Television Review


PRISON BREAK: Orientacion

By: Stephen Lackey
Review Date: Wednesday, September 19, 2007

The summer can be a really long break for shows like Prison Break. The show has a very convoluted plot with many crossing story threads and a fairly large cast so it’s easy to forget different parts of the two previous seasons. To make things worse, the season three premiere kicks off with no “previously on…” This was a terrible mistake from the creators because it would have been easy to do a quick two minute recap and just showing the important bits from the previous season. Due to that, it took me a few minutes of the episode’s running time to re-acclimate myself to the world of Prison Break. Once I was settled in, I was happy to be back in this world though. The creators had previously stated that this would be the last season of Prison Break with Season one being “in the prison”, season two being “on the run”, and the final season being “back in prison”. My first impression of the new story arc introduced in this premiere was “ok, here we go again” but I’ll get to that complaint in a minute.
 
The episode starts by reintroducing most of the primary characters with Michael, Bellick, Mahone, and T-Bag in Sona, a bad ass Panamanian prison, and Linc on the outside going through proper channels to try and rescue his brother. Linc has been exonerated of all of his charges so this season Linc and Michael have flipped positions. Michael just plans to ride out the day because Linc has been able to get help from the Consulate to move him to a more comfortable prison but things change quickly. Linc gets a call from A.J. and learns that he and Sarah have been kidnapped and will be killed unless Michael helps someone inside Sona escape. This is frustrating because again Michael has to rescue someone who is basically in solitary confinement and escape. Here we have season one all over again with some noticeable differences, mainly the team he will end up working with and the prison he must escape from. Sona is so violent that there are no internal guards, just sharp shooters surrounding the prison. Here’s an interesting question: how do inmates know that they have visitors if there aren’t any guards to go and pull them from the yard for visitation? Obviously it happens somehow because Linc and a mysterious company man have both visited Michael.
 
Bellick’s situation cracked me up in this episode. If it continues, I may find myself feeling sorry for him but at least for this episode seeing him beat up and walking around the prison in his underwear was hilarious. I spent a lot of the episode wondering where the heck T-Bag was, and when he finally made an appearance in the prison, I wasn’t disappointed. In a matter of minutes, he figured out who the leader of the prison is and he kisses butt pushing his way into the leader’s group. Lechero, the leader of the prison, fears Michael’s charisma and his celebrity status so he sets Michael up as a thief by planting drugs that belonged to another inmate. The way these fights are settled in Sona is a fight to the death in the prison yard. Michael fights and wins but he refuses to kill. Just before the inmate can stab Michael in the back, it’s Mahone to the rescue. He steps out of the crowd and snaps the man’s neck. Mahone knows that he needs Michael alive if he’s ever to get out of Sona alive.
 
Orientacion is basically a setup for the season and I find myself on the fence a bit. Overall, I enjoyed the episode. T-Bag was fun as usual, Bellick was great to watch as he finally gets a little of what he deserves, and even Mahone’s withdrawal and desperation were well played. Oddly though, in this episode I found Michael and Linc the least interesting. I also don’t know how I feel about seeing Michael running basically the same game this season as he did in season one. I hope the escape plan is balanced with more of the conspiracy and some other unique twists. I know back in season two we saw the word “Sona” several times but I can’t remember each of those situations. That’s why some recapping would have been a really good idea. Here’s a question, how did these company men know in advance that Michael would be so good at breaking out of prison? Did they only decide to use Michael after the escape? If so then what’s their connection to Michael and Linc and the original conspiracy? By the way, why didn’t we see any of Sarah? The kidnappers showed a picture of A.J. and we heard his voice. Maybe the kidnappers don’t actually have her, or she might already be dead. The actress who plays her has been appearing on another show, so who knows. I enjoyed a lot of the performances in the premiere and the prison is just crazy old school fun so I’m with the show, I just hope it does more than give us a new setting for the same old story.


More Content By Stephen Lackey
SONS OF ANARCHY: Pilot
(Friday, September 5, 2008)
PRISON BREAK: Scylla/Breaking and Entering
(Thursday, September 4, 2008)
TV Wasteland: What to Watch this Fall, or Not?
(Monday, September 1, 2008)
TV Wasteland: CBS Knows Best, or Do They?
(Monday, August 25, 2008)
BURN NOTICE: Rough Seas
(Friday, August 22, 2008)
EUREKA: I Do Over
(Thursday, August 21, 2008)
PRIMEVAL
(Tuesday, August 19, 2008)
TV Wasteland: Ron Moore Goes Virtual
(Monday, August 18, 2008)
EUREKA: Best in Faux
(Thursday, August 14, 2008)
TV Wasteland: Torchwood Audio Episode?
(Monday, August 11, 2008)
Comments/Responses
1
westend • Sep 19, 2007, 02:21am •
The actress that plays Sarah is Preggers. She will voice over another actress doubling as her in a couple episodes.

nax37 • Sep 19, 2007, 08:45pm •
I believe the company decided to use Michael in Sona after they realized their plan with the woman president wasn't going well. Clearly whoever Michael has to break out is important to them, we just don't know how yet.

Also, at one point during the episode the PA system said something about Scofield. The next scene, Michael was meeting with Linc or the Company guy. So I'm guessing the guards on the outside announce that a prisoner has a visitor, then the prisoner goes to the yard.

1
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