I’ve been following this series with interest, and Episode 7 - titled “Change of Time” and streaming now on Apple TV+ - brings enough momentum that I found myself drawn in, while still leaving me wishing for tighter coherence in a few areas. On the plus side, the episode is confident in moving pieces on the board - characters change, loyalties wobble, timing matters - and the production values remain solid. On the weaker side, there are structural hiccups, some choices that feel more contrived than organic, and pacing that occasionally drifts.
From the outset, we see Frank (played by Jason Clarke) reacting to the latest turn in the investigation of the crash that freed dozens of inmates in the Alaskan wilderness. The way the show introduces a fresh suspect and a fresh interval of time pressure makes the episode feel alive - there’s the sense that time is running out, not just for Frank but for his allies, the town of Fairbanks, and the wider conspiracy behind the crash. I appreciated how the writing gave Frank more agency this time: he’s no longer purely reactive, but starts to push on his secret with more urgency. That both boosts his character and gives the story forward momentum.
The subplot involving Sidney (Haley Bennett) and the hard drive recording from the transport plane adds a lot of intrigue. The way the episode shows her anxiety and the implications of the hard drive - that it could place her at the centre of not just an accident but intentional sabotage - works well. Her emotional state is convincing, her dilemma is clear: is she merely a pawn or a player? That moral ambiguity is a strong point. Similarly, the supporting characters like Sarah (Simone Kessell) and Luke (Tait Blum) receive meaningful beats. Sarah’s concern, her worry about what Frank doesn’t tell her, gives the familial side of the story some weight, and Luke’s involvement in the basement evidence ties back to earlier episodes in a satisfying way.
From a visual and directorial standpoint, the episode remains robust. The Alaskan landscape still feels like a character in its own right: wide shots, dark timbered cabins, icy areas, and the cold light of winter give the show its distinctive look and mood. The cinematography is doing a lot of heavy lifting—when the foreground drama falters, the visuals help maintain immersion. The direction is also confident in handling action beats: there’s a nicely staged interrogation scene mid-episode, some tense dialogic exchanges, and a couple of moments where the editing allows for breath-space rather than non-stop rush. In these moments, the episode really shines, giving us room to feel the stakes rather than just watch them.
There’s a nice build-up, too, in how the script shifts the power dynamic. Up to now, Frank has been chasing the fallout of the crash; here, he’s beginning to challenge the assumption that the crash was accidental, bringing in the possibility that time itself has been manipulated: deadlines, hidden recordings, a chain of command ready to move. The title “Change of Time” works on both literal and metaphorical levels, and the episode plays into that nicely. For example, we see timelines overlapping—Frank’s past decisions, Sidney’s hidden involvement, Havlock’s (Dominic Cooper) next move—all converge in this episode. That kind of layering adds depth and keeps me invested in the “why” behind the action.
But—and here’s where the minor frustrations come in—the script sometimes uses convenience leaps that weaken the tension rather than increase it. At a few points, character motivations feel under-explored; for example, one turn in Luke’s knowledge of evidence feels abrupt. I wanted more groundwork for that reveal so it would land with a stronger emotional impact. Also, the pacing in the second act drags a little: after the high-tension opening, we spend a chunk of time in exposition mode—some of which feels repetitive or obvious. The show reminds us of things we already know, and while that can be okay in serial TV, it felt a little heavy here. It’s like the episode needed to bridge a gap in the larger narrative, and so it hankers a little on the connecting tissue rather than the dramatic edge.
Another quibble: the more conspiratorial elements are becoming broader and a little less grounded. I still like the ambition—introducing CIA levels of involvement, hidden hard drives, large-scale subterfuge—but the farther the story drifts into “everyone is involved” territory, the more the personal stakes feel diluted. At times, I missed the simpler, more isolated struggle of Frank trying to keep his community safe, in favour of a sprawling spy-thriller feel. There’s nothing wrong with that tone shift, but the mix occasionally feels inconsistent — is this about the marshal and the town or global intrigue? The episode leans classically toward the latter, and so the show risks losing some of its original identity.
Performance-wise, Clarke remains magnetic; he grounds the episode whenever it threatens to tip into over-plotting. His internal conflict—protecting his town, hiding his secret, trusting people again—is believable, and his expressions carry a lot of the weight. Bennett as Sidney gives us just the right amount of fear and calculation; she’s not just a damsel in distress, she’s someone who might turn the tables. The ensemble cast continues to deliver at a high level, and that keeps the viewer anchored even when story mechanics waver.
Directionally, I found the interrogation showdown—when Frank presses the new suspect, especially effective. It mixes quiet tension, strong performances, and sound design (you hear the crack of ice outside, footsteps in snow) to heighten the mood. These are the moments where the show is at full strength. Conversely, the action sequences (though still polished) felt less urgent than in earlier episodes: I missed that pulse-raising fauna of the manhunt environment. Maybe the show is shifting tempo ahead of the final act, but I’d have preferred just a little more visceral momentum here.
In terms of character development, this episode moves several pieces: Frank’s hidden past begins to catch up with him, Sidney’s culpability becomes more acute, Luke’s connection is revealed, and Havlock’s broader agenda looms larger. These thread-pulls give the episode a satisfying weight. My only wish is that some of these arcs could have been given more screen time or emotional resonance, perhaps one or two scenes that linger a bit longer on characters reacting rather than moving the plot. I always feel that when character beats are allowed to breathe, the subsequent action will hit harder.
In summary, Episode 7 of The Last Frontier offers a balanced experience. It gives us what we came for—intrigue, character tension, beautiful setting—and deepens the underlying story in meaningful ways. It doesn’t quite achieve perfection: some narrative shortcuts, pacing hiccups, and a stretching of the scope somewhat blunt the impact. But even so, as someone invested in the series, I found myself looking forward to where things are heading rather than checking out. The episode manages to raise the stakes, reposition characters, and remind us of the central tension: in a place where time matters, who controls it? If the show stays focused on those core questions, while tightening its storytelling, then I’m eager to see the next turn.
Final Score- [7.5/10]