The Effect of Observation on the Observed - Truth
Written by Hope

Hey, it's a Drew Greenberg episode again! Boy, they're working the pants off the newbie this year, but the third time's the charm because with "Truth," not only did Greenberg get the scientific center of Smallville, and the dialogue, and the characters, he finally managed to effectively integrate those first season themes he likes so much with the third season continuity (and he only cribbed from Buffy once; hello, gay quarterback goodness!)

Though some of the science strains credulity (who keeps a horse syringe full of serum for a closed project in their *unsecured fridge* for five years, when for all appearances, there will never be need of said serum again, not that it matters because any old body could just walk in and borrow it from the looks of things?) Greenberg used his skills as a mystical writer to let the Kryptonite effect create a whole new atmosphere for this episode (brilliantly envisioned by James Marshall's eye for rich color and unusual focus,) while still maintaining the bounds of the universe.

This is the episode that "Slumber" could have been; in fact, it's an improved version of just that- instead of what (honest) fears remained locked inside Clark's mind, Chloe's dance with Levitas yanks everyone's fearful truths into the light. The semi-sociopathic effect that Kryptonite mutations tend to have created a wonderful foundation for Chloe to go much further than she would in her right mind, but that sharp-toothed curiosity is still entirely hers, just magnified.

The script itself was a bit repetitive (there are only so many interesting ways to say "Why didn't you tell me that??") and the revelations weren't truly revelations if you've been following along since first season, but they didn't have to be. The whole point of this episode was to turn Chloe and Lex's characters (which I'll come back to shortly,) and to release the tension that these issues have brought to the show- not to dismiss them, but to vindicate the dedicated audience, and to allow season three to rise into the run toward the finale with a new breath. It's important to let the audience relax before you wrench them into high gear again.

What I find interesting is that the Smallville production follows a fairly steady pattern of storytelling and exposition. The first episode or two of a season are mythic and revelatory. Then there's a lighter episode ("Heat," "Perry,") to transition into the first major arc. Episode Four has in the past two years been used to introduce new staff writers to the audience (last year, Jeph Loeb with "Red," this year, Drew Greenberg with "Slumber.") Then we have a run of MotWs to introduce the new season, leading into the Episode 8 and 9 mytharc and character pivot episodes (S1: "Jitters, Rogue," S2 "Lineage, Ryan," (actually eps 7 and 8, because they had an extra episode last year,) and S3: "Shattered, Asylum.") Then, around episode 12, marking the halfway point, we get another mytharc episode co-written by the newbie and one of the established writers, (in season 2, that episode was Biller and Loeb's "Insurgence," in season 3, that was Verheiden and Greenberg's "Hereafter."

I mention these not because they're particularly important to *this* script, but to establish that there is a pattern, because the last one I'm going to talk about is relevant. The final pattern of Smallville's seasonal structure is generally the one, two, three finale punch: Lex episode, MotW episode, Lana episode, finale. Last year, it was "Precipice" (Lex,) "Witness" (MotW,) "Accelerate" (Lana,) finale. Based on the previews for next week's episode, and the titles for the rest of the season, "Memoria" is Lex's episode, so I'd guess that "Talisman" is a MotW, "Forsaken" is Lana's episode, leading into "Covenant," the finale.

Third year is always the year when the secondary characters get more exposure, but I find it interesting that we got a Chloe-centric episode leading into the final four. She's always figured fairly heavily into the actual final four ("Obscura," "Witness,") but she's never gotten an episode quite like this one. Rather than a pivot point in the mythos, she's fully engaged in the *mytharc*, an actor rather than an object, and to use her to illuminate the greater story for the audience, and to actually become a catalyst between the triangles (Lex/Clark/Lana, Lionel/Lex/Clark,) finally fully realizes her place in this series. She's more than a Lois template, more than a Greek Chorus, she's actually the quantum thread: changing reality merely by watching it.

Though she wasn't present for it, Chloe shows us just how close to becoming his father Lex has become. Without her intrusion into Plant #3, the audience wouldn't know that Lex has revived the Level Three experiments (the same experiments that drove the first wedge between Lex and Lionel in "Jitters," way back in season one.) And that single act echoes the notes that have resonated since then: now, *Lex* leans inappropriately close to murmur cryptic responses in Lionel's ear; now, Lex admits (though by force,) that he wants his father's love, but finally enunciates it, and denounces the possibility of ever getting it. In season one, he stood stiffly in a hug and jealously watched the Kents' affection, now he admits, in and out of his right mind, that he wants it, and he can't have it.

Greenberg also struck a fine note by reviving Pete's interest in Chloe (which we really haven't seen in action since "Nicodemus,") and giving it a good depth and humanity to make up for its absence in second season. He balanced Clark and Chloe's confusing relationship with one another, smoothing over some of the more... bizarre versions of their internal conflict this season (why yes, Ken Horton, I am talking smack about "Whisper,") and even though the roots of first season are still quite evident in this script, they were used well this time.

Clark's renewed interest in the Torch this season made it possible for Chloe to harangue him about speaking to Mrs. Taylor, which made it possible for the rest of the story to unfold. Using the social themes of high school alienation as a literal and a metaphor strengthened the pivotal turns Chloe had to make: the value of the truth, and the responsibilities that come with it. And, I suspect Greenberg foreshadowed Chloe's eventual demise, but that's speculation on my part (a very, very *heartbroken* speculation on my part,) because whether she's Kryptonite-poisoned or not, Chloe doesn't know when to back down. Trying to blackmail Lionel Luthor is just like her in any state, and one of these days, she's going to go too far.

I found a few niggling internal logic errors with this script (I mentioned one, the rest are merely logistical,) but the only real problem I had with it, I don't believe originated with Greenberg. Having Lana choose to leave Smallville to find herself fits right in with her progression as a character; having Lana choose to go to art school in Paris, is ripped straight out of Dawson's Creek. As this storyline plays out, I will try (probably in vain,) to refrain from calling her Joey Potter, but this is a ridiculous story decision for Lana Lang. The only art we've seen Lana create are pep posters (in "Redux,") why the hell would she apply to art school?

The girl actually has talents which have been demonstrated in canon: she runs her own business, she used to participate in equestrian events, she's gifted in interior design (witness The Talon.) She's even written several articles for the Torch, so why is Lana Lang going to *art* school? Why isn't she going to a culinary school, equestrian camp, design school, hell, even a literary retreat? Why is she doing something that has never once appeared to be an interest to her in the least?

Because it's *romantic*, in the classical sense, that's why. Because "going to art school in Paris" is what young, romantic women do to find themselves. Because it's a gauzy, watercolored cliché that somehow managed to slip into a show that has never been anything but primary colored, and it's ridiculous. I don't blame Greenberg for this, because there's no way he was allowed to choose Lana's destination; I blame Al Gough and Miles Millar for a bout of temporary insanity that made it seem reasonable to paste Joey Potter's head on Lana Lang's shoulders. I realize that Kristin Kreuk and Katie Holmes are both lovely, brunette staples of the WB's 'girl next door' diet, but guess what guys: the characters are not actually the same.

But like I said, I'm not going to hold that against Greenberg. He finally stepped into Smallville with this episode, and he deserves a lot of recognition with that. I said in my review for "Slumber" that I had faith he'd turn out strong, compelling episodes once he shed magic for science, and internalized the characters, and he proved that tonight.

Welcome to Smallville, Drew. I'm glad you're here.

Screenwriting: B
To Watch: B+

Next Week: Uh, all I saw were bare chests, green light, and Clark screaming. Kinky.

Note: The views of Hope don't necessarily represent the thoughts and feelings of everyone at KryptonSite.

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