Contributor: Edmund B.
Written by Jason Tracey
Directed by Renny Harlin
USA Network spent the week leading up to this episode, ominously named “Shock Wave”, pounding home that someone significant wouldn’t make it to the closing credits. That age-old tactic carries the risk of either not living up to the hype, or being way too predictable. While the death of Nate didn’t reach the pinnacle of major character deaths, aka “the Whedon”, it was effective and affecting. More important was the manner in which it happened, as collateral damage from Anson’s (merciful, thankful, finally!) exit from the premises. Now, the show can pivot from a storyline that had lost its juice into something more than just, “Who shot Anson?” The repercussions, aka the eponymous shock wave, promise to spread out into something much more personal.
The setup was quite well done. Unlike the fourth season finale, where Michael and Fiona were “cliff-hung” in a no-way-out situation that you knew they’d get out of, especially with a two season renewal, the team is further fractured, putting everyone at risk. Fiona finds herself at the mercy of an MI-6 agent, who demands a full confession. If she doesn’t, he’ll reveal her cooperation with British authorities to the IRA, placing her family back in Ireland in grave danger. Fiona once again turns to her personal Ms. FixIt, asking Ayn to make her disappear. This isn’t the greatest threat that the main characters face, but it could have turned tricky. Primarily, it allows Ayn to “find” her, once the ersatz Bond gives up, and earn early release. I’m sure she’ll show up again on the outside. “Burn Notice” doesn’t spend this much time developing a character without having plans for them.
Agent Pearce agrees to help Michael pursue Rebecca’s tip on Anson, but insists he can’t take Sam. Aside from her issues with his rogue status, it’s probably for the best since the meet is in Atlantic City. It may not be Vegas, but that’s still a lot of temptation. That leaves Sam to nurse a beer at Maddie’s until a bloodied Barry, the show’s resident money launderer, shows up on the doorstep. In a surprising piece of story continuity, he’s on the run after some associates took exception to Michael’s take-down of Greyson, Fiona’s gun dealer, two episodes ago. Sam agrees to help him retrieve some incriminating evidence, but when they arrive at the house, a tinted SUV full of thugs, including the VP of Killing People, also shows up.
What follows is the most threatening, and most entertaining, segment of the episode. Ever since he got his own movie, I’ve worried there were plans afoot to ease Mr. Campbell back to his storied B-movie career. For a while, it looked like this might be that moment, but some classic scrambling by Sam saves the day again. Because, hey, every escape goes better with bacon. Rather than setting up his swan song, it appears Sam’s greater prominence this season will continue, a development sure to please the myriad fans of the Chin.
Sadly, that brings us to Sam’s replacement in Atlantic City, Nate. The writers have sort of been setting this up, having Nate tag along in various capacities this season, while never really distinguishing himself. Michael seemed to have a blind spot to this, insisting Nate was doing fine, but this writing staff doesn’t have the finesse for that sort of nuanced storytelling.
Instead, Nate spends a lot of time getting on Michael’s nerves. I thought Nate’s bedbug ruse, clearing the motel of the “Jersey Shore” types that now seem de rigueur when a show lands in the Garden State, was kind of inspired. Even the pizzas weren’t so out of line for a seaside motel (especially one oft populated by “Jersey Shore” types.) given the way Anson played it, Michael’s concerns were over the top, a constant issue for him this season. Perhaps this will be fodder for Michael’s guilt, as he rues the consequences of his obsession.
Anson’s departure was always going to be a welcome development for the show. Adding on Nate’s demise did manage to shock, coming on the heels on his apparent redemption. But it could have had more impact. In retrospect, bringing Nate back sans the family he’d started appears to be a calculated move to soften the blow. This is USA, not AMC, and deep, dark drama is not what they do. However, there is now ample personal recrimination, especially around Maddie, to drive the team and family dynamics. Fiona’s out, they have a new killer to catch, and some very personal incentive this time. There is the potential for a whole new direction, one that could give the show a new lease on life. But all involved will have to up their game to make it work better than it did during the Anson interlude.
Writing: 1/2
Acting: 2/2
Directing: 2/2
Style: 3/4
Score: 8/10