But why should it be trying? Some show seem content to just plod along (like Enterprise) and go from episode to episode, while others are constantly obsessed with beating the previous season or going above and beyond what the competition is doing in terms of effects, guest actors and budget. Alias has traditionally been the later, with constant re-inventions always sending the story in new directions and with a highly creative team working to push the series in bigger and bolder directions.

Alias may have a new direction, but is it still trying to be bigger and bolder? I have to say yes, but in a very different way. Instead of focusing on the big things (like how does Syd enter this mission, how many explosions can we have at one time), the series has gone for the emotional resonance factor and is heavily involved in developing a new bond between Sydney and the audience. She is no longer the spy she was, and instead she is becoming a mother both to her unborn child and APO newcomer Rachel Gibson. The pregnancy story and the death of Michael Vaughn is part of that, although it is obvious that its main focus (other than making the shows production a little easier) is to give Sydney a reason to go to work everyday and some larger agenda to work towards. We’ve had SD-6, we’ve had catching Sloane and we’ve had the missing time puzzle. Season 5 is the story of Sydney avenging the death of her fiancée…again.

It is rather easy to see how the pregnancy component fits into the whole Alias dynamic. This is Sydney’s domestic story. In the past there has always been some personal tale, such as Will and Francie in season one, or having a sister for a roommate last season. Now we have Sydney starting a family. Having Jack become more involved with that aspect of Syd’s life is a welcome one, and its actually something that has been in development since the first season.

If you are a hardcore fan of the show, you’ll remember all those times Sydney tried to meet up with her father for dinner and to catch-up, but alas he wasn’t interested. After six years of spying around the world, the two now have a firm and steady relationship to work with and a new Bristow is on the way. The sad thing is, you just know all of this is going to come tumbling down on Sydney before the series ends.

Like I said, the emotional resonce this season is remarkable, but the spy-time stories are also better and stronger than we’ve had since the third season. The villain, Gordon Dean is actually a good one and not too dissimilar from Sloane. You just want Sydney to catch him and inflict as much pain as possible. And in this episode it finally happened. Naturally, his capture led to some very disturbing intel, namely that The Shed is only part of a bigger organisation, one that has infiltrated agencies all over the world. The sad fact though is that this revelation was at the expense of Dean himself, although that is easy to forgive with the knowledge that Kelly Peyton (Angel’s Amy Acker) is stepping up as the new villain. She was great as Winifred Burkle, and even better as Ilyeria on Angel. But now, as Peyton, she’s a baddie to be hated. And that’s just what Alias needs.

It was nice to see Renee Rienne fitting in to the series a bit better, as the last six episode have seen her pretty much scraping for whatever screen time and uninspiring stories she could get. Having her as a freelance operative kind of makes her worthwhile and also gives the character so many possible futures. Will she betray APO for Prophet Five, is she part of The Shed and what exactly went on with her and Vaughn? When before I wasn’t really interested in the answers, now I look forward to uncovering her secrets.

But by far, the greatest part of this episode is Mia Maestro. I know I’ve really been hammering in how much I miss her each week and last week’s brief appearance was enough to give me hope of seeing her again. Her mere presence in the coma has been enough to revitalise Sloane’s character and has allowed Ron Rifkin to reach new highs.