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GateWorld
September 30th, 2009, 02:38 PM
<DIV ALIGN="center"><TABLE WIDTH="450" BORDER="0" CELLSPACING="0" CELLPADDING="7"><TR><TD STYLE="border: none;"><DIV ALIGN="left"><FONT FACE="Verdana, Arial, san-serif" SIZE="2" COLOR="#000000"><A HREF="http://www.gateworld.net/universe/s1/105.shtml"><IMG SRC="http://www.gateworld.net/universe/graphics/105.jpg" WIDTH="160" HEIGHT="120" ALIGN="right" HSPACE="10" VSPACE="2" BORDER="0" STYLE="border: 1px black solid" ALT="Visit the Episode Guide"></A><FONT SIZE="1" COLOR="#888888">UNIVERSE SEASON ONE</FONT>
<FONT SIZE="4"><A HREF="http://www.gateworld.net/universe/s1/105.shtml" STYLE="text-decoration: none">LIGHT</A></FONT>
<FONT SIZE="1">EPISODE NUMBER - 105</FONT>
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With the ship on a collision course, Young conducts a lottery to determine who will escape certain death and try and find a habitable planet with the shuttle.

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renboy
October 25th, 2009, 07:36 AM
Light Review

The show definitely picks up speed, as the morbid situation presented in the previous episode comes to a conclusion.

The episode, quite contrary to it's name, was anything but light - the character drama reached new levels of tension and stress as everybody faced a seemingly inevitable demise (and not a pleasant one at that) - and the only shred of hope could save a mere fraction of the crew.

Once again, much like the dead man switch situation on Air, there needed to be a decision about who lives and who dies - only this time, on a much grander scale.
The direction, editing and acting of the lottery to resolve that conflict was plain and simple masterful - switching between the tense name reading of Young and the relieved yet broken spirited people on-board the shuttle managed to juggle two different sets of emotions and situations making the viewer instantly switch his feeling between the two cases - and it just worked.

Nothing exposes a person more then facing him with his own mortality, and we got to learn quite a bit about the personalities of some of the crew -
Wray's composed behavior finally gives when she gets picked by the lottery, and when she talks to Young about it; Greer faces death heads on, literally shedding his uniforms exposing himself towards his ending; while others decide to spend their last moments praying or enjoying themselves playing cards.
While brief, all those segmented exposures to the crews behavior seemed honest and real - nobody was indifferent and once again, the acting was top notch.

Contributing to the drama was music that sweeps the viewers from end to end - the score changes tempo and instruments to reflect stress, relief, hope and even a touch of nostalgia - making simple handshakes between crew members have a much deeper impact on the overall experience - highly contributing to the tearjerker momentum of the episode.

The only crude moment that didn't feel right in this episode was Scott and Chloe's intimate scene - even though it was edited nicely and had a very soothing music to emphasize the event - it seemed rushed and a bit out of place - fortunately it was at the very beginning of the episode, and did not break the emotional roller coaster that made up the rest.

One notable scene was the very last scene of the episode, having Young questioning Rush's sincerity about the whole situation that they just experienced - the acting of both characters in this precise moment was flawless and in a single second the viewers opinion changes from one edge of the spectrum to the other - and yet keeping the situation blurry enough to raise doubt - truly an exceptional feat.

Overall, the show keeps getting better and more intense, and I couldn't have hoped for a better episode that managed to connect us so much with the characters this soon in the show.

s09119
October 25th, 2009, 09:18 AM
Truly a "Light" to illuminate the Universe.
By: Daniel Shea (s09119)

"There's a rumor going around that we're still here."
-Col. Everett Young, "Light"

As a general rule, flying into stars is a very bad idea, for very obvious reasons. But in "Light," the crew of the Destiny find themselves doing just that, forced to watch their vessel hurtle towards destruction with no way to slow or stop their imminent deaths. This scenario, while not entirely new to the franchise, offers the first real look Stargate has allowed itself into the truly grim business of the survival of humanity; when you can only ensure the continuity of a few, who do you send? Those few that you know will build a strong and stable colony, capable of surviving in the harshness of space? Do you handpick your team of refugees or allow fate to give everyone one final shot at life? These are the fundamental questions the command staff is forced to confront here, and they are answered with nothing short of aplomb.

Opening with Colonel Young's decision to hold a shipwide lottery to determine who will escape the dying craft aboard one of the Ancient shuttles, "Light" has a distinctly darker tone than its previous episode, ironically named "Darkness." Whereas the preceding hour dealt primarily with a mere annoyance (loss of power), this one deals with a far more terrifying subject matter (impending destruction), and handles it with the sense of maturity and seriousness such a topic requires. Though their single usable shuttle can hold close to thirty people, the supplies added in to let the colonists continue on cut the space in half, and as such, only seventeen will be chosen, two of which will be handpicked by Young himself. Questions and speculation are rampant from the start, as everyone tries to figure out their chances of making it out of this in one piece... and who "the two" may be.

This atmosphere not only allows for heightened drama, but sets the stage for some of the best character moments yet had in the new series; Greer's opening monologue, in which he reflects on the beauty of passing on to the afterlife in the furnace of a star, grants him a layer of spirituality and poetic license not seen before. Likewise, Wray's heated argument with Young over the very nature of the lottery touches off a poignant moment where Camille, upon hearing Everett mutter that he may just take her name off the list altogether, clutches at his hand and pleads for him to reconsider. Despite her steely remarks to others earlier on, she wants to survive just as much as everyone else, and this scene, more than anything, reinforces that human nature trumps our vain faades every time. No one on this ship wants to die, and whatever they claim to think or feel, at the end of the day, getting onto that shuttle is the only thing in the universe they desire.

The climax of the developmental scenes had to be between the titans of the ship, though, and when Rush and Young meet in the small Ancient escape craft, the tension is palpable. After their clash in "Darkness," it would be perfectly understandable for a showdown of the century to unfold, but instead, Rush merely outlines that two of the three planets in this star system are uninhabitable, and they won't know how the third one fares until after the Destiny is due to be destroyed. The shuttle will have to depart without knowing if it has a place to touch down, and that will just have to be that. Young thanks him for the information, and is suddenly taken aback when Rush asks him, above all else, not to put his name in the lottery, nor pick him for the two persons who will be going regardless. He claims that coming here and finding this ship was his own, personal destiny, and that forcing him to live a menial existence with perfect strangers for the rest of his life would be tantamount of torture. Confused but accepting, Young agrees, and admits that he's made his choice; the lottery will not be fixed, despite accusations that it probably was anyway, and Lieutenants Scott and Johansen will be heading up the survivors, giving them a well-trained pilot and medic. Their odds of actually setting up a sustainable settlement are slim, but they'll have the best of the best either way.

For a moment, divergence from the main plot is needed, just to illustrate that the main character here is not Rush, but Young, the man never intended to be on this expedition at all. He has shown time and again that he is a dedicated and honorable officer, offering patience when others would grow furious, and setting himself up as morally above his subordinates, by willingly taking his name out of the lottery from the beginning. He reminds the others not to lose hope, assures Greer that, for all his issues, he remains a good man, and even reconciles with Rush when he has nothing to gain by admitting he was wrong. More than anyone else stranded on the Destiny, he deserves to leave most, and yet he decides to make himself the one person who has no chance of survival. While he may not have the acerbic wit of Jack O'Neill or the daredevil mindset of John Sheppard, Everett Young has a strain of hero all his own, and is, quite possibly, the most-worthy man of admiration thus far in the franchise.

Following the mid-point of the episode, in which the fifteen names are drawn, Greer steadfastly defends his commander even when he knows he was not chosen, and the characters all come to terms with the outcomes they received, things begin to move very quickly. The survivors on the shuttle (highlights include Vanessa James, Senior Airman Riley, Wray, Becker, Park, and Brody), under the direction of Lieutenant Scott, depart the doomed exploratory vessel in a striking scene watched by the other major members of the crew from the observation room. Eli sacrifices a kino to give them all a glimpse of the ship from the outside, Young resigns himself to one last walk through the corridors, and Rush humorously remarks that he has one-hundred pages of a "truly mediocre book to finish" before the end. All of these interactions are carried out flawlessly, and the entire cast, from ensemble to main, go above and beyond expectations. Were there any doubts of acting ability before, "Light" voids them for good, and not a single moment feels unnecessary or forced.

...that is, except one. Early on, in an awkwardly-timed scene just after the announcement of the lottery, Scott and Chloe engage in one last intimate encounter before they expect to die. While this certainly is within reason for people who have been told they have mere hours to live, it comes from so far in left field (and so devastates Eli), that viewers are left almost angry. The adult scene in "Air" was done to illustrate Scott's inexperience and immaturity, but the same cannot be said of this one, which adds nothing of value to the storyline. It was an incredibly jarring minute of footage, pulling the audience out of the plot and only helping to increase arguments that Chloe has nothing of value to offer the crew but her services as an attractive young woman. Hopefully, the writers will have gotten this out of their systems, and this will be the last time such a blunder is made.

The final fourth of the episode is devoted to the revelation that the Destiny, beyond all hope of salvation by the point, was actually doing just what it needed all along. The ship is not dead in the water at all, but merely diverting all energy to the shields to allow it to plunge into the nearest star, replenishing its reserves of whatever stellar substance it runs on. As Rush remarks mere seconds after figuring out the truth of the situation, it's dependent on solar power, in the truest sense of the term. After restoring functionality to all the primary systems, the craft fires up its drive and begins counting down to its return to FTL, cutting short the crew's celebrations as they realize they only have minutes to find a way to dock the castaway shuttle before its left behind. Thankfully, "Mathboy" Eli is able to calculate a trajectory Scott will need to pilot around the third (now seen to be nearly-uninhabitable) planet, slingshotting back in front of the Destiny to land. And with seconds to spare, he manages to latch onto the deck, badly scraping the bottom of the shuttle but saving all seventeen of the colonists.

But the chilling clincher of the episode? As the crew congratulates themselves on their survival, Young happily thanks Rush for his own contributions, looking pleased that there is no longer any animosity between them. And Rush, for his part, brushes off all attempts to frame his as the hero of the day, denying everything right up until Young says that he deserves the praise, as he sacrificed his chance to escape to let someone else go. But when Rush remains silent, Young's cheerful expression fades, and he recognizes that there is a chance, however much he'd like to ignore it, that the only reason their dear doctor acted the way he did was because, somehow, he knew all along that the ship would survive. And, if that's the case, just what is it Rush wants? And, more importantly, just what is it that he knows?

Taking all of the above into account, this just may be the strongest installment of Universe yet. From touching character moments such as Riley's quiet realization that this horrible event marks the start of his birthday, to a beautiful musical score, to stunning special effects that continue to raise the bar for astonishment, "Light" is a truly remarkable achievement. And although the writers are clearly still finding their footing in terms of writing "maturely," they have certainly nailed down just what will set this series apart from the two that came before. For where they seem to have forgotten how to inspire wonder, Universe continues to paint a picture of just how incredible all of what's "out there" really is.

"Light": ***1/2

Rachel500
October 27th, 2009, 04:54 PM
Light is a high quality episode which excels at every level. From music to visuals; from acting to the human drama on show - everything is simply outstanding. It's an episode that deserves to be considered a Stargate classic. Indeed, it is difficult to find fault with it but if I have to I would say the Eli-Chloe-Scott dynamic was possibly over-egged although overall it didn't detract from what was a truly exceptional episode.

I could gush at length about the story. I remember during my review of SG1s Morpheus I complained that too much time was spent explaining the sleeping illness about to kill the team and not enough time spent on how they as characters handled imminent death. Here the heart of this story is all about how the characters handle that. From Matt and Chloe's incredibly spontaneous decision to take physical comfort in each other, Greer's grace and acceptance of his end, Young's thoughts of his wife, Rush's decision to stay aboard Destiny, some play cards, others pray and there's even Spencer's desperate anger at not making the shuttle: all reactions are showcased quite realistically. All reactions reveal something about the characters and add to what is known about them.

Yet there is great tension throughout the episode despite the focus on the human drama; this is provided by the lottery in the first half and the need to reconnect with the shuttle as Destiny survives in the second half. There are some lovely nods to the first part of the story, firstly with the lovely and humorous repeat of the guy coming out of his room to declare the lights were back on (whereas in Darkness he had declared the lights had gone out) and secondly with the ending back where it had begun with the mess hall, talk of showers and Rush causing Young headaches. It makes Darkness and Light combined feel like a complete story.

The only issue I had with the story - indeed with the whole episode - is that of the Eli-Scott-Chloe dynamic which acted as a form of sub-plot. I should declare that I have no vested interested in shipping Chloe with either; in fact, I would have preferred the character to have remained single for a lot longer. But triangles are uncomfortable, awkward and usually never done with any degree of subtlety. This was subtle in that most of the triangle was played completely without dialogue. The audience only sees it in Eli's disappointment and shock when Chloe abruptly goes off with Scott, at his anger at both when they turn up for the kino project, in his bemusement at Chloe lying her head on his shoulder and holding his hand, hugging him only to run for Scott the moment he arrives back. But, for me there was probably one shot too many of Eli and Chloe getting touchy-feely. In the overall scheme of things though, this is a very minor grievance and I will say that I think David Blue acted it superbly.

Indeed, the acting was stellar. Louis Ferriera continues to do a great job as Young. Robert Carlyle continues to show glimpses of Rush's vulnerabilities which make him very likeable while ensuring the character remains completely ambiguous. Ming-Na got to show off her acting chops, portraying a Wray that wasn't afraid to challenge Young but stopped when he threatened her (great scene between the two of them); who cried in guilt when she was picked for the lottery. Jamil Walker Smith absolutely stole the show with his performance of Greer though; measured, understated at times, accomplished.

If the acting of the human characters was stellar, I also have to give a shout out to the other character on show: the Destiny herself. There is a great ambiguity about Destiny's actions in the storyline - is she helping them? Is she simply going about her usual ship's functions? Is there an awareness? I love the ambiguity: LOVE it. And I hope it gets explored further as the show continues.

The special effect and design team deserve huge applause and the shot of the Destiny in the sun was just amazing especially the scene from the observation deck and Rush looking out when he realises what has happened. It fully brought home the wonder and glory of the star; awe-inspiring.

The lighting throughout the episode was absolutely beautiful. Scenes were lit up with a gorgeous amber glow which just added to the otherworldliness of it all. This was helped by a truly fantastic score. The music was wonderful. It just enhanced every scene where it played and as the shuttle lifted away from Destiny it brought a tear to my eye. The quality of the overall production on Light is simply breathtaking. The episode deserves to be considered a classic. It elevated the show from entertainment to art for me.

Perhaps it's also appropriate to take a moment here to consider we're a quarter of the way through the season. Universe's first five episodes have all been of a high quality with focus on characters, slowly revealing who these people are to us through the story of their survival - in the same way much of SG1s first season revealed its characters through the stories of their exploration. Pacing has sometimes been off in these episodes - possibly because the stories were originally envisaged as a two-part in the case of Air and a single episode in the case of Darkness/Light. Action has been thin on the ground and while there have been great climatic moments such as the Lucien Alliance attack in Air Part I, the run back to the 'gate in Air Part III, the shuttle docking in Light, I am hoping for more in the coming episodes. Overall though: so far so good.

And, Light definitely shone on every level.

Meshakhad
April 25th, 2010, 11:55 PM
Reviewing the series so far, “Light” still stands, in my opinion, as the best episode of Stargate: Universe yet. It takes on very difficult issues, and deals with them brilliantly.

The central issue for the first part of the episode is a grim one. When you can only save a few, who do you save? Colonel Young balances the need to ensure the survival of those few with the issue of fairness – he chooses the two who he believes will be vital, while giving everyone else a shot. He also avoids any temptation to rig the lottery in his favor by removing himself from the lottery entirely. Wray acts as a devil’s advocate, suggesting that not only should Young handpick the survivors, he should include himself – giving what seems like a self-serving option the weight of another person’s opinion. Handpicking the survivors might have given them a better chance, but not everyone has it in them to do this. Young certainly didn’t.

After the shuttle is launched, the focus shifts to how people deal with the knowledge of their own certain doom. Survival is the most basic human instinct, and the major theme of the show. But what do you do when there is no hope of survival? Some people seek security in religion, perhaps with an eye toward the afterlife. Some choose to spend their last hours with the people they care about. Some choose pleasure – Rush finishes a “truly mediocre book”, while others play poker. I personally find the idea of spending my last hours in mundane pleasures incomprehensible, but that’s who I am.

The last part of the episode is an emotional rollercoaster. The grim resignation in the face of certain death turns to pure elation when the crew realizes that they are going to live. I won’t deny it – I literally danced with joy when I saw this. For a short time, everyone was smiling. Everyone was happy. And while it was something of a deus ex machina, it was an awesome and beautiful one. A deus ex machina only feels like a cheat when it is done to wrap up a convoluted storyline. This one was plotted from the beginning.

But then joy turned to disappointment, when Scott couldn’t plot an intercept course. When I first watched this, it felt like I had been robbed. But in retrospect, it fit perfectly. The cast had spent the bulk of the episode essentially doing nothing. Now they focused their energy to overcome the next hurdle. And they won, without any help from Destiny (indeed, Destiny was most unhelpful). That victory showed the crew of Destiny that they are not completely helpless – they can alter their own fates.

Only two scenes stuck out as weak. One is, no surprise, the Scott/Chloe scene. It was well-done, but the placing was wrong. Scott and Chloe had interacted very little before now – that they would spontaneously choose to be intimate seemed forced. Also, a sex scene made sense in the context of the episode, but it might have been better placed later, after the shuttle had left. Eli and Chloe might have worked somewhat better. Scott and James would have made perfect sense, but they were both on the shuttle.

The other is the final scene, specifically where Young suspects that Rush knew all along what was going to happen. For one thing, his actions would have made no sense. But even if Young was acting more on emotion than logic, the accusation took away from the ending.
In addition to the strong writing, the production of the episode contributes to its excellence. The lighting in particular is very symbolic. In “Darkness”, the dark hallways of the ship signified the crew’s helplessness. The sunlight of “Light” is even more ominous – it is their death. For most of the episode, the sun is the only light source – the hallways are still dark. Only at the end, when power is restored, do the ship’s own lights come back on. As for the acting, I’ll just say that every single actor, big and small, was amazing.

There was plenty of character development in this episode. Certain death actually seemed to bring out people’s good sides. Young and Rush voluntarily gave up any chance of survival. Greer showed a soft, poetic side. Camille, previously an obstructive bureaucrat, turned out to be just another human. And in the final minutes of the episode, Eli came out swinging. All hail Math Boy.

“Light” combined stellar writing with excellent production and acting to produce a truly incredible episode.

I give “Light” five stars out of five.

apostrophe
May 30th, 2010, 05:28 AM
Nobody Wants to Get Fired

This is a high quality episode with good acting, great special effects, extreme jeopardy, and moral dilemmas. Which doesn't necessarily mean there aren't other issues.

Destiny is careening straight into a nearby sun. Like some giant moth flying straight into a celestial bug zapper, the ship is doomed, and so too, the crew. There is only one means of escape. The shuttle. Trouble is, it only holds 17 people, To avoid a panic-stricken free-for-all, Col. Young holds a lottery to determine who will go. Everyone crowds into in the gate room. The tension builds as Young draws a slip of paper, reads and announces the name. He waits for that person to board before repeating the process. Finally, the last winner scurries up the stairway. They batten down the hatches. Camille, being a complex person and thusly racked with various emotions, weeps as she takes her seat. Everyone looks around at each other in bewilderment until they all realize that nobody knows how to fly the damn thing. Young slaps his forehead, grimaces with embarrassment and blurts out between clenched teeth : "How could I have been so stupid..."

OK, No. Actually, he prudently hand-picked Scott, the only one who has figured out how to pilot it and TJ, the only medic, in advance, since that would provide the best survival chance for the other 15. To prove being unbiased, he took himself out of the lottery. Not to be upstaged, Rush took himself out too. Rush will take his chances. He's a betting man after all. We saw that in "Air", when he risked Eli's arm.

The visuals of the shuttle taking off are fantastic. Via a KINO, Rush, Young, Greer, Chloe and Eli get to see the exterior of Destiny for the first time.

It turns out Destiny had an ace up her sleeve all along. She kept her shields powered-up for a good reason. They protect Destiny long enough to fly into the sun and recharge her batteries off the highly concentrated solar energy there. Who whudda thunkit. The lights are back on. Her engines restart. Hurrah hurrah. This leaves the shuttle crew at somewhat loose ends however.

The planet they found is far from ideal. They're also far away from Destiny now. Worse, Destiny is starting to pour on the coals and accelerate even farther away. They can't plot an intercept course. The crusty old shuttle just doesn't have enough horsepower to catch up before Destiny shifts into FTL overdrive. In which case, they'll never catch her.

Luckily, somebody figures out how to establish communications. Rush gets an idea but Eli is way ahead of him, having already worked out the math. They transmit a course correction for a (de se vu) slingshot maneuver. It works. Now they well are on their way to heading Destiny off at the pass. They arrive just slightly ahead, in Destiny's path. But they're still going too slow. The speed differential between the ships is too great. They're about to go splat like a bug on a speeding car's windshield.

Young suggests firing the shuttle's maneuvering thrusters for a little more oomph. That makes the crucial difference. Scott also has the help of a guy looking out the back window who is calling out course adjustments, necessary since, while the Ancients invented everything else, they never got around to inventing the rear view mirror. It's a close scrape but Scott manages to dock the shuttle in one piece. Once again, great graphics.

Young tries to congratulate Rush for being helpful and reward him with an extra paste ration, but Rush will have none of it. Any kind of pat on the head from Young puts salt in Rush's wounds since Rush is still fuming internally over losing his status as Big Cheese Smartypants in Charge of the Destiny project.

The other conflict scene is with Camille's attempt to wheedle a free pass out of Young. It backfires, and when they both raise their voices and talk at the same time, I didn't like that. Makes as much sense as printing the subtitles over one atop another. Bad cinematic technique.

The introductory KINO clip with Greer was good. Still no Palmer, Curtis or alien sputnik.

Still, a good episode.

This episode was easier to watch, probably due to involvement by director Peter DeLuis. Peter DeLuis is like bacon. He makes other food taste better.

Addendum:

The star is portrayed in exquisite detail. Its co-star, the planet is not. It's described in the last episode as having earthquakes because one side always faces the sun. But the same side of the moon always faces the Earth and is the most seismically dead body in the solar system. What such a planet could really be like might have warranted a little more CGA time.

The sun side would be baked and the cold side frozen. Hot air rises, so the weather system would form a toroid donut shape. Hot air rises through the donut hole, carrying moisture up into the stratosphere. It has to go somewhere, so a radial pattern of high altitude air currents would emanate outward from the center. The air would cool and moisture would get dumped as snow, as it neared the cold side, forming a ring of miles-high ice mountains. On the surface, a constant hurricane would blow, as the center sucked in air from all around, sending it upwards. The glaciers would be constantly pushing inward, so there would be cataclysmic flash floods as ice dams melted and broke. The central desert would have a permanent planetary-sized tornado, throwing off debris for hundreds of miles and huge lightning bolts in every direction.

ZRFTS
January 31st, 2012, 09:41 AM
Light

Everybody seems to mention this as the episode where things get better, an episode that won't disappoint you. Well I've watched it and while the things that are said about the episode aren't 100% true, I feel like they're at least trying.

Case in point, the characters are actually emoting a bit more in this episode then they did before; I'm guessing they've either learned to take their roles a bit more seriously or that the situation they're in warrants more emotion. This is what the series needs to do if it wants to make it, inject emotion and character into it's characters to make them relatable, make us care about their situations and make us root for them in the end; this isn't a big step but it's a start and hopefully they can at least take that start and work it into the characters themselves.

The reason I say it's a start is because the episode itself still exhibits the usual "film school acting" of both the dialog, the actions and the situations that they're in. The writers are trying hard to make us care about the situation at hand, I mean the whole thing has potential and the idea of embracing death/dealing with losses (though a bit cliche) also has potential but it's no good if that potential is wasted. The entire situation on the ship is used to explore their characters a bit more (thankfully, they've dropped the whole "I don't want to be here" thing in exchange for some real characterization.) and certain slices-of-life that happen on the ship fulfill that promise but the actors are still stuck acting the scripts which calls for them to try to be emotional, try to have some sort of tension and try to have some sort of thing going on at the ship; problem being that none of the moments draw us to their characters and make them attracted to them; in fact they just show how contrived some of the moments can really be.

I will note that Young has significantly improved, though his character still sucks. One thing I've noticed is that he's not acting like the gruff tough guy and he is putting a bit more emotion and humanity into his character, the way he's acting makes me assume that he's taken a page from RDA's playbook and decided to work that into his routine; which is good. There is the whole "nothing is behind his character" thing but hey, anything is anything when it comes to developing one of your main characters. Dr. Rush/Desmond is still the best acted and he takes steps to further his acting chops for those watching the series; the small stuff he puts into his character is appreciable and the way he takes what he has and spins it into gold is really, really respectable; even though the stuff said about faith/destiny is the same old, same old, he makes it his own. I think this is why people love Dr. Rush so much, he is just that good of a character.

These two characters help the episode get through it's most major flaw of all, which is that it feels really boring. I can understand that they wanted to raise the stakes and make it feel more dramatic but even during it's most dramatic moments; I felt bored out of my mind. Maybe I'm supposed to feel something for these characters as they go through these moments (it's even implied in the supposedly somber tone that these scenes possess), maybe I'm supposed to think about them as they go through the situation but the problem is is that I haven't grown to feel something for the characters or think about the characters. Feeling something for the characters is one part of the problem as the actual action itself also lacks excitement; never have I felt this bored in a situation where they may not make it and time is on their side, the scenes are done decently and the entire situation is done in a believable way but it's a problem when you can't care for a life or death situation.

Last but not least, the other stuff. There are some things which seemed a bit questionable; as in a bit sudden and a bit dues exy but since this is a sci-fi show; I can live with it. I can tell that they need to do something with the whole "Dr. Rush may be evil" thing they have going on because it's not working out as far as the shows concerned, it just seems as if they're trying to force a mystery upon us involving Dr. Rush when they should be focusing on Destiny which is the biggest mystery of the show.

Did I see the "Light", not exactly. It's not a bad episode and they're stepping in the right direction but there are alot of flaws which they have not fixed, there is a lot of potential that isn't used and more importantly this episode feels really, really boring. There was certainly some stuff going on but the way it's presented and the way it's arranged makes it feel like two hours instead of one, and it can be a problem if you're not a major sci-fi fan. People want to be engaged when watching TV and while there may be certain exceptions, this is not one of them. A show like this has to engage it's audience in order to get the people who are watching into the universe, which in turn gets them acquainted to the world around them and may make them feel like they're part of the show themselves; and in a show like this, it has to get people engaged in the world or else face extinction. This episode is taking the series in the right direction but when people aren't engaged, does it really matter that much?

6.5/10