Well, that’s all folks… for now. Revolution won’t be back until March 25, but before the show goes dark for four months (yes, I’m sorry guys, four months), we got one final hour of action, intrigue and family drama.
The mid-season finale (which is the third episode to take its title from a Led Zeppelin song, this time from 1976 song “Nobody’s Fault But Mine”) kicked off in Flashbackville, five years after the blackout. Miles and Bass, both in green-and-brown militia uniform, are in the middle of a firefight. A titlecard tells us it’s The Trenton Campaign. Taking cover behind some rubble, Bass tells his friend that word is they’re running out of bullets. “We’re gonna have to ration. Start using swords,” he says, and that’s how we get what from my count is the second time we’ve ever seen Miles laugh. “We’ll be like pirates!” Bass says with a big grin across his face. And then he sees that his best friend is clutching his side with a bloodied hand. Miles is urging Bass to go, but Bass says, “All the years, all the times I was in trouble, you never left my side. You never ran. If you’re dying, I’m dying with you.”
Back in the present in Philadelphia, we cut to the man who has this memory on his mind: Miles. The Fellowship is looking for a safe place to take care of Charlie’s head wound, but Nora reminds Miles that this is Philly – there’s nowhere safe here. Making it even less safe for our band of heroes is the news that has just reached Monroe: He knows that Miles is in town. Wheatley, the supposed rebel who led the Fellowship into the tunnel last week, had sent a coded message that he was bringing in Miles Matheson. Monroe knows that this means he’s either coming for Danny or for him (uh, or both? Buddy, this is Miles we’re talking about. He definitely can come after both.) And what’s behind Monroe and Neville here? Oh hey there, Liberty Bell!
With a little help from Nora playing the part of one of the many women in Monroe’s arsenal, the Fellowship busts its way into the home of Kipling, a militiaman Miles believes is one of the few friends he has left in Philly. That’s where they take refuge while Nora patches up Charlie. Miles leaves to find out where the militia is keeping Danny, assuring everyone he’ll be OK because “they’re my streets. Nobody knows them better than I do.” Isn’t that what you said about the tunnel last week, Miles?
Well, it turns out Miles is fine, but not everyone else back at Kipling’s place. Militiamen burst in with guns. Charlie’s sure that Kip gave them up, but when Neville struts in, he assures her that he didn’t – though he should have. It wasn’t tough to figure out that Miles would seek help from one of his few friends left in town, Neville says. Aaron, Nora and Charlie are dragged away, and Charlie is tossed in a room with one small window.
“Charlie?” She hears a quiet voice on the other side of the room. It’s her mother. In her disbelief, Charlie looks more like a child than we’ve seen her in a long time – not a bratty kid, but a fragile child.
After the first commercial break, we see what happens next between these two: Rachel tells her daughter that she knew it was her, even though it’s been years since she’s seen her. “You’re beautiful,” she says, on the edge of tears. But then Charlie’s face hardens – it’s hit her, the realization that she’s been deceived all these years, that her mother has been out there alive but not with her. In a moment that’s really painful to watch, Rachel steps forward and reaches out to her daughter, but Charlie backs away, and Rachel stops, let’s out a small “sorry,” shoulders hunches, hands unsure where to go.
Side note: Around here is where the credits tell us this episode was co-written by Monica Owusu-Breen, an alum of three J.J. Abrams shows, Alias, Lost and Fringe, and by the end of the episode this makes a lot of sense. We get long-awaited confrontations between multiple pairs of characters in this episode, and all of these scenes really deliver, just like a favorite Fringe scene of mine written by Owusu-Breen, when Olivia finally breaks down and opens up to Peter at the end of "Marionette."
And now we get our next confrontation, one that I didn’t even think much about before this episode, but as soon as this scene began, I thought, This is gonna be good. Aaron and Neville. The once-powerful man who lost all power when the lights went out and the once-weak man who gained immense power when the lights went out. Neville recognizes the Google tycoon from the covers of countless Wired magazine issues. And the militia major immediately begins to tear down Aaron, savoring his opportunity to gloat about how much their fortunes had changed. Though maybe he savors the moment a little too much – this scene could have been pulled off with much more subtlety, but I guess it says something about Neville that he’ll take the chance to spell out the role-reversal as explicitly as possible.
NEXT PAGE: A good hostage situation never fails