WRITER: Adam E. Fierro DIRECTOR: Brad Turner
CAST: Kiefer Sutherland (Jack Bauer), D.B Woodside (President Wayne Palmer), James Morrison (Bill Buchanan), Rena Sofer (Marilyn Bauer), James Cromwell (Philip Bauer), Peter MacNicol (Thomas Lennox), Carlo Rota (Morris O'Brian), Mary Lynn Rajskub (Chloe O'Brian), Eric Balfour (Milo Pressman), Marisol Nichols (Nadia Yassir), Adoni Maropis (Abu Fayed), James C. Victor (Agent Hal Turner), Evan Ellingson (Josh Bauer), Chad Lowe (Reed Pollock), Powers Booth (Noah Daniels), Dylan Kenin (Gredenko's Programmer), Jolene Kim (Melinda), Brian Silverman (CTU SWAT Agent), Lex Cassar (CTU Agent Ryan), Rade Serbedzija (Dmitri Gredenko), Maury Sterling (Kozelek), Natalija Nogulich (CTU Doctor) & Adrian Neil (Liddy)
Marilyn helps Jack find one of Graem's Russian contacts, Lennix is tempted into a dangerous political scheme and Fayed's plan moves a step closer...24 performs its common trick of revealing a new enemy pulling the strings, with Russian Gredenko taking over from Middle Eastern terrorist Fayed as the Big Boss. The transition isn't actually performed here, but the intent is there.
We're approaching the half-way point of season 6 and it's typically a time when dynamics are altered and events reach a crescendo. Season 6 has been different, in that its crescendo presented itself in episode 4 (the nuke) and has been jogging along with the Bauer family conspiracy ever since.
This sadly means season 6 has lacked the rollercoaster bite typical of previous years. But whereas earlier seasons always drifted in their third quarters, season 6 has the potential to explode to life instead.
I certainly hope so. There are signs we could be heading for an upswing soon, as the Russian involvement should provide another slice of background information and the true nature of the Bauer family's involvement still need explaining.
Marilyn Bauer (the delectable Rena Sofer) is placed in one of those uncomfortable situations 24 does so well, with father-in-law Philip threatening to kill her son Josh if she takes Jack to the real destination of Gredenko's safehouse.
Such moments are always good fun to squirm to and James Cromwell continues his sterling work as the evil Bauer Snr. Cromwell's advancing years are noticeable on his slim frame and gaunt features, but he hasn't lost his command of the screen.
An interesting element of the show right now is Lennix's tentative steps into conspiracy territory, with aide Reed insinuating that the President's liberal decisions in the nuke's aftermath will cost more lives. It's not the first time 24 has dealt with a President being relinquished of his role -- it was done way back in season 2, a year that season 6 has much in common with.
As such, it's disappointing to admit 24 is repeating itself after six fairly original years, but I'm sure the writers will try to make this plot seem fresh. A full-blown assassination attempt seems likely, something the season 2 finale did, but never capitalized on when the show returned in season 3.
The supporting cast are all underutilized this year. Morris O'Brian is getting some action, but Chloe's brash attitude has been reigned in, James Morrison is plodding on (I wish he was given more variety), while new actress Marisa Nichols is tragically wasted as Nadia. Milo does manage to leave CTU here, affording actor Eric Balfour a late action sequence.
Regardless of occasional concessions, the staff of CTU have had their core removed following the deaths of Tony, Michelle, Edgar, Lynn and Curtis, plus the absence of Audrey and Karen (for now). The writers need to develop their new cast quickly, or let the remaining "old hands" take focus in fresh subplots. Just don't mention the word "mole", okay? Mind you, Nadia's ethnic background can't be coincidence in a show like 24 -- can it?
Episode 9 just about works because of the Marilyn-Josh-Philip dilemma, a few emotive scenes between Jack and his father and an explosive finale. But as fans know, 24 can crank up tension and execute nifty stunts in its sleep by now, but it needs to get a grasp on its straggling story to halt the narrative slump...
