Roswell:

Grading the Episodes: Season 2

Last updated: January 25, 2004.

 The Cast for Season #2:

   Liz Parker                    -Shiri Appleby
   Maxwell "Max" Evans           -Jason Behr
   Isabel Evans                  -Katherine Heigl
   Maria DeLuca                  -Majandra Delfino
   Michael Guerin                -Brendan Fehr
   Alex Whitman                  -Colin Hanks
   Kyle Valenti                  -Nick Wechsler
   Tess Harding                  -Emilie de Ravin
   Sheriff Jim Valenti, Jr.      -William Sadler

  with,
   Mr. Geoffrey "Jeff" Parker    -John Doe
   Mrs. Nancy Parker             -Jo Anderson
   Mrs. Diane Evans              -Mary Ellen Trainor
   Mr. Phillip Evans             -Garrett M. Brown
   Miss Amy DeLuca               -Diane Farr
   Sean DeLuca                   -Devon Gummersall
   Brody Davis                   -Desmond Askew
   Nasedo                        -Jim Ortlieb
   Agent Pierce                  -David Conrad

The season #2 premiere of Roswell is, quite simply, a mess. There are many things wrong and few things right about this particular episode. On the "right" side of the ledger, the only characters who ring true during the entire episode are Liz and Jim Valenti. Indeed, the best scenes in the episode are the first Liz-Max run-in (good work from Appleby), and the jail scene between Valenti and Michael (excellent acting from Sadler here). Meanwhile, guest stars Jim Ortlieb and Jason Conrad (both playing Nasedo) put in their usual good performances, and even guest star Gretchen Egolf is passable. But the performance of every other main character, especially Michael, Isabel and Tess, seem completely "off". Special demerits go to Emilie de Ravin, whose poor stage blocking and background fidgeting detract from every scene she's in (didn't somebody teach this girl stage directions! Oy!). Other problems with this episode relate to several instances of "idiot plotting" (is it remotely credible that Valenti couldn't get Deputy Hanson to shut his trap, or that Hanson would go throwing around police business in front of civilians?), implausible plotting (there's no chance that Michael would have been arrested on the absolute non-evidence that Valenti had), and horrible science (don't even get me started on the cyclotron sequence). Of course, looming over all of this is the inane direction the mytharc is going, vis a vis 'The Skins' and other horrors about to be visited upon the Roswell fandom. Finally, it's obvious that The WB ordered the producers to 'tart up' the women on this show, as from here on in every female character outside of Liz is forced to wear clothing that is 1) ugly, 2) overly 'fashionable', and 3) quite sleazy-looking.

Not an auspicious start to season #2. (Luckily, it does get better by about the halfway point of the season...)

While certainly superior to the episode that precedes it, this episode is still a mixed bag. Indeed, several aspects to this episode are demonstrative manifestations of several of the things I don't like about season #2 Roswell. The most obvious of these was the 'tarting up' of all of the younger female characters/actresses on the show, something I've already alluded to in my review of "Skin and Bones". But the opening sequence of "Ask Not" is an even more blatant and unsubtle example of this, with the embarrassing "sexy dance" of Isabel, Tess and Maria (and, about two minutes later, Liz). Not good. Another minus for this episode is its over-baked theme (Max = JFK during The Cuban Missile Crisis?! Pul-eese!). The biggest minus is probably the sacrificing of the Nasedo character. In fact, this just establishes one of Roswell's biggest flaws - it propensity to dispense with characters (e.g. Topolski, Nasedo, Pierce, Whitaker, Courtney, even Tess) before fully (or even properly) exploring them.

However, there are several good aspects to this episode. The best among them is the subplot with Jim Valenti ignoring Kyle, only to make the situation worse by letting Tess move in (and then take over the Valenti household, much to Kyle's consternation!) This episode actually sports the funniest Tess sequence in the whole series - "Calvin Klein? I approve!" Tess says, while snapping the waistband to Kyle's boxers! Another good subplot is Liz's (apparent) bonding with Vanessa Whitaker (only to reveal that Whitaker was pumping Liz for information all along). Indeed, a real mistake made in season #2 was not keeping Whitaker around longer as a character. Finally, while I certainly miss Milton, Brody's takeover of the UFO Museum, and the Brody character himself, turn out to be one of the most interest elements in this episode, and season #2 overall as it turns out.

So, a mixed bag episode, but there are still a number of good elements here, even if there are also a number of aspects to "Ask Not" that detract.

Were it not for the final 10 or so minutes, "Surprise" would be the first season #2 episode to rate a straight 'B' (or possibly even higher). Alas, it's the final 10 minutes of this episode that kill it. Which is unfortunate, as this episode has a fair amount going for it before heading into that final Whitaker-"Vilandra" debacle. While light on Kyle and Tess, almost every other character is actually given something to do. (Though the ridiculous notion that someone of Grant Sorenson's age would want to date a teenager like Isabel (though this is partially explained later on in the season) is one of the many absurd contrivances that we're supposed to swallow with the Isabel character.)

Especially encouraging about this episode is that some light (though some of it later turns out to be misleading) is finally shown on new season #2 recurring character Courtney (a charismatic Sara Downing). Indeed, how the character of Courtney is introduced (i.e. slowly, carefully) is nice contrast to how the rapid introduction of Tess was mostly bungled in season #1. Other good scenes are Alex's ridiculous (but highly amusing) 'cop strip-tease', the Courtney-Maria face-off, and some of the points that Max and Michael score on Isabel about her hypocrisy. Beyond that, this episode does build suspense well through the first 45 minutes.

Then we get to the train-wreck of the final 10 minutes, where the previously solid performances of Gretchen Egolf and Katherine Heigl degenerates to some truly bad (over)acting (and terrible writing and direction), and where we're all subjected to probably the second or third worst of the "twists" vis a vis the show's alien mythology (with only 'The Dupes', and the whole Skins mess in "Harvest" and "Wipeout!" rating worse), which ends up being rendered moot by later silly events in season #3 (see: "Interruptus") anyway! Too bad because, up to that point, "Surprise" was looking promising.

"Summer of '47" is such a good episode not because it expands on Roswell's alien 'mythology' (which it does, including the first unfortunate hints about The Dupes), and not because this episode gives much in the way of profound character insights (which, outside of Michael, it doesn't), but because "Summer of '47" does one thing quite well - it simply tells an interesting story, well. And, in the end, what more can you ask for?

There's not much more to say about this episode without going into the details of this episode's story (which I don't really wish to), but all of the cast performs quite well in their 'dual', '47-based characters (especially Brendan Fehr, Majandra Delfino and Colin Hanks), and guest star Charles Napier earns (as usual) special kudos as retired Capt. Hal Carver.

So, if you're going to sit down to just watch a single 'stand-alone' episode of Roswell, this might be my Top Pick.

Despite the fact that I find the 'Sci-Fi' premise of this episode to be distasteful (or worse - never try time travel stories, folks!), and despite the fact that subsequent series developments have me convinced that most of this episode did not in fact actually happen (i.e. I think subsequent events would strongly lead one to believe that Liz's portion of this episode is almost entirely a Tess-induced illusion (hence the 'B+' grade, and not an 'A'), I like this episode a lot. And, why not? - it's a 'Liz episode'! Indeed, the entire Liz portion of this episode is incredibly poignant (and heart-breaking), and Shiri Appleby delivers one of her (now standard) outstanding performances, selling you on every word she speaks and every action she takes. Also good is Jason Behr, especially as so-called "Future!Max". Further, Tess actually manages to come off as almost sympathetic here (if you ignore my theory that she actually contrives this whole situation with her mindwarping in the first place!), and she manages the funniest sequence in the episode with hers and Kyle's whole "Trimming the lamp" innuendo. Other good stuff comes on the Courtney/Michael/Maria end, and Kyle Valenti shines in this episode. So, all in all, this, "Summer of '47", and "A Roswell Christmas Carol" are probably as good as it gets in season #2.

Upon first viewing, this was my vote for the worst Roswell episode, but I'm a little shocked to admit that it was better than I remembered on second viewing. Or at least, it's decent enough until the last 15 minutes or so, when the episode fully succumbs to (really) bad Sci-Fi contrivances. (Which makes "Harvest" very similar to "Surprise" in that way...)

Before that point, though, we get some positive developments with Liz (stick to your guns, girl!), and even with Tess. (While it should be pro forma, most shows wouldn't even acknowledge that there are psychological after-effects of being tortured, so while I would rather have seen actual development of this Tess storyline, at least it's acknowledged in "Harvest".) And the oddness of the Whitaker family is at first interesting. The subplot here, which is actually the better storyline, is the development of the Courtney "I'm a renegade 'Skin' who worships Michael!" story, which leads to one of my favorite scenes in the whole episode. (Maria (yelling into Michael's ear): "Michael, if you can hear me now over the sound of your rapidly inflating ego, could you please tell me that you do not believe what this... this Michael-worshipper here has to say?!")

But it's impossible to overlook the final minutes of this episode, which is filled with even more over-the-top acting, and silliness once again involving the tiresome "Vilandra" plotline. Which is too bad, as it was an OK episode up to that point.

The mirror-image of "Harvest", "Wipeout!" starts pretty slow (though it at least sports perhaps the most interesting (if least plausible) "Sci-Fi" premise of season #2 - the "everyone you know disappears" premise is surprisingly under-utilized in Skiffy) but builds to a pretty exciting conclusion. As with "Harvest", the weakest aspects to "Wipeout!" relate to the Isabel storyline (and some more awkward reaction moments with Emilie de Ravin as Tess), while the strongest parts relate to Courtney, Liz and the Valentis (this episode may start slowly, but there's still a couple of good scenes with the Valentis bonding near the start of this one). Indeed, by this point, Kyle is starting to establish himself as the "indispensable" character on Roswell, and the Valentis are the only two characters to show any substantive character growth in this episode, aside from guest-character Courtney (who's storyline ends here, unfortunately - here's another character that should have stuck around a while...).

Once the central "problem" of the episode is established, the gang is gathered together, and the insidious 'Skins' arrive in town, the suspense in the episode picks up and keeps picking up until the very last scenes. Thus, as a "fast ride" episode, "Wipeout!" is largely watchable and successful. But we're once again subjected to the Skins, Vilandra, and some implausible Sci-Fi, as well as a slow start, which all come together to make "Wipeout!" a 'C+' episode.

My final vote for worst Roswell episode ever, "Meet the Dupes" is hampered by at least four negatives: 1) a premise I downright despise, 2) a relatively uninteresting story, 3) some bad performances, and 4) some very inconsistent characterization. Of these, I have the biggest problem with the last one.

For example, why is Liz sniffing around Max all of a sudden when she's been so good about resisting Max over the preceding two episodes? What is the explanation for why Max acts like a total jerk when he confronts "Isabel" about the truth? (Another thing that bugs me about this episode is that there's no follow-up to Michael's reaction to Courtney's sacrifice/death.) In terms of the performances, Katherine Heigl probably has the most fun with, and does the best work with, her dual role as the 'Lonnie' character.

But, aside from the four problems I outlined above, this episode is further hampered by its lackadaisical pacing - indeed, this episode sort of wanders around, without really going anywhere. And yet another problem with "Meet the Dupes" is that what Lonnie tells Isabel in this episode about Vilandra is totally contradicted by the developments in "Interruptus" - are we to believe that Lonnie herself doesn't know the real story?! What's the explanation for that?!! (The final thing that bugs me about this episode, and the follow-up episode "Max in the City", is that we are never definitively told which set of alien-hybrids are the "defective" ones - The Dupes, or Max/Tess/Michael/Isabel?)

In the end, I know what the writers were trying to do here - i.e. do a compare & contrast between 'The Dupes' and 'our heroes'. But the whole concept is just very poorly executed in the end.

One of the few Roswell 2-parters where Part 2 is actually superior to Part 1, in the case of 'The Dupes' 2-parter that isn't saying much. The better parts of this episode involve the scenes back in Roswell, but unfortunately they constitute a small minority of this episode.

Of the things I like about this episode, I probably most like the performance of Desmond Askew, who gets to something significantly different from playing Brody in this episode. In addition, Emilie de Ravin does some good work in this episode (finally!) in both of her roles, as do Jason Behr and Shiri Appleby. In the final analysis, it is probably guest-star Nicholas (Miko Hughes) who almost single-handedly saves this episode from a 'C-'.

But there are problems with this episode too. For one thing, the resolution of the Tess kidnapping in this episode is never followed up on, calling into question whether Tess really dispatched Lonnie and Rath, or whether she in fact conspired with them. Mostly, "Max in the City" continues to take us further down the rabbit(rat?) hole of this show's increasingly confused alien 'mythology'. And that, really, is this episode's Achilles' heel. It's just plum difficult to swallow all of the things we are asked to in watching this episode. Indeed, in my opinion, 'The Dupes' were the single worst development in the Roswell series - they're worse than either 'The Skins', or the Jesse developments in season #3. (On the plus side, at least this puts an end to the horrid "Dupes" detour...)

Arguably the best episode of Roswell (though I personally rate season #1's "Blind Date" slightly higher), there is a lot to like about this episode. While elements of this episode are emotionally manipulative and overly melodramatic, it's actually many of the "smaller" elements that make this episode so good.

In sum, we have some great stuff with Tess wanting a "normal" Christmas with her "new" Valenti family. We have Isabel as the mischievous "Christmas Nazi", whose mania to perfectly plan every detail of the holiday doesn't prevent her from helping Michael out of a jam with Maria by getting her the perfect gift (though I personally think Michael's own gift to Maria is even better!). And finally, we have the touching tale of Brody's terminally ill daughter, and Max's increasing obsession to do something meaningful with his powers after witnessing a pre-Christmas tragedy.

All of these seemingly simple stories come together in delightful ways, with great attention to character detail, leading to perhaps the single most satisfying episode of the entire series.

"The Hybrid Chronicles" (episodes 2.11-2.14):

The WB-entitled 4-episode storyarc known as "The Hybrid Chronicles" starts out with this generally auspicious episode as its starting point. Indeed, "To Serve and Protect" (and "A Roswell Christmas Carol" before it) turns out to be just the tonic needed after the mess that was the two 'Dupes' episodes, and was the necessary moral booster at a time when many Roswell fans were considering bailing from the series back in the day. Overall, "The Hybrid Chronicles" may be the most successful storyarc of the entire 2nd season.

Specifically, "To Serve and Protect" begins with a couple of amusing segments when Isabel dream-walks into Liz's and Kyle's dreams, respectively - Kyle's dream, in particular, is a hoot! (Though, I'm forced to ask - why is Liz back to dreaming about that heel, Max?!)

Which is not to say that this episode is problem-free. Many of the almost out-of-character actions that Jim Valenti takes in this episode are hard to swallow. And we're once again asked to put up with the bland character of Grant Sorenson (Jeremy Davidson, almost as bland as the character), and his quasi-pedophilic interest in Isabel. And, once again, the running season #2 theme of Liz being deemphasized (while Isabel and Maria emphasized) rears its ugly head.

But this episode moves along in such a suspenseful way that many of these problems go almost unnoticed. In particular, William Sadler once again comes through with a very good performance. Also, while I suspect I may be mostly alone in this opinion, I always liked Sean Deluca (Devon Gummersall, playing against type here), and his introduction is well handled in this episode. And guest star Keith Szarabajka does some solid work as Jim Valenti's friend, Dan Lubetkin.

So, the fast pacing and good suspense elements, and some good performance, elevate this one.

The 'Jim Valenti' arc is cranked up another notch in second installment of "The Hybrid Chronicles". That, of course, makes for a very good episode. Unfortunately, it also proves to be a severely poor choice for the Roswell series in the long-term (one needs only see how they misuse Jim Valenti through all of season #3 to prove that point).

But, leaving that aside, "We Are Family" is probably the strongest of the four "Hybrid Chronicles" episodes, mostly because it revolves to heavily around Jim Valenti (with William Sadler turning a truly riveting and poignant performance here). Aside from Sadler, there's great work also from both Nick Wechsler as Kyle and Diane Farr as Amy in this one, and some good performances from guest stars Allison Lange as Laurie Dupree, and Erika Gimpel as FBI Agent Suzanne Duff. Aside from that, Alex finally "returns" from "Sweden", and it becomes obvious how much this character was missed from many of the preceding season #2 episodes until he shows up again here, and reminds you how much he was missed.

All in all, a good solid suspense episode.

A continuation of the ongoing "Hybrid Chronicles", "Disturbing Behavior" is more of a character-oriented episode, and it works best on that level. Indeed, this episode can almost be thought of as mostly a Michael-Maria-(Laurie Dupree) "road trip" episode. The best scene in this episode is a direct result of this when Amy Deluca extracts Maria's location (and a cell phone!) from Liz, and promptly has a 'Mom-meltdown' moment over the phone with both Maria and Michael. (And this is followed by Max catching Liz partaking in some 'funny business' with Sean Deluca over at Amy's!) Brody also appears in this one, and adds well to the proceedings.

"The Hybrid Chronicles" conclude with a pretty good, if not great, episode.

There are some bits about this episode that I do especially like - Kyle and Alex in the cave has some pretty darn great moments (how can you not like Alex & Kyle singing "American Pie" together?!), the gang (sans Maria and Michael) banding together to save them, Michael and Maria chillin' at the Dupree mansion after Maria blackmails Laurie's aunt and uncle, Jim Valenti getting Agent Duff to trust him, the Michael-Laurie Dupree bonding moments, etc. But this episode is, once again, light on Liz Parker (and overly heavy on Isabel), and the sci-fi resolution to this storyline is pretty cringe-inducing (even if it does explain Grant Sorenson's interest in Isabel all the way back to "Surprise").

So, a satisfactory end to "The Hybrid Chronicles", marking the turnaround in season #2, but I think I wanted more out of this one (esp. better Sci-Fi!).

--

Besides "Summer of '47", "Viva Las Vegas" (VLV, for short) is pretty much the only other stand-alone, 'throw-away' episode of season #2, and while VLV isn't as good as So47, it's still a quite enjoyable, character-driven romp.

Not much of substance happens in this episode, but this episode does sport a number of amusing and/or good scenes including: Kyle & Alex at the blackjack tables, Liz and Tess getting denied entry to the casino (and then getting frosty with each other in the arcade!), Maria (with Alex accompanying) singing for a stripping job! (don't ask!), Michael coming through for Maria's lounge-singing dream at the dinner party, Jim Valenti acting like a parent when they all get caught, and the final scene with Max and Michael getting coffee. This is all good stuff. (The reason this episode doesn't rate higher is because I feel that parts of it don't 'hang together', and certain parts; e.g. Max & Michael in the casino and in jail, everything with Isabel; don't quite work.)

But, while VLV is not really an episode of substance, it is generally fun nonetheless.

* For reasons that I no longer remember, this episode aired out of order when it originally aired on The WB. It was also shown out of order in syndication on Sci-Fi Channel. But "Off the Menu" properly belongs after "Viva Las Vegas" and before "Heart of Mine".

Why Sci-Fi Channel chose to air this in the same out-of-order sequence that the knuckleheads at The WB did is beyond me - airing this episode out-of-order 1) causes the suspense built up through "Baby, It's You" (and just before "Departure") to come to a screeching halt, and 2) does "Off the Menu" itself a great disservice, as this episode works much better between "Viva Las Vegas" and "Heart of Mine" which is where it's supposed to go.

If you can get past that hurdle, this episode is a pretty good (though certainly not great) mostly 'stand-alone' episode, with certain groupings of characters brought together with some interesting character moments, which is probably this episode's best feature. Further Desmond Askew again does some good work as the crazed-induced Brody. And we do get some more background on the aliens' "mythology", specifically Max & Tess.

Still, having this episode aired so far out of the correct episode order hampers the enjoyment of this episode appreciably. If it had been aired in the correct order, Tess' arc in the second-half of season #2 might have made a little more sense.

An episode that I remember was controversial when it first aired (e.g. the Max/Liz 'shippers hated it), I actually find of "Heart of Mine" to be a good and effective episode overall. I do find HoM to be somewhat flawed, in that parts of it don't seem to hang together, and other parts (e.g. the Maria/Michael subplot) seem to be contrived.

But (and I never thought I'd say this back in season #1!) Liz's "diary" voiceover makes a welcome return to the show, in an episode that is happily 'Liz-centric', in a season that seems at times to be almost 'Liz-phobic'. Shiri Appleby, as always, delivers the 'goods' in this episode, and she's aided by some subtly effective work by Devon Gummersall as Sean Deluca. Indeed, not being a big Max/Liz 'shipper, I actually welcomed, and was relieved by, the move away from Max/Liz, however temporary, in HoM through the end of season #2.

Aside from Liz's travails, Majandra Delfino delivers some more of her excellent season #2 work as Maria, and the subplot with Kyle Valenti sorting out his feelings for Tess is enlightening and moving. But this episode seems to be uneven in parts, and while I love the ending with Liz in the bowling alley, many of the 'Prom' scenes don't work for me nearly as well.

So, HoM is a pretty good episode, with some admitted flaws.

Very likely the most effective episode of the second half of season #2, "Cry Your Name" is a heart-wrenching, but highly effective, episode. While the removal of the Alex character would have some later undesirable side-effects (see: season #3), the death of the Alex character is effective at both shaking up the Roswell universe and 'raising the stakes' in the proceedings.

While unpopular with some fans for putting the characters in a proverbial vice, for being extremely depressing, and for generally max'ing out inter-character conflict, it is exactly these elements that bring me to like CYN so much. This episode is carried almost single-handedly on the small shoulders of Shiri Appleby, and she rises to the challenge and shines in this episode. Excellent work is also provided by Majandra Delfino (again!), Diane Farr and William Sadler (and even Ted Rooney as Alex's Dad in a very moving poolside scene with Liz).

Bottom line: This episode is chock full of some genuine emotion (especially grief) and some real, believable conflict, and it grabs you by the throat and never lets go. That's the hallmark of a great episode, to my thinking.

Following up on "Cry Your Name", "It's Too Late, and It's Too Bad" continues CYN's themes of crushing grief (everyone, but primarily Maria), obsession (Liz, Isabel, and you could argue Tess), and inter-personal conflict and dissention (esp. Liz & Max, and Liz & Maria).

Again, this episode was disliked by some fans for being too 'hard-edged' (especially Liz's behavior). But this is exactly what I love about ITL&ITB. Roswell was originally Liz's show, about Liz's quests, and this episode happily returns to those origins. Further, you have to admire Liz's strength of character in this episode - she knows Alex was murdered (and, as it later turns out, she was right!), and nothing and nobody is going to stop her from finding out what really happened. (Indeed, this episode sports perhaps Liz's least admirable hour, when she lets Sean Deluca take the fall for her, after she badgers Sean into helping her break into the school's records.) Majandra Delfino and Brendan Fehr also do some very good work in this episode, and more good supporting work is provided by Devon Gummersall, and Jason Behr as well.

If I have a complaint about this episode (and I do!), it's the Tess part of ITL&ITB (and also CYN, HoM... all the way back to "The Hybrid Chronicles"). While Emilie de Ravin's performance had improved by the second half of the second season, it's not clear from her acting what's going on with Tess. I suspect that is because the writers NEVER TOLD de Ravin what they had planned for Tess until they sprung the script for "Departure" on her! So de Ravin was probably denied the chance to subtly 'shade' her performance, to plant hints in the audience's mind of Tess' treachery. As a result, the whole season #2 Tess issue never hangs together. While some of Tess' actions can be read to hint at her duplicity in this situation (e.g. there are some very subtle reaction shots in CYN and ITL&ITB that might be read as showing what Tess is really thinking, but you have to read a lot into those scenes), there is never enough 'there there' to really get at what's going on with Tess. As a result, the eventual revelation of Tess' role in this whole thing ends up ringing somewhat hollow. But this is less a complaint about ITL&ITB than it is a structural failure of the second half of season #2.

But ITL&ITB is another 'keeper' of an episode in my book.

An episode that serves mostly as a 'bridge' to the season finale (i.e. this episode sets up most the remaining circumstances that will be resolved in "Departure"), the best parts of this episode are the Liz and Maria (and Michael) parts at "Las Cruces University", and the worst parts are probably the nonsense with Max & Tess. Still, this episode is pretty good (though I could live without the crass cross-promotion for the now dated Nelly Furtado in this episode). But, aside from the Las Cruces scenes (and I especially like scene where Michael appears unexpectedly and shows his protective side), there's also a good emotional scene between Tess and Jim Valenti (even if later revelations undermine its poignancy).

So, while I don't love BIY, I like it a fair bit.

A season finale that ends up being better than I originally remembered (once you get past all of the hurdles you have to jump to get past the 'Tess revelation'/retcon), "Departure" is chockfull of both good suspense and good character work, all with real emotional heft and real stakes for the characters.

Ultimately, the unpopular Tess character is dealt with (and in such a way so that it's not a "permanent" solution), the mystery of Alex's death is solved, and Liz is vindicated. All in a season finale story that, with a few tweaks, would have worked as a series finale as well.

Not much else to say about this except to say that, if given the choice, this is pretty much what a season finale should be - important storylines are resolved, and without an annoying cliffhanger.

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