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Skye
Skye’s story takes the center stage of this week’s episode, where Gordon brings her to an oriental oasis in the middle of nowhere, known only as “afterlife.” Completely terrified of what she did last week, and unable to reach out to her team and friends, Gordon sticks her with a babysitter, a young man named Lincoln (Luke Mitchell from The Tomorrow People) who is blessed with Static Shock powers. He attempts to console Skye in learning to use her abilities through calmly spaced out exposition, but it turns out this safe haven is for an occult of sorts. Not necessarily for those with powers, but where “potential” people to get the powers from the Kree’s technology congregate waiting for their turn, so everyone is throwing stink eyes at her. See, I would assume a society of people who know everything, from the mist to who the Kree are, and know how Skye got to where she is, would also know WHAT she can do, and would be more careful to not tick her off so they don’t get ripped apart. Maybe that’s just me being too logical. Aside from the dirty looks, Skye’s temper is tested further when she realizes Raina is also being treated in this place, and when their confrontation arrives the expected conversation follows:
“we’re nothing alike because she kills people.”
“you’re the same because you’re both different. We say so. Genes. Family. blah blah blah.”
Oh right, family. Skye’s mom is somehow still alive after being dissected in the 80’s. So that’ll maybe be interesting.
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Coulson & Hunter
These two get into Bonnie and Clyde sorts of shenanigans through the episode, stealing Jeeps and drinking shots of whiskey in their search for Skye. The dynamic between these two alone hasn’t been explored too much beyond the conversations about Hunter’s relationship, so I welcome seeing Colson get some close bro-bonding, especially since he mostly interacts with nobody to this personal degree, other than May and Skye. While staying in Bruce Banner’s cabin, the REAL DEAL SHIELD shows up prepared to ram down the house, and the tricks on both sides begin to play out from a playing card hologram (leading into what may be one of Colson’s worst puns) and ultimately his ace in the hole with a rescue by Deathlock, the main antagonist-turned-hero of last season played by J. August Richards (Angel). I’m surprised by this move of Colson’s only because he knows that his association with supers is the reason he’s being hunted down, and the consequences of this decision to bring Deathlock into his escape will only lead Gonzalez to further perpetuate his assumptions. We’ll see if he comes to terms with that decision later on, but it looks as though SHIELD is beginning to transfigure into two distinct sides in Skye’s absence, as he declares next week he’ll be tracking down Grant Ward in desperation for allies.
Calvin
Skye’s father gets a couple of check ups by Gordon and his former wife. He’s still being a little bitch.
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Fury’s Box
The episode’s subplot on the assumption of Couson’s secret Nick Fury box builds into the continued ethical split between Fitz and Simmons, however it played a different hand than I expected at the last minute. Fitz is vehemently against trying to open the box to protect the identities of those inside it, while Simmons wants to perform her duty. The story thread builds into Fitz confronting her about doing what he thinks is right, and ultimately quitting SHIELD and leaving her behind. Unexpectedly, it seems the two have resolved some of their personal grievances off-screen, or at least came to an agreement for sake of loyalty to Coulson, as Fitz departs with the real device, and Simmons convincing Bobbi and Mack that it’s useless until they retrieve Coulson. Then the show went and made me hungry when she sent Fitz off with a delicious looking Prosciutto and Mozzarella sandwich. While the episode did okay with setting up more plots, and even a couple new characters, “hungry” was the most significant feeling that I experienced upon the episode’s end. I think that speaks for itself.
Marvel’s Agents of S.A.N.D.W.I.C.H. Episode 2.16 “Afterlife” (6.5/10)
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