The ending was at least interesting with Rachel bringing a grenade into Monroe’s tent in order to get the revenge she so wants on him.
Souce: Assignment X
Meanwhile, in the middle of a field somewhere in the vast, mid-western Plains Nation, Rachel is nursing the leg she broke while on the run last week. Aaron is with her, poring over the journal that Dr. Warren gave them. He’s still concerned as to why his face and a newspaper clipping about him appeared in the book, as if he had a connection to the power that he himself isn’t aware of. Rachel suspects Ben knew something about Aaron that she didn’t and muses this aloud. She then tries to convince Aaron to leave her to die but he won’t have it. She informs him she may have a solution and the microchip full of nanites may be the key.
Miles is knocked unconscious by the explosions and has a flashback to when Rachel first presented herself to him all those years ago after the blackout. It turns out they wanted Ben and she went in his stead.
At an electronics store in the middle of nowhere, Aaron is assembling a device according to instructions in Dr. Warren’s book. It will help Rachel heal her leg. Either that or it will fry them completely. Fifty-fifty chance. I’m not kidding.
Back at the electronics store, Aaron powers up the microchip full of nanites and embeds it in Rachel’s leg. She writhes in agony a bit (props to Elizabeth Mitchell for making me wince in pain with her) but the wound ultimately heals in a disgusting manner, leaving just a scrape where the break was. A group of Plains Nation hunters observed this and, thinking the pair may be useful, promptly take them prisoner.
Another flashback reveals Miles and his cronies searching for Ben using Rachel’s directions. It is clear she intentionally misled them. She then denounces Miles as a cold-blooded killer. When he looms threateningly over her, she turns up her seductive charm. Failing to manipulate her brother-in-law with sex appeal, she turns to insulting him and tells him the brief fling they had when they were young was a huge mistake. That’s two times Miles’ lovers have been dissatisfied with his performance…
Rachel and Aaron are led to a home in the Plains Nation where a young teenaged boy is hurt after he fell off a horse. He seems to remind Rachel of Danny and she, in what seems to be motherly affection, agrees to help the family heal the boy with another microchip device. She needs more supplies, though, and the boy’s father goes with Rachel and Aaron to retrieve them from the electronics store.
At the electronics store, Rachel conks the boy’s dad over the head to facilitate hers and Aaron’s escape. Aaron is shocked as he genuinely wants to help the ailing boy. Rachel contends they are too late to help him. Aaron wants to try and questions what good turning the power back on is if they can’t help others. Rachel curtly replies, “What makes you think I’m in this to help people?” Aaron is visibly shocked as Rachel proves her own selfish agenda once again. This is why she’s my favorite character: she’s the ultimate dragon mother. Unassuming on the outside, ruthless and slightly evil on the inside. This is all about revenge for her. She wants the power so Monroe’s enemies will kill him and thus avenge her own son.
Another flashback reveals Miles interrogating Rachel. In the interrogation, he essentially denounces all familial ties, showing how truly corrupt he was (as if we didn’t already know). In the present, the fleeing Charlie is nearly killed by a militia but Miles slaughters him with excessive force in a flurry of over-protectiveness. With Charlie safe, they go in search of Nora but she’s nowhere to be found.
There were several immediate problems, such as the drone strike, finding Charlie, etc. mixed in with the more interesting arc following Rachel and Aaron. I’d really like an episode with just them. Actually, just Rachel. She could fill an hour time slot with her twisted antics all on her own.
And how many of you (show of hands) think Rachel is pretty much the biggest badass on television right now?
Then Rachel goes on this amazing power trip where she tells Aaron she wants to turn the lights back on because she basically wants to take over the world. Let the record show that, as a big Elizabeth Mitchell fangirl, I am fine with this happening, on “Revolution” and in real life.
– Rachel might be my favorite character on any show ever right now. First, she’s played by Elizabeth Mitchell, the nicest person in the business. Second, Rachel is a murderous killing machine. No one else on Revolution, even on Monroe’s side, scares me more than Rachel. She killed Monroe’s big assassin, she killed the kind old scientist who she double-crossed, and she was the only one who couldn’t wait to kill Neville. Yet she does it all looking like the VP of the PTA.
– And she makes out with her ex-husband’s brother! Rachel and Miles! Gettin’ it on! And that wasn’t an “I’ve always wanted to do this!” kiss, that was a full-on relapse kiss. As I stated way up above, can we now piece together that Charlie is actually Miles’ daughter? Hence Rachel’s concerns over Charlie being “more like Miles” and exhibiting the same tough behavior the wimpy Ben Matheson never could? It seems like a detail added late to the party, but whatever, it would fill the soapy requirement this show’s been missing.
– Let’s see, remorseless killing, blonde, affinity for making out with family members… is Rachel to Revolution what Cersei Lannister is to Game of Thrones?
– Do we still not know what that blinking thingy was that Rachel pulled out of Danny?
If Monroe is building a nuke, how are the rebels to fight back? Rachel’s answer: She and Aaron will travel across the Plains Nation to the tower to turn the power back on. Miles isn’t thrilled about this plan, especially since it involves giving everyone power back, even Texas. But judging from the very passionate kiss he finally laid on Rachel after she told him to take better care of Charlie than he ever took of her, we’re betting he’s also not pleased that she is leaving with no plans to come back.
We’ve always known Rachel to be a “dangerous woman” despite her motherly ways, and the standoff between Charlie and Rachel was one of my favorite scenes of the night thanks to an intense performance by Elizabeth Mitchell (who else can portray a believable cycle of emotions that range from menacing to vulnerable to nurturing in the span of a minute?) Truthfully, some of my favorite moments of the season so far have been between Mitchell and Spiridakos.
As always, I remain in awe of Mitchell’s strong performance and how much it elevates the storylines of this show. In past episodes, I’ve always taken the time to praise her character, but Rachel’s renewed involvement since the show’s return has made her even more of a formidable presence.
Miles also expresses his concern for Rachel’s well-being, and I have to admit, as much I wasn’t entirely sold on the Miles and Rachel relationship when it was first presented to us, Burke and Mitchell have absolutely sold every scene they’ve done together with their chemistry. This episode may have been their strongest yet, and while that final kiss was nothing short of passionate, I continue to be stuck on Rachel’s poignant line to Miles following her request that he take care of Charlie in her absence (and possible death): “you can’t be who you were. You need to take better care of her than you ever took of me.” We know that history between these two runs deeper than a simple hook-up based on attraction, and my overactive mind eagerly awaits when the show will delve into more of their backstory. (Hey writers, would it be too much to ask for an entire hour of Rachel during her years with the Militia?)
In a recent interview, Elizabeth Mitchell mentioned that despite all of Rachel’s good intentions, parenting wasn’t exactly her strong suit – and nowhere was that more apparent than in the exchange between Charlie and Rachel after Rachel tried to talk Charlie out of fighting with the rebels. Executed solidly by both actors and sold by Mitchell’s brilliantly charged performance (from the dozens of subtle expressions to the mumblings of apologies after slapping Charlie, there was not one moment I tore my eyes from the screen), the short but dynamic scene reminded us that the true moments of this show belong to the core relationships between our central characters.
With Mitchell’s expanded role in these past few episodes, I’m reminded of how a strong actor really brings out the best in both the cast and the writing.
Halfway through “The Stand,” viewers could see the real victory from “Nobody’s Fault But Mine” was retrieving Rachel Matheson, not Danny.
Mitchell continues to show that she is the only one worth watching in the series, besides Esposito that is, by offering a range of acting notes, a dozen more than the one we were introduced to. Rachel offered us more intriguing mysteries in this episode than what’s been shown so far, like, what’s with that awkward near-kiss with Miles in the woods?
Rachel is still more interesting than Miles’ relationship with Nora (Daniella Alonso) and his militia ties. She appears to know more about the technology than any other character including the Google guy, Aaron (Zak Orth). She has the inside track to the inner workings of the militia more than Miles. Rachel is a pretty damn important character, which is probably why it was crucial that Mitchell replaced Andrea Roth. And it’s probably why they’re featuring her more in this second half of the season. When you have talent like Mitchell and Esposito, use them. When you don’t, well, you keep certain characters to minimal screen time. Seriously, you can do the math.
The premiere is one of Elizabeth Mitchell’s best episodes to date: The ensemble cast is still a little shaky but “Lost” alum Mitchell remains one of the clear standouts, and she outdoes herself in the midseason premiere. Now that Rachel is free from Monroe’s clutches, Mitchell gets a chance to explore multiple dimensions over the course of an hour: She’s mysterious, assertive, vulnerable, clever, caring, skeptical and ultimately… well, we can’t say too much.
How much will Rachel share?: Now that she’s reunited with her kids and sees Miles working with the rebels, will she spill all the secrets of the blackout? Not so fast. Her initial answers don’t go beyond “It’s complicated,” but Kripke promises Rachel will tell all soon enough.
Rachel and Miles’ past begins to be explored: Were these two friends, enemies, lovers? Or some combination of all that? The premiere lays the foundation for what looks to be a slow but steady exploration of their history together.
Okay, here is the part where we need to talk about Miles and Rachel. As in Miles/Rachel. Or Miles+Rachel. However you want to say it. In a recent EW interview, Elizabeth Mitchell hinted that our inkling of a romantic history between these two was on point. And in this episode we got to see more hints at this supposedly amorous past of theirs.
So, I will now proceed to the portion of our program where I round up all the significant Miles/Rachel moments of this episode.
Miles/Rachel moment #1: During that brief everything’s-fine-and-dandy scene when hugs and kisses are exchanged, Nora pulls Miles in for a long, firm kiss, which Miles returns, but a few seconds in, he opens his eyes – to stare right at Rachel. But Rachel doesn’t see his eyes boring into her. She’s already turned away out of politeness – or perhaps because she really can’t bear to watch.
Miles/Rachel moment #2: When Rachel decides to track down John and his Locket of Power, Miles tells her, “You know I’m coming with you, right? Somebody’s gotta keep you in one piece.” Rachel challenges him, “And that’s you? You’re the one that’s gonna make sure that nothing bad happens to me?” – with ever so slight an emphasis on “bad.”
Miles/Rachel moment #3: Later on, it’s just Miles and Rachel, the two of them, alone, on this trip to John’s house. Their horse buggy pulled over for the night, they take awkward steps around each other. Miles, barely looking at Rachel, says, “We ever gonna talk about – you know – this?” Rachel says there’s nothing to talk about, but Miles keeps pushing: “Rachel, I saw a body. It was you. You gotta know that I would never, ever have left if I thought you were alive.” He asks if Monroe hurt her. Rachel doesn’t respond. She makes a move for the buggy, but somehow that one step just ends up shrinking the space between them. Still unable to look Rachel in the eye, Miles says, “Everything that happened – it’s all my fault.” He apologizes for it all, and he bows his head toward Rachel’s, their foreheads just an inch apart. Rachel closes her eyes for a moment, then says softly, “Step back. Please.” A wider shot reveals Miles was gripping her arm. He takes a step back, and Rachel climbs into the buggy.
So what’s up with these two? What happened when Miles thought Rachel was dead? What exactly is this apparently romantic history of theirs? Did Rachel start to fancy her brother-in-law while she was “away getting food”? Or does this date back further? And when and why did things turn sour between them?
Well, I guess answers on all that will have to wait. But theories don’t. (Have at it in the comments section, guys.)
WEAPONS QUEST | Rachel suggests that they get some power of their own to battle Monroe. She and Miles head off in search of an old coworker named John who’s got missile launchers. On the way there, they have a particularly loaded conversation as Miles reveals that he thought he saw her dead body. He apologizes and promises he never would have left her behind if he knew she was really alive. For the second time since they’ve been reunited, it looks like the two are about to kiss – until Rachel asks him to take a step back. Was the idea that Monroe killed Rachel the thing that broke up the guys’ friendship? Was Miles in love with her?
Are you as intrigued as I am about Miles and Rachel’s history?
Elizabeth Mitchell did some fantastic work in this episode.
Let’s cut her a little slack (at least, for now) and just enjoy the fact that Elizabeth Mitchell and Billy Burke make a really good team when they’re defending themselves.
We’ve been teased for a while with the possibility of a history between Rachel and Miles that was more than just a friendship, and “The Stand” made it pretty clear that there were still some tense feelings to be reckoned with. A number of tantalizing hints were dropped during the exchange – how Miles saw her body, the fact that he told her he would never have left if he knew she was alive, the constant apologies – and even if their past turns out to be nothing more than an affair, I’m still interested to see this relationship explored. I continue to be glad that the show seems to be taking an interest in pushing Rachel’s character forward with her renewed involvement in the story, and maintain that if there were an Emmy for how many emotions could be expressed during the course of one hour, Mitchell would be at the podium accepting her award. The episode was the actress’s strongest to date, which is saying something considering that she was a driving force in the first half of the series. Still, it only reinforces the fact that the adults are some of the best individuals to watch on this program and personal bias aside, given Mitchell’s performance, I remain extremely excited that Rachel will be featured more prominently in the next few episodes.
Monroe locks up Charlie alongside someone she never thought she’d see again: Her mother! The reunion is not all hugs. Rather, overcome with emotion and shock, Charlie steps back when Rachel tries to embrace her. Mom, meanwhile, is surprised to hear that her daughter has arrived with her uncle in tow. “Miles is here? Did he hurt you?” she asks with some concern. The Matheson family’s This-Is-No-Picnic outing grows when Rachel and Charlie are then taken to Danny, but their relief at all being together is short-lived. Monroe demands that Rachel finish the amplifier — or he will kill one of her children. Charlie volunteers herself in order to stop countless others from getting murdered by a powered-up Monroe Republic, but Rachel won’t allow the sacrifice. She completes the tech just before stabbing the creeptastic Strausser (“That’s for what you did to me, you sick son of a bitch,” she growls) and running into Miles, who’s as surprised to learn she’s alive as she was to learn of his participation. Their troubled history is not so easily forgotten, so she slaps him. (Was it just me or did it seem like they were going to kiss instead for a second? UPDATE: Matt Mitovich agrees that it looked like a kiss was coming.)
What’s your theory about Rachel and Miles’ complicated history?
I’m happy to see the show finally putting Elizabeth Mitchell in a position where she gets to do more than sit in a four walled room (having her finally get into action last week with the stabbing of Jaafe and then again this week with the stabbing of Strausser), and her sudden involvement within the core group was a welcome, if not long overdue, surprise.
It’s no question that Mitchell really does raise the bar with whoever she’s sharing a scene with (as evidenced by her interactions with Monroe, Charlie, Miles and Strausser) and I am hopeful that Rachel being broken out of confinement means that the show plans to give us much, much more of the character when it returns.
The final scene with Rachel being called out by Brad on what she was really making was interesting. There was one weird beat, in that the scene called for Rachel to have that big moment of regret/grief as she killed Brad, in the midst of being hardcore, showing Monroe how far she’d go to stay essential. It was just kind of funny to see her turn on a dime from nearly sobbing, “I’m sorry” to her stone-faced, “Now you need me.” But overall, that was pretty badass, Rachel – and Elizabeth Mitchell certainly put her all into selling all of this in such a short amount of time.
Review: As a long-time Elizabeth Mitchell fan, I have to praise the Revolution creators in choosing her for this role. I doubt another actress could switch between emotions as quickly and smoothly as Mitchell does in the moments before Rachel kills her friend. Mitchell’s performance in this episode is just stunning and Rachel has become one of the most compelling characters on the show.
True colors After we had begun to lose faith in Rachel’s moral compass, our belief in the Matheson matriarch was finally restored — but at quite the price. Instead of building an amplifier for the pendant as promised, it turns out Rachel was building a time bomb to murder her captor. But after Bass discovers her betrayal, he promises it’s the end of the road for her and her son. Fortunately, Rachel, quick and ruthless as ever, doesn’t hesitate before murdering her former colleague (and the only other person with the knowledge to build Monroe’s amplifier). That moment easily solidified Rachel as my favorite character on the show in addition to one of my favorite moments in the series so far.
Source: TV Guide
Fact: Elizabeth Mitchell just pulled off one of the most bad ass moves in the history of television. #Revolution
I can’t express how wonderful it’s been watching David Lyons and Elizabeth Mitchell work together: both have fantastic chemistry that is so far unparalleled by most other relationships on this show save for Mitchell’s on-screen relationship with Tim Guinee and the bond between Giancarlo Esposito and Kim Raver. The closing moment of that scene – Rachel killing Jaffe with tears and then calmly recovering, turning to Monroe with the caveat of “now you need me” – was perfectly structured in a way that could only be executed by an experienced and believable actor. Revolution would do well to have more of these high-intensity conflict scenes, not only because the adult actors all do great work together, but because it’s a perfect example of why some individuals in this show (such as Mitchell) had their characters expanded after the pilot episode.
We check in again with Rachel working on the power amplifier. Monroe comes in and says Maj. Neville does not trust Rachel. They bring in one of Rachel’s former colleagues, Dr. Jaffe to inspect the device. He says it is actually a bomb. Monroe says he doesn’t need Rachel any more because he now has Jaffe. He and Neville clearly plan to kill Rachel and her son, Danny. Rachel grabs a screwdriver and stabs Jaffe in the heart. He dies. Rachel somewhat calmly says, “Now you need me.” Ha! Sweet!!
Source: Wall Street Journal
What Worked This Week: Let’s start with the end. “Now you need me.” BAM. With four words, Rachel Matheson has been established to be one of the most ruthless, powerful and complicated characters I’ve seen in a long while. She was working to build a weapon to use against her captor right under his nose, and when caught was willing to kill an old friend to save her life and the life of her son. Monroe clearly did not know who he was messing with when he tangled with Rachel Matheson. She has proven to be a fiercely intelligent, intense character and Elizabeth Mitchell has shown herself capable of electrifying emotion and power in the role. This moment was perhaps the first time in a long time that a show surprised me, and made me sit up and take notice.
regardless of their screen time, Mitchell, Lyons, Raver and Esposito deliver consistently week after week.
VERDICT Plenty of plot bombs dropping this episode and some welcome screen time for Elizabeth Mitchell as Charlie and Danny’s mother, Rachel.
“What if they turn it into a weapon?” asks Rachel. After two series of V, Elizabeth Mitchell has burned a lot of television screen time as a character forced to use deceit to survive, and she’s great as Rachel, until now merely popping up at the end of an episode to reveal a twist or just look sad. Here her moral conflicts are played out both in present day and in flashback as Flynn offers a solution to painful pregnancy complications, for high price, which in turn provides insight into her current predicament as hostage to quasi-Nazi Sebastian “Bass” Monroe. It’s a credit to Mitchell that she manages to add variation to Rachel, and play to the strengths of a character who’s constantly manipulated.
The hour also showed us how good the show can be when it puts engaging, talented actors in a room together and builds a story around them. In one of the best scenes of the night, Monroe and Neville interrogate Rachel about the pendants and the fact that they can’t seem to find any of the people whom she had previously told them about. The scene is short, filled with quiet exposition rather than overly flashy effects, yet between Elizabeth Mitchell’s quiet subtlety, David Lyons’ understated danger and Giancarlo Esposito’s amazing nonverbal expressions, all three actors captive you with an emotionally charged exchange I completely bought. Well done, indeed.
I was thrilled to see lots of involvement from both Elizabeth Mitchell and Tim Guinee in this episode; with Mitchell’s Rachel taking center stage in what could be considered the most we’ve seen of her character so far. Arguably the strongest part of the hour, her scenes with Guinee were so spot-on that they garnered more interest and emotion than most storylines that we’ve spent 30-40 minutes invested in. The flashbacks to the early days before Danny’s birth were a welcome dose of information and plot development, and I loved seeing more of her relationship with Ben – which apparently wasn’t all sunshine and roses. In fact, Rachel was actually the one to warn Ben about the consequences of the device they developed with the help of Grace (their former co-worker), a gone-wrong invention in an attempt to create a low-cost, clean energy source. Ben, meanwhile, was too blindsided by wanting to help his family to consider what unpleasant possibilities could occur if the government got their hands on the device.
I’ve said it before and will continue to say it so long as there are episodes that warrant it – Mitchell does more with her face than most actors can do with complete lines of dialogue. There were multiple scenes in this episode that completely got to me emotionally (among them: Rachel’s face when she found out about the condition hindering unborn Danny’s life, her desperate pleading with her friend Brad to give up the location of the pendants, the all-consuming overload of guilt when she realized her actions unknowingly led to the capture of Brad’s daughter) and caused me to realize how good this show is when it uses its best resources wisely. Bottom line: can we please just figure out a way to put Elizabeth Mitchell in every episode from here on out, flashbacks or no flashbacks?
I was happy to be wrong and even happier that we ended up getting a well-worth it reunion, though one that was (in my opinion) far too short given the acting talents of Elizabeth Mitchell and how well we know she can sell a scene of this nature.
Charlie and Danny are necessary elements of the show, but this week proved that you’re better off getting more time with Giancarlo Esposito, Elizabeth Mitchell, and (finally) David Lyons than you are by focusing on the Danny/Charlie turmoil.
Monroe also turns this menace on Rachel, speaking softly but using Danny as a weapon – a weapon successfully delivered to him by Tom Neville. It appears to work. Rachel tells Monroe that both she and Ben were working on the secret electricity project and that there are a set of pendants, twelve in all, that are crucial to the project. Find the pendants – let there be light. Yet it seems hard to believe that Rachel would cave so quickly. There’s more here, clearly, and Rachel seems smart enough to strategize how to use information to keep both her son and herself safe. Or maybe I feel that Elizabeth Mitchell is smart enough to do that.
[…] Several episodes in, and I’m still not really feeling the Revolution characters. (I started to feel a connection with Maggie right before they killed her off!) The one notable exception is the Elizabeth Mitchell character, who really seems at her absolute best in this kind of enigmatic role. […]
As I noted in an earlier discussion, Revolution seems to be at its most interesting when revealing the back stories of what brought characters like Elizabeth Mitchell’s Rachel to their current state of crisis. When it’s more about Charlie saving the day (or being saved) while jabbering on as a shrill moral compass for Uncle Ninja Miles, I am much less engaged.
Source: TV Guide
Though not quite as strong as last week’s in terms of emotional resonance, it was an episode that (for the most part) worked, largely because of the strength of Giancarlo Esposito’s amazing acting and Elizabeth Mitchell’s ability to ground important scenes with subtle yet poignant emotions. […]
While I was personally hoping for a mother-son reunion with Danny in this episode, seeing Rachel’s reaction to getting a glimpse of her son for the first time in 15 years almost made up for it. And with maybe seven minutes of total screen time, Mitchell managed to completely hook us into Rachel’s emotions simply by letting her face do the talking – something that she does better at than any other actor I know. Rachel, as usual, remains our weekly puzzle – though we have now figured out that whatever Monroe wants is what she was working on with Ben. Indeed, after being broken down, she confirms that the two were working together on a pendant (such as the one we’ve seen Aaron carrying.) There are 12 such pendants that were made, and all of them together could very well be the start to turning the power back on.
Yet this is what Revolution did well this week – it gave storylines to the actors who need to be the focus of the show – Miles, Tom Neville, and Elizabeth Mitchell. Danny and Charlie become better characters when they become secondary to the adults around them.
The audience is also gifted with a bit more Rachel Matheson, and frankly any Elizabeth Mitchell screen time is good for the show.
As with episodes prior, there is a shocking end reveal/teaser, and this one shows that same scene, but from Rachel’s perspective. Amidst much personal, emotional trauma, she walks away from her family and into a Militia camp. There is a figure, in shadow, looking at a map and plotting strategy with a soldier. The show wants you to think the figure is Monroe, but as the figure turns and Rachel announces, “ I came. Like you asked,” the figure walks into the light and it’s Miles. Who then has her handcuffed.
This narrative arc – the story of why the blackout happened, how the Militia was formed, how the war begun, and the role the Mathesons play in all this – is one of the more promising aspects of the show. I don’t want to jinx anything, but I do think each week the episodes get just a bit stronger and I’m still hoping for more time for Esposito and Mitchell. “The Plague Dogs” proves that the more experienced actors are the show’s weapon, and can make even the most familiar of narratives work.
In an episode that centered on family and belonging, it wasn’t entirely surprising that the other emotional moments of the night belonged to Elizabeth Mitchell, who continues to steal her scenes by impressively conveying more with one look than most actresses can do with full dialogue. Only two episodes ago, we were teased regarding the whereabouts and involvements of Rachel, last seen locked away in rather comfortable quarters under the strict command of Monroe. This week, we learned what seemed to be suspected – that Monroe wants information about Ben, about why he warned Miles and how he knew the blackout happening. In a flashback, we were shown that Rachel left her family to “get supplies” with a promise to be back in a few months. At the end of the episode, we saw her arriving at Miles’ camp, where she was immediately cuffed after telling him “I came, just like you asked.” In addition to the many questions this brings up, one of the biggest is the question of whether or not Miles knows she’s alive (I’m still trying to piece together the timing of the flashbacks, as it’s entirely possible Miles might truly think she’s dead.) Even so, I can’t imagine how Charlie – just now getting over the fact that Miles was once involved in the Milita – would feel knowing that he was keeping a secret like that from her. I couldn’t help but get emotionally invested in the final moments of the episode, both when Rachel was walking away from her children and when Monroe was guilt-tripping her about it. It’s a testament to Mitchell’s talent that without fail, I find her scenes to be the most layered and interesting, no matter how much she’s on screen and I’m excited that next week promises to bring us even more in the way of Rachel’s story.
The characters that really resonate are the ones with the strongest actors. Elizabeth Mitchell sells every scene she’s in because she’s Elizabeth F***ing Mitchell. The reveal at the end that she’s alive and being held captive by Bass wasn’t totally a surprise – the reveal of who had her, yes, that added a level of fun, but her being alive? No. . .because it would have been silly to have Mitchell on the payroll without using her as much as possible.
Esposito, like Mitchell, needs more to do, but I’m hoping this will come in later episodes.
Elizabeth Mitchell is the J.J. Abrams secret weapon. Her appearance in LOST at the beginning of Season 3 reinvigorated my passion for that show. Finally, I was watching the intriguing people. Finally, we were seeing a new side to the mystery that had history and context.
After LOST, Mitchell went on to star in V. Though not an Abrams project, Mitchell again brought something to the series that was undeniably her.
So, when I was told in episode 1 that Mitchell’s character was dead, I signed off. But, she was in the promos for the next episode. Kids, when Elizabeth Mitchell shows up in a scene, there’s only one thing you need to know: Shit’s going down.
During one scene, when I was practically yelling at the television for someone to grow a pair and DO SOMETHING, Mitchell picked up the gun and did.
Following my emphatic “thank you”, we flashed back to 15 Years Later and, lo and behold ***SPOILER***, she isn’t dead at all.
No, no, my friends. Elizabeth Mitchell lives on in both timelines. The strong, powerful woman is playing a con, or being kept prisoner, or God knows what. So here’s the thing: Rachel Matheson is the most interesting character on the show. She doesn’t need that complexity nonsense or fabricated teen angst. All she needs to do is take action. I will be watching gleefully as she takes matters into her own hands and kicks ass. If he pulls a Joss Whedon, so help me…
Similarly, it was refreshing to finally see more than five seconds of Elizabeth Mitchell who, despite her small amount of screen time, has been promised to have a larger and more poignant role in the series. Mitchell is absolutely fantastic with the way she conveys her emotions through subtle yet heartbreaking facial expressions, and she makes any character she plays a joy to watch and analyze. As any fans of LOST will attest to, bringing depth and clarity to a role that would otherwise be one-note is what she does best and if it’s not completely obvious as to why she was chosen to play this character, I urge you to re-watch choice moments of the episode, specifically the end where she’s told that Ben is dead and Danny has been captured.
There was no second week letdown for Revolution Monday night. The second episode, “Chained Heat,” was a shocking, action-filled hour, ending with a twist to keep us talking and guessing until next week. Until then, here are our six burning questions. [Spoilers ahead]
6. And of course: Rachel’s alive?! C’mon, guys. You knew geek goddess Elizabeth Mitchell would never be hired to play a character who only sporadically appears in flashbacks. Rachel’s alive — and living with the enemy! Say it ain’t so! Then again, as we saw when she pulled the trigger on the future soldier, Rachel might not be as sweet as she seems. So what exactly led her to live with the militia (though it appears she might be more hostage than houseguest)?
According to Mitchell, we’ll have to wait until Episode 6 to learn exactly why Rachel abandoned her family. However, she did give some hints. “I feel like if you kind of let your imagination go to what would happen to a devoted mother of two kids — invested, protective — what would take her away from her kids? And you can usually come up with exactly the right answer,” the actress told TVGuide.com.
So did Rachel sacrifice herself for the good of her family? More importantly, knowing now that her husband’s dead and son’s in custody, will she sell out the rebellion to save Danny?
What did you think of “Chained Heat”? And whose side do you think Rachel’s on?
Source: TV Guide
Speaking of her mom I will assume you’ve seen the episode because…
SHE’S ALIVE Y’ALL. I mean it makes sense. They cast Elizabeth Mitchell in the role and on tv you don’t cast Mitchell unless you plan to use her. So she, unlike her husband, will not be appearing in flashbacks only. Also she, unlike her husband, is a total BAMF and is being held hostage by old family friend Monroe who has gone mad wielding power and slid so far down the scale of morality that I’d have to invoke Godwin’s Law for a good comparison.
This is the show Eric Kripke’s name and some excellent teasers promised us. Mommy Mitchell’s survivor immediately ups the wattage storywise. It’s no longer the milquetoast adventures of irritating Leia/Luke and her low rent Han Solo uncle with special guests “much interesting characters.” Because between Mitchell’s always impeccable performances and the fact that she’s not written nearly as stupidly as her progeny the stakes have been raised. Charlie isn’t just on an adventure to rescue her brother who might be better off leaving this mortal plane anyways. It about her chance to be reunited with a mother long thought dead.
Also, lest you think I’m just being swayed by Elizabeth Mitchell, that magic storyline Kripke talked about? It’s being unleashed.
We also discovered that Rachel (Elizabeth Mitchell) is alive! Not entirely surprising because who in their right mind would limit the wonderful Mitchell to flashback duty? But what was surprising was how much the writers changed her situation. In the original pilot, which wasn’t screened for the public, Rachel—then played by Andrea Roth—appeared in the final scene with her arms draped around Monroe like they were more-than-friends. Here, she was a prisoner and even attempted to Joe-Pesci-from Casino the bad guy, a total 180 from the original pilot. I’m guessing the character change had a lot to do with the recasting, because for the life of me I can’t imagine Mitchell playing anyone but a sympathetic character and not a two-timing traitor.
But of course the big question is how Lost fave Mitchell might amp things up in Mama Matheson’s to-be-reshot scenes — especially since, I hear, a key moment from the pilot is also being re-edited.
Source: TV LINE
There’s some good acting talent here, too, like Elizabeth Mitchell (Lost) and Giancarlo Esposito (Breaking Bad). Call me cautiously optimistic.
This is another review complaining about the youngest actors and characters, but it has a nice mention of Elizabeth.
But if the show is going to make the most of its concept, the producers and writers will shift the focus to the grown-ups.
Esposito deserves better, as does Burke, as does Elizabeth Mitchell, another “Lost” vet, who’s playing the alive-after-all mother of Charlie and Danny.
Read more: OregonOnline
This is a very interesting Revolution review about what works and what is still a problem. According to this article by Huffington Post the problem with this show is the youngest actors and the fact that Charlie is too centric, but except for that it says very nice things about the series.
1. It kept the core concept simple.
2. Episodes are similar to each other.
3. Character motivations are easy to follow.
4. The show is a series of cliffhangers.
5. It’s uncynical and family friendly.
6. It’s aspirational.
7. It made Billy Burke, Elizabeth Mitchell and Giancarlo Esposito series regulars.
Mitchell and Esposito have proven in past gigs, they can make mediocre material good and they can make good material far better than it almost has a right to be. In fact, the work of these actors is almost — not quite — enough to make me overlook “Revolution’s” most enormous and annoying fault.
Read more: Huffington Post
This is a REVOLUTION review by Moureen Ryan about what she likes and what she doen’t. This is just the part regarding Elizabeth.
Anyway, the “Revolution” debate in my head goes something like this:
Hopeful Part of Brain: “Look at this cast — well, half of it anyway!
Scarred Part of Brain: the first episode involves a quest led by a young woman, Charlie Matheson (Tracy Spiridakos), who fails to make any kind of impression.
Those young people are the show’s potential Achilles heel. The cast is almost evenly split between actors like Elizabeth Mitchell, Billy Burke, Zak Orth and Giancarlo Esposito — all of whom have genuine presence and undeniable skills — and actors playing “Revolution’s” younger characters, all of whom display the vacuous anti-presence of catalog models.
And you were always the biggest Juliet supporter in the ‘Lost’ fandom, so you have to be happy Elizabeth Mitchell’s in the mix.
Full review: Huffington Post