Sarah might've been on hospital-grade morphine when she was a member of the AA, but the writers were more than likely on smack when they storyboarded the final third of Prison Break's closing season.
5.5
Sarah might've been on hospital-grade morphine when she was a member of the AA, as she takes great pains to point out to a 'mistaken' Christina, but the writers were more than likely on smack when they storyboarded the final third of Prison Break's closing season. Just to keep things consistent, 'S.O.B.' adheres to the show's new-found penchant for asinine allegiance shifts as deals are made left, right and centre. Everyone's doing it: from Christina and Naveen to the General and Bagwell to Christina and Michael, doubt and grudge are cast aside in favour of, well, moving the plot along a bit! Yay! And what better way to do that, I ask you, than to have everyone run around for half an hour?! Christina runs to find Michael, the Three Amigos (Linc, Mahone and Self) run to the energy conference, Christina's lackey runs to the energy conference, Michael runs to the energy conference and, you guessed it, Christina even runs to the energy conference in a taxi that travels faster than the speed of light! You'd be forgiven for thinking you'd tuned into the London Marathon or something. In a similar vein to last week, the two 'separate' plot strands, centred around the brothers (sorry, they're not even that any more but we'll get to that one in a second), have the same essential goal and so the actual plot is stretched wafer thin; everything else that happens is just extraneous incident. At least it looks like they've actually paired the two permanently again since it's gonna be a bit tough for Michael to high tail it now that Linc is apparently framed for murder. This, in itself, is enough to induce a case of the groans as where's it inevitably going to lead? To more running as the police chase after them! Linc is 'back where he started', remarks the lackey at episode's end and instead of it being a satisfying cyclicality, it's just plain boring. Mind, I will acknowledge that the set up itself is quite cleverly established and not particularly predictable, given that it is wrapped up in so many convoluted alliances, pacts and motives, but even this is flawed, since it is very dependent on the chain of events unfolding as it does. Of course they'd have the stupidity to touch the shell casings! Obviously they'd find the letter and Sandinsky would give them the code and so on and so forth, ad infinitum. Still, at least it is somewhat entertaining and, thankfully, there are other high points too: the acting is top notch in places, particularly from Wentworth Miller in his scenes with Christina. You buy into his anger and resentment and actually start goading him on when he threatens to drown the woman. William Fichtner is also rather good as Mahone starts to unravel in the hotel room and at least T-Bag's story is mildly engaging, even if it is obvious that he will fail to execute Linc. However, these aren't enough to gloss over the colossal mistake that is the 'Lincoln is adopted' reveal. This is yet another familial retcon that undermines the show's history, feeling less like a satisfying and unexpected twist and more of a forced artificial U-turn in a direction that no one really wants to head in. Oh sure, there are logical elements to this. Patches of Christina's dialogue actually make sense and are even (dare I say it) well written, but after the swerves about their father a couple of seasons ago, and their mother being alive and having worked for the Company a few episodes ago, it just seems like one alteration too far. I don't doubt that the show will do a decent job of maintaining the strength of the 'brotherly bond' between the two characters but meh, it just reeks of desperation. There are a couple of other, slightly milder, stinkers too: Krantz's arrival in Miami within the first four minutes of the episode is absolutely ridiculous, since it was only at 38 minutes into the last one that Bagwell told him about Christina and virtually no time has elapsed between them. And then there's the continual skirting around the issue of Christina's reasons for leaving her sons and abandoning them to fate when they were in Fox River, which is achieved this week by having her reference Sarah's pregnancy. More stalling for time for the writers as they try to cobble something together and more frustration for the rest of us who just want to see this faltering drama put out if its misery. Around 15 minutes into 'S.O.B', Mahone remarks, "this whole thing, it's just crap." And it's hard to argue with him.