Voice of Reason: Season Six: Rage

Rage

Overall

After last week's trailer, I had looked at this episode with a contradictory mixture of dread and cautious expectation. Last week's episode was so abrupt and the characters so bland, and the previewed Oliver plot seemed suspiciously reminiscent of the Lana plot in S5's uncompelling "Void"…no pun intended. Yet overall, this season had been so much better than the last two seasons. It seemed like the writers were communicating more, so there was more continuity and the characters had the time to take a definitive shape and grow. So my expectations fluctuated. The Green Arrow could suddenly without warning lose his standards, or the Green Arrow could have a legitimate struggle and even have a real heart beneath the rage. Clark stand around reproaching Oliver from a distance, or he could really care.

The good won out. This episode was the best episode of the season.

Oliver was compelling. He was, in many ways, like Clark on red k – like Kal. His feelings remained the same, his heart was still there, but his inner secrets were unmasked and distorted. His yearning for Clark's abilities turned into bitterness, his impatience with the treacherous doctor turned into anger…but ultimately, even at his worst, he still loved Lois, cared for the poor, tried to achieve his concept of street justice, and wanted Clark's approval. I love the Green Arrow. He and Clark continue to challenge each other, to conflict and battle with hearts and heads and wills, to disagree on what is safe and what is right…and yet stay close friends who watch each other's back. It's amazing what his character has done to bring out the real Clark.

Clark cared. He was genuinely worried about Oliver, and he was trying to help him out not to control him but to protect him. He not only cared for Oliver, but he cared for Lex. Instead of the flippant, "Lex and I have nothing to do with each other any more," he brought Lex back to life once again…and you know Lex will find out about it. And finally, he cared for Lana. And Lana knew it. He wasn't afraid to be the first one to reach out, to let his guard down. Clark's love and vulnerability in this episode was superb.

Lana was perfect. She was gentle and loving the whole episode – the way she should be – and she didn't do the snarl or sneer thing once. It was as if there were an inner source of joy and love, before she even found out the truth. Even her music, that piano music expressing a troubled joy and a gentle sorrow all at once, was perfect. Her relationship with Clark was believable again. It was as if the writers were in touch with each other again – they knew that last week's episode broke down a barrier between the two, and that this week would continue the trend. Lana would be herself and Clark would be himself, even when they met unexpectedly. There was relational continuity. There was character continuity. The last scene she was a quiet mixture of joy and fear…looking at Lex across the distance of the table and wondering…

Then there were the minor characters. Lois kept her self-respect, her love for Oliver, and her notion of Clark as a well-meaning geek…while going back to dating someone who'd mistreated her, being mad at being mistreated, and listening to and being helped by Clark. Lois was complex – her reason pulled her in all sorts of directions, and her instincts in others, and throughout it all she managed to stay in character. She was mad at Oliver until she realized that he wasn't hurting her as much as hurting himself. Then she wanted to help him. She was offended by Clark's going to speak to Oliver (which, from her perspective, really was presumptuous), but once she was incapacitated she doubtfully accepted Clark's offer to go find Oliver, little thinking that he would succeed. Through all her decisions, there was an underlying current of reason. She made sense.

I have never liked the Martha-Lionel angle. Even when it first started in Season Three, there was something incompatible about her sweet goodness and his innate sliminess. But since the writers decided to go with that angle, they gave us some good reasons for the two to bond. They're working together a lot, they've been through some very intense moments together and have seen each other vulnerable ("Mercy"), Lionel admires Martha's spunk, and Martha…well, I still don't know what she sees in Lionel. But she's seen Jor-El in Lionel, seen the fatherly pride with which he viewed Clark (and perhaps even still views him: goodness knows he's been anxious enough to help Clark recently). But this episode worked at making sense of that incomprehensible relationship – bringing things out into the open (at last!) and then reining them in. While I definitely do not think that Martha and Clark would invite Lionel to Thanksgiving dinner, I can see how he would be folded into the family circle, through his knowledge of Clark's powers. He's Martha's only friend and peer right now, and his power and apparent willingness to protect Clark's secret made the relationship more believable. Do I like it? No. But I didn't like it when Lionel wiped Lex's memory either in "Asylum" and that was a strong and powerful and unforgettable episode. They handled the unpleasant thing expertly.

Yes, I think seeing Lois and Oliver pawing each other in the opening scene cheapened the relationship. Yes, I find it hard to believe that Lex would murder someone as they implied. Yes, I think the Kent Thanksgiving dinner was a bit cliché, and too long; and if Clark had gone on that long with so many long emotional pauses at my dinner, eventually I'd have broken into the stuffing and mashed potatoes without him. (That, by the way, is a joke. In reality I would sit there, polite and bored.) But even during these scenes, I saw the point the writers were trying to make. And the bare fact that they were trying to make points brought this episode above last week's. The fact that they were pretty good points puts this episode in the lead.

My favorite episode of the season.

Verdict: 9.8 out of 10.

Good/Bad Moments

It was good to show Oliver driven to save people. It would have been easy to slip into the "Void" mistake of plunging straight into the druggie image. Instead, "Rage" showed Oliver rushing out onto the balcony, worried about perfect strangers. Willing to take the risk and help out. We realized he truly cared for people, that he couldn't stand watching them suffer. It made the whole episode seem more balanced – not a story about the good guy totally out of character (how S4-ish!), but a story about the good guy with his darkest secrets wrenched out (how S3-ish!).
All the shots of the abuse intercut with the shots of Oliver getting his gear on were intensely frustrating. Oliver really needs a quick phone booth or something.
The closed captions said, "Thanks, Green Arrow." Thank goodness they took that line out.
"Ollie, Ollie…whatever, whatever." That made me laugh. It was so unexpected, particularly from Lois, who is so practical and down-to-earth. Seeing her playfulness with Oliver – and the more generously trying moments like this – gives her new dimension.
"I thought it would be a good idea to invite a few people over for Thanksgiving this year." "Actually, I was hoping we could keep it low-key." To be honest, I was with Clark on this one. It would be one thing if Clark were normal, but he's not. Their first Thanksgiving without Jonathan should have been a time when they could be completely open with each other, could share freely what they were thinking. About Jonathan, about life. Turning it into a party meant that Clark had to hide himself from Lois, and to a degree from the others. It should have been an open and healing time, not one where he had to put on a mask. Then again, it appears that Clark is more comfortable with being himself and keeping secrets at the same time. Which is a development I appreciate. Apparently he found sitting with Lionel at the table more healing than being alone with Martha, and that's his choice. Okay – as you can see, I'm undecided on this one. But my instinct would be for low-key.
"I'm not feeling very thankful this year." He said it so simply and matter-of-factly. This line was all in the delivery. Last year he would have said it emotionally and broodingly, and we would have wanted him to get over himself. Now he said it and we thought how un-self-centered he was. Good moment.
"I know it's going to be a hard day, Clark, especially after what happened to Raya, but…company could help." That was so out-of-the-blue that I laughed. All right, I think I'm decided now…low-key. I start thinking about the nice Thanksgiving scene at the table and believing that the writers made the right call…but I have another image in my mind, of Clark and Martha at a small table, talking intimately. Smilingly reminiscing about Jonathan. Talking about life. Alone and independent. Making it on their own as the Kents. I'm decided. Low-key, definitely.
"He was the one who…always made sure I was thankful for my abilities, but you know what, he was wrong." Somehow this gave the wrong image. I imagined Jonathan probing Clark every Thanksgiving, putting a little pressure on him.
"Last night he pulled another one of his trademark disappearing acts – smack in the middle of a date." I definitely understand Lois's feeling undervalued, but I would have understood that without the writers making a Clark out of Oliver. On the other hand, I guess it's only realistic that Oliver would hit snags before this, and that the writers wouldn't make us suffer through all of them the way we suffer through Clark's. So – good call.
"I'm sorry, Lois." Martha says this line a bit oddly. Is it because Clark told her Oliver's secret, or because Annette O' Toole just said the line weirdly? I hope not the former. It isn't Clark's secret to share.
"Lex, I found a charitable organization I want to focus on." Lana enters, beaming. After last episode's portrayal of a dark cat-and-mouse relationship, it seemed strange that Lana (conspiring to undermine Lex's plans) and Lex (conspiring to undermine Lana's plans) would be so unguardedly happy together. Especially since the battle between them was thrust into the open. On the other hand, I couldn't believe last episode that they would battle and then continue to live romantically together, so perhaps the incongruity should be blamed on last episode, not this one.
"Pick any other project. I'm sorry." Once again, Lex is controlling. Lana would have been outraged if Clark spoke to her like that – in fact, she was outraged about far lesser things – but now she says nothing, just walks out icily. This moment seemed to indicate, once again, that she had other reasons for staying at the mansion.
"It's called exercise, Clark. It's something we mere mortals have to do from time to time." That was a great moment. It revealed the underlying discontent, the frustration that was the source of it all – but of course we couldn't know it. Not at the time. We merely thought it was the first sign of his being irritable. That's the sign of great dialogue – it doubles. It fulfills the immediate need (showing that his anger is growing) and also acts as a subtle setup for a later payoff.
This whole exchange was like an intricate dance. Oliver's irritability started out in small doses, comments that could be overlooked. So Clark kept on the conversational path, asking what was going on, going for the information. Oliver's irritability grew and Clark could not overlook it – he addressed it, and the conversation worked its way off the trail of information and into the emotional conflict. Clark did not promote the anger, but stayed in character, caring and concerned, not pushing too hard or leading him on. Yet the emotional conflict built up in such a way that Oliver could smash a glass with his bare hands, and shout at Clark to go, and we could believe it. It was a natural movement, each movement tied to the other, one line of dialogue connected to another, all the meanings and motives intertwined. Beautifully written.
"If I was shot, don't you think I'd be laying in a hospital or a morgue? I'm not bulletproof like you are, Clark." Again, he brings it back to that point. Without his guard, his self-control, these references keep coming out. And yet they aren't contrived. They make perfect sense in context – we wouldn't have noticed if not for what followed.
"Well, maybe it was someone else with a preference for green." Oliver is trying to explain it away – he doesn't want Clark to know what he's doing. This worked perfectly in context. He isn't showing abnormal anger yet – he's trying to suppress everything, to shrug it off. It wasn't over-the-top.
"Oliver, you're getting sloppy. Your gear's out in the middle of the room, the door's unlocked – that could have been Lois walking through the door." "Yeah, you know what? I've had a lot on my mind lately. Apparently you've been too busy using your powers to bale hay to realize that there's a crime wave in Metropolis." The way this is written, Oliver could have been yelling. But the perfect delivery allowed the pressure to build up. He's confronting Clark with something that's been bothering him subconsciously – it's all coming out. He's getting more agitated as he talks about it. The conversation is gaining momentum.
"Let me ask you a question. Are you ever going to get off your *** and do something for a change?" He can't keep it in any longer. And Clark can't ignore it any longer. "I didn't come here to be insulted." "Well, you know what, there's the door, Clark. I don't remember your being invited." This time, the rage is so clearly unlike him that Clark knows something is wrong. He doesn't answer in kind, but is worried about him. "Oliver, what's going on with you?" " Clark, I don't need to take advice from someone whose only worry in life is to protect his own identity." Strong words. And this time they didn't have anything to do with the conversation before. It's as if Oliver is answering Clark's question, whether he means to or not. He's revealing his resentment of Clark's passivity. Clark is compelled to defend himself. "That's a lie, and you know it." "Let me tell you something, when I'm out there, when I'm out on the streets, I'm protecting people. All right? Right now I've got much bigger things to worry about, like staying alive!" He shatters the glass, stares down at his bloodied palm. Clark knows something is wrong now, and he overlooks everything that Oliver just said and did, in his concern. "You okay?" Oliver, subdued for the moment: "I'm fine, just get out of here." "You sure?" "Go!" That whole conversation was such a perfect flow, from the tightly-written dialogue to the superb acting. The dialogue kept a steady undercurrent of tension, and the acting allowed the pressure to build up, drop, build up, drop…a rhythmic progression of accusation and dismissal, of defensiveness and genuine concern. The emotional flow was perfect. The writer in me was so excited that I was smiling when the scene ended…it was just so beautifully done.
"Wait a second, the guy smothers you with flowers and you forget everything he's done?" That actually was a little unfair of Clark. He knows Oliver better than that by now, so instead of trying to turn Lois away from him, he should have been enlisting her help. Which he ended up doing, albeit inadvertently.
"The whole botanical overkill was just a lame attempt to beg forgiveness." Lois starts out merciless toward Oliver. She feels undervalued. The beginning of her train of thought.
"Lois, I went to talk to him at his apartment." This made Clark seem very officious and meddling. It would be appropriate if Lois asked him to do it, but to go without her knowledge? Obviously that wasn't what he actually did, but think of how it seemed to Lois – the equivalent of "We all know he treated you like dirt, so I went to rebuke him." I could completely understand Lois's reaction.
"You didn't. What were you thinking?" "I was looking out for you!" "I have 20/20 vision, Smallville, I look out for myself." She was making a dignified clean break of it, and Clark was trying (in her eyes) to patch things up, making her look needy and childish, as if she wants to come back to Oliver but is sending someone else to talk to him first. Again, I understand her indignation.
"When I was at his apartment, I found a needle and a syringe. Unless your doctor prescribed it, I think Oliver's doing drugs." Lois is almost relieved. "This actually explains a lot. All those times he disappeared." She's replaying scenes in her head – she's no longer undervalued, instead Oliver is tormented and running from the past. She's the only stable relationship he truly has (as far as she knows). Then she blames herself for letting him down. "I should have known. He said that Thanksgiving was a hard time of year…made him think about his parents." She's changing her stance, but it makes perfect sense. She's seeing gone from seeing herself as his toy to seeing herself as his lifeline.
"Lois, I think you might want to keep your distance." "He has a substance abuse problem, not leprosy. And I am not going to bail on him when he needs me the most." Lois is indignant at the idea that Oliver be abandoned to flounder in his problems. And she's right. If Oliver's friends aren't going to help him, then who is? She doesn't know that Clark is Oliver's friend – she still sees herself as his only chance.
"He's not himself right now. Based on his behavior, I don't think he's someone you want to be around." I can see Clark's perspective here. Oliver is highly-strung enough to squeeze a glass into shivers: with that much loss of control, he could hurt Lois without even trying. But I can also see it from Lois's perspective. "Well, see, that's the difference between you and me, Clark. I don't desert people when they need help." She doesn't know any other way to help Oliver. It was wonderful that this scene was written in such a way that I could completely sympathize with both characters, even as they shifted sides and disagreed completely.
"And it worked. Perfectly." Oliver is exultant. The makeup and acting combination here was perfect – we didn't celebrate with him, but saw that he was glad in a feverish way. We understood the excitement he was feeling, the triumph, as if he had leapt over a major hurdle…and saw the unhealthiness of it all, subconsciously. It wasn't obvious, like Lana's ghastly makeup in "Void".
"Well, don't take any more." "Last time I checked, doctor, you work for me." That was ironic.
"I'm not a mouse, I feel fine." That was so unexpected. I still laugh at that. Somehow there's a humorous incongruity in his straight-faced statement that he's not a mouse.
"No lapses in judgment? No sudden outbursts of anger?" "Not really, but I am starting to feel one coming on right now." His expression was perfect. Here is someone who is always in control, who always gets what he wants, and who has just experienced the apex of power: virtual invincibility. He is used to being courteous, and being obeyed. This moment, with his guard down, was a perfect revelation of what he could become if he let himself go. It actually wasn't that out of character.
"This isn't about my recreational activities, doctor. We're on the verge of a medical breakthrough that could save countless lives. I'm more than honored to be the guinea pig." He gathers all the vials. "Trust me. I can handle the occasional temper tantrum." This was a good moment. We see the circles under his eyes, yet we know that this isn't just the drug talking. He was willing to inject it before, when he was unaffected – his willingness now isn't really out-of-character. He thinks he is going to help people. He thinks he can handle whatever comes his way. And it's exactly what he thought before he took the drug. I love it that his judgment is warped but his motives remain true.
"I don't think Clark would agree. The holiday is going to be difficult this year without extra complications for him." Interesting that Lionel brought this angle up. I actually agreed with him, and wondered why Martha kept pressing the issue when Lionel just pointed out an important fact about her son. It was as if it went in one ear and out the other. Why is Lionel more insightful about Clark than Martha?
"You're not a complication, Lionel. You're a part of my life now, and I'm very thankful for that." "Do you know what that means to me? Do you know what you mean to me?" Now, that was corny. Lionel is so cynical and self-controlled, except when he yells. This sudden apparent vulnerability seemed very contrived.
"Um, so I'm just going to get this syringe to my chemist – " "Great." " – Why don't you head out, and I will get hold of you as soon as I find anything." Clark turns around, a little shocked at the idea that he is being herded out. "Are you trying to get rid of me?" "No! Why would I want to do that?" Lana descends the stairs behind them. That was such perfect timing. The cinematography was perfect, too, framed so that your focus shifted right on cue. It's rare that Smallville pulls moments like these off, but this was definitely a success.
Lana glances over and sees Clark. This moment was great. Clark sees her and doesn't immediately become guarded…just looks open and friendly, if very conscious of the awkwardness. "Lana." She too looks open, if startled. "Hi." Clark nods. Chloe says, quietly, "Us girls were just going to get some lunch." Clark tries to look like that's a wonderful idea. "That's great. Um, have a good time." He looks at Lana out of the corner of his eye as he turns away, as if he's not sure whether to say good-bye or not…then enters the elevator. This very delicately handled encounter was perfect. Clark and Lana didn't immediately become serious and defensive when they saw each other – their expressions didn't cloud. It was as if they were trying to show each other that they didn't hold anything against one another. Very subtle and very good. The music was perfect, too – tender and full of memories and full of the moment.
"I want you to check something out for me before we go." "Yeah. Okay. My Google is your Google." That was a funny turn of phrase.
Oliver takes out the vials, his glasses on the table. Lois rounds the corner. We think she's going to see him with his glasses off. He lifts his bow. She lifts a weight. The music is perfect. Just as he puts on his glasses, she slams him with the weight, and he turns and instinctively throws her back. This build-up was perfect. First we were internally screaming for Oliver to put his glasses on. We wanted to protect his identity, and that naturally turned into our wanting to protect him. We were able to excuse his instinctive reaction because our hearts were still pounding over whether his identity would be protected.
"I didn't – " His inability to explain himself, his feelings of guilt, all conveyed just with body language here. Perfect.
Lionel is mulling over kryptonian symbols when Martha enters. He flips the pages shut. This is the second time…when are we going to learn more about this?
"There's something between us." She said it so simply and matter-of-factly. I think this took everyone aback. And somehow the way she said it made it welcome, an expression of something that had been hovering in the air long enough. "What it is, I don't think either of us knows, but I do know…I'm not ready to find out." I was glad of that. If it had gone any further than her first acknowledgment, it would seem whirlwind-ish and cheap.
"I really want you to be with me for Thanksgiving." That was strange. I didn't like that line. For one thing, it took away any choice in the matter – she wanted him so badly that she emotionally bullied him into accepting. For another thing…why did she want him so badly? Really, she was being unfair to Clark throughout this episode. At some point, she should have given up and said, "I guess it wasn't meant to be – I'm supposed to spend this Thanksgiving with Clark."
"The Green Arrow did this to you?" Clark is shocked. He turns away, so Lois can't see his reaction. "Have you talked to Oliver yet? Has he visited you in the hospital?" Those were actually good questions to ask. It would have made sense if Oliver had immediately reached her the way he could, through his own identity. We start wondering where he is.
Lois, reluctantly: "No. I tried him on all his numbers, and nobody answered the phone. Clark, I'm nervous. Either he's on some kind of crazy drug bender, or the Green Arrow has gotten to him." Her growing concern for Oliver was actually very well done. Their relationship was changing and growing and they weren't even together. Moments like these led us through the plot, and built up for the resolution for their relationship.
Clark turns around. "Don't worry. I promise I'll do everything I can to track him down." Clark said this rather dramatically. He was forgetting himself, but Tom Welling's delivery was just asking for a retort.
"Yeah. That'll be a big help. Look, I'll just call Chloe." It's good for Lois to see Clark as a geek, to be completely blind to the obvious. For one thing, it's part of her endearing quirkiness that she misses the biggest clues. For another, it's a nice part of the mythology to keep. I don't think the writers should stick religiously to the mythology (for one thing, there are too many versions; for another, who wants to see a story where you know the plot and the ending beforehand?), but this is an interesting dynamic to keep.
"You may be able to heal, but that doesn't mean you can't feel pain!" This was the first unrestrained fury we've seen. And it was powerful enough to make us wince. Great, startling moment.
"I'm sorry, doctor. I can't let you do that." The doctor looks uncomfortable. The music seems to indicate that something is going to happen. Was this moment an indicator that Lex was behind her death? His line was harmless enough – it could merely have preceded more arguing, or a group of people entering and carrying off equipment. Interesting how they left this ambiguous moment.
"Drugs or no drugs, I don't believe Oliver would kill someone." I thought this was a good moment. Clark shows faith in Oliver – it was an "I know him better than this" moment. (Which, granted, might have seemed a little odd to Chloe, since she didn't know they were friends. Still, good moment.)
Neat, the shooting star over the mansion.
Beautiful, perfect music, sorrowful music, as Lana sits by the fireplace, thinking about the future.
Clark enters abruptly, then sees Lana sitting there. He doesn't announce himself curtly like he's done before, but is sensitive to her feelings. Quietly: "Sorry. I'm looking for Lex." Lana, gently, controlling herself: "He's not here." Clark knows her well enough to hear the trouble in her voice. He draws closer, concerned. "You okay?" It's the second time he's asked that question. "Lana, what is it?" He's so quiet that she can only be comforted. She tries to smile, but can't. She looks at him, whispers, "Nothing. I'm fine." Clark slowly kneels down next to her and looks up at her. "You don't look fine." He's not cornering her – he's saying it affectionately. He's telling her that he's worried about her. She is silent. "You can talk to me, it's okay." Finally, someone's said it. She can share things with Clark, and it's okay. This dialogue was so perfect. So real. The scene crackled with realness, with humanness, with love, with instinct.
Lana looks at him, slowly, then committing herself: "Do you ever wish that you could go back in time, and everything would be different?" She's not just sharing herself, she's also waiting for his reply. For once, Clark and Lana are having a two-sided conversation. Clark thinks about her question, and about his answer, before he speaks. "All the time." They're actually communicating, the way they used to. The way they did in the graveyard – better.
He puts his hand on her shoulder. "What happened?" She flinches. We know that she is thinking of Lex. "What did Lex do?" But she can't blame it on Lex. "Lex didn't do anything." Clark doesn't know what to say. "Lana, if you're in trouble, I can help." It is the first verbal misstep he's made: he doesn't know if he can help or not. He's committing himself beyond what he can perform, and Lana knows it. " Clark, this has nothing to do with you. Could you please just go." Clark rises obediently, but as he stands behind the couch, he senses that she doesn't want him to go. He doesn't want to leave – he feels compelled to stay by her side and help her. But he cannot say as much. She feels his presence, but she cannot ask him to stay. He leaves, and she feels the lack of his presence. This scene made me feel as if I were in the room. I entered into the emotions of the characters.
"After some gentle prodding, the director told me what you and Dr. Black were doing with the residents." I liked it that this was kept offscreen. More would be overkill. This was suggestive enough for the imagination to supply the rest.
"I knew you weren't a saint, Luthor, but killing a woman to cover your tracks?" Interesting moment. Lex doesn't indignantly deny it, but says coolly, "You're delusional." Again, this could go either way, but it's as if the writers want us to believe that Lex was responsible.
"Oliver!" Clark looks and sees Lex's body on the floor. "What have you done?" He goes over to Lex. Interesting – what triggered this reaction in Clark? Was it seeing his former friend lying dead? Or would he have reacted the same way if he thought Lex was a devil? Considering his little comment in "Sneeze" that I can't get over, it seems surprising that Clark would be so disturbed. But forgetting that little comment, which should never have been there, and looking at this moment by itself, I was glad that Clark had a heart for people. Since he knew Lex as he could be if he tried, and had mourned their lost friendship even as he broke it off at the end of S3, I thought this moment should have been even more poignant. He and Lex have great memories as well as poisoned ones.
Oliver, panting on the floor, tries to justify himself to Clark. "He pulled a gun, Clark, I had no choice." By now Oliver is no longer angry or violent – he's weak and exposed. Interesting that he felt he had to defend himself. It was as if, as he became weaker, his role switched from the aggressor to the tempter.
"Lex? Lex?" "No, let nature take its course." Clark stands. "Oliver, that's the drugs talking. It's not you." I was waiting for him to say that. It wasn't the best line, but they absolutely could not do without it. They needed that appeal.
"Hey, that drug is the best thing that's ever happened to me, Clark. I'm not bulletproof like you, all right? I've got to do whatever it takes. I need that drug." He seems feebler now. Though this dialogue is a bit cliché, I liked the fact that his angry energy is dying out, and that now he is simply trying to justify himself.
Clark grabs Oliver, hard. "Oliver. You're not a killer!" "No, but he is, Clark. Listen to me. You and I both know the world's a better place without Lex Luthor." Music, Clark reacts. This emphasized the image of the savior and the tempter. I found this scene to be very reminiscent of Jesus being tempted to turn stones into bread.
"That's not for us to decide, Oliver. Now where are the drugs?" "Lex, he took it all, he took it all from the lab." I liked it that Oliver tells him in a kind of chant – he's mad that Lex took it all, and so it didn't seem contrived that he told Clark what he needed to know. By now his words were just on the surface of his thoughts, no longer going deeper into his subconscious.
Clark releases Oliver and opens the case. Somehow it seemed contradictory that after talking about the dangers of these drugs, he injects them into Lex. I know that he had no choice, but he didn't make much of a statement that way. I wouldn't change it…it just took me aback for a moment.
Oliver grips Clark's arm. "Let him die." Clark throws him against the wall. It was as if he was battling the tempter – Oliver was no longer a danger to him, except in his head, by now. Great symbolism – whether intentional or not.
"You killed him. You killed him." Oliver, crouching on the floor, looks at Lex, who stirs. It seemed too soon for Lex to move – it should have been a few seconds more, just for dramatic effect.
Lex sits up in the empty room, then picks up the used needle and syringe and looks at it. This was a great moment. He knows that he's been saved – he doesn't know by whom. But he looks at the instrument of his salvation and you know that something is going on inside him, you can see the thoughts that are racing through his mind – a momentary humbleness. I was glad that they didn’t cheapen this moment with any obvious lines about "A man can't live forever" or any other platitudes he could have shared with Lana. We could see what he was feeling without them.
Oliver sits there alone, almost mournful, with the beautiful Green Arrow theme music playing. That was a great image, showing him alone. In the beginning, in "Sneeze," we saw his dark side, the consuming loneliness and passion. It was good to show him that way again – the dark side of living with powers, with such responsibility.
"Who am I dealing with, Jekyll or Hyde?" That was a wise way to enter. It took away the awkwardness, and still allowed him to keep his guard up. And it wasn't patronizing – to enter with care and concern, as if he were visiting an invalid, wouldn't have been the right way to go.
"Just plain old Oliver today, Clark." Clark, seeing that the coast is clear, lightens the mood. "You haven't broken any glasses, that's a good sign." Oliver smiles and nods. "Right." I liked it that Oliver was subdued and that Clark was trying to help him out now. It wouldn't have been right for Oliver to immediately rebound. He was sobered, he was contrite. And since Clark has been in the same position many times before, he knew what to say. It was good to see Clark actually applying what he's learned over the years.
"So what made you come to your senses?" "Actually you did." Clark is surprised. "This whole time I wanted to be like Clark Kent, you know, I wanted to, uh – I wanted to have the ability to bring justice to the world without having to worry about getting killed in the process. And then something occurred to me, I realized that, uh – Clark Kent would never take another man's life. I came within an inch of doing just that." The first part of this confession, I could understand. Sometimes I want to be Clark Kent myself. Not literally – but we all feel a vicarious thrill when he joins in the cosmic battle of good vs. evil. We want to leap into battle by his side – we want to walk through the valley of the shadow of death unscathed and fearing no evil. I completely understood Oliver's attempt to gain that, when he thought it was within his grasp. As Oswald Chambers said, "Every man is made to reach out beyond his grasp." But when Oliver put it on a purely moral plane and said that he looked up to Clark's ethical standards, somehow it seemed to take away from his own role as the vigilante. I know he would respect Clark's standards, and even admire them, but holding them up to himself with humility seemed out of character.
"I'm not even in your league." "Oliver, you do a lot of good in this world. You don't need to be indestructible to be a hero." "Yeah. Oh, you're right, you're right, yeah, um – I should be thankful for who I am, and the abilities that I have…and all that." Oliver seemed tired, and unusually humble. This could have been a very corny moment, considering what he's saying, as if he's repeating a lecture he's heard before – but the delivery made it make sense. He's been through a lot, and his pride has taken a beating. He's wallowing in humility right now.
Clark, thoughtfully, "Me too." Then, enough with that – "Now come on, you can't be alone on Thanksgiving." I liked it that he wanted to help Oliver and cared about how his holiday went. It showed that Clark had grown through the episode – he went from focusing on his want to be alone, to wanting to help others. (Granted, I still wouldn't have minded the low-key Kent dinner.)
"Thanks, Clark, I appreciate the offer, but – I can't. Look, Lois is going to be there, and I'm pretty sure she doesn't want to be in the same zip code as me." "Now that you're back on track, I'm sure Lois is going to want you there. Trust me." "Whoa, trust you? What happened to all the lectures about guys with secret identities not being able to have a relationship?" That was perfect – they didn't leap over a huge gap, but built a bridge instead. We understood.
"The truth is, you and I are different. And Lois isn't Lana." This was a big step for Clark. After his experiences in "Reckoning," he really needed a paradigm shift. His notion that he should never be honest about anything regarding his secret was taking safety to an extreme…in reality, he could talk about some things, like the box, without giving away his whole secret. There were many instances in S5 when he could have shared part of the problem, and he didn't. Now it seems that he's learning that it is possible to maintain a balance – to tell a little, to withhold some more, and to trust that the person he loves will trust him, if he puts a little faith in her. He grew a lot in this episode.
"If you two are meant to be together, then who am I to stand in the way?" That was a good, subtle line. Sometimes their Lois-lines are obvious, like earlier when Clark told her she'd find someone "better suited for her," but this one was perfect.
"Chloe, I'm not here to talk about the halfway house." "Okay…but there's some stuff in there that I think you should know about, Lana, about Lex." "I don't want to hear anything more about Lex, I can't." This was good. It told us, so meaningfully, so powerfully, that Lana feels compelled to stay with Lex, to make the relationship work. She is bearing his child: she feels bound to him. This was such a perfect way to show us how she felt.
"What's going on? Lana, what happened? Hey, you know you can tell me anything." More of the beautiful music. "Chloe…I'm pregnant." Chloe looks at Lana – then hugs her. "Okay…" This was such a perfect scene. It was so real. Once again, I felt like I was in the room, witnessing something actually happening. Chloe didn't ask any questions, but gave Lana the support she really needed…and yet Chloe felt helpless, not knowing exactly what to say. Beautiful, real scene.
"Did you cook that on the barbecue?" I loved the way he delivered this line, arms folded, sounding curious.
"Did you talk to Oliver today?" "Don't go there, Smallville." "Okay." Doorbell rings. "I think that's for you." I love the fact that Clark and Lois's relationship is not romantic. They're learning to care about each other, which is something they didn't do throughout S4 and S5. It's a big step, and a natural one. Clark isn't just looking out for Lois as a token or symbol…this episode showed him wanting her happiness, and even working for it. This sly exchange was perfect.
"I'd bet anything that Lex is somehow behind this." "Maybe. I doubt we'll ever be able to prove it, though." Again, they seem to imply that Lex is behind it all. Still, that somehow feels wrong. The whole doctor-getting-killed thing is reminiscent of Adam in S3, so maybe that's why my head keeps insisting, "No, it's Lionel!"
"Does Lana know about this?" Chloe looks at him, frozen. "It's just, I went by the mansion and she was really upset about something. Is she all right?" "Yeah. Yeah, as far as I know. She's fine." Clark looks at her thoughtfully, perhaps penetrating her attempt to cover everything. This was an interesting moment. How much did Clark see? I also liked that Clark followed up on this, and that it wasn't completely dropped or ignored. It showed that his concern carried into every area of his life.
"Oliver." Oliver looks at her, contrite, wanting to make up. "Happy Turkey Day." He steps inside, and she realizes they need to talk. "Where've you been? I've been worried about you." She says this casually enough, but meaning it. "Yeah, um…Listen, that's all over now. I'm like a walking drug-free zone, honest." She looks at him, half cautious, half wanting. "So if I were to hug you right now, I wouldn't stab myself on any stray needles?" "Come over here." They hug. Oliver whispers, "I'm so sorry I ever hurt you." This scene was perfect. The writers balanced the awkwardness with the compelling force of the characters' concern and love for each other. It would have been easy for them to make Lois say something smart-alecky and reproachful, or to make the initial talk very stilted and stiff, so that the making up seemed unrealistic. But they kept the balance and kept it believable. Brilliantly done.
The reactions to the turkey sounded a little forced, particularly Chloe's "Oh woooow."
Clark's speech was so long, and had so many long pauses, that several times I thought other people were going to break in and volunteer what they were thankful for. "If I could have everyone's attention, please, I'd like to make a little announcement. Our family has a tradition…that goes back…way before I was even born…where everyone takes a moment to say what they're most thankful for in their lives." Long pause, during which Lois and Oliver exchange conscious looks. I'm waiting for them to say something. And I'm just waiting for Chloe to say something. "I would just like to say that I'm most thankful for…my mom and dad." Even longer pause, during which Lionel looks a little guilty, and I'm still waiting for Chloe to say something. It's getting a little awkward when Clark breaks out again. "Whose faith in me taught me to have faith in myself." Long pause. "Thank you." To be honest, the speech made me squirm uncomfortably. It was one moment in this episode that I couldn't see happening in real life. It was as if they were trying to make comfortable a situation that was really very uncomfortable.
Seeing Lionel and Chloe sitting next to each other, listening attentively to Clark…ugh. It gives me the creeps.
Clark looking around the table at everyone's happiness lasted twice as long as it should have lasted.
Wonderful contrast as Lana and Lex sit at opposite ends of an immense table. The symbolic distance between them was perfect, and emphasized by their only verbal exchange.
"You haven't said a word all night. Everything okay?" "Everything's fine." Lana looks hesitant, like she wants to say something – but can't. This would be the perfect special time to share the news…if only she wasn't afraid of Lex. "Happy Thanksgiving." Lana lifts her glass and smiles…then sets the glass back down carefully, as if making a subtle statement that she can't drink wine. This was actually a great image to end on.

Details

"So, you can scratch Oliver's name off the Thanksgiving guest list, or any other guest list, for that matter." When they walked into the kitchen, Clark didn't know Martha's plans. Lois knew Martha was inviting company before Clark did?
"Besides, you of all people should know better than to believe everything you read in a newspaper." Why should Clark of all people know better? Is it because Lex portrays himself in a good light, because the Green Arrow is portrayed badly? This was a rather obscure reference.
"Us girls were just going to get some lunch." That should be "we girls," and as a journalist one would hope Chloe'd know it.
Aren't all of Oliver's guests announced over the intercom before they can come up? Lois and Clark both show up uninvited, and Clark says "the door's unlocked." What does that mean? The secretary had the day off and Oliver left the door unlocked?
Why does Clark take Chloe along to the lab? That didn't make any sense – the only reason was so she could say, "I don't think it was Oliver, Clark. It was the Green Arrow," and tell Clark about Lex funding Second Chance. It made script-sense, but not common sense.
Did Chloe shriek "Clark!" when Clark broke down that metal thing and looked in? It sounded like it, and there was a caption for it, but then she didn't act shaken or say anything like, "Give me a warning next time.