Fragments 1x11 "Subject of Interest"

[Dale]

Presents:

"Subject of Interest"

Plot
John and Lyra Liddell find themselves separated at the beginning of John's new Life. She must find him before the Retriever's do. Wallace continues to deal with the emotional fallout of Fretwell's injury and Cereghino's psychotic break. Julia Feinstein becomes a subject of interest and quickly finds herself in the line of fire.

Season Regulars
Joseph Fiennes --- John Smith
Rick Schroder --- Christopher Wallace
Maggie Grace --- Lyra Liddell
James Marsters --- Doe/The Watcher
Michael Imperioli --- Alan Cereghino
Roger Cross --- Kevin Black

Special Guest Stars
Reiko Aylesworth --- Maxine Carter
James Frain --- Marc Fretwell
Charisma Carpenter --- Julia Feinstein
Shin Koyamada --- Yoshino

[Xplayadam]

Will get to this within the week Daz, currently catching up (on Episode 5, an astounding series so far, you're writing is a blast in the precise detail you use, got me on the edge of my seat at times). Will give a better review on this episode and the entrie series thus far in the next day or two.

[Casablanca]

Okay, now I am well aware I took a while gwtting to this; half of the reason is because I was never here for around a few weeks; and the second is that when I finally sat down to read this, what originally was a nice read turned into two nice reads. This, more so then any episode, is one strictly for fans of the show; those who have seen every episode, and want to spend some time with this one. It is a heavy, complex, and plot-dense episode that requires attention and a merticulous notice for details. Surely, if anything, it is one of the most challenging of all MR programs, simply because it demands it reader be "connected" (a term widely used in the show), with the universe it creates. If you do not know a "retriever" from a "watcher", or a John Smith from a Wallace; be gone with you, as this is a payoff for those who deserve it.

And what a payoff it is, too! This episode's primary concern is that of a race; there are two sides, essentially, who are trying to reach (or achieve), the same things. Who can do it first? You'll have to watch the program, though even this "Racing" factor does not outlaw a rebel or two in the show. The relationships, especially now, have taken a peak; and the show has gotten to the state where I can watch Doe talking for hours on hours, and see Wallace half-flirting with Lyra for days. It has reached that status where there characters I prefer, topics I like my episodes to deal with, and moments of frustration and tenderness. Basically, the hallmarks of a great show; character and plot effortlessly intermixing.

A side note I would like to make, before I continue, is how intricate the entire thing is. I adore the nods and homages to previous episodes. Lyra refusing to take a hospital elevator, characters and details (like the file Lyra gave John) repeating- it all gives off the idea that this is a writer in full control, and who is telling a story with confidence and progress.

For me, no character the show produce will ever match the sheer wit and quality of Doe, who is at his near-peak here. He is a man that manages to produce a wonderful line just by moving his lips. He has two specific encounters in this episode which are great, one with Wallace, and one at the hospital. His prescence creates such an aire of exuberence in the show, that I hope someday we will see an episode with him featured more as a primary character. This is not to demean Wallace, Black, Lyra, Cereghino (and I am sorry if I mispelled that), Julia, or any else of the many characters- they are all wonderful too, though only Wallace can once in a while match Doe.

If you wanted the story to move forward, then this is a showing for you. Alot happened, but in careful amounts, the show did not overdo itself. Like a chess board; both in plot, and in how much the audience knows; there were a few considerable moves forward on both teams. There is still, however, an enormous amount of time before any checkmates.

For a finale, though- and this is a term I do not like, it rocks. There is no other way to put that, because there is no other way I felt when reading this. It is the type of work which gives one faith in internet screenplays, because, not only is it better then eighty percent of the cra of television (if Daz is not considering revising this and sending it to a producer in the future, he needs to), it is also something which makes you realize that your writing, even if it is amazing, is scarce this "exciting". It takes talent to write well, but even more talent to write well AND compel an audience. Daz proves himself in both catagories.

I don't think anything impressed me more, though, then the idea that there will be more seasons to come, as well as the visibility of how possible that is by the end of this episode. It is one thing for a show to be good for five or six episodes, then pitter off; but this here really is an epic, isn't it? Already clocking in around, at least, 400 pages, this is something to admire. And the mood really does stay consistent throughout. This episode, however, showed a variety; sometimes it was dark, sometimes it was lighter. There were moments of amusement (the hospital with Lyra and the Clerk), and moments of almost an eerie blackness (the ending). Both serious and comical were fused here to create, not great academic writing (or anything as superficial as that); but great entertainment in a fashion rarely seen. It does not forsake "goodness" (in a classical sense), but embraces that to become entertainment with a brain. One hell of a twisted, warped, maze of a brain, granted- but a brain, nonetheless.

Dialogue in shows is something I always thought was next to cardiac surgery as being the hardest thing in the world. Daz does it excellent here, but more so then that, this episode made me realize that it really doesn't matter, and for two reasons. A. if the plot is good, that is all readers want. B. The character have been so built up, and we have spent so much time with them, that they could spew Lady Gaga for four hours, and it would be interesting (maybe ). Seriously, though- when a person, in real life, talks to you, you listen. That is what it is like here, the characters have became so personal, that when you hear them talk, you consider, you reflect- what is more important, is that you take in what they say. When Wallace is going off about finding John, it isn't just suspense- you actually think, "Okay now, how does this affect John. Will he be all right? I hope so". How often does that happen in television?

I am trying not to say too much, as I plan to do a review that covers the whole season shortly, so I will end here by saying this full-bodies adventure epic has really hit a runway for greatness. With one season down, the plane is moving, and ready to soar, in all of its exciting, riveting, mind boggling, seat gripping, emotionally moving (and it is a very emotional script, at times) goodness.

[Dale]

and the amazing thing is, i'm not sure this is gonna even end up being the season finale. i've got ideas for at least two more episodes. and maybe a third that will chronologically take place between the fifth and sixth episodes.