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SV: Void
Is Void really the title? Are the writers just trying to make it easier for Omar to slam the episodes? I actually really liked it, but that title is just asking for trouble.
I fully expect many people on my flist to have hated this (I haven't read anybody's responses yet), but I have to say I really, really loved it. I was partly spoiled--I knew we'd be seeing Jonathan again--but I didn't know Lillian was in this too, and that enough would have made the episode for me.
But I actually *liked* the Lana plotline, to dispense with that first. Although in the beginning of the episode, there was some suggestion that her descent into junkiehood was fueled by her breakup with Clark, I think the final scene with Clark gave a reason that is very organic to Lana's character: her sense of being alone, *even when she is in a relationship.* And sure, that may display a less-than-admirable self-centeredness and inability to appreciate the relationships she *does* have (and way to GO Lex, for calling her one that!), it is also an iconic part of her character: the isolated one, the one everyone leaves.
And to tie this to the iconic episodes we got for Clark and for Lex (part one of Reckoning and Lexmas), I find it telling that even in her fantasy/dream/post-death world, Lana doesn't get what she most desires. Even compared to Lex and Clark's experiences with their parents tonight: Lex and Clark both got very clear messages from their parents about the type of men they are going to be (and I'll discuss that more below), but Lana just got pulled away from her parents, again. Loss still remains the defining feature of her character. But I think what we saw tonight was Lana really *accepting* that, on an adult level, and realizing that if she lets herself be ruled by loss, she *will* be no more than a junkie, needing a fix. Really, although on one level the junkie/flatliners plot was laughable, on another level it was just a metaphor for Lana's addiction to being in relationships and letting other people define her. And I hope what the end of the episode was symbolizing was that she is done with that. She is turning towards Lana Lang, Zen Machiavellian. (RivkaT, are they paying you for this? True, they're having her come to this realization BEFORE she sleeps with Lex, but still, the resonances seem to be there).
I also kind of loved Lana manipulating Lex, because DAMN. He made that lovely speech and she still stole his Porsche. That's cold, but in a way I really loved. I really, really do hope the Lexana turns out to be about them playing manipulative games with each other, because that will be really fun, I think. For the same reason, I'm glad Lex lied to Lana about what his mother said to him, because it means that he's lying about always being truthful to her. This says too me that even though he does seem to have some feelings for her, he's playing her, too, which is fine with me. As long as he isn't a lovestruck fool, I'm completely ok with that. Bring on the mutual manipulation!!
Ok, on to the actually important parts of the episode: the visions of Jonathan and Lillian. First of all, I think the lighting choices were really, really interesting. I wasn't entirely sure it was significant that Lillian was living in that darkened room until we saw that scene of Jonathan completely bathed in light. Now my only question is, is Lillian in hell or purgatory? (Maybe this is partly dependent on whether she was able to save Lex? That might explain part of her anger, anyway. And I can't imagine a worse hell than watching the son you tried to save become a mass murderer).
I'm a little upset that this episode clarified "Lexmas" too much. I liked it better when it was ambiguous as to whether Lex's experience was an actual vision or just a dream (especially since I leaned toward the dream theory, myself). While I suppose one could still, theoretically, argue that both Lex and Clark just hallucinated what they most needed to see, the fact that Clark's vision contained true information makes the "wish fulfillment" interpretation less likely.
Really, in a way I feel sorry for both Lex and Clark, being told by their significant parental figures that their destinies are inescapable. Of course, as outside observers we know this to be true, because the writing staff thinks it true, even if they must bash us over the head with it. Still, from a meta perspective, the fact that it is Lillian and Jonathan that deliver these crucial messages underscores the SV theme that your destiny is profoundly shaped by your parents/family history, since it is the very fact that Jonathan and Lillian deliver these messages that gives them power.
I really now want to rewatch Lexmas, Reckoning, and this episode to think through some of these things again, but alas, I am going out of town this weekend, so I probably won't be able to do it for a while.
OK, a few other comments (mostly mad, mad squeeage) on the episode:
--"There really isn't a card for "Sorry I got you killed" is probably the best line in SV history.
--Add one more to Lana's body count, and one more to the lives saved by Chloe count.
--I know, I know. Mionel is completely out of character, her husband just died, he kidnapped her baby, etc. etc.cakes. I DON'T CARE. I was squeeing like a crazy mad fangirl in every single one of those scenes, especially Martha all decked out to go to the ball.
I did like that she tried drawing a boundary with him at friendship, and I thought one might fanwank it by saying Martha's developed enough political savvy to realize that one must cultivate useful "friends," even if one has personal grievances, in order to succeed politically. But really, I was allowing myself to appreciate the Mionel, especially since it looks like this is the only episode we really get it before she goes back into protective mother mode.
--And finally, Lionel, master manipulator (I KNEW he was Chloe's secret source! I knew it! Mionel AND Chlionel, baby, I'm in heaven!) is my FAVORITE THING EVER. Ok, pardon all the caps. Hello, I just did like 140 Lionel-centered recs, you all know I'm the big Lionel fangirl. I am now in my head deciding canon ends here, before Lionel gets all murdered by Lex, and setting up the AU in which Lionel is just emperor of the city and sleeping with, you know, just about everyone. OK, Clark and Lex can join forces to fight him, that would be ok, but really. I love effective evil. And by the way, this reinforces my theory that the reason Lex isn't allowed to be competently evil is because Lionel has to reach his apogee and be taken down by Lex, and after he dies at the end of this season (I presume--I'm not spoiled) next season Lex will reach his level and then quickly surpass him.
Ok, off to read what I'm expecting to be a lot of hating of this episode, but I don't CARE, because it pushed all my big fangirly buttons, and nothing you say will make me not like it!
I fully expect many people on my flist to have hated this (I haven't read anybody's responses yet), but I have to say I really, really loved it. I was partly spoiled--I knew we'd be seeing Jonathan again--but I didn't know Lillian was in this too, and that enough would have made the episode for me.
But I actually *liked* the Lana plotline, to dispense with that first. Although in the beginning of the episode, there was some suggestion that her descent into junkiehood was fueled by her breakup with Clark, I think the final scene with Clark gave a reason that is very organic to Lana's character: her sense of being alone, *even when she is in a relationship.* And sure, that may display a less-than-admirable self-centeredness and inability to appreciate the relationships she *does* have (and way to GO Lex, for calling her one that!), it is also an iconic part of her character: the isolated one, the one everyone leaves.
And to tie this to the iconic episodes we got for Clark and for Lex (part one of Reckoning and Lexmas), I find it telling that even in her fantasy/dream/post-death world, Lana doesn't get what she most desires. Even compared to Lex and Clark's experiences with their parents tonight: Lex and Clark both got very clear messages from their parents about the type of men they are going to be (and I'll discuss that more below), but Lana just got pulled away from her parents, again. Loss still remains the defining feature of her character. But I think what we saw tonight was Lana really *accepting* that, on an adult level, and realizing that if she lets herself be ruled by loss, she *will* be no more than a junkie, needing a fix. Really, although on one level the junkie/flatliners plot was laughable, on another level it was just a metaphor for Lana's addiction to being in relationships and letting other people define her. And I hope what the end of the episode was symbolizing was that she is done with that. She is turning towards Lana Lang, Zen Machiavellian. (RivkaT, are they paying you for this? True, they're having her come to this realization BEFORE she sleeps with Lex, but still, the resonances seem to be there).
I also kind of loved Lana manipulating Lex, because DAMN. He made that lovely speech and she still stole his Porsche. That's cold, but in a way I really loved. I really, really do hope the Lexana turns out to be about them playing manipulative games with each other, because that will be really fun, I think. For the same reason, I'm glad Lex lied to Lana about what his mother said to him, because it means that he's lying about always being truthful to her. This says too me that even though he does seem to have some feelings for her, he's playing her, too, which is fine with me. As long as he isn't a lovestruck fool, I'm completely ok with that. Bring on the mutual manipulation!!
Ok, on to the actually important parts of the episode: the visions of Jonathan and Lillian. First of all, I think the lighting choices were really, really interesting. I wasn't entirely sure it was significant that Lillian was living in that darkened room until we saw that scene of Jonathan completely bathed in light. Now my only question is, is Lillian in hell or purgatory? (Maybe this is partly dependent on whether she was able to save Lex? That might explain part of her anger, anyway. And I can't imagine a worse hell than watching the son you tried to save become a mass murderer).
I'm a little upset that this episode clarified "Lexmas" too much. I liked it better when it was ambiguous as to whether Lex's experience was an actual vision or just a dream (especially since I leaned toward the dream theory, myself). While I suppose one could still, theoretically, argue that both Lex and Clark just hallucinated what they most needed to see, the fact that Clark's vision contained true information makes the "wish fulfillment" interpretation less likely.
Really, in a way I feel sorry for both Lex and Clark, being told by their significant parental figures that their destinies are inescapable. Of course, as outside observers we know this to be true, because the writing staff thinks it true, even if they must bash us over the head with it. Still, from a meta perspective, the fact that it is Lillian and Jonathan that deliver these crucial messages underscores the SV theme that your destiny is profoundly shaped by your parents/family history, since it is the very fact that Jonathan and Lillian deliver these messages that gives them power.
I really now want to rewatch Lexmas, Reckoning, and this episode to think through some of these things again, but alas, I am going out of town this weekend, so I probably won't be able to do it for a while.
OK, a few other comments (mostly mad, mad squeeage) on the episode:
--"There really isn't a card for "Sorry I got you killed" is probably the best line in SV history.
--Add one more to Lana's body count, and one more to the lives saved by Chloe count.
--I know, I know. Mionel is completely out of character, her husband just died, he kidnapped her baby, etc. etc.cakes. I DON'T CARE. I was squeeing like a crazy mad fangirl in every single one of those scenes, especially Martha all decked out to go to the ball.
I did like that she tried drawing a boundary with him at friendship, and I thought one might fanwank it by saying Martha's developed enough political savvy to realize that one must cultivate useful "friends," even if one has personal grievances, in order to succeed politically. But really, I was allowing myself to appreciate the Mionel, especially since it looks like this is the only episode we really get it before she goes back into protective mother mode.
--And finally, Lionel, master manipulator (I KNEW he was Chloe's secret source! I knew it! Mionel AND Chlionel, baby, I'm in heaven!) is my FAVORITE THING EVER. Ok, pardon all the caps. Hello, I just did like 140 Lionel-centered recs, you all know I'm the big Lionel fangirl. I am now in my head deciding canon ends here, before Lionel gets all murdered by Lex, and setting up the AU in which Lionel is just emperor of the city and sleeping with, you know, just about everyone. OK, Clark and Lex can join forces to fight him, that would be ok, but really. I love effective evil. And by the way, this reinforces my theory that the reason Lex isn't allowed to be competently evil is because Lionel has to reach his apogee and be taken down by Lex, and after he dies at the end of this season (I presume--I'm not spoiled) next season Lex will reach his level and then quickly surpass him.
Ok, off to read what I'm expecting to be a lot of hating of this episode, but I don't CARE, because it pushed all my big fangirly buttons, and nothing you say will make me not like it!
part I
And to tie this to the iconic episodes we got for Clark and for Lex (part one of Reckoning and Lexmas), I find it telling that even in her fantasy/dream/post-death world, Lana doesn't get what she most desires. Even compared to Lex and Clark's experiences with their parents tonight: Lex and Clark both got very clear messages from their parents about the type of men they are going to be (and I'll discuss that more below), but Lana just got pulled away from her parents, again. Loss still remains the defining feature of her character. But I think what we saw tonight was Lana really *accepting* that, on an adult level
See, this I'm not sure about, largely because she's about to jump into a relationship with Lex. I'd be more persuaded that Lana's really accepting it and that she's really growing beyond it if they didn't plan to stick her right back in a relationship that seems to be more about her not wanting to be alone again and less about her actually having feelings for her new partner (and also possibly about her being broke, too, although I don't know if this creative team is willing to let Lana be *that* ruthless). I think Lana *wants* to be over this aspect of her personality; I think she recognizes the ways in which it's her emotional and psychological albatross, but I don't think she can actually break free of it. (In much the same way, I think Lex absolutely recognizes that he has within himself the power to make good choices and to be a good person, but it's not something (1) he believes he *can* do, or, (2) he *wants* to do.)
For the same reason, I'm glad Lex lied to Lana about what his mother said to him, because it means that he's lying about always being truthful to her.
*nods* What I liked about it was that I also think it shows that even if he wants to, he doesn't really trust her. I mean, Lex *has* opened up to people about dark things in the past (and by 'people' I really mean 'Clark') and it's been established that if he really loves or thinks he loves someone, he can even come clean with them about really bad stuff that he's done (cf. telling Helen he stole that vial of blood). But the fact that he wouldn't tell Lana just how dark that vision really was suggests that he doesn't feel the kinship to her that he might want to. I liked it because to me, it showed that he absolutely realizes she's capable of active manipulation; he didn't just write off the business with his car as her being strung out. If Lex were truly besotted with Lana, his answer would have been a lot closer to the actual truth, even if he did put a spin on it.
As long as he isn't a lovestruck fool, I'm completely ok with that. Bring on the mutual manipulation!!
Right. That's why I loved him lying to her about the dream. I don't want sincere!Lex but scheming!Lana. That's not any more appealing than lovestruck!Lex and oblivious!Lana.
Re: part I (Reposting with better formatting)
See, this I'm not sure about, largely because she's about to jump into a relationship with Lex. I'd be more persuaded that Lana's really accepting it and that she's really growing beyond it if they didn't plan to stick her right back in a relationship that seems to be more about her not wanting to be alone again and less about her actually having feelings for her new partner (and also possibly about her being broke, too, although I don't know if this creative team is willing to let Lana be *that* ruthless). I think Lana *wants* to be over this aspect of her personality; I think she recognizes the ways in which it's her emotional and psychological albatross, but I don't think she can actually break free of it.
I think you're right that she *wants* not to be dependent, but that she hasn't achieved this yet. (When I was originally posting this I was too struck by the parallels between that scene and the end of Rivka's "Tertium Quid" that I was being optimistic. Now my thought is that breaking free of dependence on others to define herself is what they're foreshadowing as Lana's iconic destiny (just as Lex and Clark's iconic destiny are foreshadowed heavily in this episode).
Of course, freedom from dependence can be a good thing (independence) or a bad thing (isolation/detachment/ inability to connect with people). It would be interesting if her relationship with Lex pushed her more into isolation and coldness, putting her own interests above those of other people, at least for a while, but I doubt they would stay there with her character.
What I liked about it was that I also think it shows that even if he wants to, he doesn't really trust her. I mean, Lex *has* opened up to people about dark things in the past (and by 'people' I really mean 'Clark') and it's been established that if he really loves or thinks he loves someone, he can even come clean with them about really bad stuff that he's done (cf. telling Helen he stole that vial of blood). But the fact that he wouldn't tell Lana just how dark that vision really was suggests that he doesn't feel the kinship to her that he might want to. I liked it because to me, it showed that he absolutely realizes she's capable of active manipulation; he didn't just write off the business with his car as her being strung out. If Lex were truly besotted with Lana, his answer would have been a lot closer to the actual truth, even if he did put a spin on it.
Yes and yes and yes. It's especially potent that he doesn't open up to her about his mother when she did open up to him about why she was seeking out the drug, even though she was initially so reluctant that she would steal from him rather than admit the truth. To me, that suggests he's definitely manipulating her rather than being besotted.
Re: part I (Reposting with better formatting)
You know what I loved just completely on a visceral level about the scene is how utterly realistic Lex's reactions were. That incredulous look right before he said "But you'd steal from me instead?" was *perfect*. I was watching with a friend, and right before *he* said it we both said "But wait, you'd rather steal from than lie to him?" and then Lex said it and it was just ... really nice. I love those moments when the characters react to things the way actual humans would react to something because those moments don't happen nearly as often on the show as one might think. Lex's snarky pissiness in the lab was great, too, especially the "Yeah, see the funny thing about *really expensive cars* is that they *come with a tracking system*." You could just *feel* the underlying "Why are you being a crazyperson, Lana? Did you really think I wouldn't be able to find my *$100,000+ dollar car*??!"
So. *Funny*.
Re: part I (Reposting with better formatting)
Oh, yes! I really loved Lex in both of those scenes.
Re: part I (Reposting with better formatting)
Hee! Yeah, that was my favourite line of the ep. There should be more of those lines...
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Re: part I (Reposting with better formatting)
Re: part I (Reposting with better formatting)
Lana's actually pretty useless in the episode but what I like is how the ep (inadvertently, IMO) acknowledges (1) how pathetic Lana really is (and I mean that in the true sense of the word, "Lana as object worthy of pity"), and (2) that she's simply not in the same league as Clark and Lex in terms of being epic or destined for greatness or anything like that. I'm sure we're supposed to view this as an isolated incident, predicated specifically by Lana's break-up pain, but it reveals that she's really fucked-up and sad, especially her emotionally arrested development when it comes to her parents. She's *still* not over them being dead; she still can't process it in a way she's able to *move beyond*. And that's really very sad.
Re: part I (Reposting with better formatting)
Re: part I (this part on your criticisms of the ep)
Of these, I think the Honduras bit was the biggest WTF for me. (And I also thought, how the hell does Clark avoid mowing people down when he runs so fast, but yeah: does the space ship have GPS too? That was pretty unbelievable).
The Chloe getting tips from Lionel, though, they've been setting up for a while. At least as far back as Splinter, when Clark saw his emails to her--and didn't Lionel bring her flowers even before that? I mean, this still leaves the great mystery as to why the hell she'd trust Lionel, who tried to have her killed, and not Lex, who saved her life--but if you simply ignore that little problem, which goes back to seasn 4, then this has been amply set up this season.
You're so right about the Homeland security thing, though. That was just weirdly random. All the colleges I know have keycards these days--why bring Homeland security into it? Unless they're setting something up for a future episode? (Fine does seem to be posing as a government agent). Ok, that seems unlikely, given SV's shaky foreshadowing.