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Variance & Violations

Daniel and Guatrau Brando shake on it, and somewhere Tomas Vergis shudders, and down in the labs Cyrus tells the science guys not to melt her down after all. Daniel sits in his car outside the house and smokes more cigarettes and generally feels more in control and less in control at the same time. But what about actual Zoe? Where's she?

We'll see her in a second, but first let's talk about the image that closes out the episode: Amanda, sitting on a bed in a cozy cabin on an unnamed planet, listening to the rest of Daniel's message: "I just... I wish... I wish that we could talk about this. Can we talk about this? Will you call me? Please? I love you." She stares at the screen and finally hits him back. "Hey, it's me. I just can't... I can't talk right now. I just... I need some time." She hangs up as Clarice comes in from the Gemenon cold, and lies down on the bed. Home at last.

So where Zoe is, is walking around New Cap City in a big stupid cloak, while her robot body gets put in a box which apparently requires six different people to nail the top of down. How come NCC looks so great, and Gemenon looks so stupid? It's a mystery. Some droogs are like, "You a deadwalker? We've got Tamara flowers on our heads, so you're our enemy or something. And since you can't get killed, why don't we have a big fight. That way, you can kill us with kung fu powers and a giant katana and your Kardashian ass in some leather pants, for no real reason whatsoever." Oh, but it's gotta be stylized, so let's do some fast/slow Snyder stuff while playing a minuet on the piano. She Neos the last survivor still, holds the sword to his neck, and finally lets him go so she can find Tamara and start some shit.

The reason everybody loves dumb shows like Dexter and Breaking Bad and The Wire is because they're lovable, but the reason people get off on watching shows like that is because the show can't stop telling you how brilliant it is. Meanwhile, actual brilliant shows like Gossip Girl and Caprica S1.0 and The Big C don't bother telling you how brilliant they are, so it's really up to you to rise to the occasion.

There's another reason, just on the tip of my tongue, that shows about teenage girls tend to have their brilliance overlooked, while shows about men -- men just like you and me! -- are so often called brilliant when they really aren't. They're lovable and relatable and sell back the experience of upper-middle class white men to the middle-class white men most likely to enjoy them, they challenge just enough not to actually be challenging. Which is how you make money. How you don't make money is by filling up your cast with cerebral, complex women and children, while giving the patriarchs of the families the more emotional and static storylines.

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