05.29.08
Posted in Reviews at 12:00 am by Administrator
This season, I’ll be summing up this unusual 2007-2008 season with a post-mortem on the majority of the shows I’ve reviewed during the year, ranking from the very worst to the very best. In some cases, the term “post-mortem” is all too applicable. This is Part 5 of this 11-step journey, focusing on the second season of “Heroes”.
The first season of “Heroes” was the darling of the 2006-2007 season, offering the only post-“Lost” genre series to survive with similar popularity. As derivative as the first season might have been, mining some of the more interesting comic book concepts for the television format, the pacing was more acceptable to viewers who found “Lost” too ponderous for their liking. (For the record, both shows cater to a different audience, and trash-talking is unnecessary.)
The burden on “Heroes’ was substantial. The first season built tension almost perfectly over the course of nearly two dozen episodes, and then the writers delivered a weak and disappointing season finale. The mandate was simple: come back with a stronger second season and deliver on the potential that was momentarily squandered. Having started on a high note, the challenge was already a substantial one.
All things being equal, the second season of “Heroes” was a well-intentioned failure. First and foremost, it must be noted that the original plans for the second season were blown out of the water by the writers’ strike. As heavily serialized as “Heroes” is, any interruption can be fatal. Losing an entire second half of a season is beyond lethal. The writers were constantly attempting to balance the possibility of a full season against the growing reality of a shorter run.
That said, the writers conceive of each new plot arc as a “volume” of the overall series, and the second volume (“Generations”) wasn’t necessarily meant to last longer than the 11 episodes that made it to air. That makes the slow and overly methodical pacing of the second season seem unnecessary in retrospect. And, with so much repetition of elements from the first season, it’s hard not to wonder if the writers have already run out of ideas. “Heroes” wouldn’t be the first series to expend the best of its potential on a successful first season, only to degrade slowly but surely over the subsequent years.
The repetition was not entirely surprising, because the theme of the season arc was all about the sins of the previous generation. Since the first season introduced many of the mysteries surrounding the Twelve and their connection to Linderman’s crusade, it only made sense that it would eventually be explored. And one might also consider that such explorations tend to reveal that certain mistakes and choices are repeated in absence of new influences.
Even so, the second season introduced a slew of new characters, most of which were a disappointment. Elle, played by the gorgeous Kristen Bell, was never written well enough to exploit the actress’ talent. The same applied to the characters of Yaeko and Monica, who were introduced as strong women but never seemed to gel. In fact, the women of “Heroes” seemed to fare very badly in the second season of “Heroes” (a perennial problem for the series).
Nothing, however, can compare to the absolutely frustrating addition of Maya and Alejandro. The two characters were tied to Sylar early in the arc and were consequently outside of the main plot for the majority of the season. Sylar’s entire plot thread was developed as a lead-in to the third volume, intended for the second half of the season, so the writers’ strike made a bad writing decision worse. Maya and Alejandro, deserved or not, became the scapegoats of the mistakes made in the second season.
The net effect of the challenges and missteps were clear in the Critical Myth average rating for the second season of “Heroes”, which came to a 7.3. This is nearly a half-point drop from the 7.7 achieved for the first season. Had the season not been crippled by the writers’ strike, the third volume (“Villains”) might have redeemed the season as a whole. As it stands, one can only hope that the third volume will be improved by the long hiatus and a chance to consider what went off-course in the fall.
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12.05.07
Posted in Reviews at 12:40 am by Administrator
Written by Jeph Loeb
Directed by Allan Arkush
Barring any swift resolution to the writers’ strike, this will be the second season finale for “Heroes”, as well as the conclusion to the “Generations” arc. Several plot threads come to fruition, and the threat of the Shanti virus is addressed once and for all. In typical “Heroes” fashion, some of the conclusions may turn out to be little more than a tentative pause, but this was about as good an ending as the writers were going to produce this season.
The Shanti virus arc came together rather well, especially the eventual fight between the gathered heroes (Hiro, Matt, and Nathan) and Peter. The writers gave themselves a bit of a challenge when it comes to Peter; without Sylar to balance him out, he’s far too powerful. Right now, he’s Superman without the kryptonite, which is a logistical storytelling nightmare. Despite that fact, the battle below Primatech was actually more effective than the battle in Kirby Plaza.
The writers managed to use Peter effectively in the end, recalling that the best way to wipe out a deadly virus is to irradiate it to oblivion. It would have been nice for someone to hold Peter responsible for his part in the overall body count at Primatech, since he wasn’t exactly calling for restraint, but this reminded me of every comic book example of a hero being manipulated into villainy. Once the jig is up, the hero slides back into his role with minimal self-reflection. A couple of scenes in the third volume will probably be the extent of his guilt.
The Shanti virus plot thread also pertained to Sylar and his eventual restoration, which was about as shocking as a sunrise. As it turns out, Sylar had been infected with the virus to inactivate his abilities. Granted, he never seemed to be sick, but this is as good an explanation as any. The end result, of course, is that Sylar gets the injection of Mohinder antibodies and Claire regeneration. If Sylar gets to keep Claire’s ability as well, that’s one step closer to matching Peter’s power variety pack.
One cannot speak of Sylar without bringing up Maya, Mohinder, and Molly. Maya continues to be annoying and (thus far) without much purpose, other than to get Sylar from point A to point B. Hopefully she’ll bring something interesting to the table for the third volume. Molly was remarkably resilient under the circumstances. The best material, however, came out of the interplay between Sylar and Mohinder. Trust issues, indeed! It’s always nice to see Mohinder demonstrate some of that supposed brilliance.
It should be interesting to see where Elle goes from here, after her decision to go after Sylar. The writers are slowly but surely making her interesting, as she struggles between the programmed devotion to her father and the Company and her emerging sense of self-determination. It might be tempting to assume that a taste of freedom will bring Elle into the light, but there’s really no way to tell. Elle tends to act on emotional impulse, and if her emotions turn to anger, rage, and hate, that could be a very bad thing.
For now, those emotions have been tempered within Claire, but that may be a short-term situation. Mr. Bennett may have ordered his family to find a way to live on in peace without him, but the entire second volume has demonstrated Claire’s inability to follow rational orders. Considering what happens to her biological father in the end, she could decide to expose the Company more carefully. It would be a shame if Claire’s sense of purpose came to an abrupt end.
One thing is certainly clear: her relationship with West is over. This should have happened a lot sooner. In his apparent final appearance, West displays an incredibly horrible brand of selfishness. After all, he was more than willing to push Claire into taking chances that exposed her in the worst possible way. His urging led to the ruination of her entire life. But when the situation is reversed, and Claire is ready to expose his ability to the world, West is terrified at the notion. In short, West is exactly the kind of overbearing scum that he’s always appeared to be.
Equally disappointing is the treatment of Monica’s character. A character with her ability should be far more capable than the damsel in distress shown in this episode. Considering that her capture was handled by a terrible plot contrivance, her role as victim is doubly annoying. On the other hand, this leads to Niki’s apparent demise. Her entire plot thread of late has been a textbook example of tragic inevitability. Niki has always been one of the weak links for the series, thanks to squandered potential, and while her demise is unfortunate, the only real effect will be on Micah.
In a completely different way, Adam’s defeat has some troubling aspects. While it’s good to see Hiro using his ability with more creativity, I’m not sure how he was supposed to leave Adam in a casket in the same burial ground as his father. If Hiro had DL’s ability, perhaps it would work, but that’s not the case. The end result is quite clever, since Adam will eventually run out of air, but it leaves open the possibility of Adam’s return and seems to violate the scope of Hiro’s ability.
That brings me to the final “death” of the finale: Nathan’s assassination. Again, there are certain logical problems with the scenario. For one thing, while Matt may not have the experience to consider all the security angles, it’s hard to imagine that Nathan, Peter, and Matt would all assume that the Company would fail to move against them. Why wouldn’t Matt be scanning the crowd for signs of trouble? For that matter, Peter is powerful enough to jump back a few moments in time, grab the assassin, and save his brother without missing a beat.
The point is that the Company and its remaining allies (including Angela Petrelli, who was previously established as highly concerned with exposure) needed to make a statement to reassert their place in the scheme of things, and the writers (at least so far) chose to make sure that statement happened, even if it doesn’t quite make sense. Could Peter ultimately save Nathan in the beginning of the third volume? Of course. But if that were to happen, “Heroes” would gain the reputation for using apparent death for shock value. After Mr. Bennett and Maya, Nathan needs to stay dead to preserve any tension in the future.
So, as with much of the “Generations” arc, the finale is a mixture of good and bad, never quite managing to bring the story to a strong enough resolution. This is better than the first season finale, which seemed to miss the mark on nearly every level, but the writers will need to take a serious look at how they plan to close out the third volume.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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11.28.07
Posted in Reviews at 12:56 am by Administrator
Written by Jesse Alexander
Directed by Adam Kane
This is the kind of episode that leaves me conflicted. On the one hand, there were elements that I found exciting and more than worth the time, especially in terms of the current plot arc and the desire for closure. On the other hand, there were subplots that felt extraneous and predictable. “Heroes” has always been stuffed with more than enough plot material, but I’m concerned that this season finale will be just as anticlimactic as the first.
To be fair, the writers weren’t working towards a true season finale when these episodes were written; they had two plot arcs in mind with ongoing character threads linking them together. So the likelihood of satisfactory closure is low, just based on the circumstances of the writers’ strike. I’m also aware that Tim Kring has expressed similar dissatisfaction with the season, citing many familiar concerns. Hopefully that will play into the preparation of the third season.
On the positive side, the nature of the deadly Shanti virus has now been revealed, peeling back the layers of mystery surrounding the Twelve and their role in the formation of the Company. It all gels together well enough, even if some items remain vague, and it puts the current conflict into perspective. As we already know, Adam wants to use the virus to wipe out most of humanity and reset the civilization clock, and he’s duping Peter into helping him. Hiro is fighting to stop him, based on a desire for revenge and his own sense of responsibility.
If I have one issue with that aspect of the story, it’s Peter and his motivations. Understandably, he feels responsible for Caitlin and her welfare. He also wasn’t particularly bright in the first season, so his struggle to put things into perspective makes a certain amount of sense. Despite all that, he seems all too willing to accept Adam’s good intentions. It may seem simple enough to conclude that mutual captives of the Company were equally wronged, but when the world is at stake, a little due diligence is necessary. As far as we know, Peter has never tried to read Adam’s surface thoughts, which would at least bolster or challenge his assumptions.
The other side to this is the Company itself. They’re happy enough to allow Mohinder to discover a cure for the Shanti virus, but Bob resists the notion of eliminating all traces of the most virulent version of the pathogen. That goes far beyond any desire to help people control or eliminate their abilities. One possibility is that the Company has every intention of keeping the virus for their own use, but only after they have enough of the cure to control survival. After all, Adam might welcome a viral apocalypse, because he has every reason to think he will survive it. Bob and the others have no such natural immunity.
This supposition is based on what we’ve seen of Bob and the Company thus far. Bob knows how to use his hapless appearance to undermine suspicion, but his methods are questionable and suggest an agenda of personal gain. His treatment of Elle is the most obvious sign of his moral character. Elle is used as a tool, an asset to be manipulated and applied, with little or no concern towards her psychological health. One gets the feeling she would be discarded if she stood up for herself. If Bob treats Elle in that fashion, why wouldn’t he treat strangers in equal disregard?
On the less positive side, a lot of time was spent on material unrelated to the current crisis. Sylar finally fulfills his promise to kill Alejandro. As disappointing as it might be to have him die, he was designed as a stop-gap character; his only function was to control Maya until she could control herself. Since Sylar has seduced her to his side, and she can control her power on her own, he no longer serves a function within the story. One would expect Maya to be equally expendable, given that her current function is to help Sylar regain his abilities. Unfortunately, because the audience has been given very little reason to care about the characters, their deaths will have little impact.
Similarly, Monica and Micah’s misadventures were interesting up to the point of her capture. Not only is that completely predictable, but it seems designed to cause tension in Mohinder’s storyline more than anything else. The logic is blatant: Monica is kidnapped, Micah seeks Niki’s help, Mohinder will be torn between the desire to save Niki and save Molly. That such a progression hinges on Monica’s lack of preparation is convenience. It doesn’t take much to realize that Monica could have escaped the house in the time it took for the thugs to make it up the stairs; all she needed to do was wait on the roof until the coast was clear.
There’s also the small matter of Victoria Pratt. She was also a paper-thin character, developed to serve a specific plot function. This arc is designed to expose the secrets of the Twelve and deal with the concerns of the previous generation; one would expect that the legacy of the Twelve would be tangential to the next phase of the story. So the writers probably saw no need to develop Victoria beyond her role as the one who developed the virus.
In the end, this episode still suffers from the same problem that has plagued much of the season thus far: the scope is too wide to bring into focus when it counts. It was part of the reason why the first season ended on a disappointing note, and that trend may very well continue with the second season finale. Perhaps the extra time afforded by the writers’ strike will give the writing staff time to think of potential solutions to that problem.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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11.21.07
Posted in Reviews at 12:53 am by Administrator
Written by Joe Pokaski
Directed by Greg Yaitanes
If this second season arc does come to a close with episode 2-11, then the previous episode would have marked the natural transition from the complication phase of the arc to the resolution phase. Conflicts that have been established are now ready to be joined in full. That’s exactly how this episode plays out, specifically in terms of Mr. Bennett’s war with the Company. Other plot threads are staged for resolution as well, but that’s the main event.
Mr. Bennett’s death has been presaged for several episodes now, so the general direction of this episode was never really in doubt. Once Claire was in the blue cheerleading outfit, the clock was ticking. This leads to a growing sense of desperation for the character, and that becomes one of the more intriguing aspects of the episode. The writers have done an effective job of taking a sinister presence and making him sympathetic. As always, Mr. Bennett is doing everything for Claire’s sake; his motivations haven’t changed.
This presents an interesting parallel, one that was clearly at the heart of the script. Bob delivered his daughter into the hands of the Company, and Elle is psychologically twisted as a result. Elle’s damage gets better treatment this time around, as we get to see more of the conditioning that went into her development. Elle is a grown woman with massive gaps in her memory and a selectively reinforced ethical code. She’s used to seeing people as objects to be used, discarded, or eliminated. The child-like aspects are still annoying, but now that she sees what kind of father Bob has been, compared to Mr. Bennett, things could get very interesting.
Concurrent with the father/daughter drama is the latest turn in Mohinder’s descent. Mohinder began his alliance with Mr. Bennett in the hopes of using the Company to develop a cure for the Shanti virus before bringing it down entirely. Instead, incrementally, Mohinder has been forced to compromise his morality again and again, all thanks to Bob’s deft manipulation. This episode brings him to apparent murder, and the effects on his psyche should be staggering.
Matt is treading a similarly slippery slope, one that was foreshadowed in the season premiere. Matt has already used his abilities to his advantage for his detective exam and in the field, but now that he knows how to use his abilities to control others, he’s stepping into darker territory. His treatment of Angela Petrelli is interesting, because his decision to strip away the identity of Victoria Pratt suggests obsession, and as always, obsession can lead to some disturbing mentalities.
Hiro’s subplot was particularly poignant, considering that it was mainly a means of delaying Hiro’s realization about Kensei/Adam until the final act. It was a strong resolution to the conflict between father and son, and thus a good counterpoint to the Mr. Bennet/Claire and Bob/Elle dynamics. As with so much of the season to date, the generational theme is front and center. Hiro continues to walk the path towards heroism, and in accepting his father’s mantle in this episode, Hiro takes another huge step forward.
Most of the discussion, of course, will be on the final scene. I’ll admit to being completely shocked and more than a little perplexed. I had assumed that Claire’s ability allowed her to survive death through some subtle effect of the regeneration process. If she can bring people back from death with a little bit of her blood, even after several hours, that has enormous potential for abuse (both within the story and on the part of the writers). Mr. Bennett may soon find himself wishing he had died, considering what the Company might do to him.
By the end of the episode, I found myself wondering if the writers had re-watched the first season for inspiration. This felt like one of the best episodes of the season and quite possibly one of the better episodes of the series. The themes were well-constructed and well-explored, and the character motivations were all progressions of established behavior. There’s still a lot of ground to cover in the final two episodes of the arc, but if the writers can continue on a similar path, it should be a satisfying conclusion.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.14.07
Posted in Reviews at 12:53 am by Administrator
Written by Tim Kring
Directed by Greg Beeman
This season of “Heroes” has been an interesting lesson in network interference. Setting aside the massive interference caused by the studios’ lack of good faith and dismissive attitude towards writers in general, the network gave Tim Kring a short list of items they wanted to see to “improve the show”. Most of these requirements were mentioned by Kring shortly before production began on the second season.
One such directive was the retention of as many first season characters as possible. In some cases, this made sense, but in others, it has been a burden on the story (for instance, the still-annoying Niki). The writers have managed to bring the season arc back under control recently, but there are still aspects of the story that felt needlessly inflated to account for so many lingering cast members.
Another directive was the inclusion of more romance, because according to the network, everyone loves a good romance. Of course, not everyone is good at writing romance, and this season has been a rather good example of romance writing gone bad. Most of the annoying clichés have been part of one of the three primary relationships. With Hiro and Yaeko, Yaeko was often superficial in her desires and treated as an object to be won. With West and Claire, Claire was reduced to a spoiled brat with no sense of self-preservation. With Peter and Caitlin, Caitlin became the victim that Peter couldn’t save. None of these relationships were remotely interesting; there was more support for a pairing between Mohinder and Matt, for that matter!
The writers have done better with creepy pseudo-romance. Sylar’s manipulation of Maya has been an intriguing twist, and now there’s Elle and her fascination with Peter. That dynamic is not working as well, thanks to some poor characterization for Elle. Kristen Bell is doing her best with the role, but the writers aren’t quite selling the idea. Elle is obviously meant to be socially and morally stunted, a product of being raised by the Company, but she comes across as too childish. Perhaps the writers were trying to deviate from the “Candice” mold, but at the end of the day, that might have been a better way to go.
Peter’s history with the Company also serves to expand on the role of Adam and his connections to the Twelve. Previous episodes seemed to imply that Adam was one of the Twelve, but that is now contradictory. Instead, Adam was imprisoned by the Company for 30 years, roughly translating to the time of the initial Shanti virus, the formation of the Company, and the dissolution of the Twelve. The implication is that Adam went rogue, created the virus, and was forced into taking a early version of the inhibitor.
To follow that line of thinking further, the threat posed by Adam and his plans could have been the catalyst for the Company’s mandate to control those with abilities. It could have started as a directive to find a way to eliminate abilities completely, but over time, the methods were corrupted. In fact, it’s possible that the Twelve initially tried to use a contagion to eliminate Adam’s ability, but the result was the Shanti virus itself. Right now, there’s only enough information to see that a connection exists.
The explanation for Nathan’s previous visions of a burned face makes sense, and also lends credence to the idea that Claire could similarly cure others with her blood. This is more satisfying than the idea that Nathan was seeing a reflection of his own guilt. Less successful is the exploration of Maya and Alejandro’s past history. Frankly, the writers have yet to give us a reason to care about them, other than their current connection to Sylar.
Speaking of Sylar, this episode did nothing to explain what happened to him during the intervening four months, and that is a definite disappointment, considering how much of the promotion centered on that very question. There’s also nothing about the arrangement between Mohinder, Matt, and Mr. Bennett, which has been one of the core subplots since the beginning of the season. Instead, an inordinate amount of time was spent on the Niki/DL subplot, which served only to resolve a minor discrepancy that could have been easily set aside in favor of bigger and better things.
With only three episodes left, it’s easy to look at an episode like this and wonder if it managed to cover enough ground. What the writers chose to explore, they explored rather well (with the glaring exception of the Niki/DL debacle). The real issue is the scope of the season arc thus far and the enormous amount of ground that needs to be covered. Some of the subplots may have been intended for the second half of the season, meaning they will have to wait for a third season to be resolved, and that could leave the audience dissatisfied. Still, this was one of the better episodes of the season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.06.07
Posted in Reviews at 6:01 pm by Administrator
Written by Aron Eli Coleite
Directed by Daniel Attias
This week has been difficult for fans of “Heroes”. The writers’ strike has finally come to pass, and the effects are these: the likelihood of a shortened season covering only the first of the two planned arcs for the second season, utilizing a newly written and filmed ending for episode 2-11. This may actually be a good thing. Several other shows will find their season arcs cut short or mangled beyond repair should the strike become protracted; “Heroes” is in a far better position, story-wise.
In fact, this episode propels the story arc forward quite nicely, bringing several plot threads together. Some of the elements were somewhat predictable, but that took very little away from the enjoyment of the episode. For example, it was increasingly obvious that Hiro’s actions would become the basis for the Kensei legends, and that Kensei himself would survive to the present. It’s a small leap from there to make Kensei and Adam the same man, and a man with quite a personal grudge.
Other plot threads progressed in a satisfying manner. Bob and the Company continue to operate in some questionable areas, and they’ve apparently unleashed a modified version of the Shanti virus. It’s easy to assume that this is the beginning of the plague that eventually creates the situation seen in Peter’s future jaunt, but there are a number of small links missing in that chain. Mohinder’s decision to come clean makes a certain amount of sense as a result; he has always been honest about wanting to resolve the viral threat.
While the process of getting Mohinder, Matt, and Nathan on the side of the Company has been annoying and often sloppy, it’s always fun to see “strange bedfellows” (and no, I’m not talking about Matt and Mohinder). The Company was the enemy in the first season, and their methods have not changed much. Watching the apparent good guys reconcile the methods of the Company, particularly in terms of Peter and Elle, should be interesting.
This episode also brings Claire’s situation to a head. As anticipated, the Bennetts have been exposed on several fronts, but their exact location is available thanks to Claire’s impulsive decision to join West in his antics. For that matter, Claire is incredibly short-sighted in this episode, making it hard to understand her point of view. Considering what she’s been through, one would think that she’d see the benefit of Mr. Bennett’s advice.
This is a much better episode for Matt, who finally gets to face down his father and end Molly’s nightmare. This particular plot thread could have used a little more attention (something that could be said for most of the material this season), but it was still satisfying. This subplot also has the benefit of expanding Matt’s power, reinforcing the idea that the new generation is coming into its own.
There is a lot of progress in this episode, and it feels like the arc is sliding into the resolution phase. The trick will be bringing the various plot threads into some sense of completion within the next four episodes, considering how much the story has expanded. The writers will also need to demonstrate how this arc is significantly different from the first season arc, or why the similarities are so striking. It would be unfortunate for this series to fall into retreads this early in the run.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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10.30.07
Posted in Reviews at 11:51 pm by Administrator
The titular “line” in this case is the line crossed by several characters in this episode. In some cases, it’s a line of morality; in others, a line of good judgment. Whatever the case, that parallel structure is one of the better aspects of what would otherwise be a slow transitional episode.
The best subplot belonged to Mr. Bennett, who took his war against the Company to another level. Up to this point, his actions were largely covert, undermining the Company’s apparent initiatives. This episode is a potent reminder that Mr. Bennett’s violent side was simply being held in check. After all, he took down his manager in a fit of anger, however justified, so the potential was still there. With this action, he crosses a line, killing a former ally in the name of destroying the Company. One can only assume this is only the beginning.
Back in the past, Hiro finally brings Kensei to a turning point in history. He is ready to take on Whitebeard and claim his place as a great hero of Japan. Unfortunately, Hiro ends up using his ability to save Yaeko at a critical moment, and when they are alone, the story slips into cliché. Hiro kisses Yaeko, Kensei watches it happen, Kensei turns traitor, and history is seemingly broken. Hiro’s impulsive decision to cross the line led to potential disaster (potential, because the final outcome is still unknown).
One aspect of this subplot that I dislike is Yaeko’s characterization. Yaeko’s love is quick, almost unbelievably so, and tied directly to deeds rather than intentions. She was in love with Kensei when he was the mighty hero ready to save her father, despite his obvious and proven flaws. I would have been more impressed if Yaeko had been more observant and shrewd in her choices, and therefore a stronger character overall.
Mohinder already crossed the line of good judgment by taking Molly to the Company, but he had little choice in that. This episode draws him further down the spiral, providing some insight into the methods and justifications within the Company. If the majority of the Twelve were involved with the creation of the Company on some level, and some of them continue to support its less savory aspects, is the war against them truly unjust?
Whatever the case, Mohinder finds himself in a difficult position. He cannot leave the Company, but he also cannot sanction the experiments on unwilling victims. If Bob backed down and chose to train Monica, there had to be an ulterior motive. More to the point, Bob may have decided that another subject would be better. While it’s unclear if he is telling the truth, Bob seems to believe that Adam Munroe is enough of a threat to justify any means of defense. Here again, there is a line being crossed, particularly from Mohinder’s point of view.
It’s quite possible that Peter will be forced to cross a line himself, especially if he discovers that the Company is somehow responsible for the impending plague. Mohinder has warned Bob and others that the powered-specific virus could jump to the general population, and that vaccines and genetic manipulation would only enhance that possibility. It seems like that Adam could be manipulating Peter into serving his own ends, but there’s not enough information at this point.
Speaking of manipulation, Sylar is doing a perfect job of using Maya’s earnest desire for salvation against her. What’s better is Alejandro’s realization that Sylar is using them for his own ends. Sylar is certainly not hiding his true nature from Alejandro, which should put to rest any speculation that he’s simply misunderstood. He wants to add to his collection of abilities, and he’ll happily murder Maya and Alejandro to do it.
The most egregious line might have been crossed by the writers in their treatment of Claire, thanks to the influence of a deeply annoying West. West has made it very clear that he finds his ability liberating and that Claire should feel the same way. Claire has every reason to hide her ability. When around West, Claire throws caution to the wind, and she doesn’t seem to realize that West has little interest or concern for her pain. It’s one thing to expose herself saving the world; it’s quite another to expose herself during high school antics.
All of the disparate subplots were united by the common theme and some general overlapping, but the overall story was advanced only incrementally. This is becoming a source of great frustration for many fans, and it is beginning to show in the ratings. At this point in the first season, threads were coming together more quickly. While I would like to believe that the “Heroes” audience is patient, the writers may be pushing their luck.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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10.23.07
Posted in Reviews at 11:44 pm by Administrator
Written by Joy Blake and Melissa Blake
Directed by Lesli Linka Glatter
Much like the previous episode, a handful of plot threads are explored in more detail, rather than the full tapestry of the current arc. To a certain extent, this is the right direction to take, as the plot threads begin to intersect. Connections are forming, and the story is beginning to gather steam. At the same time, this episode will do little to comfort those concerned about the scope of the second season.
Nightmare Man (aka Matt’s father) is a prominent force in this episode, yet I cannot help but be a bit disappointed. The initial hints about him suggested something far more interesting, and while he’s powerful, he doesn’t seem to be the dark power that I had envisioned. However, his ability does appear to match the killings. It might explain why Hiro’s father was killed by someone who left no trace of his existence, and why Angela Petrelli was fighting a phantom attacker.
Certainly the Company will continue to be important to the central plot, given that Bob appears to be the next target. That could make things very interesting, because Mohinder and Niki have reasons to help preserve aspects of the Company, while Mr. Bennett and Matt remain dedicated to bringing it down. These allegiances and motivations will surely change, especially once Claire’s activities are taken into account, but the most interesting situations on “Heroes” have been such gray areas.
Peter’s plot thread has been something of a disappointment. His supposed death and memory loss are mysteries that need to be solved sooner rather than later, especially now that Elle has arrived on the scene. Elle has the kind of interesting morality issues that should make her a fun character, but more important, suggest that she may be connected to Nightmare Man. If the current arc is about the legacy of the Twelve, it would make sense.
Based on the plot as revealed so far, the Twelve did something horrible to one of their own (Nightmare Man, presumably), something that has driven him to revenge. This revenge seems to have waited until the derailing of Linderman’s scheme, perhaps taking advantage of the chaotic aftermath. This vengeance scheme involves eliminating the surviving members of the Twelve, and quite possibly, eliminating anyone else with abilities through use of the plague (if it is related, which it may not be).
The first step in that process could have been the removal of the most powerful potential opponent: Peter. Peter’s discovery was never intended; Elle was apparently sent to correct that mistake. To take the speculation further, the main villain might have been defeated by the rest of the Twelve because their combined powers were too much to overcome. By virtue of his own ability, Peter would be capable of posing the same level of threat. (Sylar’s current situation could also fit into this pattern, in fact.)
Speculating along similar lines, Monica could be important because of her ability to mimic actions without conscious thought. She could quickly gain expertise in numerous martial arts disciplines, for example, as seen briefly in this episode. One might imagine a situation where she could be directed against an opponent trying to fool her with an illusion, but due to the “automatic” nature of her ability, the illusion might not work.
This episode also touches on Hiro’s subplot, but only in the most superficial way. Hiro continues to pine for Yaeko, while Kensei continues on his path to destiny. This plot thread is becoming hard to swallow, particularly given that Yaeko is supposedly the one who first tells the heroic stories of Kensei in the first place. If Yaeko is head over heels for Kensei the White, why is he always depicted as Japanese in the stories that originate with her? This will eventually need to be explained, and more importantly, Hiro’s subplot needs to be made relevant to the rest of the story.
While this episode certainly provided more than enough to inspire speculation, it was also possibly the worst episode in terms of overall writing style. I don’t recognize the names on the script, but there was a distinct lack of polish on the dialogue. The choices in editing were also clumsy, often jumping from setting to setting without much thought to logical story flow. Perhaps there was too much story to cover comfortably in the episode, but the episode seemed to be missing something as a result.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
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10.16.07
Posted in Reviews at 9:56 pm by Administrator
Written by Tim Kring
Directed by Adam Kane
After a few episodes of scattered plot threads and, quite possibly, too many characters, the writers adjust the scope and focus on a handful of plot threads. Limiting the extent of the canvas does wonders for the cohesion of the story. There are still a few elements that seem overly convenient, but that has always been a hallmark of “Heroes” storytelling.
This episode begins to answer questions about the connections between the Twelve, the Company, and Nightmare Man. The previous installment hinted at those connections, but they are more solidly established. If Nathan’s picture is accurate, then Mohinder is working for one of the Twelve, which is a nice twist. The revelation that Matt’s father was also one of the Twelve cements the implication that most of the current “heroes” are just the next iteration of a long-term legacy.
As it stands (and if I understand the details correctly), the Twelve originally came to the conclusion that they needed to identify and protect their own. The Company was created for that purpose. Over time, however, some of the Twelve came to regret that choice and decided to walk a different path. This decision point may or may not have been the same event in which Angela and others betrayed Nightmare Man. Whatever the case, the past is catching up with them in a big way.
One interesting possibility is that the “plague”, which has thus far been confined to a very small number of victims, is related to Nightmare Man’s campaign. Now that Bob is revealed as one of the Twelve (though seemingly much younger than the others), his motivations to find a cure are more suspect. But given how various plot threads are intersecting, it would be no surprise to discover that Bob’s work is directly related to Nightmare Man’s activities.
Current events should drive Matt to find his father, which should lead to more information about the current threat. Molly’s situation should put him on a timetable. Matt’s part of the story is a lot more interesting this season, now that his abilities are being utilized and his family history is at the center of the action. With his current relationship with Mohinder and that connection to the overall plot, Matt is getting some of the attention he missed in the first season.
Claire’s plot thread is more contained, but considering how integral Mr. Bennett is to the war against the Company, that may not last very long. It doesn’t help that West is setting Claire against her father, and that his judgment is already suspect. After all, West has repeatedly used his ability in broad daylight with little or no concern for the consequences. Even if Claire does nothing to reveal his ability, West’s behavior could expose her and her family at the absolute wrong time.
The same applies to Micah and Monica. It’s always possible that Micah’s theft of the pay-per-view program could be traced back to the house, and sooner or later, Monica’s talents will be noticed. Both of them have yet to use their power to full potential; it would be interesting to see if Nichelle Nichols’ character points them in the right direction. If nothing else, Monica could use her ability to develop skills to find a new career, if she gets her hands on the right kind of video. (Assuming, of course, that her ability works that way.)
It seems overly convenient and coincidental that Maya and Alejandro would run into (and almost over) Sylar, but it does continue the process of bringing the old characters back into the story. It’s still not clear how his abilities currently work (or, more correctly, don’t work), but he’s certainly interested in Maya and Alejandro’s abilities. His evil ways remain intact, so his decision to help them get to New York is not a good sign.
Those annoyed with the apparent focus on new characters over existing cast members will likely find this episode disappointing. This is unfortunate, because the “Heroes” universe is vast enough to allow (and beg) for deeper exploration and diversification. Right now, the old and new characters are blending together well, and if that trend continues, the scattered nature of the early episodes could give way to a satisfying narrative. It is reasonable, however, to note that the second season has been equal parts test of faith and test of patience.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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10.09.07
Posted in Reviews at 11:58 pm by Administrator
The first two episodes of the season opened up several new plot and character threads, and the question has always been how well that vast scope could be maintained. This episode may be the most overt sign of trouble, if my personal response is any measure. (Certainly, others have complained, but until now, I’ve been patient.)
It’s no secret that Tim Kring had originally planned to eliminate several first season characters in the finale, but caved to network and fan pressure. It’s also no secret that he wanted to introduce several new characters for the second season volumes. Thus far, the introductory phase of the season has been an exercise in melding old with new. The result is a massive cast that makes the huge ensemble of the first season seem tiny in comparison, and that doesn’t leave a lot of time for depth.
At this point, it’s hard to tell what will become important. For example, the theft of Claire’s car in the previous episode felt gratuitous, a means of reminding the audience of the infamous Nissan Rogue. In this installment, we are given a partial payoff: Claire’s car was stolen by a fellow student who slipped south of the border and wound up with Maya and Alejandro. That connection will no doubt become very important in the future, especially as the war with the Company grows more dangerous.
It is far too early to draw any solid conclusions, but the connection between the Twelve, the Company, and Nightmare Man appears to be forming. Does a war with the Company mean war against the Twelve in some fashion? It would be interesting for the heroes to discover that they’re serving the interests of Nightmare Man without realizing it, especially considering Matt’s concerns about Mohinder’s role (and how cute was that argument?). Hopefully more information will be revealed on these connections soon, especially since this volume is meant to be relatively short.
West is written as a supposedly charming rogue in this episode, but the effect was closer to disturbing. He has no interest in accepting Claire’s feelings on the matter of her ability and he appears to be playing on her vulnerabilities. The twist regarding his past with Mr. Bennett is intriguing, as it only complicates the possibility of exposure, but the character is not at all appealing.
The story evolution is still built around Isaac’s paintings, which is a nice touch. The revelation about Mr. Bennett, particularly the involvement of Claire and some unseen figure, was unexpected and a great twist. It’s now clear that the paintings are not simply depictions of the Twelve’s systematic demise. With seven episodes left in this volume, one might assume that the six remaining paintings will be unveiled week after week, until the endgame is revealed for the conclusion in episode 11.
Niki and Micah return to the story after a short respite, and much like the first season, this is some of the less impressive material. At this point, it would be nice if DL were dead, if only to keep the story from becoming more cluttered! However, I get the feeling he is very much alive and waiting in the wings. All things being equal, this subplot has a lot to prove, because it just doesn’t seem to mesh well. (One minor point: did they get the date wrong on DL’s tombstone?)
The same could be said for Sylar’s return. It’s nice to see him struggling to restore his power, if only as a reflection of Peter’s situation, but something about those scenes left me cold. Perhaps it was the predictable demise of Candice/Michelle, one of my favorite minor characters from the first season, or the fact that Sylar’s situation is still sketchy. I was left wondering if Sylar should have remained dead.
I’m also not entirely sold on Peter’s subplot, especially since it feels completely disconnected from the rest of the story. It appears that Peter can use his abilities as long as he’s not consciously trying to harness them. That could have been very interesting if his amnesia had led him down a darker path, but he’s caught within this Irish mob subplot that refuses to get more interesting. His decision to set aside the box for a while feels like the writers’ way of holding Peter in their back pocket for later use.
Finally, we have Hiro, who continues to be the wacky, magical companion to the great white Kensei. I was far more pleased with the notion of Hiro being the true Kensei behind the legend, but perhaps the future evolution of this plot thread will overcome the annoying aspects. Hiro’s method of communicating with Ando is clever and suggests that other connections to the “present” will emerge. The trick with the 90 Angry Ronin was very funny as well.
In the end, I’m concerned that the scope is simply too wide for the writers to keep under control. Most of the subplots in this episode amounted to one or two scenes, barely enough to establish forward momentum. Structurally this makes the series very interesting, but for some reason, this episode felt scattered and unfocused.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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