Dreaming of What’s Around The Bend

The Point of No Return

I’ll make no pretence of having any rational objectivity as I review this episode. I have none. Somewhere during vs. The Broken Heart, probably near the end, when Sarah tenderly touches Chuck’s neck and softly says “I’m sorry.” I realized that I had become totally obsessed with this show. There was no coming back from that. Vs. The Dream Job begins the very next moment, when the door swings open and Chuck looks to say “Dad?”

100 Miles East of Barstow, CA

"Dad?"

Dad is found 100 miles east of Barstow, CA. Dad is a little crazy. Chuck and Sarah have never seemed so much like boyfriend and girlfriend as they start small talking and catching up with Stephen (Scott Bakula). To say Chuck is nervous is an understatement (“I don’t even remember if I take cream!”) but Sarah’s genuine expressions of concern for Chuck, the comfort he allows himself to take from that, and the pleasure they take in each other’s company show right from the opening scene that Chuck and Sarah have already entered into a new phase of their relationship. Somewhere there in the desert, a corner was turned.

Chuck’s mission to find his father, though, is not quite over. Getting Stephen to come to Ellie’s wedding will not be easy.

Chuck: “Ellie was really hoping that you might be there to walk her down the isle.”
Stephen: “Oh, I really don’t think that she would want me there.”
Chuck: “Of course does. We both do.”
Stephen: “Not a good idea. But tell her that I’m happy for her.”
Chuck: “Are you – you joking? You have to do this. She’s your daughter! Don’t you want to be there??
Stephen: “Charles, I – I can’t…”
Chuck: “I don’t want to hear what you can’t do. I’ve seen what you can’t do.
I’m sorry. That came out wrong.”

Stephen: “No it didn’t. You’re mad. I left, and – and – and you’re mad.”

This is heart wrenching. From the moment Bakula comes on the screen as a slightly dishevelled, slightly disturbed transient of a father, you’re carried away by his obvious concern for his children, and by the way he seems victimized by events that are much larger than himself. You suspect minor mental illness at first, for he seems somewhat delusional. Alcoholism perhaps? Bakula’s performance, from his hair to his halting speech to his slightly hobbled walk is amazing.

Chuck does succeed in his mission, and brings Stephen home to Ellie. Sarah Lancaster does an incredible job with one word – pancakes, followed by the perfect “Oh boy.” from Stephen, a tribute to the fans of Quantum Leap.

Ellie: “I’m so mad at him. Crazy old dad. Aren’t you mad at him?”
Chuck: “I was. But then I realized that, you know, we can hate him for the rest of our lives or we can choose to forgive him.”
Ellie: “It’s easier to hate him.”
Chuck: “Well that may be, but he’s all we’ve got left, El. And this could be our last chance at being a family again.”

Fans and addicts like me have grabbed onto a possible clue about Chuck’s family from the way Stephen reacts to the sight of his daughter. “God, Ellie. You look just like your mother.”

Crazy old dad. Stephen rants that Ted Roark took all of his ideas – touch screen technology included. And Chuck’s flash when he sees the Roark Industries flier for NextExpo and their operating system, RIOS, shows something is indeed up with Roark. Chuck is being sent in to find out just what that might be.

Sarah concern is immediate, but it’s not for Chuck’s safety this time. It’s for his emotional well being. As the briefing with the General ends, she asks him if he is “okay with that. – working for Roark.”

Chuck: No- no I’m fine. Forget Apple, forget Microsoft. I’ve dreamed about working for Roark since college. Although, does it actually qualify as a dream come true if you go in as a janitor?
Sarah: (laugh) You’re going in as Charles Bartowski – your name, your resume, your Stanford degree.
Chuck: Really?
Sarah: You’re – perfectly qualified to go in as yourself!

What a vote of confidence! Sarah has encouraged Chuck before, calling him a hero at the end of Tom Sawyer and saying to Casey, in Predator at the moment when lives depend on it, she trusts Chuck. But this is different. This time, Chuck actually takes it to heart. It’s not Charles Carmichael who’s good enough, or the intersect. It’s Chuck.

His interview at RI starts more than a bit awkwardly. Chuck is balancing on the ball, literally and metaphorically. But he does fine in the interview, once he gets a little help from Sarah. “Chuck, just be honest.” She tells him. And his response to the question “Seriously – What have you been up to since you graduated?” is as much to Sarah as it is to Drew, the interviewer. He’s been trapped in a job and a life that he doesn’t really want but he doesn’t see a way out. And when he says those words, it’s Sarah’s expression that seems distressed. It’s obvious that she really wants to help Chuck get the intersect out of his head. It’s become her mission too. Sarah’s relief is as great as Chuck’s when Drew offers him the job.

Meet Ted Roark, software rock star. Chevy Chase is brilliant in the role, with the perfect blend of comedy and arrogance, a little bit of a monster, a vivid character and foil for Stephen.

Chuck’s got the gig, but is this job too real for Chuck? Sarah is not through supporting Chuck, but she needs to keep him grounded in reality.

Sarah: Chuck, you’ve got to remember that it’s just an assignment.
Chuck: I know. I know what it is. I just – If I had gotten this job at Roark right after college, then I may never have become the intersect. Then when my dad comes back after ten years, I can show him that I’m not just another loser working at a Buy More.
Sarah: Chuck, he knows you’re not a loser.
Chuck: “Well, I’m sure he hoped I’d be doing something a little bigger than nerd herding.
Sarah: You are.

Sarah, the one who has been trying to keep Chuck out of the spy world for his own safety, now knows that he’s in it. Her words of encouragement in Tom Sawyer could be taken to be about her (and they were) – “You can have anything you want.” Now her encouragement refers much more to his life and life’s mission. It’s quite a difference from Predator when Sarah says to the General that “Chuck is not a spy, and he knows it.” Everything is changing.  Several corners have been turned.

At the family dinner with Sarah, we have to ask about an outstanding issue. Did Sarah know from the beginning that Stephen is Orion? We may never know, but it doesn’t seem to matter. Morgan reveals that Chuck has a new job at RI, and Ellie’s ecstatic about it. But not Morgan. Stephen certainly isn’t.

This is not an episode that rides on humor; the Buy More is barely present. But in the next scene at Roark Industries, we are introduced to Nerd Sarah and Nerd Casey. Adam Baldwin jumping, clapping and wearing a plaid shirt and horn-rimmed classes is a hoot. The background music, worked seamlessly into the show, is one of my favorite songs, Around the Bend by Asteroids Galaxy Tour. It’s a triumphant fanfare for Roark as he introduces NextExpo.

Roark (shaking Japanese executive number 1’s hand): Arigatou.
Roark (shaking Japanese executive number 2’s hand): Arigatou.
Roark (shaking Japanese executive number 3’s hand): In-a-godda-da-vida.

That’s a joke for us “old-timers” (and thank you, Chevy!). Chuck is clearly taken by Roark, his new job and opportunities, and by his own new standing in the world. But that’s not is real life, is it? Chuck hasn’t forgotten Sarah’s words.

He decides what his real job is by disrupting the release of Roark’s software. What’s important is the mission. He’s on his way to becoming a real spy, and Chuck is far around the bend now.

RIOS is released anyway. The second unresolved question of this episode is – what ever happened to that virus??? I hope we find out in S3.

Ellie is frantic when Chuck disrupts the release of RIOS (and once again, Sarah Lancaster plays frantic brilliantly –  that word applies a lot to this episode), but thinks that Stephen is behind his strange actions. She’s angry and takes a cheap shot at Devon. Only Stephen’s advice saves him from despair.

Stephen: Do you want my advice? Don’t walk out on your kids after you promise them pancakes for dinner. They tend to take it badly.
You’re a real straight arrow, aren’t you.

Devon: I used to be, before this damn bachelor party. God I’m such a jackass.
Stephen: Maybe. But that’s not why Ellie’s mad. She just doesn’t want you to turn into me, which – take this as a compliment – seems pretty damned unlikely.

He’s Gone

We came by the rising of the river.
On a river with no name.
In the summer monsoon rain.

Luisa’s Bones; Crooked Finger

The mission comes first. Chuck is convinced that he’s been led to Roark Industries, and he buries himself in the mystery of the cards left by Orion, cards that can help him remove the intersect, somehow. Steven interrupts him. With the slightest of pointers from his father, Chuck recognizes the schematic for the intersect in the layout of Roark Industries. But it’s not a flash, and he can’t say that Orion gave him the information, so Casey and even Sarah can’t help him. They don’t believe Roark is working for Fulcrum – no flash, no proof.

So with that wonderful music in the background like the beating of a heart, Chuck straps on his armor, his gun, and becomes a spy. He even has to challenge a menacing Casey, shooting him with a tranq. (Baldwin is brilliant. “I’m going to kill you when I wake up. Oooooh heh!!!”)

He breaks into Roark Ind. that night. That doesn’t go as planned, though, when he discovers his father has been abducted by – Vincent, the nine-lives agent. In one of the few hilarious moments of this episode, Chuck tranqs his father’s abductors, and is stunned to see them standing there – until they all collapse together. Not bad, Chuck! And in one of the worst kept secrets of all tv-dom:

“Dad dad dad! We have to go – we gotta go right now. I’ll explain all this to you later. For now all I can tell you is, I’m not who you think I am.”

We see Vincent, and we see the wrist computer.

“It’s alright, Charles. I’m not who you think I am either.”

The semi-bumbling half-nerd, half-crazy guy is revealed as the wizard-like Orion.

It feels like there are so many things that need explanation. There are so many mysteries. But the writing is superb here, and I can’t think of any time I’ve seen more economical use of dialog.

Chuck: Dad – I saw you die. I saw you explode in that helicopter.
Stephen: I can see how you got that impression. I’ve had to die quite a few times. It’s one of the perils of being Orion.

Who needs more? All the crazy jumps in the story, the strange entanglement of Stephen and Roark, Orion’s seeming death and resurrection, Sarah’s finding Chuck’s father are all deftly, if tersely explained. It’s easy to believe, on one or two viewings, that there are severe plot holes in this story. But there’s surprisingly few. It’s the speed at which events transpire that’ll make you miss things and want to see this episode again and again.

We know how this goes. Chuck and Stephen break into the lab containing the new Intersect 2.0, but fail to make it work. They’re caught by Roark and Vincent. Orion negotiates to get Chuck released. As he steps back to the door, it opens behind him.

Stephen: Remember what I said about not trusting your handlers? Maybe I was wrong.

Sarah and Casey hold Chuck back from the futile attempt to save the situation, literally dragging him back from the hell that awaits Stephen. That’s as dramatic as it gets.

As if the music wasn’t wonderful enough through this episode, it continues to the end with Daddy’s Gone by Glasvegas. Exceptionally poignant choice. Chuck may trust his handlers, but it’s clear that he doesn’t trust the NSA and Beckman. The General tries to make clear the magnitude of the danger they face, but that’s nothing compared to Chuck’s personal tragedy.

Beckman: Clearly we recognize that Fulcrum’s possession of Orion poses an unparalleled security threat.
Chuck: You mean Fulcrum’s possession of my father!
Beckman: I promise you. No one at the CIA knew your father’s secret identity. I also promise to entrust his recovery to our best team.
Chuck: General – WE are your best team!
Casey: (to himself) I can’t believe I’m listening to this. (aloud) Chuck’s right.
Sarah: No! You cannot put Chuck back in the field – it’s too dangerous. Fulcrum knows that he is Orion’s son.

If Intersect 2.0 is completed, then Chuck is obsolete and worthless to the CIA, and Fulcrum wins. “The only thing that matters now is getting my father back. and you need me to do that.” Even Chuck thinks there is no going back now.

Close with the music lyrics that cry “Forget Your Dad – He’s Gone.” and Steven working on the new intersect. Seldom does television reach such pathos.

I can’t remember the last time I was so enthralled by an episode of anything, with the possible exception of episodes to come on Chuck. There are no subtle messages to be found – everything is right up-front.    The transformation of Chuck’s character, the over-due, but still perfectly timed deepening of his relationship to Sarah; these are breathtaking developments unfolding.  The scene of Chuck donning his body armor, clapping the gun’s handles together, the music – it was spellbinding. Comedy in Dream Job is sparse and understated, but present. “Charah angst” is absent. Indeed, the whole Sarah-Chuck romance is far in the background, but serves to fuel the dramatic events that have led us to this point. The guest stars were simply amazing in their performances, and the principles even more so. Ryan McPartlin and Sarah Lancaster were more than supporting cast members. Because they are so important to Chuck, their characters have become integral to the story. Especially with Devon, we hardly noticed that happening. Even Jeff and Lester, in their brief appearance, are irreplaceable. Lester saying “It’s like he looked right through me.” is yet another plaintiff cry as the Chuck he knows is being drawn into the spy world. It’s very much Frodo made invisible by the One Ring, half in and half out of the world of the living.

Since I am a generation older than Chuck and Sarah, the introduction of Stephen served to place me in his role. I found myself caring and fearing for the characters as if they were my own children, which is nothing I’ve experienced before. With Dream Job, Chuck took my imagination and heart and refused to let go.

– joe

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About joe

In my life I've been a professor, martial artist, rock 'n roller, rocket scientist, lover, poet and brain surgeon. I'm lying about the brain surgery.
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25 Responses to Dreaming of What’s Around The Bend

  1. OldDarth says:

    Personal favourite episode of the Second Season. Zach should have won an Emmy for this one.

    • joe says:

      Seconded!

      …along with best supporting for Sarah Lancaster and Ryan McPartlin, and best guest for both Chevy Chase and especially for Scott Bakula.

      Oh, and best music, too.

  2. Ernie Davis says:

    I liked this episode too…well I like all of them, but this one really showed Chuck starting to take control rather than just sit back and be handled. A trend I look forward to seeing more of in S3.

    It also highlighted what I’ve always thought an underused or under emphasized part of Chuck’s character. He is a VERY smart guy. A scholarship student at Stanford and all around hacker, they never seem to give Chuck credit for how smart he is supposed to be. Occasionally you see his intelligence put to use in the plots, like having memorized the Castle manual or hacking the Fulcrum chip with his identity on it, but for the most part they treat that as a peripheral part of his character.

    The part I didn’t like was that they once again did the consummation interruption bit with Chuck and Sarah moving in for a kiss and Chuck’s dad answering the door ending the moment, though that might have been in Broken Heart.

    • joe says:

      You’re right. They almost always seem to resort to Chuck being “intuitive”, rather than outright smart.

      I know what you mean about the interruptions, but for some reason, it just didn’t bother me in this case. It seem justified in the story.

      To me it was pretty clear that C&S had gotten a whole lot closer than they had been the last time I had examined their relationship (which, you recall, I claimed Chuck had “put on hold” for at least the two previous episodes). Their growing closer was “organic”, and altogether natural, and even gently done. But there was no questioning it at the time. C&S were about as close as you could get at that moment. Both didn’t even question it – acceptance seemed almost an unconscious act.

      And that was one of the things that made this episode so outstanding to my mind.

      • Gord says:

        With respect to the interruption of the Chuck/Sarah kiss. I agree that it didn’t bother me in the slightest, because the actors did well in providing a spiritual connection to each other, and I thought that was more powerful than the physical act of the kiss. Yes, I guess I’m a shipper too, but I do watch Chuck for everything not just the romance.
        I thought this was one of the best, if not the best episode of S2. There have been so many great episodes it is hard to pick just one as the best.
        The music was superb, the angst was superb – that’s right shippers I used the word angst, the acting was superb, and I thought the story line was fantastic.
        Once upon a time Chuck was great and now it is merely magnificent.
        Those who suggest this should have won an emmy are spot on.

      • joe says:

        Gord, I’m struck by how often people are in violent agreement about different scenes in this episode. You expressed exactly my thought on that scene in front of the trailer. The simple touch was nothing, yet it was everything.

  3. OldDarth says:

    “But there was no questioning it at the time. C&S were about as close as you could get at that moment. Both didn’t even question it – acceptance seemed almost an unconscious act.”

    Perfectly stated.

  4. queuebert says:

    Maybe I expected the Orion reveal to be more epic? I dunno…there’s just something lacking for me in this episode. Can’t really put my finger on it.

    The ending with Casey & Sarah pulling Chuck away is one of my favorite scenes of the series though. But other than that, this episode was just okay for me.

    • joe says:

      Cool to see you here, Queuebert.

      Yeah – the Orion reveal was a bit non-climactic. My own opinion is that this was because so many clues to his identity had been dropped all along, most had a pretty good inkling that it was coming.

      At the time, I sort of felt that I had been “spoiled”, and even resented it a bit. But Stephen being Orion really wasn’t meant to be that much of a surprise, I think now. So the spoilage was relatively minor.

      Being a self-admitted ‘shipper (of sorts), it’s surprising that I’m so blown away by an episode that downplays the romance. All credit to the action/adventure aspect of the show, then – because it carries the water. You’re right to point to that scene where Sarah and Casey are pulling Chuck away from the door. Awesome. It reminds me of the scene at the end of Fat Lady (I think) when Casey and Sarah discover that Jill is Fulcrum, and race up the Castle’s staircase in a futile attempt to rescue Chuck. Only the music plays in the background.

    • atcdave says:

      I would agree as far as, I think this is the weakest episode of the final stretch; but that still makes it great television, and certainly among the best of the series. Scott Bakula was a perfect choice for Orion; not only is he a great actor, but his nerd appeal is very high. Chevy Chase was also perfectly cast, especially as his evil unfolds in the next couple episodes; I always suspected he could be perfectly psychotic.
      The tension that starts between Chuck and Sarah at the end of this episode is the sort I wish they would use as opposed to various geometric shapes; we get a conflict based on conflicting loyalties. If Chuck could have told Sarah why he suspected Roark, he might have got more cooperation; but would she have to report to Beckman if Chuck told her? By the end of the next episode, Chuck and Sarah both will know where her loyalties really lie, but its not quite clear yet here. As I’ve said before, I prefer a scenario where it is clearly Chuck and Sarah against all challenges, which might be why this ending didn’t excite me much; but even so, this sort of professional/personal conflict strikes me as a far more mature and sophisticated source of tension than another love triangle.
      It is certainly true this is one of the least funny episodes of Chuck we’ve seen. Its like there was too much story to tell, and not enough time, so the humor got cut. I think that’s another reason why I rank this one lowest from Lethal Weapon on. That is an important distinction; Lethal Weapon to the end of the season is awesome, almost cinematic in quality; and given the differences in budgets and production schedules between TV and movies, that is saying a lot.

      And I do have to comment on the song by Crooked Fingers. I generally like the music on Chuck. I’m not nuts about it like some seem to be (ahem…Joe), but I do own 1300 CDs and currently have 11000 songs on my iPod, and consider Phiaton headphones a good use of my money; so I do take my music seriously. Luisa’s Bones is one of only two songs I’ve bought after hearing it on Chuck (although I did have to change the cover art; sorry, that won’t go on my iPod!). So I would call it more than just very good.

  5. OldDarth says:

    Weakest? Totally disagree. Season’s best by a mile. Good to see we are back in synch Dave. 😉

    • atcdave says:

      Yeah, it just seems right that way; but just to reiterate, That’s weakest of the home stretch, overall a very good episode.

    • joe says:

      I like the music? Gee! What gave me away, Dave? ;>

      Okay – my love of this episode is clearly due to personal preference. I could never rationally prove that “this IS the best of all time.” Somehow, it’s tied to my love of season 4 of Babylon 5. I couldn’t wait for Friday nights to come so I could get on that runaway train of excitement again. Dream Job was like that for me – same feeling.

      I’m going to re-iterate some of your very thoughts next week, Dave, when we get to First Kill.

  6. Rick Holy says:

    I really have enjoyed the episodes that involved BOTH fathers – because in both characters, Chuck and Sarah came to know a little bit more about each other in a meaningful way. (Kind of similar to the “My friendship with Morgan” explanation that Chuck gave to Sarah in “Best Friend”).

    Sometimes it gets overlooked, but I think one of the best scenes of S2 was when Chuck and Sarah were sitting on the bed of Sarah’s hotel/apartment room after Sarah’s dad had swindled the cash. Chuck told her – your fathers sins are HIS, not yours (I know that’s not the exact quote, but you get my point). And I thought Sarah’s encouraging Chuck to “go for it” and knock on the door of the trailer and the very nice tender moment they had before Daddy B. opened the door was very good.

    Sorry if I’m getting all “priesty” on ya’ll, but these are two relatively wounded human beings here – Chuck and Sarah. Seeing them grow and “heal” as they learn more about each other I think is one of the really cool aspects of the show. That’s why I’m what everyone calls a “shipper.” Not to see them all romantic, etc. (although, believe me, I’ve got NOTHING against that!), but just having their relationship move forward is so critical to their character development. For me, it’s become one of those things not to be messed with. Sure, they can present the obvious obstacles that you’d expect to get in the way, but the “other love interests” stuff is just a childish (and by now very tired way of delaying the inevitable).

    I have hope and confidence that S3 will ROCK. I’m still a little nervous, however, that some of the “love interest” stuff might rear it’s ugly head. Personally, I don’t think what we’ve been lead to believe – or have been teased into believing by TPTB – is really going to be what happens in S3. I think they’re just messin’ with us. But I sure wish they’d stop.

    I saw the latest issue of Entertainment Weekly magazine today and there was a little blurb on Ausiello’s page about the return of CHUCK. To quote: “Chuck has new powers this year,” says executive producer Josh Schwartz. “He can do anything he wants – EXCEPT get Sarah.”

    I only have one thing to ask. What the heck is this guy’s problem. Does he just enjoy antagonizing a good part of his loyal fan base. Has he never had a successful relationship. It’s like he just wants to keep thowing out stuff to stir up the pot.

    Oh well. I’m going to be tuning in “religiously” regardless of the teasing/antagonizing or whatever you want to call them comments he CONTINUES to make. The show is getting better and I believe will continue to get better – regardless of this stuff. It’s just a little irritating after a while. Kind of like a hemmorhoid!! There. I said it!!

    Anyway, only a little more than a month to go. BRING ON THE CHUCK!!! And keep up the great columns and the great comments, everybody! You all ROCK!!

    Peace!

    • Rick Holy says:

      Sorry about the poor grammar, spelling, etc., in places. I’m off to a 7 p.m. meeting!!!

    • Gord says:

      Hey Rick,
      After seeing the promos for S3, I can handle a little bit of Chuck/Sarah angst because this season is going to be amazing.

      As for JS comment, I plan on ignoring his edicts. He may be a brilliant creative talent, but he sure could use some lessons in PR.

      I am pretty sure that by the end of episode 13 at the latest, Chuck and Sarah will be in a committed relationship. But if they are not, that’s ok, because it will give them something to write about for next season.

    • joe says:

      I think one of the best scenes of S2 was when Chuck and Sarah were sitting on the bed of Sarah’s hotel/apartment room after Sarah’s dad had swindled the cash. Chuck told her – your fathers sins are HIS, not yours (I know that’s not the exact quote, but you get my point). And I thought Sarah’s encouraging Chuck to “go for it” and knock on the door of the trailer and the very nice tender moment they had before Daddy B. opened the door was very good.

      Sorry if I’m getting all “priesty” on ya’ll, but these are two relatively wounded human beings here – Chuck and Sarah. Seeing them grow and “heal” as they learn more about each other I think is one of the really cool aspects of the show.

      Wow! I wish I could have put those thoughts to words as well as you just did. You said exactly something I’ve been struggling to say for quite some time!

      As to Schwartz, here’s an idea for you to chew on.

      I suspect, with 0 evidence to support it, that a clear point of tension between Chuck and Sarah this season, and perhaps a major one, will be Sarah’s concern that Chuck is being lost to the intersect. That is, when he does something, she won’t know for certain if it’s him doing it, or the supercomputer in his head. Can she still consider Chuck brave? or insightful? or even intelligent? How about, honest and true? How does that work when you don’t know where the human ends and the computer begins?

      This is going to be good.

  7. ReadySet says:

    Thank you, Father Rick, for restating the essential humanity of Chuck and Sarah: They are wounded people who need each other. It is as simple as that. And as breathtakingly complicated

    As for Schwartz’s comment, well, two thoughts:
    1) Maybe Chuck can’t get Sarah–but Sarah CAN get Chuck. That is probably the twist. Just like last year, when he told Sepinwall of the Star-Ledger that Daddy Bartowski “was not a spy.” Well, no, he turned out not to be a spy, but Schwartz wasn’t being quite truthful about the show’s thread.

    Besides, the relationship has only moved as far and as fast as SARAH has allowed it to go. When the moment comes, it will be Sarah that makes the relationship happen.

    So, at least for the moment, I’m gonna assume this is another Schwartz literal fact that turns out not to be a truth about the show’s mythology.

    2) If they don’t put Chuck and Sarah together and do it relatively cleanly by about the 10th issue, I am gone. Not because I’m a shipper, but because they will have warped the character development. I hate shows with stupid characters.

    And now that the writers have taken us this far, keeping them apart for long will make the characters stupid.

    • joe says:

      “…the essential humanity of Chuck and Sarah: They are wounded people who need each other. It is as simple as that. And as breathtakingly complicated”

      So well put! Everybody has become so eloquent.

      I have a thought for you, now, ReadySet. Chuck had been, especially during and prior to season 1, a passive player in his own life. The Big Thing ™ about S2 is the way he’s taken hold of his own life (or, at least, attempted to).

      [I’m reminded that in The Ring, when he places his palm on the screen to re-intersect, the message on the screen says “Do you wish to activate?” Wow! That’s different from “press here to continue.”]

      What if Chuck is the one to decide the course of the relationship with Sarah? What if, contrary to all expectations, MAYBE Sarah can get Chuck, but Chuck CAN get Sarah?

      Okay – I’m just tossing out ideas. But *that* would sure be different.

      • ReadySet says:

        Well, I got no problem with that. I was just reacting to Schwartz’s comment that Chuck CAN’T get Sarah with the new powers of the intersect.

        He’s good at parsing words. So if Chuck can’t get Sarah, it better be Sarah getting Chuck.

        Or, when you think about it and parse the statement further: Chuck would NEVER get Sarah by using either Intersect anyway. Sarah is attracted to Chuck the person, not Chuck the intersect vessel.

        Either way, my point is that Schwartz fancies himself the master of misdirection. SO when he says the intersect gives Chuck new powers, except the power to get Sarah, you have to look at other options.

        Either that, or Schwartz is SO arrogant that he thinks he can keep Chuck and Sarah apart for all of season three or even longer. I wouldn’t put that past him, because, frankly, he clearly doesn’t have all that much respect for his viewers…

      • atcdave says:

        Its funny how JS messes with us, he’s even flat out lied on occasion; saying once that Chuck and Sarah got closer during Colonel only because Chuck was no longer the intersect. Anyone who actually watched the episode knows most of what happened between them was before he got de-intersected.

        I was leaning towards the intersect can’t help Chuck with Sarah when I read that.

        Although I really hate to call myself a ‘shipper, I sort of agree about not being around if they aren’t together around 3.10. I won’t hold to that absolute cut-off, and I’m not sure exactly what I require of them; but excessively stupid behavior from two chronological adults will not be tolerated for long.

  8. Fake Empire says:

    The scene where Chuck is restrained by Sarah & Casey while his father leaves forcibly with Fulcrum was pretty emotional for me. I say this as a card-carrying member of Shippers Anonymous: it rivaled any emotional scene to date between C&S in its scope and impact. Good stuff.

    • joe says:

      For me, too, FE.

      Seems weird, because I’ve always had a great relationship with my father (who turns 80 next week, BTW). He’s hale, hearty and healthy, and has never been absent. He and mom celebrated their 57th anniversary last August.

      But that scene is so powerful that I, who have never experienced that sort of thing, felt the emotion.

  9. Rick Holy says:

    Thanks, all for your comments and insight. That’s why this site ROCKS!!

  10. amyabn says:

    Hi guys, I’m trying to get caught up a bit but my location makes it a challenge. So many great articles to try catch up with!!!!
    The caress Sarah gives Chuck before Stephen opens the door gets me every time. No cameras, no spies, no bugs. Just a woman consoling the man she loves. Simple but powerful. I loved Chuck’s reaction to his dad in the trailer. The shipper in my wanted Chuck to blurt something out during his little diatribe about never doing that (not being there) for his daughter’s wedding, with a quick look at Sarah-you know, one of those “I can’t believe I said it out loud but I’m not taking it back ‘cuz I mean it” looks.
    I thought Sarah looked much more comfortable with Stephen at the Bartowski dinner (Predator) then I’ve seen in the past.
    I think we’ll get our share of moments this season and I’ve actually really limited my intake of spoilers, etc. What I have seen has me very excited and I will ignore the comments of JS. sorry my comments are so disjointed, but my location in the middle east makes it difficult for me to keep up!

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