Television Review: Ghosts (Person of Interest, S1X02, 2011)

Ghosts (S1x02)

Airdate: 29 September 2011

Written by: Greg Plageman & Jonathan Nolan
Directed by: Richard J. Lewis

Running Time: 43 minutes

It is a truism in television criticism that the second episode of a series, particularly the first "regular" episode after the pilot, often serves as the definitive statement on what the programme intends to be. It is here that the creators must either expand on the initial hook or risk stagnation. In the case of Person of Interest, the second episode, "Ghosts," sees Jonathan Nolan making a conscious decision to replicate the formula established in the pilot with remarkable fidelity. By keeping the tone and narrative format virtually identical to the opening instalment, Nolan signals that the series is not interested in experimentation or rapid evolution. Instead, "Ghosts" acts as a confirmation of the pilot's promise, solidifying a specific aesthetic and structural approach that prioritises efficiency over innovation. This decision, while safe, creates an instalment that looks very much like its predecessor, making as little difference as possible in terms of its overall identity in the early stages of its run.

The episode adheres strictly to the format of the modern episodic procedural, presenting a self-contained narrative arc that serves as a vehicle for character exploration. The central case is intriguing precisely because it places the Machine’s infallibility into question. The system flags a teenager, Theresa Whitaker (Valentina de Angelis), as a person of interest who is about to become involved in serious crime. However, the narrative immediately introduces a significant paradox: Theresa has been dead—or at least presumed dead by the authorities—for two years. This premise sets a ghostly tone to the proceedings, even before the "ghost" of the title appears. The backstory reveals that Theresa’s father took the lives of his wife and son before turning the gun on himself. Theresa’s body was never recovered, leaving her lingering in the system as a contradiction to the living population.

It is within this framework that Reese must pivot from standard investigation to solving a mystery involving the recently deceased. He quickly deduces the truth: murder-suicide was actually a targetted hit, and a hired hitman refused to execute the child, instead giving her instructions to hide on the street. For the next two years, Theresa survived by a gritty ingenuity, selling stolen ATM card PINs to make ends meet. Reese locates her, but the investigation soon uncovers a darker corporate conspiracy. It turns out that Theresa’s father and her uncle, Derek Whitaker (Danny Mastrogiorgio), were involved in a real estate deal with Landsdale, a corrupt company led by the Jimmy Calhoun (Remy Auberjonois). When the deal soured, Calhoun chose to eliminate his losses by killing the father. Crucially, he hoped that the death of Theresa would prevent her uncle from inheriting the land, as it would ostensibly go to her. Consequently, Calhoun dispatches an assassin (Richie Coster) to finish the job. The assassin kills Derek, only for Finch and Reese to intervene at the last moment to save Theresa. The episode concludes with Calhoun’s arrest and Theresa’s emotional reunion with her aunt, Elizabeth.

While the script, co-written by Jonathan Nolan and Greg Plageman, relies on a "bare bones" simplicity for its main storyline, it successfully uses this framework to continue exploring the characters' lives and origins. The narrative serves as a backdrop for character study rather than purely plot-driven action. A significant portion of the episode is dedicated to establishing the mundane reality of Harold Finch’s life. Despite being an extremely wealthy man who built a surveillance supercomputer, Finch maintains a cover as a simple software engineer who works as a regular employee within his own company. This detail humanises him and grounds the show in a relatable reality, contrasting sharply with the high-tech machinery of the Machine.

Furthermore, the episode is richly populated with flashbacks that describe how Finch built the Machine between 2002 and 2007 with the help of his friend Nathan Ingram. These sequences are essential for grounding the series in a specific historical context and explaining the genesis of the technology that drives the plot. They serve to elevate the show beyond a mere action drama, offering a glimpse into the intellectual and emotional labor required to create the system.

The casting of Brett Cullen in the role of Nathan Ingram is the most intriguing aspect of the episode. Cullen brings a gravitas to the role that makes the flashbacks feel historically significant. His performance is particularly resonant for fans of genre television, partly due to the palpable references to Lost. Cullen played the character of Goodwin Stanhope, a partner and romantic rival of Benjamin Linus, who was portrayed by Michael Emerson. In Person of Interest, Emerson also plays Harold Finch, and the dynamic between Cullen and Emerson in these flashbacks creates a subtle, meta-narrative tension. Seeing two actors who previously faced off against each other in a polar-opposite genre now collaborating on a high-stakes technological drama adds a layer of intellectual pleasure for the viewer, even if the narrative itself remains straightforward.

Despite the presence of several action set pieces that display the show's capacity for visceral thrills, "Ghosts" is not a particularly impressive episode. The action, while competent, often feels like a checklist of requirements rather than a highlight of the storytelling. For instance, Reese saving a man from two assassins in the cold open sets the pace, but the subsequent fight in the laundry and Finch’s resourcefulness in saving Theresa from an assassin in a hotel room, while serviceable, lack the creative flair or tension of a truly great action sequence.

Perhaps the most telling omission in the episode is the music. The score is composed by Ramin Djawadi, an artist made famous by his work on Game of Thrones. One would expect a composer of his calibre to leave a significant mark on the series, yet in "Ghosts," his contributions are almost unnoticeable. The music is functional and fades into the background, failing to elevate the emotional beats or the high-stakes moments. This lack of a distinct sonic identity makes the episode feel somewhat flat, adding to the overall impression that it is a competent but unremarkable entry in the season. While the episode succeeds in setting up the world and the characters, it struggles to leave a lasting impression, relying too heavily on the formula established in the pilot rather than pushing the series forward.

RATING: 5/10 (+)

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