Storytime with Rachel F Hundred

Everything comes together for a classic episode

I loved it.

And while I guess I could leave the review at that, perhaps I should expand on my opening line. There are a few times in all TV shows where every aspect comes together and gels in such a way to produce a truly classic episode. One that automatically makes the top ten list of favourites and which stands multiple viewings that always reveal something new and interesting. The Prodigal makes that category of classics in a beautifully understated way, with a story filled with character moments, action and drama.

 The story forms a fabulous foundation from the beginning with the Woolsey/Ronon clash of cultures and personalities, the car competition and Teyla walking her baby to the end and a redux of both. The middle with the incursion into Atlantis by Michael and the expedition’s efforts to retake the city just flows wonderfully. No scene is wasted. Carl Binder deserves huge applause for great writing.

It helps that this story is the story of Michael’s end. Michael has always been the best thing that came out of the horrendous retrovirus storyline in Season 2. The character is wonderfully realised: a victim of the expedition’s experimentation, reviled by his own kind and betrayed again by the team, Michael’s fight for survival and his anger at what happened to him, has produced this mad creature who is both sympathetic and horrifying. The make-up excels again as Michael here appears even closer to full human than ever before, and from a series perspective that visual commentary is a fascinating subtext – giving Michael human DNA may have created the monster in more ways than one.

The ending for the character – kicked off a tower ledge by Teyla – is also very fitting. Rachel Luttrell and Connor Trinneer have always had the most brilliant chemistry and the dynamic between their characters – that uneasy and unwilling connection has been portrayed very well by both actors. Here that connection is highlighted: Michael acknowledges her early compassion to him, he offers to take Teyla with him, he is angered by her rejection. Ultimately, Teyla’s deliberate action in kicking Michael’s hands away and causing him to fall is both shocking and understandable. He was responsible for kidnapping her people and his obsession with her son is too much of a threat to keep him alive. Teyla is wonderfully portrayed throughout the story as a mother protecting her son and as a kick-butt warrior queen. The shot of her as she looks down from the ledge, wind blowing her hair, in best superhero style is perfect.

All the characters get a great outing. Sheppard steps up and acts as the competent military leader he is as he retakes the city; Ronon’s heroics ensure Teyla’s escape; Woolsey leads and protects his people, McKay pull off an impossible fix and comes up with the solution; Zelenka and Lorne have great supporting roles…there is a wonderful balance with even Keller mentioned if missing from the screen. All the actors step up and give great performances.

The episode is also packed with character moments and moments between characters: the push and pull between Woolsey and Ronon over the mission reports, the respect Woolsey has for Ronon at the end, Sheppard and McKay racing cars, Teyla’s maternal chastisement of them both, Sheppard going to check on Lorne, McKay and Zelenka’s discussion on the ‘stun-bubble’, McKay and Sheppard’s discussion on suicide missions – it’s endless. There are some wonderfully comic moments seeded into the script. Here is what Stargate does so well: drama hand in hand with humour – intelligent, witty humour with no toilet gags in sight.

For all the story and dialogue, there is also plenty of action and effects. The fight sequences are amazingly choreographed. From the kickboxing technician to Ronon’s ragdoll fall from the upper level of the operations room to Sheppard’s ledge fight with Michael. All feel real, violent, edgy. Each blow looks like it hurts. The effects are just perfect too. The stun bubble is great but more so is the ledge fight with the terrifying drops. The scenes of the city in darkness and light are also inspiring. This is Atlantis and the focus throughout is on the city. I also have to say the sound effects, music and direction enhances at every turn.

There are a couple of minor plot hiccups: it is never really explained how Michael can fly and control the puddle-jumper – the audience just has to assume he has that ability, and more Michael takes a side trip before sealing off the control tower to get to Teyla but that’s never really shown or referred to in the flashback piece. But these are minor and quite honestly just don’t impede

In conclusion

This is an extremely accomplished episode. Everything works from sets to direction, acting to props. It’s just one of those times when everything is ‘A’ plus. While I am sorry to see Michael go, it is a fitting end which showcased his story, showcased the Atlantis team being a team and showcased Atlantis.