Alias: Mirage (4.18)

Back when Alias first began, the relationship between Sydney and Jack was one of its most important sources of conflict. The writing ensured that their estrangement was uncomfortable yet relatable, while the chemistry between Jennifer Garner and Victor Garber made sure that, in spite of Syd's outward hostility towards her dad, the two of them were always sort of crying out for a real bond once again. But like so many of Alias' major stories, it's a conflict that's become a little directionless over recent seasons, the writers bombarding us with ill-conceived plot twists or a general lack of interest when it comes to the character's actual emotions.

Mirage is an attempt to bring back a lot of that psychology, Sydney having to assume the role of her mother in an elaborate reconstruction of a scene from Jack's past, the one opportunity they have to cure his radiation poisoning. Thankfully the show avoids any of the incestuous trappings that such a concept seems to propose, instead focusing on an inherent tenderness that has been a little absent between them lately.

There's nothing explicitly new here, but it is sweet to see Sydney essentially watch her father connecting with her younger self, glimpsing the love that was always there, as well as Jack's determination to leave the CIA in order to protect and be with his family. The show has covered this kind of thing before, and the 'elaborate ruse' plot itself felt reminiscent of Ricky Gervais' fake-hotel thing in Facade, but it's nice to see the show revisiting an area of significant emotional weight, particularly in a season with a propensity to forget important character dynamics. It's also welcome to see the end of the radiation arc, a story which, up till now at least, has been something of a non-event. Besides those dazzling shots of Jack scratching his palm constantly, of course. Snore.

Mirage falters a little with Elena Derevko, however. The carry-over from last week feels rushed and inconsequential, almost as if the show edited one episode's worth of story across two hours to pad stuff out, while the show hasn't yet sourced a means of using Elena in a fresh, intriguing manner. Right now it's all a little too reminiscent of the Francie clone arc -- Elena all duplicitous in the Bristow kitchen, shifty looks, murderous fake-outs and a vague long-term agenda. I actually dig the old 'secret antagonist hidden from sight' trope, but the Francie arc was so provocative and absorbing because of how entirely batshit it was. Elena, doing the exact same stuff, only pails in comparison.

It's interesting to see an episode pretty much made up of recreations of the past (both literal and in terms of vintage Alias itself), but one angle being far more successful than the other. And that's only because Garner and Garber still play their material with warm conviction. We've watched these actors for years, and at times it feels like our collective familiarity with the show is the one thing preventing Alias from entirely falling to pieces. B

Credits
Guest stars Sonia Braga (Sophia Vargas / Elena Derevko); Michael McKean (Dr. Atticus Liddell); Vladimir Mashkov (Milos Kradic); Oz Perkins (Coke Bottle Glasses)
Writer Steven Kane Director Brad Turner