"Doomsday" or a New Beginning?

Smallville's Continued Survival Amidst Changing Television Trends

The characters of Smallville, Season 8 (pictured, from left): Lois Lane, Davis Bloome, Jimmy Olsen, Chloe Sullivan, Clark Kent, Tess Mercer, and Oliver Queen.

"What have you been doing all this time, building snowmen?"

This line from Tess Mercer, a newly-introduced character on this (the 8th) season of Smallville, the continually evolving, enormously successful contemporary take on Superman's origins, is both a nice in-joke for the shifting creative direction of the show itself, and a suitable metaphor for my re-entry into blog-land on more academically-oriented terms. I have to thank my good friend and colleague Bob Rehak for inspiring me to begin laying out my thoughts for a wider, interactive audience in a (hopefully) more concise and compelling manner; his constant acceptance and encouragement of, and intelligent responses to, my frequent (and often passionate) comments on his own blog, and in our conversations in general, have compelled me to further focus my thoughts through my own venue. I can only hope that this blog will become an equal part of the always growing global online network of film & media scholars who continue to offer thoughts, ideas, and questions about the medium.

In lieu of building snowmen -- as it is physically impossible due to the weather where I am currently living -- I have been watching more television programming, and due to a variety of circumstances, have been slightly less engaged in regular filmgoing, so future blog posts will reflect this variance (For those not interested in the subject of this essay, I will be posting some thoughts on Watchmen soon...)

Now that brief introductions are out of the way, I'd like to spend the rest of this post (and the next one) discussing how Smallville continues to renew and re-invigorate itself, despite network transformations, creative upheavals, cast shake-ups, and even character ownership/rights entanglements, remaining one of the most stable, reliable genre hours on television for audiences worldwide. Though the top four U.S. networks, ABC, CBS, NBC, and FOX, continue to compete for national ratings in a time of changing viewing habits, very few shows from the "big four" have survived the past eight years as consistent successes in creative content, audience demographics, and marketplace share. Smallville has now outlasted Buffy The Vampire Slayer and all of the Star Trek television series, among many other shows, to become one of the most successful genre productions ever made for television.

While Smallville retains criticisms of its own from both genre fans and critics of so-called "quality television," the show has been redeemed through constant critical and cultural re-appraisal, and perhaps most importantly for its investors, its DVD season sets are consistently found among the top sellers on Amazon.com and in physical stores. The show is regularly featured in the top ten in data surveys of in-home digital video recorders, and retains a significant international following, both in DVD sales and download activity. Smallville's distinct mix of heroic mythology, romantic melodrama, and sometimes playful comedy retains old fans and constantly attracts new followers; and while it's surely had more than a few plots which stretch the premise of its universe, the show continues to showcase impressive production values, unusually consistent direction and editing, and high-quality visual effects, all of which help create a unique aesthetic style and attitude that appeals to a worldwide audience of many ages and cultural backgrounds.

A shot from Smallville's Season 8 opening credit sequence.

What inspired me to write about the show was the premiere episode of its eighth season, broadcast in September, 2008. Titled "Odyssey," the episode re-situates, and in certain ways, creatively reboots the Smallville universe surrounding young Clark Kent, an alien sent here from the doomed planet Krypton and raised in fictional Smallville (essentially, Kansas), who is destined to become the "world's greatest protector," Superman (this post is populated by bolded Wiki links explaining background mythology for the unitiated). DC Comics' Superman story, begun as a proper comic book by Jerry Siegel and Joel Shuster in 1938, has inspired numerous television shows, animated productions, radio serials, and film series, all placing their unique stamp on the culture of their respective generations, but Smallville's survival and cultural impact is a compelling story all its own. Given that the show is still, eight years in (and having just been renewed for a ninth), constantly and passionately discussed and consumed by fans, critics and scholars worldwide, it is safe to argue that Smallville's impact on genre television and popular culture is continually worth analyzing.

The show's first three seasons concentrated heavily on the small town genesis of Clark Kent, as raised by his adoptive parents, Jonathan and Martha. While Clark struggled with his new-found superhuman strength and abilities during his all-too-human teenage years, he helped solve the ever-growing mysteries of a town physically and psychologically impacted by the meteor shower which brought his ship to Earth. Throughout the fourth, fifth, sixth and seventh years of the show, the world around Clark matured and darkened, Clark lost his Earth father to a heart attack, and his mother to Congress, but interestingly the show began to introduce well-known characters who would traditionally play a big part in the future of the Man of Steel: Lois Lane and Jimmy Olsen. Complicating the adventures and mythology of past, present and future, Smallville became something entirely different, significantly veering off from what seemed its natural trajectory, morphing into, as certain fans (and now DC Comics personnel) asserted, an "Elseworlds" show.

Having explored all manner of twists and turns in the relationships of its central characters throughout its first seven seasons, and having slowed Clark's journey to adulthood as far as meaningfully possible, Smallville's story seemed as if it was moving towards a natural -- perhaps even belated -- conclusion during its seventh year. With the introduction of Clark's cousin, Kara (who later becomes Supergirl), as a potential spin-off property, and the departure of original cast members Michael Rosenbaum (Lex Luthor), John Glover (Lex's father, Lionel Luthor, created for the show), and Kristin Kreuk (Lana Lang), as well as -- according to industry buzz -- the near-departure of Allison Mack (Clark's trusted friend Chloe Sullivan, also created specifically for the show), coupled with rumors of cast frustration with storylines, and network-mandated budget cuts, Smallville was seemingly ready to fly up, up and away into franchise history. But some surprising developments off-screen -- a writers' strike resulting in a shortened season, the out-of-left-field departure of the show's creators, Al Gough and Miles Millar, and again, importantly, continually strong ratings and DVD sales for previous seasons -- prompted the small fourth-place network The CW (formerly The WB) to renew Smallville for an eighth year (star Tom Welling had already committed the previous year to a contract with an option for Season 8).

Many of the show's fans had found the last couple of seasons difficult to swallow, due to stagnating characters (particularly Clark) and questionable relationship pairings (Lex Luthor romancing Lana). Clark's noticeably unchanging blue shirt-red jacket-blue jeans wardrobe, while obviously meant to reflect the primary colors of the Superman costume, became more of a metaphorical straitjacket, a signature of the restrictions the show's producers were forced to adhere to, both because the characters were a victim of the show's own extended success, and because the studio, network and creators had never planned on turning Smallville into a full-blown Superman narrative.

Season 7 ended with a whimper, its last few episodes spent tying up loose ends from seasons past in an attempt to wrap some sort of conclusion around a saga that was at its natural creative end, but forced to continue because of the demands of the marketplace. The season finale was a strange downer: Lex, having finally discovered the full nature of Clark's abilities, confronts him at the Fortress of Solitude in the Arctic, activating a device which triggers the destruction of the Fortress, and buries both under the icy rubble. Chloe is arrested by the "Department of Domestic Security" for her hacking activities (which had often helped Clark save lives), and Lana, Clark's first love, abruptly awakens from a coma caused by Brainiac and leaves Clark a video goodbye message ("I need you -- but the world needs you more."). Rather than any compelling desperate situation or significant tactical or social conundrum, this season finale left audiences (including myself) feeling quite depressed and pessimistic about what the show had become, and where it could possibly go next...

Frames from the first television teaser for Season 8.

Many were therefore skeptical about what Smallville could offer as it jumped into its eighth year, but from its opening moments, the first episode of the season shows and tells us that this interpretation of Clark's journey is different than anything that has come before, in a very satisfying way. Gough and Millar's departure from the show seemingly opened a creative freedom for the writers that hadn't existed before. Through scripting, cinematography, dialogue, and editing, new showrunners Todd Slavkin, Darren Swimmer, Kelly Sounders, and Brian Peterson (all previous writers on the show) use "Odyssey" to playfully and quite brilliantly free themselves from the last few seasons' disappointing creative turns and plot constraints.

The opening shots of "Odyssey": the Arctic and the introduction of Tess Mercer

The show begins in the Arctic, at an outpost where agents are searching the spot of the demolished Fortress for clues to Lex's disappearance. Tess Mercer, a cold but very attractive redhead with killer eyes and instincts, walks into the tent and aggressively assumes command, claiming her "access is unrestricted." Straightaway, there's a sharp exchange of dialogue, which distinctly brings to mind a certain Alaskan vice-presidential candidate from last year's election. The camp's leader scoffs at her: "You're nothing but an obscure regional VP, do you actually believe you're qualified?" Tess replies: "Lex believes it, and that's all that matters." When the same executive later again raises his suspicions about her motives, Tess cuts back: "Nobody questions my loyalty [to Lex]." (And in a future episode, Tess proves her mettle by personally offing the questioning exec, on screen and in graphic bloody detail.) The similarities in look and dialogue may have surprisingly been by chance, as "Odyssey" was written and filmed at least six weeks before Sarah Palin was announced as the Republican Vice-Presidential candidate on August 29th, 2008. Nonetheless, the evolution of the character since retains an attitude and demeanor that is undoubtedly Palin-esque...

At one point in "Odyssey," Tess comments to Lois Lane, "I have to admit, it's difficult to imagine a mini-Lois running around." Has she seen Superman Returns?

But in fact, "Odyssey" makes numerous comments on recent political and cultural divides in the United States, themes that the show had never before been brave enough to tackle. Since Clark has been missing for over a month, his friend Oliver Queen (who is already masquerading as Green Arrow) has organized a search party which includes Smallville's versions of Aquaman (not played here by Vincent Chase) and Black Canary (who can release deafening sonic screams). For their covert actions as the yet-to-be-named Justice League, they are referred to by Lexcorp employees as "terrorists," and when a couple of them are captured in a Guantanamo Bay-like facility where Chloe is also being held, they are hung by chains and interrogated, the implication clearly alluding to torturous tactics.


However, the most telling and compelling moments in Smallville's eighth season premiere are those that comment on the show's own recent history, both on screen and behind the scenes. While forging a new creative direction, "Odyssey" also features many revealing, almost snarky lines of dialogue that seem to be directly referencing the show's troubled past few years -- and perhaps the program's former showrunners. Upon discovering Daily Planet reporter Lois Lane spying in her office, Tess Mercer (knowing something's up) comes on like a critical audience member, chastising producers for failing to deliver significant character evolution: "And the floors, they've lost their sheen...you're not getting lazy, are you?" Smartly preempting the fanbase's possible criticisms of the Tess character as a replacement for Rosenbaum's highly-regarded performance as Lex Luthor, Chloe calls Tess a "Luthor-wanna-be." Additionally, it is revealed that Oliver Queen has a "history" with Tess, and he calls her by a nickname: "Mercy." The name "Tess Mercer" was created by the show's new producers in reference both to Superman: The Movie's "Miss Tessmacher," and "Mercy Graves," Luthor's chauffeur-with-stilettos from the 1990s Bruce Timm-produced Superman animated series. Tess also immediately joins the show's tradition of playfully verbalizing Superman's many famous associated phrases: "Mr. Luthor is a firm believer in Truth and Justice, Ms. Lane."


In the episode, Oliver Queen locates a powerless Clark in Russia (!), and we discover that he has been slaving away with a crew of caviar peddlers (!), but it is when Oliver and Clark relax on the plane ride home that they have their most interesting exchange, commenting on the inherent ridiculousness of Clark's Season 7 finale scenario:

Clark: How does an ice fortress just disappear into thin air?
Oliver: I feel like there's a punchline in that question...

(ba-dum-pish!)

Clark: It all must be part of my father's plan -- it turns out that his idea of 'controlling' me was taking away my powers...

...And with a wink and smile, we have a very simple twist and throwaway explanation of Season 7's dead-end plotline. But Clark remains "mortal" throughout the rest of this episode, and after running into Lois and saving Chloe, he encounters his own mortality in a scene that may in fact prefigure the events of this year's finale. After Clark and Oliver arrive at the "Gitmo"-like complex in an attempt to rescue their friends, Oliver is briefly overtaken by a mind-altering injected serum from a Lexcorp employee, and in demanding to know where Lex Luthor is, he begins to shoot arrows (his signature weapon) directly at Clark. Here, the show begins to play with viewers' expectations, and plants interesting twists within its narrative and signature visual effects moments and iconography. Oliver's first arrow hits Clark in the chest, right near his heart. He is stunned, bleeding and in pain, and as he struggles to pull the arrow out of his body, Oliver shoots a second arrow. A slow motion digitally-enhanced effect shot (an aesthetic style familiar to viewers of Smallville) closes in on the arrow and follows it toward Clark's chest.




The visual effects style displayed here is normally used to create the expectation that Clark will superspeed (conveyed in slow motion to us) out of danger, or somehow stop the offending object. In this case, Clark, still sans powers, is not able to use his superhuman abilities to either catch the arrow(s), or speed out of the way. The second arrow impales him and runs straight through, blowing out the window behind him.



As Clark falls to the floor, Chloe and Oliver, whose mind-controlling serum has just worn off, come to his side. Seemingly near a "mortal" death, significant people in Clark's life are visualized in the form of a brief flashback montage which relates moments from throughout the show's history, accompanied by a melancholic music cue and the sound of Clark's slowing heartbeat.

Clark's first love, Lana, a shot from Smallville's very first episode in 2001.

Clark's Earth parents, Jonathan and Martha Kent.

Martha Kent at Jonathan's funeral, a shot from Season 5.

This very brief montage has two functions: narratively, it is of course meant as a visualization of Clark's inner thoughts as he believes he is close to death, but seen in the context of the episode (and perhaps Season 8) as a whole, the moment is a key component in the new producers' attempt to subtly re-situate and creatively reboot the Smallville universe in its eighth year. This montage serves as a brief introduction and/or re-introduction to Clark's Earth parents and his first love, all central characters who had a significant impact on Clark within the Smallville universe, but who are no longer regularly involved with/cast in the show.

Clark's flashbacks fade into a God-like image of J'onn J'onzz (a shapeshifting alien known in the comics as the Martian Manhunter), who, in Smallville's incarnation, has been "watching over" Clark for many years, as a promise to his Kryptonian parents. J'onn began appearing in Smallville during Season 6.



In a moment that visually and emotionally brings to life the extraordinary nature of what it might be like to witness the display of super-heroic abilities, a dramatic score builds as J'onn lifts Clark over his shoulders and bursts through a window into the sky, leaving a red blur trail as Oliver and Chloe watch in wonder and worry.

J'onn flying Clark towards the sun.

What has happened to Clark? And how does this contribute to the evolution of Smallville in its eighth year? Just as the episode "Odyssey" pauses here for a dramatic commercial break, I, too will pause for a short time, to give my readers some breathing room. Like the episode, I am hoping that I hold your attention and create some suspense! I will continue the discussion of this episode and Smallville's current season in my next post. Stay tuned.