Well, thank God the writing staff picked themselves up, dusted themselves down and put their collective heads together for this one.
8.0
"Great"
Well, thank God the writing staff picked themselves up, dusted themselves down and put their collective heads together for this one; after the diabolical disappointment that was last week's '5am - 6am', 24 looked set to deliver its most worthlessly insipid finale ever, full of cougar-esque Kim chases and ludicrous FBI vs. CTU bickering. That this is not the case is a testament to David Fury and Alex Gansa's considerable writing talents, especially when one considers that a large number of the plot developments that occur in '6am - 7am' have, at their core, a rather undesirable element. A potent example of this is the game of bait and switch between Olivia and Ethan, with Aaron thrown in the mix for good measure. The story is centred on the laughable ball of convenience that is the 'digital recording device', something that, bizarrely, the new Acting Chief of Staff wasn't made aware of when she was inaugurated into the position. Furthermore, the notion that Ethan failed to turn the thing off when he resigned his commission about ten hours ago is rather preposterous and a thoroughly transparent way of allowing the writers to get to their designed end point. However, these gripes are glossed over somewhat by a combination of sublime dialogue and superlative acting. Everyone involved in the ever-unfolding intrigue is absolutely at the top of their game, including the guys that play Martin and Tim, regardless of how small a part they have to play. Glenn Morshower is superb as always as Agent Pierce, successfully selling the gravity of the situation with every subtle nuance in his conversation with Ethan.
And check out the horror that consumes Sprague Grayden as she uncovers the recording device (I rolled my eyes a little at Ethan having left it open, what a cliche!) and how she holds up against an actor of Bob Gunton's calibre when she 'interrogates' Ethan while he's in custody. There are some delightfully subtle lines here, from Olivia's joy at the fact that he still stands for her after so many years, which lends significant weight and believability to their relationship, to their respective exploitation of legalise and penchant for deceit. When Olivia remarks that the President ordered Kanin's detention, it's a wonderfully eerie moment, providing a quick kick to the viewer's stomach and demonstrating just how far off the rails her character has gone. And more impressively, the fact that Ethan foils Olivia, giving her a blank disc, would ordinarily seem rather contrived; however, here, the problem is offset by our knowledge of the characters. From all that we have seen of their troubled relationship over the course of the season, it is entirely logical that Kanin wouldn't trust Taylor, that he would have a back-up plan in case things went wrong; his line, "one has to be prepared when dealing with Olivia" says it all and allows for events to seem less forced.
Over at Dial-an-Operating-Theatre, meanwhile, things don't look too good for poor, poor Jack Bauer. Last week, I lamented the culmination of the bioterrorist threat, believing that the writers dropped the ball on the main thrust of the narrative, tying things up too soon and apparently directing the story in a highly lamentable direction: the retrieval of Kim bloody Bauer. Thankfully, things don't quite turn out that way; instead, Tony has yet another plan, an "even bigger picture" (to paraphrase the guy), that he wishes to use to gain himself a position in the shady group. There is some sort of logic in his dastardly scheme to harvest Jack's organs - oh my God, 24's turning into Saw, or something - even if one suspects that the science behind the whole scheme of 'reconstituting the virus' is probably a little hokey. But then, what do I know? Biology (or chemistry, whatever the hell you'd call this) was never was my strong point. Anyway, more importantly, this gives the hour an undercurrent of foreboding, a slowly-building wave of horror that never reaches a dramatic apex but just bubbles under, chilling rather than scaring you witless. Interestingly, this seems to work just as well, if not better, than any intense action-fest or race against time because it's unusual for the show, and therefore unpredictable. Without a threat to stop or lives to save, the emphasis of the story shifts to the identities of the 'shady group' and the interplay between characters which, because they are so well delineated, works extremely well.
Every one of Almeida's scenes with Cara, for example, seem loaded with intrigue; they unbalance the viewer as we don't have the full picture. Motives aren't clearly drawn, histories not well established. The same can be said of Cara's phone conversation with good ol' Will Patton at episode's end, which is made all the more menacing by our lack of information about the character. There's an absolutely wonderful use of split screen here, as a shot of Tony is placed inbetween the phone call, visually symbolising the state of play between the three. Jon Cassar actually exploits this device to the max throughout the episode, using it to ramp up the tension when Jack orchestrates Tony's escape by continually increasing the number of shots, peppering the screen with different viewpoints that send your eyes darting about all over the shop. And then, just for kicks, he does it again in the closing moments, allowing the action to run on in all the 'boxes' as they bleed into one another, which in turn gives the plot a greater feeling of gravitas.
'6am - 7am' is not without its more regrettable moments, however, and the majority of these centre on, you guessed it, Kimberly 'I want to be my daddy!' Bauer. Elisha Cuthbert does manage to do a good job with some of the material she is given - particularly in the thoroughly convincing 'game face' that she puts on for her captors - but this doesn't disguise the myriad problems that haunt her story. The ridiculous 'evil computer spycam' plot is foiled by the simple act of someone needing to sit down in a packed airport which, you would think, the highly intelligent 'terrorists' might have thought of. In fact, you'd imagine they wouldn't do something as ridiculous as train a camera on an individual and have the shot showing on the full screen of their computer for the whole world to see but what the hey, it's a minute detail right, we should forgive it. Well, it would easier to if there weren't so many other facepalm moments. The shoot out sequence in the airport is very well choreographed, with bullets flying everywhere, panicked citizens running for their lives and shaky, hand held camera movements creating a prominent sense of unease and hysteria. However, exactly what is gained by two poorly armed people trying to take out an entire airport full of security? In fact, scratch that, one man with one gun, since his 'wife' is too busy trying to knife their target in the back. Really, could they not have found a more subtle way of offing Kim than by effectively telling everyone in the building what they're doing? Sure, it appears that the police are on their way to intercept them but why not just quickly stab Kim and then scarper? Sigh.
The silliness doesn't stop there though, oh no. The writers are clearly trying to draw parallels between father and daughter, turning Kim into a sort of Jack-lite. Unfortunately, it doesn't really work. She stabs the crazy coffee-drinking female with a pen and it practically incapacitates her! Riiiight. Then, she's on the phone to Renee, dispensing with all pleasantries and shouting "security's down!", demanding to know "where are the airport police?" and finally, capping it all off with a very poor "dammit!" that doesn't even come close to any of Sutherland's utterances of the word. In fact, it's practically an insult to his genius to even have her consider stealing his catchphrase. Now, sure, we get that Kim worked at CTU once so she has some sort of experience with all of this. And yeah, it's far preferable to see her acting with a modicum of intelligence than simply running around being chased by God knows what. However, the transformation is just too great. When she sat at her computer screen in season three, occasionally looking after babies and getting into cat fights with Chloe, she was hardly the most level-headed or experienced of agents. I'd say, in terms of her combat-readiness, she was at about the same level as Janis Gold is right now. Kim was a 'systems analyst' for crying out loud, not a field operative! (Her one excursion into the field was hardly complex, was it? She just had to don a disguise!) And in the six years that it's been since she was last recruited by the government, where has she managed to develop the experience needed to be so on the ball and forward-thinking in a crisis situation? I mean Christ, it gets to the point where she risks her life to retrieve a computer! Not only does she follow the gun-toting bad guy instead of doing the sensible, ordinary thing and letting the authorities do their jobs (she has no weapon for crying out loud!), but once he's practically killed himself, she climbs into a blazing car just to get a piece of evidence that might help in the retrieval of Tony/her dad. If the thing weren't on fire, maybe I'd accept it, but the risk is far too great. Oh and furthermore, technology develops rather substantially in six years so I find it hard to believe that the kind of digital camera that is attached to the laptop would fit the specification for the mysterious 'D-11 router' that Kim is so knowledgeable about. Whatever expertise she had is unquestionably long outdated now; and in any case, back tracing the source with a router? Technobabble, much?
There are a couple of other lamentable plot decisions too - the fact that Jack manages to overpower everyone after having been paralysed, as well as suffering from the effects of the pathogen, is a little ridiculous, even if his throat-slitting is uber cool, and why exactly are two of the doctors wearing masks but the third one isn't? Huh? Still, these are minor gripes that don't really distract from the overall quality of the episode. On the whole, '6am - 7am' is a considerably entertaining piece, loaded with interesting developments, some excellent character scenes, particularly between Olivia, Ethan and Aaron, and a considerable amount of tension. While the final hours lack a central dramatic event, this actually proves to be beneficial, shifting the emphasis away from explosions and races against time and more towards mystery and intrigue. There are elements of the plot that are questionably handled, most notably Kim's transformation into a mini version of her daddy, but these don't hamper the episode's quality too much. Good stuff then, building into the final hour with considerable finesse.