"Prophecy" Review!

Written by C.M. Houghton ("Triplet")

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NOTE: This review contains spoilers, so read no further if you don't like to learn important plot details before viewing the episode.  This is a good one, so just come back after you've seen it.

AND ANOTHER NOTE: This review was started before the airing of the May 13 "Finale" so some comments and questions posed have since been answered.

I didn't know much going into this episode since I am trying to avoid spoilers now more than ever.  However I had seen some images of Lois holding up a sizable chunk of the Fortress. (How is there any of that thing left? Is it so huge a few beams falling down occassionally don't negatively impact the structural integrity of the thing? Maybe fortress magically repairs itself, it formed by itself so maybe that's not that big a stretch...)

Anyway, I will tell you right now that I am probably not the biggest fan of this particular episode, but I'm perplexed at the logic behind it.   Maybe my confusion is inexplicable to some.  I'm sure some people loved this episode, but for me there were just too many problems.  Perhaps it is typical of this particular kind of episode since the problems I saw in this episode, I've seen in others shown at about the same time every year.

I don't know if there is an actual term for this, but this one is what I'd call a 'bridge' episode.  I mean, what happened in this episode largely depended on storylines introduced in previous ones, while also doing a great deal of setting up of future complications.  So, it acted as a bridge between the events of the previous 19 episodes and the series finale.   I suppose that might be arguable, but I think it's clearly the case mostly because not much was resolved in this episode.  It's main goal clearly was to help flesh out the complications that will be resolved at the series end.
Usually, this is the type of episode that is typical of the 20th one of the season and is probably why so many of the 20th episodes tend to tank in my reviews.  Although to be fair, that trait hasn't really stuck the last few seasons.  

Despite the fact that this type of episode is needed (there's a reason they had episodes like this every season), it's still largely a thankless task to try and build an episode that tells its own story  yet helps setup future ones because it's probably hard to do well.  Bryan Q. Miller and Anne Cofell Saunders really had their work cut out for them.  Unfortunately, I'm not sure they were completely successful.

First off, the way that Kara showed up only to leave without too much complaining about it seemed inexplicable.   I get why she was there to begin with, however. 

Not only was it nice to have Laura Vandervoort back, if only for a few minutes in this episode, but Clark was powerless and busy dealing with Lois getting his powers so bringing in Kara was a great way to balance out Oliver's darkness.  There's a lot of balancing out that needed to be done.  The recurring idea in the episode of tipping the scales made it perfect for Kara to show in order to counter Oliver's darkness: Dark and Light, evil and good, an agent of Darkseid and a Kryptonian do-gooder... It was very nice and I liked the way that worked a lot.

However, the explanation of why she wasn't going to be around when Clark finally confronts Darkseid was sorta lame.   Her going to the future sort of makes sense given what happens in the comics, but her abandoning Clark in his time of need with hardly any fuss maybe not so much.  

While I actually liked Lois' trying on Clark's powers for a day, it is reminiscent of a storyline from "All Star Superman" series of comics (and probably other instances I don't know about), I wasn't sure that I completely bought Winslow Schott's scheme.  Water rights are not parceled out the way that the show had it.  I'm no lawyer, but I used to live in Colorado and California and I've read stories on disputes about how water rights are bought and sold.  In a relatively arid plains state like Kansas I'm sure it's a big deal, like it was in both Colorado and California.  

Protecting the water that allows a city's citizens to quench their thirst is a municipal responsibility of vital importance so I doubt any law would exist that allows a business to control even a portion of its water rights.  Rural rights might be different and I am no lawyer or water rights specialist, so I could be completely wrong, but still...  That story doesn't really make much sense.    

Added to that it isn't logical for Winslow Schott, the Toyman, to hold the city hostage with a scheme that doesn't have anything to do with toys.  I guess making members of the nascent Justice League become living, breathing marionettes sorta works, but the goal of the plan itself was too nebulous.  The stakes weren't high enough for Toyman to go to the lengths he did, so it didn't completely work as a conspiracy.

And I didn't completely buy the reasons Clark stated for turning off the AI in the fortress.   He clearly isn't quite ready to put on the Superman suit, or he wouldn't have anywhere to go in the final episode, so I'm thinking turning off Jor-El was a bit premature.   I guess we'll have to wait and see what happens.
Lois taking that diode from Winslow Schott doesn't make much sense.  She's not stupid and she knows he's not at all trustworthy.  I don't at all buy her believing his lies.  She would have done some fast thinking and figured another way out to make sure Clark wasn't hurt while he was vulnerable.  I don't think the writers did a very good job at selling Lois making that choice.

I really liked that Lois getting Clark's powers brought her a much deeper understanding of how Clark perceives the world.  So, it even makes sense for her to pull back.

Then Lois abandoning Clark when she knows how much he depends on her doesn't seem to be completely in character.  Clark and Lois have talked about how much he needs her and that he can't do what he does without her support.  I just don't see her deciding to not marry Clark.

Yeah, it was a profound discovery for her to see the important decisions he has to make almost every minute of the day.  Yet, even as it was a beautifully acted scene (especially by Erica Durance), it was also contrived.  Lois telling Clark she won't marry him is something I think was only done because it gives the couple somewhere to go in the series finale.  Clark and Lois will have a happily-ever-after, at least eventually, so on top of how out-of-character that was it's not really much of a cliff-hanger.  We all know where their story goes in the end.

While this episode had some things I didn't really like much, there were other things I did.  I liked the humor of the episode, Anne and Bryan did a good job injecting some comedy into what was overall a pretty dark episode.  Lois getting Clark's powers to catch up on work was funny and her model of the city was humorous. Oliver losing what looked like his one shot at redemption isn't exactly a happy storyline so having the lighter side of the episode balance out the darker side was a very good thing.  (More balancing of scales, so thematically that was also a win-win for the episode's scribes.) 

And bringing in Granny Goodness to ruin Oliver's day was a terrific idea.  She is really good at using your weaknesses against you.  I loved that she showed up to take away Oliver's chance at redemption, also giving Justin Hartley a chance to do some pretty good acting...

I liked the brief look at all the bad guys, even ones we hadn't seen before, even if none of them actually talked.  It's nice to see that the bad guys are banding together here like they do in the comics.

And as evil cliff-hangers go: Oliver finding that chunk of rare Gold Kryptonite was a doozie and I did say that Lois telling Clark she wouldn't marry him makes sense in a way, so I am still amped for the series finale.  I'm glad they're not spilling too much about the last episode. So I guess only seeing that one will help me really decide how effective this one was, but I have to judge an episode on its own merits and to be perfectly honest I just don't see how some of this will play out in the next episode.

I suppose part of me is going to have to trust that the writers knew what they were doing.  However, there were too many head scratching moments in the story for me to say that this episode was completely a successful one for Anne and Bryan.

Director of Photography Gord Verheul shot another beautiful episode.  The actors all looked awesome and the scenes in the chamber with Kara and Oliver were terrific.  I loved the bright overheard light when Kara was trapped by that bright circle of light.  The rotating light pattern above her when she was trapped was a great choice. Oliver using the flashlight in those scenes was nice: it was so bright against the darker background, so that was beautifully done. I also really liked the sunset scene as Lois was trying to kill Clark, with the warm light coming in from behind Tess. 

Production Designer James Philpott did a great job with the ancient chamber Oliver found the bow in.  It looked older and I liked the design elements carved into the floor and onto those columns.  And I also liked the bow a lot, so kudos probably need to go the Property Master Aleya Naiman as well.

I loved the clothes the Costume Designer Melanie Williams had put the cast into, Tom Welling looked awesome and that red suit Erica wore fit her perfectly and she looked great in it.  However, I have an issue with a couple of costuming choices that had actually conflicted with wardrobe mentions in the dialogue. 

For example, in the opening scene between Clark and Lois as she tries to figure out why she lost her crab cakes, Lois wore that terrific red suit with awesomeboots with high heels.  Well, she later complained to Clark that the number of heels she had broken while super-speeding was 'out of control.'  Unless she has 20 pairs of identical boots, her wearing what looked like the same pair every time we saw her in that suit makes no sense.

Also, Lois refers to herself as the 'Burgandy Blur' in that one scene where she and Clark were sitting at the café table.  Nice and alliterative, yet the suit she wore wasn't burgundy: it was red. 

I know complaining about things like that might seem to be picky, but that kind of stuff bothers me.  I mean, if certain wardrobe is referred to in dialogue, it certainly would be nice for them to follow through in the Costume Design. Or at maybe the writers needed to get a call about changes that were needed to be made so a little rewrite could be done.

Composer Louis Febre wrote a terrific score.  It was full and helped support both the lighter and darker moments in the episode, and I don't think that would be easy.  He did a great job.

While I was disappointed that this episode wasn't better given it's the second-to-last one ever, I think the writers succeeded in most respects.  I give this episode 3.75 Bows of Orion out of a possible 5.

Take a look at a gallery of images from the May 13 SERIES FINALE of Smallville!

Note: The views of Triplet don't necessarily represent the thoughts and feelings of everyone at KryptonSite. Send her feedback