Television Review: Doors & Corners (The Expanse, S2X02, 2017)

Doors & Corners (S02E02)

Airdate: February 1st 2017

Written by: Daniel Abraham & Ty Franks
Directed by: Breck Eisner

Running Time: 43 minutes

In the high-stakes universe of The Expanse, where the fragile equilibrium between Earth, Mars, and the Belt teeters perpetually on the brink of annihilation, events unfold with a velocity that often leaves scant room for the nuanced character exposition or immersive worldbuilding which formed the bedrock of Season 1’s success. Season 2, by contrast, appears markedly more preoccupied with non-stop, high-octane action, frequently constrained by the unforgiving 44-minute television format. This relentless pace can render episodes feeling distinctly rushed, a sensation amplified exponentially in instances like Doors and Corners, the second half of Season 2’s feature-length premiere. Originally conceived as part of a two-parter, the episode inherits the burden of resolving complex narrative threads established in its predecessor, resulting in a breathless sprint that sacrifices deeper exploration for the sake of propulsion – a trade-off that, while delivering visceral thrills, leaves the audience occasionally grasping for the richer context Season 1 so adeptly provided.

The episode thrusts us immediately into the high-stakes chamber of Earth’s political and military elite, reeling from the Martian destruction of Phoebe Station. Fleet Admiral Souther (Martin Roach), embodying weary pragmatism, advocates restraint, warning that immediate retaliation risks catastrophic escalation into full-scale war. His counsel, however, is drowned out by the hawkish fervour of figures like Errinwright, whose aggressive stance gains crucial traction through the calculated support of Arasavala. Earth’s chosen response – the targeted destruction of a radar station on the Martian moon Deimos – is presented as a measured blow: significant enough to register as defiance, yet deliberately limited in casualties to theoretically contain the conflict. Souther, for his principled dissent, is summarily stripped of his command and exiled to the Jupiter Fleet. His subsequent bar encounter with Arasavala is a masterclass in political realism; she coldly rationalises the escalation as inevitable, positioning her support for the Deimos strike as the least dangerous path available. During this tense exchange, Souther reveals a pivotal fragment of Fred Johnson’s past: decades earlier, the honourable Johnson was manipulated into destroying the surrendered Anderson Station, an act of betrayal so profound it shattered his faith in Earth and propelled him into the arms of the Outer Planets Alliance. This crucial backstory provides vital depth to Johnson’s current motivations but feels somewhat hurried, a casualty of the episode’s breakneck tempo.

The narrative then pivots sharply to Tycho Station, where Fred Johnson (Chad L. Coleman), now aided by his fiercely capable new lieutenant Camina Drummer (Cara Gee), processes the Rocinante crew’s harrowing testimony concerning the Eros outbreak and the ongoing protomolecule research at Thoth Station under Dr. Dresden. Johnson, recognising the existential threat and potential power residing in Dresden’s work, swiftly devises an audacious plan: the Rocinante will neutralise Thoth’s defences, enabling OPA breach pods to board and seize the station. The assault sequence itself is a technical triumph, showcasing the episode’s relatively high budget. Despite the Rocinante encountering significant difficulties – culminating in the destruction of one breach pod – the surviving pod, carrying Miller (Thomas Jane) and Diogo (Andrew Rotilio), successfully lands. The boarding operation proceeds with eerie ease; the station’s scientists, visibly under the Dresden’s insidious mental control, offer almost no resistance. Confronting Dresden (Daniel Kash), the doctor delivers a chilling monologue, attempting to justify his horrific experiments on Eros victims as a necessary evil for understanding the extrasolar protomolecule, defending humanity, and unlocking its terrifying potential. He proffers his research and expertise to the OPA, a prospect Johnson appears momentarily tempted by. Yet, this potential pivot point is abruptly, violently terminated when Miller, consumed by the trauma of Eros and his singular, obsessive quest for justice concerning Julie Mao, executes Dresden with a single shot to the head – a stark, unforgettable conclusion that denies the series a complex antagonist but resonates deeply with Miller’s fractured psyche.

Written by series co-creators Daniel Abraham and Ty Franck (the minds behind the original novels under the James S.A. Corey pseudonym), Doors and Corners exemplifies their skill in crafting sharp, efficient dialogue and propulsive action. The Thoth Station battle sequence stands out as a particularly impressive feat of CGI for contemporary television, its scale and fluidity conveying the brutal reality of zero-gravity combat without succumbing to excessive spectacle. Director Breck Eisner elevates the material further, moving beyond the functional direction of the preceding episode to imbue key scenes with a distinct visual flair. His use of colour is notably effective – the cold blues and sterile whites of Thoth Station contrast sharply with the warmer, more intimate tones of the Tycho Station bar, visually reinforcing the thematic divide between clinical scientific horror and raw human interaction.

This bar scene provides a crucial, semi-humorous respite. Amos (Wes Chatham) and Alex (Cas Anvar) engage in a darkly comic discussion about their shared, deeply traumatic Eros experiences, which rapidly escalates into Alex’s furious, cathartic rant. The tension is only diffused by the abrupt, darkly amusing reveal that Amos has hired a prostitute (Gabrielle Graham) to listen to Alex. While the Earth-Mars political machinations possess an unsettling, almost eerie resonance with contemporary geopolitical tensions, the episode’s undeniable climax remains Miller’s execution of Dresden. Kash delivers Dresden’s final plea with a potent mix of desperation and intellectual arrogance – simultaneously pathetic in its self-justification yet strangely compelling in its warped logic. Miller’s intervention, however, is not merely a narrative shortcut; it is a devastatingly justified act within the context of his character. Having witnessed the protomolecule’s unspeakable horrors firsthand and driven solely by his fractured sense of duty to Julie Mao, Miller cannot countenance Dresden’s continued existence, regardless of potential utility. This moment crystallises Miller’s transformation into the series’ tragic hero, sacrificing any potential for complex villainy on Dresden’s part for the raw, uncompromising truth of his own trauma.

Ultimately, Doors & Corners is a potent, technically accomplished episode that delivers significant plot advancement and unforgettable character moments. Yet, its very strengths are inextricably linked to its primary weakness: the breakneck pace necessitated by its position within the season structure and the constraints of television.While the action is thrilling and the direction stylish, the relentless velocity occasionally leaves the audience yearning for the breathing room that would allow the rich political and social tapestry of The Expanse to resonate more fully.

RATING: 7/10 (+++)

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