Although the third season of 24 lacks consistency and cohesiveness, it is still a compelling addition to the series that strikes a better balance between the character-driven stories of season one and the large-scale threats of season two. The season’s plot revolves around the Cordilla virus, a virulent biological weapon that different factions vie to obtain for their own purposes. Unlike season two’s nuclear bomb, which threatened a single city, the Cordilla virus could potentially kill countless individuals throughout the country. As such, season three is set on a literal and figurative battlefield for control of the virus.
Season three takes more risks and deviates from the show’s usual formula. Much of the action occurs outside the United States, and the audience is left in the dark about the motivations of key characters like Jack Bauer for several episodes. These creative choices have made the season more controversial than others, but they also represent the show’s first attempt to shake things up.
Despite its flaws, season three benefits from great character development and well-crafted villains. The plot also delves into thematically engaging material, although it is somewhat undermined by a few slow-paced episodes and melodramatic subplots. Overall, season three of 24 is a solid addition to the series that offers something new while staying true to its core elements.
At the end of season two, Mandy, a mercenary, attempts to assassinate David Palmer using a biological weapon. It was revealed through a phone call that she was affiliated with Max, the German arms dealer responsible for the day’s events. Season three was expected to explore the oil consortium conspiracy and this storyline but failed to meet those expectations. The opening episode of season three hand-waved the implications of season two and the significance of the events was reduced to merely signposting the nature of the terrorist threat for the next season.
The failure to address unresolved plot threads and lingering questions from previous seasons was one of the significant shortcomings of the series. The show lacked credible world-building and needed to be more capable of developing multi-season storylines. Numerous terrorist attacks were carried out in Los Angeles, resulting in thousands of casualties, but they had a negligible impact on the world. The show also portrayed ten heads of state occupying the office in just nineteen years, but the United States did not resemble a dystopian society.
Each season of the show was effectively a soft reboot, with unresolved cliffhangers and lingering plot threads discarded in favor of starting with something fresh. Although frustrating, it was understandable as the show was difficult enough to create without additional restrictions for the writers. Resetting the chessboard every year allowed the show to rejuvenate itself aesthetically. 24: The Game, which took place between seasons two and three, retroactively resolved the storyline but needed a better substitute for the show itself.
Jack of season nine, and the Tony Almeida of season one is entirely unrecognizable from the Tony of season seven.
The show’s focus on characters is what gives it resonance and permanence. The real-time format is a gimmick that attracts interest, and the terrorist attacks are glorified McGuffins that serve as exciting plot devices. However, they are not the real story of 24. They create situations and circumstances that facilitate desired character development and the exploration of relevant themes and ideas.
The real story of 24 is the cumulative cost of political and intelligence work. The show explores how characters respond to extreme situations where countless lives are at risk, either by upholding or compromising their principles. It also examines how their involvement can lead to significant personal sacrifices that isolate them from others and the world, resulting in suffering.
The first few episodes of season three of 24 need to be more consistent. While the first episode effectively establishes the danger and introduces the characters’ dynamics, subsequent episodes take poorly executed detours. The Kyler Singer and Anne Packard storylines need to be more engaging and ultimately irrelevant to the overarching plot. However, the story improves when Tony is injured, and Jack orchestrates a thrilling prison break, taking the season in a more exciting direction.
Season three is more structurally ambitious than its predecessors. Jack and Tony devise a complex sting operation to recover the Cordilla virus, kept secret from their colleagues and the White House until the seventh episode. This withholding of important information from the audience is a successful twist, forcing viewers to reassess previous events. However, the revelation can also feel manipulative and deceptive, making it hard to re-watch.
The twist also subverts audience expectations, as Agent Gael Ortega is revealed to be a triple agent, working with Jack to re-establish his cover with the Salazar brothers. This is the only other mole-related twist that lands with any impact besides Nina in season one. The twist is followed by the auctioning of the Cordilla virus by Michael Amador and the return of Nina Myers, which adds palpable tension to the plot despite its improbability. While season three has flaws, its structural ambition and twists make it a compelling addition to the series.
Despite a slowdown in the action when Jack arrives in Mexico during the evening hours, this sets the stage for an exciting second half of the season. It is revealed that the auction was a ruse orchestrated by Amador all along, as his real intention was to sell the virus to another client. Unfortunately, the sting operation fails to secure the virus, and as a result, the Salazar brothers are killed. Additionally, Nina is captured by C.T.U for further questioning.
After Jack and the team discover that Stephen Saunders is behind the threat, the narrative gains momentum and tension. Saunders seeks revenge on the US government for abandoning him during his captivity and uses the virus to hold the country, hostage. He demands the death of Regional Division Director Ryan Chappelle, among other things.
The Chandler Plaza Hotel becomes the first target where Michelle and Gael are exposed to the virus. Michelle is forced to shoot one of the guests, and the suicide capsules are offered to the people inside. These moments are powerful as they depict how terrorist attacks can affect regular civilians.
The remainder of the season has equally intense scenes. Jack is forced to murder Ryan Chappelle and later amputate one of Chase’s hands to prevent the virus from spreading in a high school. Michelle is also captured to ensure the cooperation of her husband. These events mirror what Jack experienced in season one.
While the first half of season three lacked energy and focus, the second half is universally praised for its memorable character interactions and action set-pieces. The Chandler Plaza crisis and the explosive confrontation at the 6th Street Bridge are among the most intense moments of the series. The relatively subdued resolution outside St. Thomas Hospital also leaves a lasting impact.
Season three’s strength lies in its intense main storyline, but numerous poorly integrated subplots weaken it. Unlike the first two seasons, which had thematic relevance to the main plot, these subplots feel like unnecessary diversions. They resemble soap opera dramatics, lacking coherence and purpose.
The interoffice politics at C.T.U are particularly tedious this season, with petty conflicts between Kim Bauer and Adam Kaufman and tension arising from the romantic relationship between Kim and Chase. While Kim’s integration into the action is an improvement, her character still feels like a source of unnecessary drama.
In addition, Chloe O’Brian’s subplot involving a secret baby feels forced and does not endear her to the audience. It is remarkable that her initially unlikeable character became one of the longest-running in the series.
The political storyline is the most egregious subplot, with David Palmer facing scandals involving his brother and financial supporter’s wife. This endangers his re-election campaign and leads him to make unthinkable compromises to protect his family. Sherry’s involvement in Alan Milliken’s death further complicates the situation, making the subplot feel unnecessary and frustrating.
Season three is marred by a plethora of poorly integrated subplots or pointless at best. The interoffice politics at C.T.U are especially tedious, while Chloe O’Brian’s story arc of looking after a baby feels out of place and does not endear her to the audience. The political storyline is the most egregious subplot, rehashing previous seasons’ scandals and treachery without any intrigue or thematic relevance. The contrived return of Sherry Palmer fails to match the quality of the result, and David Palmer’s final appearance as a principal character is mishandled. It is possible that the decision to withdraw Palmer from the re-election campaign was due to the failure to craft a compelling political storyline, leading to a change in season four to refresh the dynamics.
Season three of the show is marked by a significant tonal shift toward darkness. The Cordilla virus, being chaotic and insidious, poses a threat unlike any seen in the previous seasons, including the nuclear bomb of season two. The virus can be dispersed through easily transportable bags of powder, and the symptoms experienced by infected characters such as Gael are disturbingly visceral.
The season also explores darker themes, with characters who engage in morally questionable actions. Jack, for instance, is forced to execute an innocent Chappelle to appease Saunders and prevent the release of the virus. This is just one example of the series’ central characters being pushed into acting in ways that challenge the traditional definitions of heroism, blurring the lines between right and wrong.
David Palmer is a prime example of the recurring theme of compromise in the series. David was portrayed as a man of unwavering honesty and integrity in the first two seasons. However, season three sees him engaging in deceitful behavior, covering up sex and murder scandals to protect his family and his re-election chances.
These breaches of power lead to disastrous consequences, culminating in Sherry’s death and Julia Milliken’s suicide. Despite his moral fortitude, David’s corruption reflects the human failings that can emerge in times of crisis.
However, David ultimately redeems himself by withdrawing from the election, choosing to uphold his principles rather than maintain power. This moment of idealism is a rare beacon of hope in a show that is otherwise shrouded in cynicism and serves as a valuable lesson for those in positions of power where compromise can be all too tempting.
Season three establishes a parallel trajectory between Jack Bauer and Tony Almeida, highlighting their shared experiences and creating a complex yet powerful relationship. As Special Agents in Charge, both men have devoted their lives to protecting their country and have been betrayed by women they trusted. Despite their similarities, the key difference between the characters is the extent to which their emotions guide their actions.
Jack has learned to avoid romantic entanglements and detach himself from the field, while Tony struggles to suppress his emotions and make necessary sacrifices. In season three, Tony’s involvement becomes more prominent as he coordinates a complicated operation, suffers a severe injury, and fears for his wife’s safety from the Cordilla virus.
Tony’s actions also significantly impact the storyline, including committing treason by helping Saunders escape authorities and collaborating with him to facilitate a hostage exchange. These events are reminiscent of Jack’s compromising position in season one, and their contrasting approaches to handling these situations spark a heated conversation between the two characters.
Tony’s character development is a standout element of the season, as he refuses to sacrifice his wife for the sake of the mission. He confronts Jack for failing to save his wife when she was similarly imperiled, resulting in some of the most compelling scenes of the season. Overall, the mirroring trajectories of Jack and Tony add depth and complexity to their relationship, resulting in excellent drama and character development.
In the end, the rescue of Michelle and the capture of Saunders do not exonerate Tony, who must confront the fallout from his treasonous behavior. These events establish the foundation for the following two seasons and set a precedent for Tony’s future reprehensible actions in season seven. The mirroring trajectories of Jack and Tony, and the complexities of their relationship, will continue to shape their characters and stories throughout the rest of the series.
In contrast to the first two seasons ending with cliffhangers, the show concludes more quietly and less dramatically in season three. There are no sudden plot twists or action-packed sequences, as the biological threat is contained, and the subplots and major villains are dealt with. This marks the end of the first trilogy of the series, as various storylines reach a natural conclusion.
The season also sees the end of some recurring characters, including Ryan Chappelle, Nina Myers, and Sherry Palmer, whose story arcs have been consistent throughout the trilogy. Sherry is murdered as retribution for her corrupt actions, while Jack executes Nina in the same room she killed his wife.
In the final moments of the season, the focus is on Jack, who has endured tremendous pain and loss in the last three seasons. The weight of his experiences finally catches up to him, and he breaks down in tears outside the hospital. This moment of vulnerability offers a much-needed catharsis for Jack and allows him to move forward.
However, Saunders’ warning that Jack’s government will abandon him foreshadows future events where Jack’s loyalty and sacrifice will be betrayed. Jack will become increasingly disillusioned in the second trilogy and face even greater suffering as he uncovers more profound corruption.
Despite this ominous foreshadowing, Jack can enjoy a moment of relative peace, a rare occurrence in the series.
