rachel500 | Miller's Crossing

Miller's Crossing is the 9th episode in Season Four of Stargate Atlantis.

Review

Some of the best stories are ones that are not afraid to stir up controversy and ask the audience to examine the morality of the decisions made by the characters. Miller’s Crossing does this in spades and the result is a first class drama of the highest quality that makes demands of the cast and crew with excellent results and only a few small areas for improvement.

The heart of Miller's Crossing is a moral dilemma and one that is not easy to resolve; to what lengths would you go to save someone you love? Could you kidnap someone who might be able to save them? Could you harm someone in order to force them into helping you? Could you sacrifice your own life? Could you talk someone into offering themselves as lunch to a Wraith? How far would you go? That is the question at the heart of the episode, and married to its examination of McKay and his character – and in the final stages, Sheppard, it is compelling viewing.

The story has a few flaws; it’s a little cliché – tycoon with dying daughter wants to save her and will go to any lengths. It’s far too easy it seems for said tycoon to spy on someone’s computer (which presumably has something more than Norton Antivirus protecting it); it’s a little pat that McKay ends up kidnapped alongside his sister; it’s a little bemusing and convenient that the Wraith comes to Earth rather than being forced to work on it back on Atlantis. But this is a story which definitely transcends the clichés because of the gravitas with which it’s told.

Jeannie’s original kidnapping is truly scary; her husband’s fears and blaming of McKay realistic. While there is some inherent humour in the sibling banter, the tone is totally serious. Jeannie might be teasing McKay about Katie but she is doing so to forget she has little tiny robots running around her that might kill her; they may banter about getting lost in a mall when they were children but their desperation shows their need to escape. McKay’s attempt to get into the lab would be humorous but for the knowledge of what he is attempting to do.

In fact, the story is so serious that one attempt at obvious humour with Walter and Ronon falls flat. I’m not a fan of making the recurring SG1 characters into comic relief. While the scene provided some additional continuity between universes, quite frankly it was unnecessary. Barrett had already provided that link as had his mention of Woolsey, NID and The Trust.

If anything rather than additional references to Earth based characters, the story lacked references to the missing Atlantis personnel in particular Carter and Teyla. It is becoming irritating that when characters are absent (in particular Carter) that any mention of them seems to be banned. SG1’s S10 was good in ensuring that when a character was absent such as Daniel in ‘Line in the Sand’ mention was made of him in passing. Atlantis could do with following that example. The episode didn’t need to show Carter and Teyla – indeed, there was no place for them in the story and in fact I was beginning to wonder what Ronon was doing there given his minimal role – but a mention would have been good.

That aside, the episode is excellent particularly at the character studies it portrays. For the most part, the story showcases McKay dealing with the consequences of his actions in asking Jeannie for help. The only thought McKay is consumed by is to save his sister; he’ll ask for help – beg for it; he’ll sacrifice his own life for hers. Here is the real McKay underneath the armour of his arrogance; the man who healed Ronon’s runner scars in Tao of Rodney, who sat by Katie’s bedside in Tabula Rasa: the emotionally insecure yet deeply compassionate and loyal man that is literally at the heart of the arrogant and socially inept genius. Hewlett excels at displaying this multi-faceted, complex McKay.

Joe Flanigan also brings depth to his portrayal of John Sheppard. For the majority of the story, Sheppard plays second fiddle – he is there to support his team-mate and friend; to rescue him when he’s lost. The final dilemma posed is one for Sheppard and his decision is the most controversial as he seemingly talks Wallace into becoming the Wraith’s lunch. Flanigan plays the scenes with Wallace and McKay to perfection; his body language shows Sheppard’s discomfort but also his determination. In the final scene, the idea that the only way Sheppard can live with it is to convince himself he simply presented the situation to Wallace is clearly evident in the dialogue and Flanigan’s delivery. Absolutely excellent performance.

Steven Culp also does a great job at bringing life to Henry Wallace. Here is a man who desperately wants to save his daughter; who is prepared to do anything to that goal. Wallace is not an outright villain; he is a sympathetic character to some degree who the audience can see is making the wrong choices. Wallace has to face the consequences of his actions; the death of his daughter, the likely death of Jeannie. In giving his life, does the audience call into question whether he really deserved that fate? Yes, and that is in part down to Culp’s great acting of the character and to the writing.

Miller’s Crossing is not without its flaws. There are niggles here and there but overall the strength and power of that story sweeps all minor issues aside. It is a powerful piece that poses a difficult question. In the end, that and the performances that deliver believable character responses to that question, are what linger. Kudos to all; an excellent and thought-provoking hour of entertainment.