Episode 716 - Descent Review




"Descent" Review

Written by Babaluwee

DISCLAIMER - Please remember that this review does not represent the opinions/viewpoints of everyone; it is the personal opinions of the reviewer only. Thank you.

With the murder of Lionel Luthor in "Descent," we bid a sad farewell to another outstanding cast member, John Glover. Unless we're fortunate enough to have Lionel return in Lex's memory, dreams, or subconscious, we will surely miss JG's top notch and inimitable performances.

"Descent" was filled with exceptionally brilliant performances from Michael Rosenbaum, Tom Welling, Connor Stanhope (Lil' Lex), John Glover, and Allison Mack. The interaction and chemistry of the cast were striking; the cinematography and the special effects were notably excellent. Everything about this episode was superb, except the dialogue. The entire cast and crew's best efforts could not compensate or hide the irredeemably contemptible script. This episode was such a disdainful attempt at revisionist history, especially in Clark & Chloe's concluding dialogue in the loft, that it was offensive.

Somewhere between Clark's considerable hesitation upon hearing that Lionel may have committed suicide and his elegy for Lionel in the loft, Clark developed some form of the Stockholm Syndrome, in which he became emotionally attached to his tormentor and identified with his victimizer (perhaps even exhibiting delayed loyalty to his captor well after he was freed). Lionel was never Clark's protector nor his friend. It is one thing to have compassion for one's enemy—this is laudable and worthy of Clark. It is another thing entirely to have such a distorted view of reality as to deny that an enemy is an enemy. Clark did not need to rehabilitate or reinvent Lionel in his mind in order to hold to the principle that we must behave justly toward all, including Lionel, and give each their due whether they are good or evil. Despite any rejoicing in his demise, no one deserves to be murdered, not even Lionel (who murdered his own parents among many).

On this journey to becoming Superman, it does not bode well for Clark if he is unable to recognize years of damnable behavior for what it is. Besides his compassion for humanity, Superman is known for his striving for truth and justice. With his severe inability to discern the truth about Lionel, Clark can only develop into an ineffectual Superman.

THE GOOD

Tom's Performance: What is most commendable about TW's performance in "Descent" is that he had the gastric fortitude to pronounce his lines at all, let alone so convincingly. I am referring to the perverse and loathsome dialogue he had to recite in the concluding loft scene with Allison.

Michael's Performance: An episode in which Lex joins his father as a parricide was the perfect opportunity for Michael to demonstrate his wonderful talent, and he shined brightly. Tension emanated through the TV screen during his confrontations with JG, CS, and TW. Scene after scene, Michael delivered unrelentingly strong performances.

The cold, naked hatred he portrayed when he murdered both Lionel and his soul was the highlight of all his performances. As Lex once announced, he IS the villain of the story. The scene in which he dragged Lil' Lex down the stairs by his collar was terribly powerful and effective. The look on Lex's face was very frightening as he incinerated his soul, conscience, or whatever was good in him. (I hope it didn't scare Connor out of the business.)

Connor Stanhope deserves high praise for his performance as well. An amazing young actor, he held his own up against Lex.

THE BAD AND PERHAPS THE WORST EVER

Lionel Was Never Clark's Friend nor Protector: The only reason Lionel ever helped Clark was because it suited his purposes at the time. He did not help Clark for Clark's sake, or out of compassion, friendship, or justice; nor because it was objectively the right thing to do. Lionel "acted" as Clark's friend strictly because his own personal interests coincided with Clark's welfare. (The collector's copy of Nietzsche's Beyond Good and Evil in Lionel's vault beside his bequest to Clark was a nice touch.) Lionel's atrocities against Clark in "Traveler" were only the latest example of how fast he'd turn on Clark and of the abysmal depths to which he'd sink. Was Lionel "protecting" Clark when he exposed him to his Level 3/33.1 flunkies and put him under the complete control of a certifiable sadist who almost murdered him?

If Lionel was anything akin to a friend, wouldn't he have told Clark exactly what the two keys unlock in Zurich? If Lionel really wanted to reform, wouldn't he show good faith by informing Clark about something that would have "complete and total power " over him? From whom would Clark need protecting, if Lionel was the only one with all the information and the key? Isn't it painfully obvious that Lionel's ultimate goal all along was to control the Traveler? Lionel intended only a partial disclosure of such a monumental secret only after his death via that Kryptonian cylinder (which doesn't even mention Zurich!).

Lionel did not die protecting Clark. Lionel died unwilling to give up his invaluable asset and the potential total control over the Traveler. Yes, even as he as he wore an empty locket, because he feared that Lex was getting close, he did not warn Clark. When Lex pulled the gun, it was still his own interests he tenaciously protected, just like a Luthor. He probably thought that Lex wouldn't actually kill him, but if he did kill him, Lionel would still deprive Lex of this victory.

Lionel's Hagiography: "LIONEL TREATED ME LIKE A SON AND DIED BECAUSE OF IT"??? Given ALL that Clark knows about Lionel and ALL his YEARS of experience with him, what possible explanation could there be for Clark to utter such words? A complete break with reality? "He treated me like a Son"?? Is Clark having another bout with amnesia?

Clark and Chloe's entire dialogue in the loft: This is an unmitigated outrage!!! It is insulting and offensive to cast Lionel as some sort of martyr!! What did Clark know about Lionel's final moments to conclude that Lionel died for him? In an attempt to assuage Clark's guilt, Chloe expanded Lionel's "sacrifice," arguing that Lionel had "died for all of us." Is there anything more despicable? How did Allison keep from choking on her lines?

The final graveside scene was a travesty. What could explain the image of Clark in his Sunday best looking so mournful and paying his respects at Lionel's grave? The Stockholm Syndrome?

The Forced Parallels with Jonathan: The two attempts to draw parallels between Lionel and Jonathan were atrocities. In the first instance, during Clark's confrontation with Lex, Jonathan's memory was dragged into the argument when Lex remarked that Clark should know what it's like to lose a father. The effort to set up a comparison between Lionel and Jonathan was forced and contrived. Lex was trying to get Clark to back off by appealing to a supposedly shared feeling of loss, but the argument immediately turned into how alike the two fathers were, including in their feelings for Clark.

The second instance was shameless: to present Clark grieving for Lionel in between Jonathan's picture on his right and Lionel's bequest of the Kryptonian cylinder on his left. The loathsome symbolism was unmistakable, and again Jonathan's memory was dragged into an unsuccessful attempt improve Lionel's image by likening him to Jonathan. Jonathan was the only one among Lionel and Jor-el who would have willingly died for Clark (at Jor-el's hands) in "Covenant."

Clark's Baseless Guilt: It has become a regular and obligatory feature of SV to portray Clark wracked with baseless guilt. In his confrontation with Lex, Clark seemed to know that he was not to blame for Jonathan's death. His delivery was very believable, but in the loft scene, he was also very believable when he blamed himself not only for Jonathan's death, but for Lionel's, and he threw in Jor-el's for good measure. Needless to say, Jor-el did not die "getting [him] on that ship;" he died from the destruction of the planet.

Rating: If I may give two separate ratings:

1) For exceptional performances of the cast, cinematography, and special effects, I give "Descent" a rating of five stars out of five stars.

2) For the script and dialogue, I give "Descent" a rating of zero stars out of five.

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