Given Rendezvous has to work as the middle piece in a three-part climactic best for Alias’ first season, and tie together threads which have been building across the entire year, it’s surprising how well it works as an episode on its own terms.
The main reason for this is that Rendezvous finds a way to maintain three distinct but increasingly interlinked, building narratives in a coherent and dynamic way: Will’s investigation intersecting directly with Syd’s search for Khasinau, Dixon’s growing suspicions about Syd’s loyalty, and Sloane’s wrangling with the Alliance over the Khasinau problem and how it could be affected by his wife Emily. Writers Erica Messer and Debra J. Fisher (who last wrote Mea Culpa, but did uncredited re-writes on some of Season 1’s strongest episodes such as The Box two-parter and The Prophecy) manage to satisfactorily interlink most of these threads to the point you can feel the overarching plot stitching together in preparation for the finale.
Rendezvous, of course, is most remembered for finally pulling the trigger on a plot development that was inevitable eventually: Will discovering the truth about Syd’s secret life as an international super-spy, and thankfully they manage to pull this off in the most entertaining and enjoyably histrionic way. Captured by Khasinau’s forces, Will watches the red-headed Syd leap into fray, in slow motion, kicking the arse of the Euro-goons watching over him before realising who it is and delivering a scream of disbelief that is just *perfectly* executed. You feel the payoff of this moment, and Syd’s complete disbelief that Will has shown up on her mission, because the season has really put the leg work in to get Will into her orbit.
It’s a moment that in its own way changes Alias forever. Rendezvous ends up delivering the first of several leading into Almost Thirty Years that allows the show’s first season to stick the landing.
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.
MICHAEL VAUGHN: In this job you see darkness; you see the worst in people. And though the jobs are different and the missions change and the enemies have a thousand names, the one crucial thing, the one real responsibility you have is to not let your rage and your resentment and your disgust darken you.
As we emerge from the initial phase of establishing the central concept of Alias, A Broken Heart continues developing the relationships between Sydney Bristow and our central collection of characters. While the least important and arguably most throwaway episode of the first season so far, Vanessa Taylor’s script nonetheless has several key interactions and narrative points which give the episode a purpose, and further suggest that Alias’ approach to ongoing, serialised storytelling means this won’t be a traditional 22-episodes marked by too many points of ‘filler’.
Not every episode of Alias has too deep a clear emotional or thematic through line, but A Broken Heart quite clearly is all about broken relationships, or relationships which are in danger of shattering. The title itself is a rather pointed pun with a double-meaning; ostensibly it suggests the climactic beat of the episode, in which Syd witnesses a bunch of Euro-terrorists place a small but hugely powerful bomb in the pacemaker of a UN diplomat, but it also rather directly refers to Sydney’s emotional state, and to some degree that of her father Jack Bristow. Both of them have suffered the trauma of losing the people they loved to sudden and rather violent deaths, and both of them have had their hearts ‘broken’ in the process. It becomes clearer that while Syd is trying to repair her damage, Jack’s may well be irreparable.