Hey Fox, it’s not like I’ve memorized the dictionary or anything, but I’m pretty sure it’s just plain wrong to advertise an episode as featuring “The Greatest Escape in Television History” and then to not show us a breakout.
What we got instead was a lot of faffing. With Sammy out of the way, you’d think the preparations inside the prison would be smooth sailing, but now the guys have only 24 hours to re-dig the tunnel that took them three days to excavate the first time. Plus it’s raining. In Michael’s words, “Rain. Dirt. Tunnel. Problem.” Even with the proper support, the extra water weight could make the whole structure collapse. The solution? Move the escape up half a day before the ground gets too heavy. So now they have 12 hours to re-dig the tunnel that took them three… oh you get it. And to make things worse, now they’ve got to breakout at night. Under any other circumstances this would be a good thing, but in Sona that means double the guards and double the jeep patrols. As Elbert Hubbard wrote, “Life is just one damn thing after another.”
So in place of a heart-pounding, mind-blowing prison break, we got a few A-team montages of the guys hurrying to build tunnel supports. We got some old-school Michael, with his plan to cut off the electricity and use honey and dirt to cover the escape hatch. We got some “heart-to-hearts” between Lechero and T-Bag, Bellick and Mahone, and Michael and Whistler. We got to see Sucre use his little gray cells and sabotage a patrol vehicle. We got to cringe and wiggle when Gretchen put out her henchman’s cigar on Sophia’s shoulder. And we got to cheer for Whistler when he actually came through for once and tore up the paper with the coordinates on it, refusing to give in to the Company. Then again, who knows what was on that paper. Could be “Dear Gretchen, clean me, love, your underwear,” for all we know.
But I digress. I was waiting for some sort of convo between Whistlerand Mahone. “Hey, you worked for the company? I worked for thecompany!” “Really, what kinda benefits did you get?” “401K?” Seriouslythough, I wouldn’t be surprised if they were both STILL working for theCompany. Which reminds me, we didn’t learn much more about Whistler’s(aka Edward Guthrie’s) mysterious past in this episode. (What didGretchen say to Linc? She could tell him about Whistler, but she’d“have to kill him.”) But thanks to PopWatcher Arczi for pointing outthat the famous American-born artist James McNeill Whistler had an art dealer named Edward Guthrie Kennedy (whom he painted a portrait of once).Coincidence? I think not: you know all that gobbledygook from a fewepisodes back about Whistler’s mother? Well one of James McNeillWhistler’s most famous paintings is called “Whistler’s Mother.” Go Arczi with your bad self.
Speaking of paintings, did anyone notice that the graffiti on thewall in the scene when Michael lets McGrady join the crew? It said“Viva XIII,” which totally made me think of the comic XIII in which an amnesiac with an ass-kicking past is falsely accused of murdering the president and ends up in jail. I’m not too well versed in it, but I think there might be a connection.
So what’s on your mind? Annoyed that we didn’t get a breakout? Angrythat with only two episodes left it doesn’t look like we’re going tofind out anything about the secrets behind Whistler and the company?
addCredit(“Prison Break: Bill Matlock”)