Sarah Connor is having trouble sleeping. Which is funny, because if she had to sit through the monologue she gave at the start of this episode, she’d nod off within minutes. That rambling intro could match one of Mohinder Suresh’s duller introductions in Heroes.
To get some rest, she checks into a sleep clinic. But, in the tradition of [[Terminator: The Sarah Connor Chronicles (TV Series)|Sarah Connor Chronicles]], she walks straight into a SkyNet experiment. The sleep center which is monitoring the sleep states of its patients is also surreptitiously recording brain data for some strange reason.
In between times, Sarah returns to the nightmares she’s been experiencing. Except they play out in a linear pattern, giving a story within a story. Here Sarah confronts the man she shot in the desert factory a few weeks back.
Somewhere along the line, the line blurs between the two storylines, and eventually we discover that Sarah’s dream is about checking into a sleep clinic. Fred (who enjoyed the episode immensely it seems) explains:
I was trying to convince myself that, for some unexplainable reason, Sarah would have really agreed to check herself into a clinic because she’s got sleeping troubles (I mean really, when would Sarah really ever agree to such a thing!??), and that somehow it turned out to be a Skynet clinic where they just happen to have all that it takes to try and extract info out of her (dreams). And that, of course, while the main objective was to kill John, they didn’t do so until his third visit to the clinic – of course.
OK, fair enough. Sadly that means that Cameron parading around in her skimpies for John Connor’s perving pleasure was just a construct of Sarah’s mind. On the upside, this means that Sarah obviously has some deep seated fear of being ‘replaced’ by Cameron in Johns affections.
Elsewhere, commentators are remarking that this – and the previous two episodes – are a psychological insight into the mind of Sarah Connor. And while that is clearly a fine idea, the execution was royally botched. The storylines they’ve used as a vehicle for this analysis of Sarah have been pretty pathetic. Better to have gone back a bit to when Sarah was an innocent waitress and looked at the contrast between then and now.
Also, the dialogue and camera work completely lack tension. I just can’t get into these episode. Maybe they’re too subtle?
As I said, I have no problem with a deeper analysis of the characters. But this second series of Sarah Connor Chronicles has too many plates spinning to spend three episodes on Sarah. You’ve got Weaver and her corporate machinations, Derek Reese cruelly underused and a doozie of a storyline with Jesse and Riley in suspended animation: what are those two up to? Well, thankfully, all will become clearer in the next episode.