#9.4 “Echo” Review

WARNING: If you don’t like being spoiled, then you probably want to read this after you’ve seen this episode: I’m going to spoil you rotten in this review.

I probably spoke too soon in the last review when I basically had said that Oliver’s story arc hadn’t gotten too depressing yet. So of course in just in the next episode Oliver’s steep slide into depression has gotten so bad he is suicidal. I hope he finds his way out of this funk soon. This storyline is depressing and is a serious drag on the show.

Written by the usually reliable scribe Bryan Q. Miller, this outing didn’t really show Bryan at his best. While there were parts I really liked, the episode seemed a bit ham-handed at times and the tone was definitely uneven.

For example, it was weird that Oliver’s slide into depression for some reason got him to take a vacation in some backwater village in Mexico. It seems a bit overwrought and probably out of character. Given his deep pockets, maybe it makes sense that his self-destructive drinking binge had turned into an epic grandiose bender that’s apparently lasted for months and had him crossing into other countries. However, why would he need to go to Mexico to get drunk? Even if he felt the need to get some really good tequila in Mexico, why would he go into such a low-rent bar (where their tequila probably is anything but top shelf)? With his billions, I’d think he would prefer going to some elite resort instead of a dive place.

Although I suppose it wasn’t all a waste. Oliver going to Mexico to self-destruct, while speaking somewhat clumsy Spanish, showed that Oliver is a man of the world and that Tess was willing to go anywhere to track him down.

Although I think someone needs to get the props more in line with the dialog. In the bar scene, Oliver asked for something cold, wet, tall and sexy to drink and that nameless dialogue-less bartender poured a couple of short tumblers of liquor and ice that weren’t only not tall, they weren’t at all sexy.

At one point in early Green Arrow comics (back in the 1960’s I believe), Oliver had lost his fortune and had become less like a bow-and-arrow-wielding Batman-esque figure (orphaned billionaire playboy/masked vigilante) and more like a modern day Robin Hood, so there is some precedent for him possibly losing his business. Perhaps this storyline is taking him into that direction, which would make some sense given the character’s history. However, if they’re going to do that, I think it would cause some problems for the show because Oliver’s fortune is bankrolling several different projects which probably wouldn’t be able to believably continue without his money. Like all those trick arrows he uses, Chloe’s expensive Watchtower equipment, the cost of the bandwidth she uses to do all the hacking she does, Tess’ use of Queen Industries’ jets, and Emil’s fees and the cost of his medical equipment and all the tests he runs. Hopefully if Oliver starts having money problems, which looks possible at this point with the downturn in his company’s stock prices, they will make some attempt to explain how they’re still able to afford to keep paying all of those bills.

However, Oliver’s problems (and Toyman’s attempt on his life) only tangentially intersected in with Clark’s and Lois’ budding romance: they talked about Oliver a couple of times and Clark’s need to protect Oliver ruined his not-a-date with Lois. That storyline was more than a bit on the cute side too, a lot of comedy and adorable Clark and Lois interactions in the same episode where Oliver nearly gets killed and actually seemed disappointed when he survived Toyman’s efforts to murder him. If having those two things a few minutes apart in the same episode is not an uneven tone, I don’t know what is.

As for Toyman: his attempt to blow Oliver up only acted like a means to an end. It seemed its only purpose was to show that Oliver had gotten so low he’s actually suicidal.

Overall, I guess the separate parts seemed to work okay by themselves, but together, I’m not sure they made a cohesive whole. Added to this, the logic behind some of the things that happened didn’t really add up.

While I understand the stated reason for Jor-El enabling Clark to use a new power to help train him, but does reading minds even make sense? It’s odd. It’s certainly not a traditional power for Superman, but that is not the reason I found it weird. I’m not sure how that could even happen. Maybe it’d be due to some unimaginably advanced Kryptonian technology or perhaps is a fluke of Kryptonian physiology that makes it possible. I know he’s done other extreme things before, especially extraordinary for a man who died a couple of decades ago and lives on as an Artificial Intelligence construct in the Arctic, but giving Clark the ability to read minds? Why would he?

I’ll grant that it was a cute ability for Clark to have to deal with, especially with his budding romance with Lois, but the AI that is Jor-El had just said only a few episodes before this one that Clark needed to cut himself off from the human realm, whatever that means. Yet, wasn’t what he was really talking about human emotion? He had also said in previous seasons that human emotion is what has made Clark weak and kept him from embracing his destiny. Jor-El has seems very anti-human and anti-emotion. Yet in this episode Jor-El foists an unexpected new power on Clark so he could be more empathetic with the human condition?

On the face of it, that is completely inexplicable. The stated reason Jor-El gave sorta works, Clark needs to get to know human motivations better in order to better anticipate what people will do. The theory, apparently being, that he will better understand people and in so doing, then be better able to protect them. In a way that reinforces an idea Clark brought up a couple of episodes ago in Metallo: he can’t really do a good job protecting life if he’s forgotten how to live it. Yet, that’s not the lesson that Jor-El is apparently trying to teach Clark here. He wants Clark to better understand people. So, in looking at it more closely I don’t think his explanation makes sense. Jor-El apparently holds humanity in complete contempt. Why would he want Clark to better understand people?

Still, the other Kryptonians seem to have a strong intuition of some kind. Zod’s accurate reading of Tess, his reference to Coat’s lack of foresight, and Jor-El saying that Clark hasn’t developed his Kryptonian intuition all seem to support that. So why would Clark listening in on other people’s thoughts help him hone that skill? Isn’t intuition a type of emotion? Isn’t it a sort of empathy to the human condition that allows people to have a strong intuition? Wouldn’t Clark getting a better feel for how humans think work against Jor-El’s attempts to sever his son from the ‘human realm’? I think the last thing Jor-El would want is for Clark to be more in-tune with humanity, so that didn’t work for me.

I did like the results, though: Clark listening in on other people’s thoughts was fodder for a lot of good comedy and some excellent bonding with Lois. The thoughts he heard were generally pretty humorous, but some also helped Clark figure out things. Because of that new skill he learned that Toyman was in on the plot to blow up Oliver’s factory and his employees. It also helped Clark successfully question some of the survivors.

I dunno, I still don’t like the idea much as a concept, but maybe Clark did learn something. At the end of the scene out on the Ace of Clubs balcony, he knew that Winslow wasn’t the guy he was holding over the edge of the building. However, I’m not sure he needed to hone his ‘Kryptonian intuition’ to figure that out. Clark’s smart and I’m not sure listening to Lois’ thoughts really gave him any insights into the mind of a madman. Somehow Clark had learned enough to intuit that Winslow’s MO would use a timer, rather than a pressure plate, and that he would want to live to see Oliver dead and buried. So, Ollie standing on a land-mine didn’t make much sense given what Winslow had done before, he was usually more creative than that, and its good Clark figured it out, no matter how he did.

I took exception to the way that Chloe was written in parts of this script. Ever since the season premiere, she’s become almost shrewish in her criticism of Clark, but maybe the problems go back further since she did that a lot last season too. I don’t like her always nagging Clark. Chloe used to be a lot more fun to have on the show. I guess her harping on him serves a purpose: it gets him to talk about things that are going on, Clark just thinking about it, or worse talking to himself about it, would be tons more boring. Yet, is it always necessary? Isn’t there any other way they could get the two to talk rather than having Chloe calling Clark on his mistakes? I know he’s not perfect, but I hope they tone that particular part of Chloe’s story arc down. It’s getting a bit old.

All that said; the story was still very enjoyable. The action kept up a steady pace, it never really slowed down or dragged, the stakes rose for everyone throughout the episode and the act break endings were all strong. The dialogue was also very good. I loved the banter between Clark and Lois, especially in the ending scene, and I loved Tess’ line to Winslow after she said he needed to leave Oliver alone and she shot him in the knee, “Pretty please?” That was awesome.

And I loved that Tess had manipulated Winslow to get him to leave Oliver alone and to agree to figure out how Metallo’s kryptonite-powered heart worked. I adore that Winslow was ecstatic about working on the heart and seems eager to help Tess out even though she shot him. And I hope this means that they will try to resurrect John Corben.

So, for me, the good far outweighed the bad in this script: I adored all the stuff that happened between Clark and Lois and the drama gave Justin Hartley and Cassidy Freeman plenty of scenery to chew. So overall I think this was a very enjoyable episode, even if it wasn’t a great one for Bryan Q. Miller.

Tom Welling did an excellent job as Clark. I liked how he played off Erica’s Lois. In the tease after he’d saved the workers in the plant he teased her about nearly hitting him. His timing was perfect and the way he delivered that line in reply to Lois’ question about missing ‘him’ was funny, “If by ‘him’, you mean me: barely.” I also loved the banter between Clark and Lois. Tom and Erica have a terrific chemistry.

Probably my favorite scene of his was the final scene. The way he had Clark holding out the olive branch to Lois was terrific. He delivered the ‘hypothetically speaking’ line flawlessly. He had Clark speak in a quiet tone that was apologetic, yet clearly affectionate. I believed Lois’ letting him off the hook for what he’d done with how Tom portrayed Clark’s reactions the way he did. The whole scene was perfectly played.

Allison Mack did a terrific job as Chloe. I loved how resolved she was to protect Lois, no matter if it meant busting Clark’s chops. While I wasn’t wild about some of the choices the writer made for her character, I have nothing but love for what Allison did with her part of the episode. My favorite part of the episode for her was when she was talking to Clark after he’d discovered that Winslow was behind the bombing and was likely after Oliver.

Erica Durance was outstanding as Lois. She and Tom have a wonderful chemistry and she delivers romantic banter better than almost anyone I think I’ve ever seen. My favorite scene from her is probably the ending one in The Daily Planet with Clark. She played it light and teasing, but still made it clear that Lois meant business when she knew that ‘hypothetically speaking’ that Clark wasn’t going to get away with standing her up again, yet she was very open to him trying to make up for it. I loved that scene for her.

Cassidy Freeman was awesome as Tess. She plays the cold, cruel part of Tess perfectly, especially when she stood up to those thugs in the bar and later in the last scene she played with Toyman. I loved how she said ‘Pretty please?’ after she’d shot him in the leg. Yet, she also played Tess as so genuinely concerned for Oliver. When she was talking to him, she gave Tess just the right amount of edge (a business partner coldly trying to bring Oliver out of whatever funk he’d found himself in) and also the right amount of heart as she tried to console and comfort him. It was a fine line to walk and I thought she hit it out of the park. When he shot her down, the way that Cassidy played it I could tell when Tess decided to turn the coldness back on when she said she need him to address the share holders. This was another wonderful performance from Cassidy.

Justin Hartley did an absolutely remarkable job as Oliver Queen. In fact, I think in this episode Justin delivered possibly one of his strongest outings ever as the Emerald Archer. His two best scenes were ones where he didn’t actually do much talking: the scene in the bar alone with Tess and the one in the Ace of Clubs while Oliver was alone with the bomb and his thoughts.

In the second scene at the bar, Justin faced the camera as Cassidy stood behind him delivering Tess’ lines. I think that might have made it harder for Justin, no one’s face to play off of, so it was all in his head essentially. Yet that scene was so effective and every line she spoke had a clear affect on Oliver. He seemed close to falling to pieces right in front of her. It was a terrific job of acting from Justin. I could almost tell what Oliver was thinking as he reacted quietly to Tess’ lines.

The Ace of Clubs scene was another terrific scene for Justin as Oliver read Toyman’s words from the teleprompter. His words said one thing, yet the way he played the subtext underneath those words was fantastic. I almost could tell what Oliver was thinking as he delivered those lines, he clearly was torn. He didn’t want to admit to his own faults, Oliver had been running away from himself lately, so the way Justin portrayed Ollie’s forced, yet reluctant, confession (first reading just to read, and then slowing down as the meaning of the words sunk in) was perfect. I also really liked the ending balcony scene as Oliver talked to Clark and then tossed that tumbler at the image of Lex in the window. Justin did a wonderful job.

Chris Gauthier did his usual scenery chewing best as Winslow Schott. His Toyman reminded me of Wallace Shawn’s performance as Vizzini in “The Princess Bride.” He had the same over-the-top maniacal glee at times. I loved how happy he had Winslow being at the end of that scene in the jail with Tess. I completely bought that Winslow was going to be happy with going to solitary because of Tess, a woman who shot him in the knee, as long as he got to play with his new toy. That was awesome. I’m glad he might come back as he works on Metallo’s kryptonite heart for her. I think he’s perfect as Toyman and look forward to seeing Chris again.

Director Wayne Rose makes his Smallville directing debut with this episode, but he’s hardly new to the job description. Going from his profile on IMDB, he has experience, primarily as a Second Unit director on “Battlestar Galactica” and even worked on some”Smallville” episodes. He’d directed a few episodes of the BSG prequel show, “Caprica” and then also directed several episodes of BSG. I’m not sure that I’m in love with some of his choices and the bit players didn’t deliver very good performances, they were either dull or their faces were expressionless. There was also a lot of looping.

‘Looping’ when the actors have to go back and rerecord lines of dialogue that somehow didn’t record right during production: usually either because of too much background noise or perhaps the microphones didn’t pick every word. It’s called ADR, or Automated Dialog Replacement. I don’t know how or why this episode had so much, but I do know it seemed like it had far more than usual for Smallville. Usually, that sort of thing is so unobtrusive that it’s hardly noticeable, but not so here. I don’t know who’s to blame for that, the sound engineers for not getting it right the first time or the director for not having time to do another take with better sound… But no matter whose fault it was, I think the looping in the Talon apartment scene as Lois was getting ready for her not-a-date with Clark made it feel flat. The looping completely negated whatever emotion that Erica had originally been trying to portray vocally.

I loved the outfits that Costume Designer Melanie Williams had put Erica into. The costume she wore in the first scenes, the silvery gray suit with the satin ribbon trim and melon colored blouse, worked well and fit Erica perfectly. I also liked Lois’ pale gold cocktail dress. It was beautiful and suited Erica’s figure well. She looked great in it.

I usually don’t like the short-jacket-with-a-longer-shirt look, I think I’ve even complained about it in my reviews before, but I actually loved that pale green three-quarter sleeve herringbone jacket that Allison wore in this episode. I mean I (all CAPS) LOVED it. Nicely tailored, it fit her well and, being a touch whimsical with the wide ribbons of banding used as trim, it suited her character perfectly. It didn’t hurt that Allison looked great in it.

However, I absolutely loathed Tess’ weird leather vest that looked like a backpack from the front, but like a vest from the back. It didn’t suit either Cassidy’s figure or her character. And, yeah: I get the reference, it made her look like Lara Croft from the Tomb Raider films and video games (and Tess is tough enough she could probably take Lara on), but the idea didn’t work as well as the end result. I hated it.

Although I haven’t had too many problems with the hair this season, I think something weird was going on with Lois’ do in the first act. I’m not sure what Sarah Koppes is doing different, but Lois’ too smooth and too stiff style in the earlier acts just makes it look like she was using too much hair product. Erica has very nice hair, I like it better when it’s looser and bouncy and it looked much better once her hair was down.

On the other hand, I have no such complaints about the men’s hair: Justin looks just plain adorable in his artfully messy do and Clark’s hair has been awesome this season. Again, not sure what Sarah’s doing different, but Tom’s hair makes him look even more handsome than he already is, which is saying a lot, so kudos to her.

Louis Febre did a fantastic job composing the show’s score. I think my favorite parts were the scenes between Clark and Lois and the scene between Tess and Winslow. I loved the mix of strings and guitar in the more romantic scenes and I adored the bit of ‘Metallo’s theme’ he put into the last part of that scene in the jail. It was terrific.

Not even close to a perfect episode, but I did largely enjoy this so I’ll spot it a point or so. I give this episode 4 Animatronic Winslow Schotts out of a possible 5.

Note: The views of Triplet don’t necessarily represent the thoughts and feelings of everyone at KryptonSite. Send her feedback.