| 301 - Looking For Michael |
| Writer/Director |
Michael Loceff / Jon Cassar |
| Michael's POV Onscreen:
9 minutes |
Michael is not in Section and
his place has been taken by yucky Chris Ferreira. Convinced that she is being set-up to
die after the confrontation involving Adrian, Nikita goes in search of Michael at his home
in the suburbs. Imagine her surprise when she’s introduced to wifey, junior and
the haircut! Michael agrees to help Nikita regain her status in Section and prevent her
from being killed by Operations and Madeline. |
| Michael Moments |
Covering up Nikita’s
appearance on his doorstep
The motorbike meeting with Nikita
His very own personal way of saying hi to Ferreira (i.e a kick in the face!)
The confrontation scene with Madeline in her office
Admitting to Nikita that Adam is his child |
| Words of Wisdom |
"This is my wife, Elena."
"Hello Chris"
Whop! Uggh! Crash!
"I want to offer you
an alternative."
"I don’t think you
want to see the Section destroyed, but that’s what will happen if you don’t
abort this mission."
"It’s a mission." |
Performance Rating
 |
Peta gets the big action scenes
in the Season 3 opener, cunningly disguised as a tall blonde round-eyed Chinese woman. Roy
is kept under wraps for a seemingly interminable time, building on the suspense of the
pre-season rumours. Mira had previewed the new short hairstyle even before the promos were
released … but the wife? So Michael doesn’t go home to a single futon in
his minimalist widower pad, but to soft furnishings, cosy sweaters, cuddles and curries.
Roy has to carry us through our denial and just about manages it by sheer force of
presence, while we’re still in a state of shock, and before the implications of
someone of Michael’s calibre living with a woman who can’t make a cup of tea on
her own have truly hit home. There are lots of nice switches in the doorstep scene from
being discovered, through keeping up the pretence, to addressing Nikita’s dilemma.
The complexity of his final facial expression when asked about Adam is a Roy classic.
Plot-wise we may have to ‘get over it’, but we can’t fault the performance. |
