Alias

Alias – ‘The Prophecy’ (1×16)

If The Box was the episode which transformed first season of Alias from a narrative perspective, The Prophecy is the episode which sees Alias finally embrace the fact it exists on a fine line of two distinctive genres.

It is hard to look past The Prophecy as perhaps the most important episode of Season 1 of Alias, indeed it may well be one of the most important episodes of the entire series. The Prophecy is the episode which embraces and contextualises the Rambaldi mythology in a way JJ Abrams’ series has thus far been hesitant to do. John Eisendrath’s script acknowledges that the reveal at the end of Page 47, which saw the key page of Milo Rambaldi’s 500-year old manuscript unveil an image of our heroine Sydney Bristow, was a moment Alias could never come back from. 

This was the moment Alias becomes as much science-fiction as it has been pure, pulpy espionage.

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Alias

Alias – ‘Page 47’ (1×15)

Page 47, unexpectedly, turns out to be the first Will Tippin-centric episode of Alias.

As the show moves into the second half of the first season, JJ Abrams and his team of writers (including this episodes’ co-writer Jeff Pinkner) are working hard to try and draw together and assemble the disparate threads coursing across Season 1 in the wake of the game-changing The Box two-parter, which amped up the threat to Sydney Bristow’s life and career while dealing with the series’ biggest revelation to date. The Coup served as an epilogue concerned with the knock-on effects and consequences of those episodes while equally working to tie off loose ends dangling across the first thirteen episodes. Page 47, in some sense, does the same.

Looking back at Season 1, it really does quite acutely feel like pre-The Box and post-The Box in how the writing staff approach their storytelling. Not that serviceable episodes such as Page 47 are vastly different but they feel more unified in terms of where the primary storylines are headed. Before The Box, Alias worked consistently to figure out what kinds of stories it wanted to tell, having Syd face a litany of rent-a-baddies on a consistent basis. The missions felt more throwaway, the Rambaldi mythology more separate, and characters such as Anna Espinosa less defined. After The Box, something changes. Everything feels more in line with a plan and a direction.

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Alias

Alias – ‘The Coup’ (1×14)

If there is such a thing as a TV comedown episode, it’s The Coup

Not in the sense that The Coup is a bad episode of television. It’s a perfectly serviceable, mechanical Alias episode, even if it probably would fall fairly low in a ranking of what has been a strong first season. The Coup is a comedown in the fact that after a two-parter like The Box, where exactly do you go next? Almost akin to the difficult second episode, the one that has to clean up the narrative mess from the pilot, The Coup struggles to function in any way beyond that of an epilogue to a much stronger piece of television.

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Alias

Alias – ‘The Box – Pt 2’ (1×13)

The first part of The Box established that nothing would ever be the same for Alias once this story was over. The second part cements this one hundred percent in stone.

In discussing part one of The Box, one of the major aspects that becomes clear watching this two-part story is how heavily indebted everything about it is to the classic Hollywood high-concept, and particularly the seminal John McTiernan action thriller from 1988, Die Hard. Indeed, the van which delivers Quentin Tarantino’s McKenas Cole and his lethal band of non-denominational terrorists has the marking ‘McTiernan Air Conditioning’, a direct nod to Die Hard’s helmsman. Later, investigative journalist Will gets key information about his ongoing probe into SD-6 in an envelope on a ship named the ‘Alba Varden’, sharing the name of the same ship key to Richard Donner’s Lethal Weapon 2 from 1989. The Box is keenly aware of the touchstones it is borrowing from and utilising on a modest TV budget, but it suggests the clear scope of Alias’ ambition as a series.

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Alias

Alias – ‘The Box – Pt 1’ (1×12)

If The Confession was the point of no return, The Box is the tale which catapults Alias into what is, barring one or two exceptions, a season and a half of dynamic, top drawer storytelling.

Alias was a high concept TV series from the outset. The ‘high concept’ in Hollywood vernacular defines an idea which can be distilled into a pure, accessible, often blockbuster form. ‘What if we could clone dinosaurs?’ for example with Jurassic Park, or to use another Michael Crichton example, ‘What if theme park robots became sentient and took control?’. Alias itself flaunts the high concept in its DNA, pitched essentially as ‘What if a spy found out she was working for the enemy?’. Even from Truth Be Told, Alias perhaps throws a few extras caveats into that pitch but in basic terms, that’s the point JJ Abrams’ show starts from. The Box, however, is the first episode to truly deliver on a high concept idea.

If you look at Alias across the first half of its first season, we haven’t seen an episode anything like The Box. Right from the get go, Alias engaged in a level of serialised storytelling through which it broke the 90’s mould of stand-alone, easy to syndicate episodes of television to depict a compelling, ongoing narrative journey for Sydney Bristow as she becomes more embroiled in her double-agent life with SD-6 and the CIA. Each episode, even those which carried heavily over to each other such as Reckoning and Color-Blind, tells an espionage tale on a scale which never overwhelms the broader character and narrative arcs in play: Syd & Jack’s relationship, Syd & Vaughn’s relationship, the Rambaldi mythology etc… Thus far, the spy stories have been fairly incidental and the weekly bad guys relatively disposable.

All of that changes, immediately, with The Box. The first genuine two-part story in Alias’ lifespan, labelled indeed as such, it delivers on the high concept idea with the pitch: ‘What if terrorists seize control of SD-6?’. Alias does Die Hard, basically, and without a shred of embarrassment. Writers John Eisendrath and Jesse Alexander immediately understand their reference point and the fact they are riffing, broadly, off one of the greatest examples of a high concept in Hollywood history. It only adds to the joy of The Box which exemplifies the remarkable level of confidence Alias had in its storytelling from the very beginning. Many other series wouldn’t have the balls to make The Box until maybe its third, even fourth, seasons. Alias gets it out the way as a midpoint to its debut year.

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Alias – ‘The Confession’ (1×11)

The halfway point of the first season of Alias also feels, appropriately, like the point of no return.

The Confession is an episode which essentially concludes the beginning of JJ Abrams’ series. It serves as a marker between two distinct periods, in a different way to how Season 2’s Phase One will mark the show, but in an important manner nonetheless. The Confession marks Alias as being defined as ‘pre’ Sydney knowing the truth about her mother, and ‘post’ Sydney knowing the truth about her mother, because that revelation completely and utterly changes Alias forever. It is the key to Syd’s entire life – her past, her present and her future, and for all of the revelations and twists Alias will deploy over the five years of its existence, Sydney learning her beloved, venerated mother Laura who died when she was a little girl was in fact a KGB double agent, is the most powerful. 

It’s the revelation we should have seen coming all along.

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Alias – ‘Spirit’ (1×10)

Spirit works not just as a follow on from Mea Culpa but as a companion piece of sorts, continuing Alias’ mid-season exploration of its own central morality.

We saw in the previous episode the difficult soul searching experienced by SD-6 head honcho Arvin Sloane when it came to contemplating that Sydney Bristow, a woman he has spent his life deluding himself into believing a surrogate daughter figure, could have betrayed him – and the consequence of potentially having to sanction her murder. Spirit, by the very nature of how Syd gets out of what looked like at the end of Mea Culpa the end of her life as a double agent for the CIA, shifts this moral question over to Syd’s *real* father, and to some degree the mirror image of Sloane – Jack Bristow. In order to save Syd’s life, Jack has to go beyond simply being Sloane’s weapon of murder—as previous episodes have established—into sacrificing the life of an ‘innocent’ man as part of the greater good.

In reality, as Vaughn later reassures Syd once she realises what Jack has done, the sacrificial lamb of Anthony Russek—an SD-6 agent who Jack frames as a mole working for K-Directorate after faking a transmission to them on a mission we saw in Mea Culpa to disguise Syd’s *actual* transmission to the CIA—was no innocent. “He was an early member of SD-6, he knew he was working for the bad guys”. Russek was culpable in the hidden crimes of SD-6, aware of the Alliance underpinning their ruse of being part of the American intelligence network, and involved in weapons sales used against American interests across the world. “He got what he deserved” Vaughn states, showing that he may not have agreed with Jack’s slippery methods, but from a moral perspective he agrees with the choice Jack made in the heat of the moment. “What would you have done if it had been your daughter, or son, or Danny?” he asks Syd. She has no clear answer.

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