Alias (Series Overview + Reviews)

Alias arrived at a fascinating point when it came to television.

The year was 2001 and a lot was changing in the ether around it. JJ Abrams, at this point best known as the writer of Harrison Ford weepie Regarding Henry, Michael Bay blockbuster Armageddon and show-runner of late 90’s teen hit drama Felicity, was nowhere near the producing and directing Hollywood totem he would become. His production house, Bad Robot, had not yet become the nascent Amblin of its generation. And, just nineteen days before the pilot, ‘Truth Be Told’, aired… 9/11 happened.

Abrams’ spy series already had some interesting cache behind it. Alias was a show that emerged on ABC with the intention of riding into the 21st century with a fresh storytelling model. The most successful and important TV shows of the 1990’s had almost all built their success on an episodic, network model of storytelling; 22-26 episode seasons with plenty of stand-alone stories which would serve the show well in syndication. In everything from Quantum Leap through to The X-Files, show-runners moving from the 1980’s into more of a Golden Age of television, in which some of the most key writers in both TV and cinema of the next few decades would emerge, had cleaved to the way it had been done for years.

Not Alias.

It would immediately strive for an aesthetic which would tap into a deep reservoir of retro-futurism, both aesthetically and in terms of production. Abrams and his staff came out of the gate leaning heavily into the kind of serialisation most shows in the 1990’s just didn’t do, bar a few trend-setting exception we’ll return to. The concept was both high and complex – female super-spy Sydney Bristow would find herself learning the covert CIA branch she had been working for, SD-6, was in truth the arm of a worldwide crime syndicate, and would work as a double-agent to bring down the enemy from within. Episodes would end on a cliffhanger every week and fold into each other. A surfeit of character and narrative mysteries would propel Syd’s journey along, not to mention a curious central, underlying occult and arcane mythology which tipped the show away from action-thriller and more toward science-fiction.

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Marvel Malaise: Jessica Jones S2 and the Pacing Problem

Let me tell you a story about Marvel, more specifically my relationship with the Netflix corner of the Marvel Cinematic/Television Universe. Having just digested all of the second season of Jessica Jones, the latest entry in the Marvel TV stable, it’s time we had an honest chat about these shows and how there’s a problem I just cannot get past.

Pacing.

Jessica Jones had a really impressive first season, and still could well stand as the strongest run in what, at the current count, stands as eight thirteen episode seasons that have encompassed the Netflix TV corner set in and around Hell’s Kitchen in New York City, with a ninth on its way in the next few months. Melissa Rosenberg’s adaptation of the comic Alias Jessica Jones (the Alias dropped in part to prevent confusion with ABC’s spy-fi drama of the same name) made a star of the biting and droll Krysten Ritter as Jessica, a super-powered private detective with a caustic attitude and few social skills, and told a quite violent, harrowing and dramatic story all about an abusive, controlling relationship & the psychological scars of rape. It was, on the whole, pretty superb television.

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