Warehouse 13: Season 1, Episode 6

Burnout (11 Aug. 2009)

TV Episode  -   -  Drama | Mystery | Sci-Fi
7.6
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Ratings: 7.6/10 from 275 users  
Reviews: 4 user | 2 critic

Pete and Myka hunt for a lethal artifact but it finds Pete first. As Pete prepares to sacrifice himself as did the first Warehouse agent who recovered it, Myka searches for a way to save him, if she can find him.

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Leena (credit only)
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Daniel Dickenson (credit only)
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Captain Powell
David Carty ...
Reggie Hinton (as David 'Jelleestone' Carty)
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Mateo Morales ...
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Sarah (Ex-Wife)
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Vince (Ex-Husband)
Roop Gill ...
City Engineer
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Pete and Myka hunt for a lethal artifact but it finds Pete first. As Pete prepares to sacrifice himself as did the first Warehouse agent who recovered it, Myka searches for a way to save him, if she can find him.

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11 August 2009 (USA)  »

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The combination that Artie dials into the door doesn't match the one that appears on the display. See more »

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Warehouse 13 End Credits
Written by Edward Rogers
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User Reviews

 
Burnout is right.
12 August 2009 | by (United States) – See all my reviews

Did I just experience "Burnout"? These episodes of Warehouse 13 pass through me like mineral oil now. I have pretty much relegated this show to background noise while I am doing tedious paper work. Interestingly, there has never been a tendency to stop and listen. When I am watching a repeat episode of Lost or The Twilight Zone I very frequently discover that I have ceased to work and started to concentrate on the show.

I keep reading reviews that claim Warehouse 13 is a show about "character development" or that episodes have to be seen several times to be understood. Absolute malarkey.

Two-dimensional characters do not develop—spread, perhaps, but never develop. It is interesting, however, to see Myka and Pete getting "cuter" as the episodes progress. This apparently resulted from the producers anticipating ready acceptance by the science fiction community and supposing that this gradually escalating "cuteness" would seem appropriate. In shows like The X-Files, where the audience identification is genuine, this escalating tendency to make fun of their own quirks seems appropriate. In warehouse 13, it seems like a comedian cranking out his memorized routine long after the audience has ceased to laugh.

Warehouse 13 does not demand study and repeated viewing. Concentrating on an episode of this show would be a chore. Concentrating on it twice would be unbearable. I know of science fiction presentations that seem more meaningful every time you watch them. Among these masterpieces are Forbidden Planet, Blade Runner, and The Fifth Element. Some of these seemed meager at first but gradually took on new form. To make this claim about Warhorse 13 is pure sophistry. This claim is made only by persons who want to ensure a return on their investment.

Speaking of investments, with the money and talent that went into Warehouse 13, it could have been a great show. Instead, it is a gigantic marketing ploy. The SyFy Channel drew on the years of audience research they did as the SciFi Channel and created a ponderous behavioral function. The problem with their creation is the same problem that plagues many special effects: even when an audience cannot explain why something looks faked, they can sense that it is faked.

Warehouse 13 is faked. However, in this case it is not the images that have been faked, but the sincerity. There is no genuine inspiration behind the quirky smiles or the odd happenstance. It is a purely plastic effort to elicit a calculated effect.

When trying to imagine how this show was made, I envision rooms full of target audience subjects with little knobs like the ones that are used to evaluate political speeches. The subjects are shown millions of scenes from thousands of science fiction presentations, and a careful record is kept of which ones elicit a positive response. Then, Warehouse 13 is created. It is sewn together like a patchwork quilt from well-received lines, scenes, and props borrowed from other shows. If you think about it, you will understand what I mean: here is the canister from Ghostbusters; there are the stones from The Fifth Element.

The sad thing is that it seems to work. Warehouse 13 is doing well in the Nielson ratings. Apparently the way to make a successful show is not to have an original idea or an active imagination. Apparently writing talent and story telling talent are not requisites either. The key is to adapt well to the marketing research and acquiesce to the formula. Of course, Warehouse 13 is not setting any records in the Nielson ratings. It is, after all, just schlock. But it will get the numbers it needs to win a second season, and it will undoubtedly muddle through to a third.

Warehouse 13 is an interesting sociological experiment. Will it be possible to brainwash a sizable population into thinking it is the latest cult classic? Will we be hearing more slogans like "the most dangerous night on television"? How hard will the producers push this mockery down our throats and how far will they manage to push it?


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