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This dialogue is a triple metaphor for the episode, the scene, and the series. The episode’s villain, Kendrick (John Pyper Ferguson), calls Michael and asks him non-too-subtly what it is he wants. Madeleine literally goes out with a bang, followed by frenzied cross cutting of music, and slo-mo. But this is what is known as a red herring or false lead.Īfter escaping the gas station from the open we cut to Jesse and Michael’s mother Madeline reinforcing that Jesse, an orphan, actually has a true family and it is the Burn Notice crew.
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We also are given a VO that reinforces the bonds that the characters all share and hints that Michael may have a death wish that will keep the audience in suspense regarding his survival. Later in the episode, Michael has a conversation that calls back to the premiere episode and references how the show began with Michael’s “Burn Notice”, or when an undercover agent is disavowed by the CIA.
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And it does, as they use the C-4 to cover their escape. This use of “Chekov’s Gun” lets us know that an object of great usefulness will come into play later in the episode. Frequently the characters’ dialogue overlaps, which is not something that is easily accomplished, and is usually used to heighten the comic aspects of a scene.Īt one point Fiona mentions that she has some C-4, a plastic explosive, in her purse. Burn Notice has always done a good job with the interplay between its main characters. Sam (Bruce Campbell) and Jesse (Coby Bell), frequently the comic foils, bicker about what type of beer they are going to purchase at one point, despite being on the run from the CIA.
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Their dialogue is also filled with innuendo and in-jokes from the run of the series that impresses upon the viewer just how intimate the two leads have been over the course of the series. with banter and flirty dialogue heavy with sexual tension. Michael Westen and Fiona Glenanne (Gabrielle Anwar) have reunited and rekindled what one might refer to as a “Hepburn and Tracy” type of romance. The final episode begins as a “chase,” both literally and figuratively. It is arguable whether the main character switching sides signals that a series has run out of creative steam, but a case can be made. Having the protagonist switch sides is a time-honored tradition for television serials dating as far back as Miami Vice in the 1980s. But Michael may be in too deep and forgotten which side he’s on. Westen and his crew have been rehired by the CIA and infiltrated a domestic terrorist network. Michael Westen, (Jeffrey Donovan), routinely explains the whys of spy methodologies and motivations to the viewer via VO. However, Burn Notice flips the script-pun intended-and makes the VO an integral running trope for the show. Normally in screenwriting one is instructed not to use VO, as it can indicate a failure to elucidate themes and plot points that the writer intended to convey. One version of a flashback is when the director or screenwriter replays scenes from a previous episode to help retell what has gone before it. We begin with a flashback that recaps the season with a voiceover (VO) that includes all the reversals that have transpired this season. Burn Notice concludes its seven-season run with an episode written and directed by the series creator Matt Nix.