Where to begin? Well, Nate and Sophie did it again. You can always tell when they're going to do it, because they take a half-step towards behaving sociably with each other while announcing that they're not gonna do it again. The rest of the time, they never seem to remember even that they've ever wanted to do it together. I don't mind these occasional forays into the bedroom, but I'm just not sure why the show bothers with them at all. Maybe the thinking is that the sexual tension between Timothy Hutton and Gina Bellman is so uncontrollably smoking hot that they have to constantly defuse it or else it'll build into something that'll induce fatal coronaries in half the viewing audience. I myself have never detected any sexual tension or even much chemistry between the two of them, but maybe that just shows how brilliantly the plan is working. (There was a much greater risk of steaminess back in season two, when Jeri Ryan filled in for Bellman for a spell.)
And Parker finally got to do some fancy thieving in the climax, executing a basic-cable version of that thing where she, like Catherine Zeta-Jones in Entrapment and God knows who else I'm forgetting, got to do a gymnastics-ballet number in a room full of motion detector lasers. The sequence ended with her sliding on her knees out the door just as the room exploded behind her in a fireball. If Beth Riesgraf had even an inkling of just how sorry-looking the special effects surrounding her exertions would turn out to be, she deserves the Trouper of the Millennium Award.
Bookended between these twin non-events, there was a lot of fun stuff. The episode opened on what looked like the front lawn of the producer's country home, though subsequent dialogue revealed that it was supposed to be a farm. Two bald guys in suits appeared and menaced the young woman living there: "You have something that belongs to us," one of them said in an unearthly monotone. I thought that I'd hit the wrong button on my remote and was catching up on Fringe by mistake. The threatened woman, a "crop science major", sought help from Nate and explained that, in her zeal to feed a hungry planet, she had dared to go where Oliver Wendell Douglas never dared and produced "a potato that has extra nutrients inside." She called it her "super-tuber", and was both alarmed and appalled that anyone could see it principally as a vehicle for making money—or a threat to their bottom line—in a world where "there are families that are living on less than a dollar a day." Impressed by both her skills and her argument, Hardison praised her as "a certified stone cold plant hacker" and assured his colleagues that "The super-tuber is no joke." Apparently his message failed to get through to the music department, which kept punching up whimsical-sounding melodies every time the Promethean spud was mentioned or sighted.