Alias (Season 1) – Overview

The first season of Alias, the show that put superstar producer-director JJ Abrams on the map, has aged remarkably well.

Airing in 2001, a matter of weeks in the wake of the traumatic September 11th attacks on the Twin Towers in New York, Alias had the unenviable task of providing overblown, B-movie, pulp escapism to an audience reeling from the most existentially terrifying attack on American soil since the bombing of Pearl Harbor in 1941. Abrams, fresh off his first TV series Felicity (starring the later-to-be-famous Keri Russell) and a career penning screenplays across the 1990’s for major Hollywood blockbusters, had to try and sell a show which captured the retro, cult aesthetics of 1960’s adventure shows and movies he had grown up with – Mission: Impossible, I Spy, the James Bond series – shot through with a stylish, slick, modern action sensibility.

It was a hard sell. Audiences gravitated far more to the intense, dour, revenge fantasy of 24 and all-American hero Jack Bauer, who steadily across a decade in which Americans and Western Europe turned their gaze toward Islamic fundamentalism and the threat of the Middle East became more of the superhero Americans wanted. If he was The Punisher, a man of dubious morals ready to compromise his soul for the greater good, then Alias’ hero Sydney Bristow was Captain America; virtuous, homely, and a reflection of wholesome American values, wrapped up inside familial and emotional angst that recalled Buffy the Vampire Slayer. Audiences never truly took Sydney to their breast, to their heart, and almost immediately Alias became a cult genre hit, never to explode fully into the global mainstream.

The sad thing about this is just how well executed Alias’ first season is, one of those rare shows that arrives almost fully formed and very quickly steps into a unique tone and rhythm, only building on that start to deliver twenty two episodes which provide a real sense of payoff.

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Alias – ‘Doppelgänger’ (1×05)

SYDNEY BRISTOW: I don’t know how much longer I can do this. Sit in these meetings with Sloane. Look at him as though I don’t despise him. That I don’t want to leap across the table and use the skills I’ve learned at SD-6 against him.

Doppelgänger comes as something of a surprise when you look at it from the broader context of Alias’s first season. The fifth episode of a twenty-two episode season, structurally, is never going to contain too many of the bigger mythological revelations, character turning points, and narrative surprises that you might expect from a mid-season two-parter or particularly a season finale, and while Doppleganger doesn’t buck that trend, it cuts surprisingly deep to the core conceptual idea crucial to the entire show, namely: do we really *know* the people closest to us?

Before we touch on that philosophical question, we must remember that we are still watching Alias. This is not The Wire, riven with harsh social commentary, or Hannibal layered with creeping metaphysical discourse. This is a show about a young spy “jumping off buildings in three-inch heels while napalm explodes all around me”, as Sydney Bristow deftly sums up her career at the end of the series finale way way into the future. That is not to cheapen the writing or character work, which has far more substance than on the surface you might expect, but we should always be aware that Alias first and foremost is a piece of escapism. Which explains the extended, ten-minute opening sequence which kicks Doppleganger off.

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