Archive for season two

TSCC Episode 2.17: Ourselves Alone

Posted in TSCC Reviews with tags , , , , , , , , , , , , , , , on March 11, 2009 by severus

tscc_217-1270‘Ourselves Alone’ is the commonly accepted english translation of the gaelic expression ‘Sinn Féin’, which is the name of the irish political party whose rogue military arm, the Irish Republican Army (IRA), purportedly engages in acts of domestic terrorism against the British regime. For more than a century, Sinn Féin and the IRA have sought to free Ireland from British rule by any means necessary. Though linked to acts of terrorism for much of its history, Sinn Féin is today one of the largest political parties in Ireland, and, while still agitating for home rule of Northern Ireland, proudly wears the mantle of legitimacy accorded to those who achieve political power through the ballot box. No erstwhile resistance organization save perhaps the African National Congress more fully embodies the maxim that “one man’s terrorist is another man’s freedom fighter”.

Sinn Féin has a very complex history punctuated by competing factions with deep philosophical divisions despite shared goals, which is probably why the latest episode of Terminator: the Sarah Connor Chronicles (TSCC) is so entitled. As the series hurdles towards its second season denouement, the character of Jesse is revealed to be a rogue element within the larger resistance movement. It is fascinating to look at the language Jesse uses to express her reality. Another point of interest is how Cameron’s language expresses the true nature of her “glitch”.

Jesse, who represents a faction of the Resistance opposed to the deployment of reprogrammed cyborgs at Resistance camps, intensifies her plan to sever John and Cameron’s relationship in its incipiency. The language of Muslim extremism is used to evoke the depth of her radical and seditious disposition. When Riley confronts Jesse about the ultimate objective of getting John to fall in love with her, Jesse evokes the pathos of extremists who promote self-sacrifice via suicide bombing as the ultimate expression of faith that will immediately earn one’s self the kingdom of heaven:


I rescued you from hell and I took you to paradise.

I gave you a purpose, a chance to be a hero.

You know how few people get a chance for their lives to mean something?

For their deaths to mean something?

I made you matter.

You could have been beautiful.

You’re just a coward.


As a western audience, we can anticipate the eventual marginalization of Jesse and her sympathizers within the Resistance because she is attributed the language of our enemies.


Examining Cameron’s use of language  reveals the nature of her glitch. The opening scene sets up a metaphor for Riley as a bird who has lost its way when Cameron voices aloud a deductive dialectic for dealing with a pigeon lost within the Connor household:


You shouldn’t nest in the chimney.

You’re migratory; you need to find a mate

That’s a window, bird

What am I going to do with you?

A bird in a chimney is a fire hazard

I’m not supposed to kill you.

You can’t stay here.


 Despite deducing that she should set the bird free, forming the intention to do so, and performing an illocutionary act of release, Cameron kills the pigeon. She initially attributes the failed action to physical damage in her hand. As she explains the incident to John, she disassociates the bird’s demise from her intentional state: “the bird experienced an involuntary movement of my fingers. It was fragile.” After John repairs the motor functions in her left hand, he admonishes Cameron to “try not to kill anymore birds”.

What becomes clear is that whatever Cameron is experiencing does not have a physical basis that originates in her motor functions. With the appearance of Molly Malloy from the Department of Child and Family Services, Cameron sequesters Riley in an outdoor shed, and begins a dialectic to determine what to do with this bird.


What am I going to do with you?

Children and Family Services respond to complaints. Are you a complainer?

You don’t belong here. John isn’t right for you and you are not right for him

He can’t see that.

You’re unreliable. I don’t know what to do with you.

You can’t be John’s girlfriend; you are a threat.

You can’t stay here anymore, but I can’t let you leave.

What am I going to do with you?


Cameron violates her programming parameters in a manner similar yet paradoxical to the way she does with the pigeon.  She does not arrive at an orderly and systematic conclusion to kill Riley despite formulating premises that would lead her to that end. When John asks her if she was going to kill Riley, Cameron replies, “I don’t know what I was going to do”. Both John and Cameron realize that her algorithms are not functioning along pre-established guidelines. Cameron is weighing arguments instead of acting on deduced conclusions. To decide is to weigh competing arguments, yet the elimination of all threats to John Connor was considered axiomatic in Cameron’s programming. Like the situation with the bird, Cameron weighs competing arguments, but in the case of the bird, she arrived at a conclusion she could not perform, while with Riley she does not arrive at a conclusion to perform.

What is interesting about Cameron’s supposed malfunction is that she understands from a metalogical standpoint that her algorithmic process is not performing per usual; yet, if her programming were impaired, how could she understand the nature of its impairment? By definition, a person who is insane cannot contemplate the nature their insanity. I therefore posit that Cameron isn’t experiencing a glitch insomuch as her programming is evolving.

This is why I love this show. You can go as deep as you want to go with it.  There is a lot of richness happening beneath the surface.


Episode 2.14: The Good Wound

Posted in TSCC Reviews with tags , , , , , , , , on February 19, 2009 by severus

tscc_goodwound2The Sarah Connor Chronicles returned from its mid-season hiatus showing no signs of sluggishness. The Good Wound, which kicks off the final nine episodes of season two, is a return to the serialized storytelling format used in season one. The episode picks up where Earthlings Welcome Here left off.  Sarah awakens in a hospital bed with a bullet in her thigh lodged dangerously close to the femoral artery, and with a Muir County sheriff deputy standing guard outside her door. She is in such excruciating pain, she hallucinates that Kyle Reese, her son’s father, is by her side to guide her through the critical moments to follow. Sarah is nothing if not steely under pressure. She escapes by strangling the deputy unconscious, stealing his gun, and limping out the front door.

Sarah’s gunshot wound is the good wound. The agonizing pain strips away her normal defenses and lays bare the naked truth: She needs help. She needs help getting the bullet out of her leg; she needs help covering her tracks. She is unaccustomed to depending on anyone, and it is only to the vision of Kyle that she accedes.

The good wound also exposes Sarah’s deeper psychological and spiritual injuries that supersede any physical affliction. It forces her to confront herself in a manner she has been reluctant to do before, given her history of being wrongly imprisoned in a psychiatric hospital. It reveals her intense loneliness; the extent to which her knowledge of the future isolates her from the rest of humanity. It reveals how vulnerable she really feels, and the depth of her paranoia. It reveals the despair and bitterness she feels for carrying this burden. It reveals the lack of love in her life.

But the wound also shows her metal. Through the agony, anger, loneliness, and dispair, Sarah  manifests the means to survive. She does not succumb; She learns, adapts, and exploits. Though exhausted and exsanguinated, she digs deep within to find an inner strength to overcome all adversity.

This show is network televison at it’s best. It challenges us with thoughtful, creative stories that go well beyond the mindless, ratings-driven drivel audiences are usually spoon-fed on network television. I hope Fox has the guts to stick it out with this show, enabling it to find a larger appreciative audience.