TERMINATOR: THE SARAH CONNOR CHRONICLES 2.1 - "Samson & Delilah"

Writer: Josh Friedman
Director: David Nutter

Cast: Lena Headey (Sarah Connor), Thomas Dekker (John Connor), Summer Glau (Cameron Phillips), Brian Austin Green (Derek Reese), Richard T. Jones (Agent James Ellison), Garret Dillahunt (Cromartie), Shirley Manson (Catherine Weaver), Dean Winters (Charley Dixon), James Urbaniak (Sarkissian), Shane Edelman (Matt Murch), Carlos Sanz (Minister), Roger Guenveur Smith (Sac Federici), Noemi Amarilla (TV Field Reporter), Max Perlich (Walsh), Marcus Chait (Justin Tuck) & Sandra Purpuro (Agent Norgaard)

Agent Ellison
I'll never lead you to her. So if that's why you left me alive, you
might as well kill me right now. I'll never do the devil's work.

Cromartie
We'll see.

The TV continuation of the Terminator franchise was surprisingly enjoyable stuff, but only found its feet after introducing Derek Reece (Brian Austin Green) -- a time-travelling soldier who invigorated things by necessitating a future-set episode (scooping Terminator Salvation) and shaking up the stilted dynamic between mankind's future saviour John Connor (Thomas Dekker), fanatical mom Sarah (Lena Headey) and emotionless cyborg protector Cameron (Summer Glau). Now, it's back for seconds…

This premiere opens with a creative mix of slow-motion violence and glum music ("Samson & Delilah"; covered by new recruit Shirley Manson, formerly of Garbage). This style of audio/visual mix was memorably used in season 1's finale (during a mass raid on a Terminator, where body-armoured FBI agents were sent splashing into a swimming pool to the strains of Johnny Cash). Its reprisal isn't anywhere near as artistic, but I appreciated the effort. It was still an imaginative way to answer season 1's cliffhanger -- as the car-bombed Cameron emerges from the wreckage with facial scrapes and system damage that makes her wrongly target John for termination.

The episode quickly becomes a sustained cat-and-mouse chase, as Sarah and John flee from Cameron, take sanctuary in a local church, and have to devise a way to destroy their guardian angel gone bad.

Elsewhere, FBI Agent Ellison (Richard T. Jones) now realizes Sarah's talk of time-travelling homicidal robots was the truth, having come face-to-face with the battle-scarred Cromartie (Garret Dillahunt) who's been pursuing the Connors. Spookily, Cromartie spared Ellison's life (inferring he has a role to play in future events that benefits A.I overlord Skynet), and the sole survivor can't explain events to his superiors without sounding like a lunatic.

A new storyline also begins in earnest, involving Catherine Weaver (the aforementioned singer-turned-actress Shirley Manson); a red-haired, white-suited businesswoman who wants to create a company called "Babylon" with the help of her bemused employees. Manson's performance isn't terrible, but neither is it excellent. I'm hoping she'll grow in confidence (and at least she keeps her Scottish brogue), but it's not yet obvious why producers cast her. There are stronger, more attractive actresses who would do a better job, frankly.

Josh Friedman, the successful movie screenwriter who helped turn Chronicles into a TV series, returns to pen his first episode since the "Pilot". That explains the skillful pace and fan-pleasing moments -- which exhibit more imagination than is typical. I particularly enjoyed Sarah and John's attempts to disable malfunctioning Cameron -- using an electrical booby-trap and a "car sandwich".

There are a few religious references to help give everything the semblance of depth, although it's almost a cliché for sci-fi to find parallels in Christianity. Notably, Cameron ponders Jesus Christ's resurrection after her own return to life, and the episode's title obviously comes from a Bible story -- although John's cutting of his hair signifies his maturation and growth, not a loss of strength like Samson.

The regulars all perform to the same levels as before, although there are hints John's stepping out of his mother's shadow -- as he makes a few tough, if rather foolhardy decisions here. But his choices show he has faith and instinct; two qualities machines lack and perhaps the reason he becomes such a thorn in their side post-Judgment Day.

As the eponymous heroine, Lena Headey caused concern last year -- primarily because this TV-version of Sarah Connor is a far cry from Linda Hamilton's ball-breaker. Her level-headedness likely inspired the introduction of Derek -- whose crazier, tough-guy act seemed like a compromise solution with the network. But, while the overall structure of the cast is working well now, Derek and Cameron still drain the need for Sarah -- physically and mentally. As a result, Headey's unique characteristics are rather bland: she grumbles, she fusses over her son's safety, she folds her arms a lot, she sneers, and she makes pretentious speeches in voice-over.

As usual, Summer Glau is mesmerizing as the baby-faced cyborg. Hers is a beautiful, immersive, likeable performance of fun physicality and dreamy unpredictability. You can argue that playing an unemotional robot is relatively easy (and in some ways that is true), but Glau's the only actor since Robert Patrick to have made an automaton character uniquely her own. Watching various "musclemen" fail to rival Arnold Schwarzenegger was disheartening last year, so it's great to see Glau firing on all cylinders in a more textured, distinctive way. And this episode gives her a chance to show a darker, more violent side.

The storyline is very straightforward, entertaining and (beyond the slightly surreal opening sequence) accessible to newcomers with a basic grasp of the Terminator mythos. I can't fault it too much on a basic level of entertainment, but there are obvious shortcomings. My biggest complaint comes from the episode's last-minute revelation, which had the potential to cause multiple fangasms around the world, but instead came across as rather laughable. You'll know what I mean when you see it.


8 September 2008
FOX, 9/8c