Goooooooood mooooorning Vietnaaaaaaam!
It’s been a while since I last did a little update on All Things Tony, probably because it’s been quite the month. If you weren’t aware, I get married a week today so, naturally, it’s a miracle I’ve been able to write or podcast on anything over the last couple of months, but I’ve somehow managed it!
If Mission Impossible: Rogue Nation confirms anything, it’s that the Tom Cruise-fronted franchise has spent almost two decades trying to work its way back to Brian De Palma and back to the roots of where the series began.
In some of my previous pieces on the earlier films in the Mission Impossible franchise, one fact that remains true is how the series consistently reinvents itself every few years in order to stay vibrant and relevant, but oddly enough Rogue Nation on reflection is not as bold a reinvention after 2011’s Ghost Protocol as you might remember. There is greater filmmaking skill involved, with Christopher McQuarrie imbuing more heft into his set pieces than Brad Bird managed in the previous film, while McQuarrie’s script (revised after efforts by Will Staples and before that Drew Pearce, with whom he shares a story credit) certainly has more depth to the storytelling. Beyond that, there is a consistency framing itself between this and Ghost Protocol, one which may well carry through into the next film, Fallout.
Rogue Nation is consistent in how it stylistically reaches back to the first film in the franchise while further mythologising Cruise and his character Ethan Hunt.
If you ran a poll asking the average film goer, and indeed the average film critic, which of the Mission Impossible films they considered to be the strongest outing in the franchise, you would have a significant amount point to Ghost Protocol. On the face of it, you can see why. Once you scratch deeper, those reasons become more opaque.
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.
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.
Mea Culpa is the first episode of Alias to begin the internal, psychological exploration of Arvin Sloane.
The episode also feels positioned at a crossroads point for the first season in terms of where the overarching narrative is going. Everything at this stage is waiting for the next big plot shoe to drop. The Rambaldi mythology, now established, is completely left behind after Time Will Tell brought into play what will become the key text of Alias’ mytharc going forward; the suspicions around Jack being a KGB mole remain hovering in the ether; Will’s investigation into Danny’s death is at the point Will is capable of contextualising everything across the last nine episodes to a tech support guy; and the SD-6 probe into a mole which has circled for the last three episodes remains ongoing. Mea Culpa isn’t quite the episode to pull the trigger on the next stage for all of these plotlines, but it begins the first tentative steps in that direction.
Of all the blogs in all the world, you had to run into mine!
Since you’re here – hi! A quick update from yours truly on all things Tony given it’s been a bit quiet this last week. A fair few things going on behind the scenes.
Firstly, yes, I’m giving The Book which I’m working on a tentative name, or at least a working title, which is… *drum roll*