Alias Season 3

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2000's, Alias, Alias Season 3, Carl Lumbly, David Anders, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Melissa George, Michael Vartan, Ron Rifkin, Victor Garber

Season 2 of Alias was a high point of the show, with the way it switched things up and delivered twists. It must have been hard to come up with a season that would measure up. And while Season 3 undoubtedly has its moments of greatness, it doesn’t quite reach the heights of the past two seasons. You can still enjoy the show however, despite the hiccups present in this flawed season. Caution, spoilers will follow.

We arrive back with Sydney Bristow(Jennifer Garner), who has discovered that for two years she has been missing and presumed dead. Plus she has been left with no real memory of what happened to her. When she returns to the CIA, a lot of things have changed in her absence. Dixon(Carl Lumbly) has been made one of the directors, her father Jack(Victor Garber) was imprisoned for converting with Irina for information on Sydney( though Sydney manages to secure his release), Sloane(Ron Rifkin) has made a deal with the CIA to give information on other criminals, tech wizard Marshall(Kevin Weisman) is expecting a child. The most devastating of all these changes is that Vaughn(Michael Vartan) is now married to NSC agent Lauren Reed(Melissa George), who helps out in operations. Vaughn temporarily left the CIA following what he thought was Sydney’s death, but is brought back into the fold once more. Sydney, while still strong, is frightened and wants to know what happened to her in those missing years. Having to see Vaughn on a day-to-day basis poses another struggle as she harbors deep romantic feelings that have been thwarted. Unbeknownst to Sydney and everyone else, Lauren is in fact working for a criminal organisation soon to be identified as The Covenant. One thing that Sydney does know, thanks to her father’s digging is that she shockingly killed a man, yet can’t recall how and why she did so. The burden of everything begins to weigh heavily upon a shocked and confused Sydney. Add to that Sark(David Anders) is at large again and the new organisation of The Covenant stirring up the criminal underworld, and it’s yet more complex motives to navigate. Will she discover, with the help of those around her such as good friend Weiss(Greg Grunberg), what sinister machinations The Covenant has and how those two years she lost are linked to them?

While it boasts some well crafted episodes, Season 3 falters and loses some momentum along the way of the journey. Parts of this season are undeniably flawed in the very least. There is a feeling that Abrams and his crew are trying to recapture the greatness of what they have built up, but misfires a bit in their attempts. The uneven tone of this season doesn’t help, as there are good episodes but also just as many sub-par ones. While Alias has always had a somewhat wacky premise to it, the other seasons kept it flowing in a good fashion. Here, they are running out of steam a little and it does show. I think some of it stems from the absence of both Irina and Will. Those two characters were very good and added their own touches to it, with Irina driving the last season. Granted Will appears once, but it’s only a short appearance. The writers try to distance from the formula but this doesn’t necessarily work as it tries to be too different to what has come before. And I can understand them wanting there to be drama between Sydney and Vaughn to some extent, but the inclusion of Lauren as the hurdle is not exactly great in terms of a storytelling device. I felt there needed to be more Rambaldi centred episodes of which the first half of Season 3 lacks. But as it progresses, Rambaldi returns once more. All of these negatives being said, I don’t think Season 3 is nearly as bad as some make out. It’s just the lack of focus that marks it down in my estimations.

Now that the negatives are out the way, I’ll talk of the positives to be gleaned. There is definitely many parts of Season 3 to praise as it isn’t a complete disaster; just can’t be categorized as vintage Alias like the first two seasons. The visual side of Alias remains intact, with brightly coloured settings and extraordinary costumes a real joy to observe. The editing is quick and frequently inventive as it follows Sydney’s dangerous everyday life. And the music is pretty stellar; having an electronic pulse but expanding into more orchestral and emotive flourishes. Despite some weaknesses with the plotting, Alias remains mysterious and can still grip when it hits the heights. Special mention must go to the following episodes. ‘Repercussions’ has Sydney and Lauren locking horns on how to deal with the case of a Covenant kingpin. Sloane is enlisted as a double agent and though he seems to want to help, Sydney won’t trust him in this fast-paced installment. ‘Prelude’ features the disturbing dreams of Sydney that could link to the past and her past misdeed being possibly discovered. This leads Jack to take desperate and dangerous action to protect his daughter from exposure. It’s one eventful episode that all ties back to Sydney’s missing years. ‘Full Disclosure’ is possibly the best episode of Season 3 as it gives some answers as to Sydney’s past that shake her to the core. It’s a revelation episode that knows how to keep you glued. Lauren’s duplicity comes close to being discovered in the tense ‘The Frame’ and ‘Unveiled’ in which Sydney and the CIA also have to keep tabs on a Rambaldi artefact that could be hazardous for all who want it.

Season 3 has its share of flaws, the acting thankfully from out of the cast isn’t one of them. Jennifer Garner aces it as Sydney, who is more vulnerable than ever. She can still kick ass when it is needed, but this season features Sydney at her most terrified and confused. Garner is a dab hand at getting across Sydney’s painful plight to discover the truth, despite her fear of what it may reveal. Garner is the only person who could play the role of Sydney this well and she owns it from head to toe. She is Sydney Bristow from start to finish thanks to her stellar and emotive acting. I continue to be impressed by the acting of Victor Garber as Jack. Given that the character is one who usually sports a poker face and a severely cynical outlook, it is amazing how much Garber can bring out in Jack, particularly his concern for his daughter. Through small gestures, Victor Garber demonstrates an immense subtlety and quiet power in the role that he makes all his own. Carl Lumbly plays with low-key brilliance Dixon, who is now in a higher position within the agency. The down to earth charisma and soulfulness are thankfully still present in the character and the great delivery of Lumbly. Ron Rifkin essays the part of Sloane, who has allegedly come over to the side of good, but is still crafty as a fox. Rifkin is most successful at showing Sloane’s manipulative and creepy tendencies as he knows how to reel people in with his ways and get them to divulge what he needs. Some great scenes are generated from his meetings with Sydney who he toys with, yet can’t beat due to her quick wit and intellect in not succumbing to him. He’s something of a complex villain, who alternates between strangely sympathetic and downright evil holding all the cards thanks to the good work of Rifkin. Michael Vartan continues to grow as Vaughn, who is caught in a moral quagmire between his undying love for Sydney and his new wife. Although he tries to hide it, Vaughn still can’t let Sydney go because of how much history they share. A darkness also colours Vaughn this season that adds significant depth to the latter half. Michael Vartan knows how to hit the right notes of indecision and dilemma as Vaughn is forced to acknowledge his feelings.

The most problematic role of the show is that of the deceptive Lauren. Melissa George is a very good actress, but even she can’t save a woefully underwritten part. The character is supposed to be assertive and slightly innocent, but the way she comes off is as a petulant girl rather than cold-blooded agent. None of this is George’s fault as she tries her best, Lauren just doesn’t hold the interest that well in the main frame of the stories. Reptilian nastiness and suave sophistication are embodied by David Anders returning as the opportunistic Sark. Anders can turn the charm on like no ones business but can be devilishly cool as well as cruel, making Sark even more despicable. Kevin Weisman is an utter hoot playing Marshall once more, it’s impossible not to laugh at his comic timing and array of facial expressions. Comic relief also comes courtesy of Greg Grunberg as friendly Weiss. Weiss is the kind of person who you could talk to about anything and he’d have a funny answer to it. With Grunberg in the part, he becomes a good asset for Alias.

1. The Two – C+
2. Succession – C-
3. Reunion – B+
4. A Missing Link – D
5. Repercussions – A
6. The Nemesis – B
7. Prelude – A
8. Breaking Point – C-
9. Conscious – B
10. Remnants – C
11. Full Disclosure – A+
12. Crossings – B-
13. After Six – B+
14. Blowback – D
15. Facade – D-
16. Taken – B+
17. The Frame – A
18. Unveiled – A
19. Hourglass – B
20. Blood Ties – C+
21. Legacy – B
22. Resurrection – B+

It’s not to say that Season 3 of Alias is horrendous, in fact parts of it are very good thanks to the cast and how it still provides thrills. It just happens to be the most flawed season of Alias thus far. Still, it can be enjoyed, though one hopes Season 4 is a lot more coherent and thought out.

Alias Season 2

Tags

2000's, Alias, Alias Season 2, Bradley Cooper, Carl Lumbly, David Anders, Greg Grunberg, J. J. Abrams, Jennifer Garner, Kevin Weisman, Lena Olin, Merrin Dungey, Michael Vartan, Ron Rifkin, Victor Garber

Continuing from that jaw-dropping mother of a cliffhanger that Season 1 provided, Season 2 of Alias is a stellar follow on that is even better than the debut season. Introducing new dynamics plus one hell of a game changer in the middle, its compulsive television. Be warned, big spoilers will follow in this jam-packed review of the enthralling Season 2.

We open where we left off as Sydney(Jennifer Garner) comes face to face with her mother Irina Derevko(Lena Olin), who she first believed was dead but later discovered the deception of how she was a KGB agent. Things get more complex when her mother turns herself into the CIA. Sydney’s father and fellow double agent Jack(Victor Garber) is not so convinced that Irina will co-operate in bringing down SD-6, like she claims she will and sets out to prove this. But Sydney despite her better judgement, grows a little closer to her mother and Irina does provide some valuable information. Yet what does she get in the long run? That is the question on everyone’s lips. Sydney and Jack are forced to confront Irina and at times work with her, which makes events complex and challenging as no one knows what her motives are. Meanwhile, Vaughn(Michael Vartan) survived after he seemed to have drowned and returns to the CIA. He finds that his feelings for Sydney have gotten a lot more personal, but are restricted due to company protocol. Ruthless Sloane(Ron Rifkin) has now been given a seat in the Alliance, but is haunted by the fact that his wife who he supposedly killed may still be alive and used as leverage against him in an attempt to undermine him. Everything Sloane has worked for starts to fall away as the intrigue grows. The malevolent and slimy criminal Sark(David Anders) arrive back on the scene and offers his services to SD-6, who accept due to his knowledge. Yet this underscores a level of suspicion as Sydney is reticent of getting close to Sark because of how slippery he is and curious about what his true nature is. The role of Will(Bradley Cooper) changes as he stops being a reporter under duress and now aware of Sydney’s double life, is employed as an analyst for the CIA, which helps with matters pertaining to espionage without leading to jeopardy once more. Although Will now knows, she still has to keep her spy work concealed from best friend Francie and other colleagues at SD-6. Loyal Dixon(Carl Lumbly) begins to question whether Sydney is really a worker for SD-6 or a double agent, causing more conflict. As the roles of her friends change and she must face her own problems, it’s another eventful day for Sydney Bristow in the game of espionage, procuring objects of the mysterious Rambaldi and sabotaging SD-6 until it completely obliterates.

Right off the bat, we are thrust back into the perilous world of Alias, where fun can be had in equal measure. J.J. Abrams, and his team of writers and directors, fashion more crazy but hugely engaging stories for us to savor as Sydney does battle with enemies and even those closest. One of the reasons Alias is a good show is that it can juggle the balls of genres with relative ease. The package is one where you don’t have to suspend belief at various points but you are that fully immersed in the depth of most of it, that you can’t look away. The show has familiar elements like the cliffhanger structure, but this season shifts gears and occasionally takes another route which in turn makes it more intriguing and watchable. The expansion of greatness makes sure this season doesn’t suffer from a slump, instead being the opposite.

The introduction of Irina is a key example of upping the ante and giving more dynamics to a show that prides itself on its shifts in tone. The drama neatly goes hand in hand with the intrigue, allowing emotional interludes and Sydney’s globe-trotting missions where she dresses up in yet more colourful costumes, to be equally as riveting. Some may find the convoluted nature of Alias confusing, but once you get in its hard to resist. On the technical front, the editing and array of camera techniques keep Alias going along as quick as a speeding bullet with style to boot. The electronic beats of the score are twinned with emotive strings and distorted voices for a peculiar but haunting effect.

And here comes the big one that makes this season special. About midway through, the show does a ballsy move by having SD-6 destroyed in a real standout episode entitled ‘Phase One’. Seriously I can’t remember the last time an episode of television thrilled me as much as this one. Through discovering specific files and a computer server, Sydney and other CIA agents finally take down the corrupt organisation, though not without danger. If you want an eventful hour of television this is it. You have Sydney and Vaughn finally kissing, a sexy opener and the shocking killing of Francie, who is subsequently impersonated by a double. It is a work of television art that does everything right and more than delivers shocks in it. The impact of this is felt throughout the later half of the season and cements Alias as a show willing to take risk. More episodes of note are plentiful. A killer opening of revelations is just the right thing to hit the sweet spot and put us right back into this crazy world. The twisting ‘The Counteragent’ features Sydney making a deal with the devil to save Vaughn from a painful death after it is confirmed that he could be infected with a fatal disease, which shows just how much she cares about him. ‘The Abduction’ was a notable and fun episode where talkative gadget geek Marshall(Kevin Weisman) was put in the field for the first time and his mission was hilarious. And the finale ‘The Telling’ is a kick ass piece of television, featuring a shocking twist I never saw coming and a savage fight scene between Sydney and the Francie double in which the whole apartment is destroyed through the use of objects as weapons.

And where Alias score some of its biggest points and victories is with the well assembled cast it has. We have the lovely Jennifer Garner portraying Sydney once more and owning every minute. Sydney finds herself with more than her fair share of things to confront here, and the believable and natural acting from Garner highlights both the fighter and the woman she is. One thing that is hard to miss is how assertive Sydney has become now, she has her demons for sure but her resolve is significantly strengthened and this makes her grow even more. Jennifer Garner is just breathtaking in the amount of emotion she can project with the smallest gesture and the physical side of events that she is more than adept at. She is simply a force to reckoned with and one of immense power. The diminutive but immensely menacing work from Ron Rifkin as Sloane hits a high point here. He imbues Sloane with an insidious nastiness that comes to the front when it becomes apparent he foresaw the collapse of SD-6 and made his moves to go underground. Sloane, thanks to the good work of Rifkin, showcases a sense of vulnerability underneath it all but it’s the viciousness you remember. Victor Garber is on hand once more with his subtle performance as Jack, who will do just about anything to protect his daughter. Jack is one intriguing character who at times appears like he’s doing underhand and dirty things, but knows exactly what his long-term results will be.

By the far  the most interesting character this season is the enigmatic Irina. As played by the remarkable Lena Olin, we are never sure where her true loyalties lie. Essaying the complex character, Olin injects sly and ruthless tendencies, yet manages to show what can be seen as concern for her daughter. But is it all just a show of cunning lies? That’s where the excellence of her performance lies and how dynamic she makes the season. Then we have Michael Vartan returning as Sydney’s handler Vaughn and the two finally making a go of a relationship. More depth is given to Vaughn here, witnessed in his love for Sydney and his smart personality as well as patriotism. And its nice to finally see a relationship of romance develop between him and Sydney. Carl Lumbly and Kevin Weisman are great actors in their roles of Dixon and awkwardly funny Marshall, who are shocked to learn of betrayal but then recruited to the CIA. Carl Lumbly especially brings deep sympathy to Dixon and we feel his pain of being lied to and used. Bradley Cooper’s earnest relatability is very well used as Will, who finds himself back in the spy game but hopefully on the side where he won’t get hurt like in the past due to his snooping. David Anders is given a lot more to do this season after appearing sporadically throughout the first year as the slime ball Sark. He just exudes this smug, silver-tongued villainy that creates a character you love to hate. And partnering him with Sloane as the two go underground and continue to be a thorn in the side looking for Rambaldi works was a very good move. Greg Grunberg is also given an expanded role playing CIA agent and Vaughn’s friend Weiss. His humour and respect is a good asset to the show and it was good to see him being more prominent. And finally Merrin Dungey gets a more fleshed out challenging part to do as Francie and her murderous replacement. Francie was always the character who wasn’t involved in the spying game, so having her killed and replaced adds a whole other dimension to it that Dungey plays well as the evil of the double plays out.

1. The Enemy Walks In – A+
2. Trust Me – B+
3. Cipher – A
4. Dead Drop – B+
5. The Indicator – B+
6. Salvation – C
7. The Counteragent – A
8. Passage Part 1 – B
9. Passage Part 2 – B-
10. The Abduction – A
11. A Higher Echelon – B+
12. The Getaway – B
13. Phase One – A+
14. Double Agent – B-
15. A Free Agent – B
16. Firebomb – C
17. A Dark Turn – A
18. Truth Takes Time – B
19. Endgame – C+
20. Countdown – B+
21. Second Double – A
22. The Telling – A+

An unpredictable, action-packed sophomore season, Alias Season 2 is addictive television that is far from predictable as it constantly challenges and reshapes what we thought we know.