Terminator: The Sarah Connor Chronicles

Season 2 Episode 16

Some Must Watch, While Some Must Sleep

1
Aired Monday 9:00 PM Feb 27, 2009 on FOX
AIRED:
7.3
out of 10
User Rating
408 votes
19

EPISODE REVIEWS
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Episode Summary

Sarah is forced to seek help from nightmares at a clinic. She tries to figure out Skynet's next move.

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SUBMIT REVIEW
  • by far, the worst of the series. abysmal.

    1.5
    it doesn't get worst than this... to think back upon the first season and how great it was and some of the better episodes in season 2 and to then just realise what i sat through in this horrible episode... how can it be?



    cameron as usual saves it from just total waste with some funny lines and a funny moment where john is talking to his mom on the phone and she is trying to tell him something bad is happening and then out comes cameron strolling by in a bikini... haha i looked at john's face and he had the exact same look as i had on my face.. epic moment.



    that's all there is, highlight wise.



    so bad that even bad looks at this and shakes it's head in disbelief.. like "you even out did me".



    so bad.. ack. i feel dirty after watching it.. like it's badness will infect me like a virus.



    on the plus side it's the first really bad episode in the series so far... at least in my opinion.moreless
  • *sigh* Not terrible, but could've been so much more.

    7.0
    As a story goes, this was decent. As a Sarah Connor Chronicles episode goes, it seemed out-of-place. It reminded me of Star Trek: TNG's episode "Frame of Mind," only not quite as tortured. In fact, one major thing was missing from this episode: Sarah didn't seem to question her own sanity at all. She seemed to accept both "situations" as equally valid realities, although she obviously painted the dream scenario (Sleep Center) with her own paranoid imaginings. That's where this episode fails when compared to TNG's "Frame of Mind" -- by the end of that powerful episode, the viewer doubts ANY reality and empathizes with Riker, but by the end of this SCC episode, I still didn't really feel any emotional connection with Sarah.moreless
  • Sarah Connor is in a sleep clinic to get her insomnia evaluated. In this episode, she keeps shifting from being in the sleep clinic to being being held prisoner by a man(not sure what his name is). Which is the real life?moreless

    2.0
    Sarah Connor is in a facility to get her insomnia evaluated. In this episode she keeps shifting from being in the facility to being being held prisoner by a man(not sure what his name is). Which is the real life?



    It's clear to me that the sleep clinic was the dream and the man holding her prisoner was real life because she and john both got shot at sleep clinic (presumably fatally shot.) As far as this episode is concerned: I didn't like it. It should have been titled: "This episode is so boring everyone must sleep, no one will watch." It really drags. There is no action, no cliff-hangers, very few engaging scenes. I do kind of like the idea of making the sleep clinic a dream and the hostage scenes real, but that really doesn't save it. Can you say filler episode? Someone was in a hurry to pay the rent.moreless
  • What the...?! Huh?! I don't get what they were trying to do with this episode at all. Yeah, Sarah has a very scarred psyche, and the surrealness of the episode made dreams a very appropriate medium, but you still need to get some resolution, and I didn't.moreless

    3.5
    Ever since the mid season finale, this show has been rapidly going down hill, and this episode is proof that they had no idea what they wanted to accomplish. I guess you can't have Terminators chasing the family every week or breaking into secure facilities, but a sleep clinic run by Skynet?! Was that even real?! Or Winston?! I don't get it, and from what I've seen, no one else did, either. This had some potential for a change of pace kind of installment in the series, but the muddy waters just drowned the story so badly that in the end, I didn't care anymore. This episode will just have to fade like a bad dream, because it certainly wasn't a good one!moreless
  • Dreams, truth, and consequences

    7.0
    The creators of the series have admitted that the episodes since the break were acknowledged as potentially challenging to the patience of the fans. They understood that these episodes, focusing on Sarah's character and barely advancing the overall season arc, would not appeal to the fans looking for answers. When even the producers admit that there's such a thing as too much character development, it's telling.



    In essence, the focus has been on Sarah because this is the first time she's killed a fellow human being. It was bad enough to see John do it in the season premiere, and then try to help him deal with the psychological consequences. Sarah is having trouble sleeping (expressed in her drug-induced hallucination of the sleep clinic), and knows that it's affecting her ability to protect John. Similarly, she's still worried about her health, and the notion of Cameron becoming her protector. (Interesting how, in her dream, Cameron is much more overtly flirtatious with John.)



    While the episode structure is quite clever, and manages to hide which version of reality is "real" until the final act, it does seem to be a bit too convenient in the long run. Sarah is feeling guilty about killing Ed Winston, despite the fact that it was clearly self-defense. This time, Winston is a much more potent threat, and tortures Sarah relentlessly. It's almost as if this incident is meant to give Sarah a reason to absolve herself of the guilt by giving her a damn good reason to kill Winston without remorse.



    That psychological shift is only viable if it is expressed in other ways in the future. Sarah has to come back from this experience with more dedication to her mission, and she has to act on her concerns. In other words, she needs to be proactive. This shouldn't be reserved for positive developments, either; she should be willing to take draconian measures when she deems it necessary. Her apparent lack of remorse for shooting Winston in the head should mean a colder, more clinical Sarah.



    If that is going to be the case, then this unofficial "Sarah Trilogy" (which makes little sense, given her name is in the title of the show) will eventually prove valid in retrospect. In fact, the real problem is not that this process took place, but rather, that it took place right after a long winter break, just after switching to a far more difficult night. The switch to Friday nights was always going to challenge the ratings, and this particular direction, however temporary, only contributed to the slide. This could be a case of doing the right thing, even the necessary thing, at the worst possible time.moreless

Trivia, Notes, Quotes and Allusions

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  • TRIVIA (2)

    • Goof: When Sarah bites her wrist, there is a mound of blood on her lip, but in the next camera angle, the blood is mostly gone, but reappears and disappears depending on the camera angle used.

    • The information screen on Sarah Connor when John accesses the computer in the secure room is text copied directly from Wikipedia's article on Insomnia. It can both be compared to confirm it, but the more obvious hints are the links to the footnotes, and even an [edit] can be seen in the middle of the text.

  • QUOTES (14)

    • Sarah: Midnight is the witching hour … if you believe that kind of thing, and most people won't admit it if they do. Midnight is the time when a door opens from our world into the next, and we are visited by dark spirits of the shadow lands. The incubus, the succubus, the old hag. Visitors are known by many names, but each story bears the same marks. The demons come after midnight in the first three hours of the new day when we are alone and vulnerable, deep asleep and helpless, when we cannot move. They lay on us, press on us, suffocate us - take from us what is most precious, our lives, our love , our sanity, our sleep. If you believe in that kind of thing.

    • Sarah: What's with the lighter?
      Dana: What lighter?
      Sarah: The one in your bra.
      Dana: Trying to give up smoking.
      Sarah: In a sleep clinic?
      Dana: Yeah, I've got sleep problems, too. The doctors think it's related to my chronic fatigue which they believe was caused by my eating disorder, which is why I had the lap band surgery. You know, the stapling your stomach. But are the doctors satisfied with that? No! They wanna take away all my vices. Well, that's not gonna happen, girl's gotta sin sometime.
      Sarah: Hence the smoking?
      Dana: Yeah, that and the younger men.

    • (John picks at his cafeteria uneaten food)
      Sarah (referring to Cameron): Not as good as hers?
      John: Not as good as food. Tomorrow I'll bring you something real to eat. They have anything to say?
      Sarah: 'Bout what?
      John: About what? About why you're not sleeping. They figured out why?
      Sarah: Besides the fact the world's about to end?

    • Winston: So … you wanna know who I am? That's the first thing most people ask, first thing that comes out of their mouths when the gag comes off - "Who are you?" They keep asking it over and over again. Psychiatrists say … naming things gives people power over them. They're dead wrong on that.
      Sarah: I already know who you are.
      Winston: Oh yeah, right, I forgot. And … you found Western Iron and Metal. Of course, never expected anything less from the girl that used a cross-dresser and a hypnotherapist to find us. You know, I gotta admit, I didn't see that one comin'.
      Sarah: You won't see the next one comin' either.

    • Winston: Was that your boyfriend on the phone? What are you guys, some kind of a … Bonnie and Clyde-type operation?

    • Dana: I ran into Nurse Ratched in the hallway. She smacked my bum for the cigarette and gave me some sleeping pills, the good stuff. So, what about you? Drowning, being chased, teeth falling out?
      Sarah: Being chased should probably cover it.
      Dana: You're running away from something, you don't want to deal with it. Least that's what they say, anyway.
      Sarah: And you?
      Dana: Oh, I burn alive. Yeah, my whole body just - phooh - catches fire. I try and I try and I can't put myself out.
      Sarah: Anxiety about quitting smoking.
      Dana: Yeah, that … or I was a witch in another life.

    • Sarah: Don't be fooled, John. Don't be fooled by anyone's face. You don't know what's behind anyone's face.
      John: You talking about the guy at the factory? The one who shot you? The one who you shot?
      Sarah: We don't talk about that.
      John: We can talk about anything.
      Sarah: No, we can't.

    • John: You did what you had to do. You defended yourself.
      Sarah: I'm not supposed to defend myself. I'm supposed to defend you.

    • Winston (about his wife): Her smell … it's what I miss the most. Like clean laundry.

    • Winston: Tell me a story.
      Sarah: Go to hell.
      Winston: What most people know about torture's bullcrap. It's not the pain that cause's people to talk. it's the talking that causes people pain. So tell me a story.

    • Winston: So your son is your accomplice. You're not Bonnie, you're Ma Barker.
      Sarah: He's just a boy.
      Winston: A boy you'd die trying to protect.
      Sarah: Any mother would.
      Winston (scoffs): You'd be surprised. The enemy's like a weed. You leave any part of it underground, it'll pop back up when you least expect it. You gotta kill the root. (chuckles) Or in this case … the seed.
      Sarah: You won't get anywhere near him. He's not alone.
      Winston: I won't have to. You're his mother … he'll come to you.

    • Sarah: Think you can hack the combination?
      John: In my sleep.

    • Nurse Hobson: Did you know … that when a human falls in love, the same areas of the brain light up as when a human is intoxicated?
      Sarah: What does it have to do with my nightmares?
      Nurse Hobson: We don't know yet. We don't fully understand why humans need to dream.

    • Sarah: A spirit sits on a man's chest. She is strong, beautiful. She is here to steal his children. She is here to steal his future. He's paralyzed. The terror in him will burst his heart if he cannot control it. She is a nightmare, a demon woman, the oldest and most enduring story told by man. The witching hour is controlled by witches. She is a bad dream. She is a bad bitch.

  • NOTES (1)

    • Original International Air Dates:
      United Kingdom: March 19th, 2009 on Virgin 1
      Australia: June 26th, 2009 on FOX8
      Norway: October 3rd, 2009 on TVNorge
      Sweden: October 29th, 2009 on TV6
      Finland: December 13th, 2009 on Sub
      Czech Republic: December 17th, 2009 on Prima COOL
      Slovakia: September 30th, 2010 on Markiza

  • ALLUSIONS (3)

    • Winston: What are you guys, some kind of a … Bonnie and Clyde-type operation?
      Winston is alluding to Bonnie Parker and Clyde Barrow, notorious lovers and outlaws who roamed the central United States on a violent crime spree during the Great Depression (1932-1934). Media coverage publicized their exploits nationwide and made them into cult heroes. Today, they are best remembered as portrayed by Warren Beatty and Faye Dunaway in the 1967 Academy Award-winning Arthur Penn movie, Bonnie and Clyde.

    • Winston: So your son is your accomplice. You're not Bonnie, you're Ma Barker.
      Winston is alluding to Kate "Ma" Barker, mother to a brood of violent criminals, the Barker-Karpis Gang, who terrorized the Midwest with a string of robberies, kidnappings and murders during the Great Depression (1931-1935). Although untrue, the media and the FBI portrayed Ma as the gang's leader. Nevertheless, her bloody image lived on in TV shows such as The Untouchables and films such as Roger Corman's 1970 cult c Bloody Mama, starring Shelley Winters, and Public Enemies (1996), starring Theresa Russell.

    • Dana: I ran into Nurse Ratched in the hallway.
      Dana is referring to the Academy Award-winning film, One Flew Over The Cuckoo's Nest, in which Nurse Ratched was the icy, monstrous ward ruler at the state mental hospital.

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