't seem to fit what was happening. It didn't capture the comedy, the weirdness, or the discomfort – it just seemed a bit random. "Not that I'm complaining, but isn't this a little sudden? I mean, all this time, all of a sudden, one kiss and you like me? No, I mean it. This is for real, isn't it?" Again, the potion definitely isn't as strong as possible. She has room to think, to question, to doubt. Was this supposed to indicate that, even with all the stops pulled out, Lois innately distrusts love? Or was it just a weaker potion than the "Devoted" cocktail? Clark stares. "Oh, yeah, this is definitely real." That was such a jerk-ish reaction…still, it makes me laugh. "Wait, wait, wait a minute. Wait. I knew I'd kissed you before." Slowly, she starts to smile. "In the alley. You're Green Arrow." Clark, calmly: "Hardly. I was just pretending to be so you wouldn't know it was Oliver." This was potentially the second-funniest moment of the episode. "Oliver's not even in the same league as me." This would be great, if they hadn't already used this line. As it was, even in the different context, it seemed recycled. Clark seems genuinely disturbed by Lois's dismissal of his real identity. He gets upset and turns away from the woman he was passionately kissing a moment before. Lois actually comforts him. "I like the dorky farmboy look!" "Dorkier than a hood and a quiver? Just because I don't wear a costume and splash my face all over the papers, I – " "Clark!" This was an intriguing moment. Oliver stirred something in him – a desire to help people on a larger scale. Inhibitions gone, he can express his insecurity as other heroes do apparently greater things. While compassion for the people would be a better Superman motive than guilt, it was interesting to see how deep his feelings ran on the matter. "You know, Lois, I think that it's time for you to meet the real Clark Kent." Perhaps it's chance, but there's a slight curl on his forehead when he says this. This was a good image – Clark and Lois in the grey Daily Planet office, Clark about to reveal his identity, a slight curl in his hair…very Superman-ish. Except, of course, this wasn't the real Clark and Lois, and even the real Clark and Lois don't have much of a relationship. Good image, but ultimately it didn't have half the impact of Clark's leap in "Insurgence". That was a creepy plaster doll in the nursery. "I can't decide between Stegosaurus or Mr. Duck." At first I couldn't figure out what was wrong with this line. Then my brother pointed out that it was the same problem with, "And I want a ponytail!" Lex is "talking down" to people. It used to be that Lex would talk to Clark with the knowledge and class he'd been raised on. Now his once-rich dialogue has been degraded. He and Clark talk in precisely the same way when they're together, and when Lex takes on the daddy image, he does it – not with the Luthor ambition and pride – but with enjoyable little baby words. Somehow, this just seems wrong. The first good musical moment came at last, as Clark led Lois onto the roof of the Daily Planet building. They've used this music before – the Rosetta-like flute, the mysterious high piano notes – but they've never but the strings behind it, moving it up a key. And the use of the horns was excellent. As Clark stood at the edge, looking up, his face glowing, the wind against him, it captured the mythic quality, the exhultation of the moment. This was like a Season Two moment…except, once again, it practically didn't happen. Beautiful image as Clark and Lois rise above Metropolis. If only it had been a lifechanging moment, like the leap in "Insurgence"… "Hm. Sounds kind of like you're jealous." "Of Lois?" "No, of anyone getting in between you and Clark." (Incidentally, wouldn't that be Lois?) Chloe's expression changes a little, but she's still denying it. "Come on, you spend all your time with him, and then you make up all these excuses. Why?" Chloe, exasperated: "You know what, Jimmy, on the list of personality quirks that I have learned to fall in love with, paranoia is definitely at the bottom." "Translated to 'Back off'." Chloe doesn't even deny it. "Yep." "Got it." Long pause. "Chloe – " "Pushing it." Chloe isn't in a negotiating mood. "Look, if you're really not jealous, then why are you bailing on your best friend's engagement party?" (Note 2: The Smallville writers use the term "best friend" very loosely. Clark and Chloe, Clark and Lois, Chloe and Lana, Chloe and Lois…they're all best friends.) Chloe's reaction here could be interpreted as stress, because she's trying to save Clark and Lois and she's running late for the party. It could also be tiredness, being tired of rescuing Clark and covering for him and having her behavior misinterpreted. Or it could be that she doesn't want to evaluate her own feelings too closely. Her change of expression, her quick dismissal…it could be a combination of all three. Chloe forgets to kiss Jimmy good-bye, is almost gone, remembers, runs back and kisses him. Was her forgetfulness a product of extreme discomfort – a "get me out of here" reaction – or was this supposed to show that she really didn't look at Jimmy as a boyfriend? "We've strayed so far from nature, we think we're above it." Jimmy closes his eyes, a little overwhelmed – "Yeah, yeah. Nature, good, greenhouse gases, bad, I get it – look." Funny reaction. (Although, technically, earth couldn't survive without greenhouse gasses.) As everyone dined at the picture-perfect engagement party, Chloe looked at someone, Martha smiled at someone, and Lex smiled at someone. It wasn't clear who was smiling at whom. At first I thought Martha was smiling encouragingly at Lana, but then Lex looked at someone and smiled a bit shyly. Did Martha and Lex exchange a quiet acknowledgment? No, because Martha was looking at the wrong end of the table. My theory, after rewinding the moment several times: Chloe looked at Martha, a look saying, "How awkward," Martha looked back and smiled encouragingly, "Yes, it's strange, but we'll make it." Then Lex smiled shyly at Lana, and Lana reacted by looking beautiful. Then, the toast. "Come on, Lex, you didn't think I was going to miss this, did you?" With a few words, Clark makes a mockery of the moment. The start of a truly nerve-pummeling scene. This is the worst Clark has ever been. As Kal he was misguided but still loving; now he is crushingly cruel. This was hard to watch. "And look. My own mother would rather raise a glass with the enemy than stand by her own son." " Clark. You're not yourself." "It's okay, Mom. You're more a Luthor than a Kent these days, anyway. I mean, Dad's been what, dead a year? But who can blame you for joining the race with Lana, to see who's going to add the Luthor monogram to their name first." This was unexpected. Unexpected, but very consistent and revealing. Following the pattern of "Labyrinth," in the deepest recesses of his mind, Clark feels betrayed by Martha. He's afraid, insecure, and now, inhibitions removed, he's resentful. Strange that this was the one thing that the characters never talked about later…the issue brought to light that didn't even approach being hashed out. I would have liked more follow-up than a brief mention. "Lex, he's obviously on something and he wants us to react. Please don't." In a way, this was a relief. Lana knows Clark so well. She knows that Clark would never do this under normal conditions. But she also has enough pride that she's determined not to go along with him. Lana was so surprisingly well-adjusted this episode. "Chloe, I can't say I'm surprised that you're celebrating here. After all, once Lana's off the market, all those years of unrequited pining may actually pay off. (whispers) Can't say I haven't thought about it." This is a different Clark. Different in that he's not expressing frustration, and he's not trying to be hurtful and pay someone back. Does this moment imply that Clark sees Chloe as a plaything, ultimately just a tool and a pleasure for him? I doubt it. In "Labyrinth," he saw her as the only person he could count on to stand by him. I think this was just to reveal that he isn't as indifferent to her as they've both pretended. "Why not choose the one person I hated the most?" Okay, I hated this. Clark is Superman. He isn't the jerk who barges in yelling at Lex for no reason. I wish they would give up on that Clark and get to the one who liked people, just disliked what they did. Clark tosses Lex the rattle. "To Baby Luthor…the real reason that Lana's marrying you." This was so ugly. Even with Clark on red k, I just can't see him doing this. When he was living under his Kal persona, even when he felt like Lana had betrayed him, he just pushed her away – he didn't follow her and ruin her life. Red k Clark is selfish, not malicious. But this – this was carefully planned. He bought a rattle and tied a ribbon around it and carried it with him. This was premeditated cruelty…and I hated it. It was interesting that nobody called security and nobody tried to stop Clark. They all sat stiffly. Even Lex stood and looked straight ahead as Clark circled him. It was as if they were all afraid of him, without knowing what he could do. The one thing I do find interesting when Clark is on red k is his sense of power. "Lana is your past. I'm your future." Clark smiles. "This is the present," he informs her and millions of fans. This was the most pleasing moment of the episode for me. 1) It was just a great comeback. 2) It was a dramatic statement about the show. There is nothing to stop him from claiming Lana. Lois is the future…this is the present. Lois goes through chocolate after chocolate, murmuring, "He wasn't good enough for me anyway," and "What does she have that I don't?" Jimmy, weirded out: "So weird to see her acting like a girl!" Cute moment. But the next moment it went back to over-the-top. Lois shoving Chloe, the spray rolling down the table, Jimmy making his slow-motion dive…this went back to the campiness of the opening scene. Moreover, it was unnecessary. All Chloe had to do was spray. "You humiliated me in front of my friends." "Come on, Lana, you hardly knew anyone at that party." Once again, Clark-gone-wild actually has some home truths coming out. This was another shockingly good reply, one that made me stop and think, "Hey, yeah." And Lana was quiet for a moment. That isn't the life for her, isolated and estranged from her loved ones, playing out a plastic image, and she knows it. " Clark, what do you want from me? "What I've always wanted. For you to be happy." Now this was interesting. Clark doesn't come out with some selfish answer. Even with all inhibitions gone, the first thing he says is that he's always wanted her to be happy. Somehow this seemed to redeem him in her eyes. He really means it. She'll be miserable with Lex, and he's trying to save her. "Lana, stop kidding yourself. You're never going to be satisfied with Lex. You can't marry him." Lana seems to be listening for a while. It's sinking in, even though she pulls herself together and tells him, "I've already made up my mind." (Interesting answer. She doesn't say she'll be happy with him…she says she's made up her mind. In other words, her choice was made in "Hydro" and she's not backing out now.) "Even though you're still in love with me?" Lana was heading out of the loft. Now she stops. She's been virtually kidnapped, but she's willing to continue the conversation. This says something, to me. She doesn't deny it, either. Instead: "What makes you so sure?" And Clark, for once, has the right answer. "Because I'm still in love with you." Lana starts to cry. And somehow it didn't seem like she was crying because she hated him and wanted to run away. It seemed to me that she was crying from the stress of the party, from sorrow about her choice, from the feeling that it was too late for happiness. Because then she kisses him. Some have said that this kiss was entirely forced…but her hand, engagement ring and all, creeps around his shoulder. She's kissing him and crying and regretting it…but she's kissing him. "Marry me." I can't stand it that this is the proposal she will remember. The deluded, wild-eyed, passionate proposal. And yet, it's better that she knows he said it. She knows that even drugged up, he wants to cherish her and he wants her to be happy. "I have given you every chance. I have stood in this spot so many times, waiting for you to say something. And you decide to do it now?" She's right. It was good to hear her say this, bring it all to light. Clark gave up his right to Lana when he made the choice not to trust her. Now it's too late. When Lana ran to the railing and said, "Lex," the music was a direct rip-off of "Batman Begins". I'm not complaining, though, since I loved that music. Second good musical moment. "Now tell me you don't love me." Lana's lips move – the music makes it a beautiful moment – but she can't bring herself to say it. "You don't want to do that. You can't win. You don't even know the rules of the game." Watch this again. In the background, Lana's brow furrows. She's catching all of this. "If I had known who you were going to turn out to be, I never would have saved you on that bridge." That's the wrong answer. If Clark had known, he should have stuck closer and tried harder, instead of pushing him away so many times. As Clark once told Jonathan, "Slamming the door in his face over and over only helps turn him into what you think he already is." Nice camera shot as Clark and Martha stand looking out the window. They've never had one just like that before, moving over and gliding into the room. Saying that Clark has been "bottling everything up" seemed like another excuse for the fact that Clark hasn't been doing anything. It's like the way, after a string of bad episodes, one character will say, "You've been stuck in a rut." Granted, Clark has been suppressing his feelings – "Hydro," "Rage," the end of "Wither" – but other times he's been waiting happily in the shadow of greater heroes. "…basing every decision on what's best for other people. You never stop to think what's best for you." What point was Martha trying to make here? At first it seemed like she was going to urge him to be selfish more often, strange advice, but then it seemed like she was finding an explanation for his red k behavior. Martha launches into a matter-of-fact spelling-out of the obvious. "I think there was a grain of truth in all of it. Every time you've been affected by red kryptonite, it hasn't changed who you are. It's just stripped away your inhibitions." We've all figured out how red k works, so this was unnecessary. As was Martha's deep advice: "You need to start being more honest about how you feel." Smallville is all about Clark carrying a burden. Not being moody, but living his life with the consciousness that there are some things that only he can handle. I hope he doesn't take her advice. Apparently Martha thinks better of it, too, because immediately after she urges him to be open and honest, he tries it: "I can't let her marry Lex." She promptly tells him to leave Lana alone. "Thank God the ink wears off in a week." That was so unexpected. My brother and I burst out laughing. Even love-potioned Lois has her senses about her. Hilarious as Lois tries to avoid stating the obvious and Clark tries to make her say it. It's interesting when Clark's sense of humor emerges for a moment. Chloe's dialogue with Jimmy was well-crafted. Her unfailing defense of Clark (so good to see Clark getting defended, especially after this misadventure) must have seemed entirely unjustified to Jimmy. "Well, you're kind of brushing a landfill under the rug, aren't you?" "What, with Clark? So, he took the whole breakup jealousy way past the drunk-dialing stage. Can't arrest him for it." "He crashed Lana's party and told the whole world that she's eating for two." Chloe looks at him, not reacting. "Did I mention that he kidnapped her?" "I guarantee you Clark is beating himself up more than anyone right now, so we can just give the Clark-bashing a reprieve, okay?" "No. No, not until you admit that he royally screwed up." "You don't know him like I do." "And you remind me of that every day." Excellent build-up. Jimmy pushing Chloe, Chloe standing firm…and suddenly it takes a personal turn as you realize why Jimmy's pushing so hard. In a way, he's doing the opposite of what Clark was doing – "Say you don't love him. Say you don't love him." The fact that Chloe didn't recognize that was further proof that, when it came down to it, her heart was Clark's. "You know, if I did the things that he did, you'd never even talk to me again, and don't deny that." "So what are you saying, I'm lying to you now?" "Can you really tell me that if you had the choice, you wouldn't rather be with him?" Chloe stares at him for a long time. Then she answers…too late. By the time it came out, we had read all the thoughts that ran through her mind. "But then, I wasn't the one kissing him." Good moment of vulnerability for Lex. I feel bad for Lex, as I always do – Clark has treated him like dirt. "And I wasn't the one holding a gun to his head…What were you going to do, Lex, shoot him?" "If I had to." "To save me or to hurt him?" This was interesting tension. When Lex first pulled the gun, that had to be a turning point for Lana. She was afraid for Clark in that moment – that had to be a self-revelation. I wish they'd spent a camera shot on it. Now we know how much it troubled her. "If I ever let you slip through my fingers, I have no idea what I'd be capable of." This seemed vaguely ominous. It seemed to indicate that Lana was going to slip through his fingers…and that he was going to be capable of anything. If someone had told me that gameplan a year ago, I would have been frustrated – Lex going dark side over a woman? Now, however, any reason is better than some tacit understanding that he's a villain and we really don't know why. The doctor waits in the hallway, as if by arrangement. "How is she, really?" "You know this isn't the most typical pregnancy, but everything's on schedule." The three dominant theories: 1) Somehow, it's Clark's baby. 2) Lex's freak ability to escape near-death experiences has affected the child. 3) Lex has done something deliberately to affect the pregnancy…after all, he's keeping this a secret from Lana. I doubt 3, because his expression isn't conspiratorial but thoughtful and a little disturbed. I don't see how 1 is possible, so the best bet is 2. Lana unwraps the bent, battered tool. Mysterious music. This was a great ending. Some have suggested that Lana should be terrified of Clark, first kidnapped, then watching him try to kill her fiance, then witnessing his invincibility. But there's another side to the story. Lana has seen how Clark really feels about her, she's feared for his life, and now her thoughts are bound to wander to all the clues to his secret she's seen before. The time a Freak told her Clark was bulletproof, the time Clark showed up from across town…these thoughts are all tied to Clark's heroics. Plus, she's known Clark for years, and she knows his violence was due to some sort of drug influence. It seems more likely that she'll begin to see him for what he used to be…a hero. Details I find it odd that 1) Martha was invited to the engagement party, and 2) she accepted. She and Lana rarely had scenes together – in fact, the only scene I can think of is "Slumber" – and although she was like a mother to Lex at one point, that has been gone for a long time. Lex knows that Lionel is trying to win her over, and he despises his father for it. It seems like the last thing he would do would be to invite her. Then again, this could be interpreted as a low blow at Clark through Martha…making it even stranger that Martha accepted. "I did a search on our favorite Martian Manhunter…" I can see the Martian, but why the Manhunter? That coincidental nickname was a bit of a stretch. Lois tattooed her breast. I say it again – when will Lois be there for something other than overexposure? The trees outside Oliver's window are perennially autumn-red. They were this color in " Reunion" and "Rage". Lana invited Lois to the engagement party? Why? "Star's Earth Essences." This was an interesting name, tying in the idea of another astral body and earth colliding. "Something tells me Lois and Clark's destinies are a little more entwined than they realize." How did she know Clark's name? Jimmy just said Lois's name, but Clark should have been a complete stranger. Besides, the woman had no way of knowing that Clark was the first person Lois saw, since Clark left immediately afterward. Jimmy certainly dropped off the Luthor blacklist quickly. The same day he makes his wry remark, he shows up at the mansion. © Voice of Reason, 2007