Overview:
An eclipse temporarily removes everyone's abilities. This strands Nathan and Peter in Haiti while they try to find the Haitian, and Matt, Hiro and Ando in Kansas while they try to track down Daphne, the last of whom turns out to need leg braces without her superspeed. Nathan and Peter find the Haitian, but Nathan gets captured by the Haitian's brother, Baron Samedi. Meanwhile, Angela assigns Noah to protect The Catalyst. Noah brings Claire to Vortex-Stephen's empty house and trains her to fight, but her prowess doesn't help when Sylar and Elle show up and Claire ends up getting shot.
Review:
This is an episode that tries to break from the status quo. It's fundamental flaw is it demonstrates the show's fear to go through with it.
The concept is there, and the chance for real change is there: the superpowered villain of the volume is powerless, and one of the staple characters bleeds out while her father moves to kill off a key villain and a beloved recurring character.
On most shows, that would be a turning point in the series. You'd be riveted, wondering how Claire's death would affect the show, how the story would continue after Arthur's lackeys trampled over themselves to kill their former boss, how we'd ever look at Noah the same way after he killed Sylar and Elle. On this show, you know whatever one episode achieves will be undone by the next.
That's especially true of this episode. Friendships and feuds don't resonate: they give way to requirements in the plot. Central characters don't die: they return in the form of twins or spectral ghosts. Villains aren't redeemed: they flipflop between sides and their actions are dictated by circumstances.
It's not a train wreck. The episode has several remarkable moments: Brea does a solid job of playing the freaked-out farm girl who's ashamed of a disability, Hayden displays a commendable performance as she moves from pent-up aggression to self-realization, and Milo and Adrian have what's possibly the most overdue scene since Noah and Claire came clean about their issues in "Out of Time." But whatever its merits, this episode underscores why the show struggles to sustain any tension: by the time we see Noah pointing a sniper rifle at Sylar and Elle, we're less inclined to wonder how their deaths will change the show and more inclined to wonder how Noah will screw it up.
The opening with Arthur's clairvoyant sketching was a neat touch. The sketches themselves are in character -- swift, precise and minimal strokes -- but somehow also very reminiscent of Isaac's paintings in Season One, and of the way Linderman used portentous art as a tool to guide his actions.
Beeman's directing throughout this episode was outstanding, but the opening scenes stand out for the way Beeman keeps the camera moving: we pan over the sketches and up to Arthur, we move over and around Angela as she moves from her desk and looks up at the sun, and we segue from the sun to the eclipse in the 9th Wonders comic. It's a smooth, effortless transition from scene to scene, and, narrative issues aside, the way this episode was shot makes it memorable.
Sylar makes his way through one glass beaker after another in a storage room at Helix Compound. Sylar reveals to Elle that he needs to "prove" himself, then shuts down the conversation because he isn't sure she'd "understand." It's a subtly played scene, largely because of the way Kristen Bell plays Elle's reactions and the way Zach Quinto's expression flits between urgency and resolve. Given that Elle was trying to prove herself to her father long before Sylar was, and given that Sylar's responsible for ensuring Elle will never have a chance to prove herself to her father again, you'd think he'd realize she would understand. Surprisingly, Elle doesn't respond by Ellectrozapping his flesh off ...
... but instead lets the remark roll off her out of sensitivity to the guy she cares about.
^ ^ Expression of Crafty Scheming? It seems like Sylar's genuinely trying to be a dependable son and make his father proud. But then, the assumption that Sylar's trying to become his father's son blows all previous theories about Sylar double-crossing Arthur out of the water. You could justify Sylar's unwillingness to confide in Elle if he doesn't want to reveal he's playing Arthur out of loyalty to Angela; but if Sylar's not playing Arthur, and if he's serious about becoming the model Pinehearst son, the moment he defected to Team Pinehearst suddenly seems a lot less plausible.
Arthur assigns Sylar to retrieve Claire, and Elle's reaction to Sylar going all "Yessirrightawaysirconsideritdonesir" is:
Shock? Panic? Conflicted loyalties? It could be that this look conveys Elle's sense of camaraderie after Claire tried to help her, but it could just as easily be distaste for Sylar's blind obedience. Looking back, it doesn't seem like Elle intended to change her plan at the last minute and help Claire; but then, if Sylar isn't double-crossing Arthur to help Angela, and if Elle isn't double-crossing Arthur and Sylar to help Claire, this scene lacks any complexity or nuance, and the furtive glances between the characters end up meaning nothing. You can read a meaning into them, but when the episode seems to thwart that effort, you almost wonder why you tried.
Angela and Claire stride through Primatech. The expo-dialogue is brief, and we learn that Team Primatech has been divided into separate assignments. Hilariously, Angela doesn't seem to have assigned Peter with anything vital.
Nathan jumps into his assignment and puts aside his hostility towards his mom after learning that she used him as a lab rat. You could speculate that Nathan would put aside his reservations to stop his maniacal dad from splitting the world in half, but Nathan discovering he was genetically altered by his parents, telling Angela to go to hell and then putting that behind him is a jump, and it seems like the show expects us to either accept it or ignore it. Just as we needed a scene to establish Elle's reluctance to betray Claire, we needed a scene to establish why Nathan would overcome his contempt for Angela and agree to help her. Because otherwise, leaps in the plot make the characters look inconsistent.
The cameos from Doyle and Metal-Arm Danny were a nice nod to continuity, but they also remind you what could have been. Doyle's look of crazy fascination at Claire reminds you what a great villain he was, and Noah returning Danny to a cell reminds you how disappointing it was for the partnership between Noah and Meredith to collapse in a graphic novel instead of on-screen. When the episode brings up missed opportunities like this and cuts to 10-year-old Hiro doing the Pee Dance and Mohinder cocooning himself, you can't help wondering if the emphasis is in the right place.
Peter insists that Nathan can't go to Haiti alone because it's "too dangerous." His apprehension, we learn, is because of a Level 5 inmate with the alias "Baron Samedi," who apparently headed straight for Haiti as soon as he escaped from The Basement. The fact that he didn't waste any time with bank heists, revenge or family drama immediately makes me like him.
Peter: "When I found my abilities, I knew who I was supposed to be."
^ ^ Actual dialogue!
^ ^ Delivered with a straight face!
Who was he supposed to be? The guy who explodes? The cad who leaves his girlfriend in the future? The tool who helps a maniac wipe out mankind? The outlaw who shoots his brother to alter history? The psycho who threatens to slice open his mom's head?
We could keep going, but the point of this scene is to emphasize that Peter's abilities helped him discover who he is, even though "who he is" never really became clear. Nathan, being an awesome brother, reassures Peter that he still has a purpose without his abilities. Peter isn't so sure, especially if he can't guilt Nathan into helping him find a purpose by letting him tag along to Haiti. Which is prefaced with much Petrelli Brotherly Bonding, but also raises the same question that's been raised on several occasions: would the characters achieve more by doing nothing? Would Nathan be better off if Peter didn't choose this as his chance to be "useful"? Would Mohinder be better off if he didn't decide to inject himself with an untested serum? Would the world be better off if Hiro wasn't bored and in need of a reason to save it? From that standpoint, in the interests of avoiding global chaos, Angela's Do Nothing assignment is the best option all around.
Helix Compound. Mohinder carves up the guy he was last week forced to euthanize, inadvertently removes scales at the same time as surgical gloves, and demands that Arthur cure him. Arthur resists the impulse to TK-snap Mohinder's neck, pointing out that something is going to happen today. This is another moment when it felt like something was missing. It goes without saying that Arthur would have seen plenty of eclipses over the years. When Arthur asks Mohinder, "WHAT. DOES. IT. MEAN?", you could speculate that he witnessed different effects from different eclipses and just doesn't know what to expect this time. The problem is it isn't clear that Arthur's witnessed an eclipse before. He latches onto Mohinder's theory that everyone's abilities manifested during the last eclipse, but since we know that's garbage because plenty of supers were using their abilities long before that, we're stuck speculating.
So, on the one hand, the disappointment stems from the fact that the superpowered villain -- the guy who's been steeped in superpowered activity for 30 years -- apparently has no clue what effect an eclipse will have on the superpowered population. On the other hand, the disappointment stems from an episode which is entitled "The Eclipse," which involves an eclipse, and which, bizarrely, fails to explain anything about the eclipse. I know, it's only the first part of a two-parter. But come on: even if the show doesn't want to immediately enlighten us about a key part of its mythology, you'd figure the characters who possess abilities and who've seen eclipses before would offer at least some input on the effect it'll have.
Arthur: "'Everything could change today ...' No. Dammit! That's not it! It needs to sound momentous. How about, 'Everything's going to change today?'"
Mohinder: "Damn straight: if The Catalyst dies, I'm @%*#ed!"
Arthur: "Yes, but Mohinder, without The Catalyst and my plan to create superpowered humans everywhere, the world will split in half."
Mohinder: "All I want is to save myself! I'm a scientist, but right now I really couldn't give a rat's ass about you or the world. If Claire dies, any hope of me being cured dies too. So drop everything and help meeeeeeeee!"
Arthur: "Very good. Very expressive. I look forward to our next scene."
Chandra's Crib. Daphne asks how Hiro ties in with The Formula. Does she remember stealing half a formula from Papa Sulu's safe? Because even if she didn't know what she was stealing, she must have at least known to look for a shred of paper with chemical diagrams on it, and she knows that Papa Sulu was Hiro's father. I can't figure out if this was bad dialogue, bad continuity or a bad memory on Daphne's part. Or a Haitian Whammy.
Daphne wonders why Matt keeps her around. "Because I'm going to get laid" isn't an acceptable explanation, so Matt tells Daphne she's "one of the good guys now." Given that he's seen her working for the enemy and involved in the death of a four-year-old boy in the future, I have to question that optimism. Matt's pause before telling Daphne he trusts her completely comes back to haunt him, but who can blame him? He barely knows Daphne, he's seen more of her in spirit walks and nightmare realms than in the real world, and she reminds him in this scene that she betrayed him. I can understand Daphne freaking out and wondering if she rushed into a relationship with a guy she barely knows, but berating Matt because he's not sure if he completely trusts a woman he's only just met and who admits she's a liar in the same scene? Matt gets my sympathy.
Ando shows up and says Matt needs to "fix" Hiro. He supports this decision with a copy of the 9th Wonders comic in which Ando tells Matt he needs to "fix" Hiro. So, let me get this straight: Hiro and Ando have a comic that dictates their actions like stage directions: all they need to do is act out what's in the comic. And yet, somehow, everyone's unsure about what to do next ... except Hiro, who actually reads the step-by-step guide.
Matt reads Hiro's mind and gets ...
... delightful subtitles!
Despite any reservations I have with Hiro's character arc (or lack thereof), props to Masi Oka for the way he's throwing himself into this thankless role. The guy does a terrific job of becoming a wide-eyed kid, making every mannerism more clueless and neurotic.
Daphne wonders why Ando didn't die. Nice nod to continuity.
Hiro bobs his head along with the turtle. It's cute, but we went from Charlie getting scalped and Papa Sulu getting pulled over a rooftop to this? This is what two and a half seasons have come to?
Daphne bails. Matt tries to dissuade her, and, to be fair, Daphne's assertion that Matt doesn't know what she's "been through" seems as insensitive as Sylar telling Elle she wouldn't understand proving oneself to a parent. Between his ex-wife's affair, getting shot, the revelation that his dad's alive and evil, the revelation that his dad's dead and then getting banished to Africa, I'd say Matt's seen and experienced his share of horrors.
Hotspur! The company that Hiro and Ando used for the Versa in "One Giant Leap," and the company that Peter, Claire and RadioTed went to for an escape vehicle in "Landslide." Again, good continuity. I have to wonder how the show comes up with stuff like this and then, in the same episode, seems to forget when Nathan first flew.
Sylar learns from Arthur that Claire's with Noah. This, coupled with Sylar's ability to understand Noah and "how he thinks," leads Sylar and Elle to the Vortex Safe House. Really? Really, show?
Elle groans at the prospect of an encounter with "Glasses Himself." I'd harp on about the way Noah saved her life by trapping Sylar in a cell when he was scalp-happy in "The Butterfly Effect," but, hey: (1) "Glasses Himself," and (2) Kristen's roll of the tongue when she says "Uuurrrgh." I don't care what the show does with her, Elle has never not been awesome this season.
Sylar's willingness to become a model son and Pinehearst stooge concerns Elle. You could argue that, with her father dead and years of regimented routines and procedures behind her, she's enjoying the sense of liberty to use her ability as recklessly as she wants. But then, I'm not sure how Elle would want Sylar to behave any differently.
Sylar tells Elle he's trying to be "responsible," and Elle punches the air and gives this little sneer as she repeats the word back to him. Again, awesome performance from Kristen. Elle then reveals that she told the rental car employee that Sylar's a serial killer who kidnapped her, and the look of delight she gets when she recounts it ...
... is beyond awesome. It's a world away from the complex conscience-stricken agent in "Villains" and the vengeful daughter in "It's Coming," but it's so funny that I almost don't care.
Sylar doesn't find it as funny as I do, and there is a serious dimension to the scene because it raises several questions about the way Elle's being written. The transition from sane-and-stable agent to sociopathic sex kitten to neglected daughter still doesn't make sense, but there's a hint of Elle's playful nature here which recalls the character she played in Season Two. It could be a coincidence, or it could indicate that Elle's method of rebelling against authority involves channelling the more childish part of her personality. Between Bob's role at Primatech NY last season and Elle's recruitment into another organization this season, you could speculate that Elle's bouts of craziness are a reaction to the pressure of adhering to regulations.
Or Elle wanted to turn Sylar back into a killer and felt like doing something silly. You decide.
"I hate heroes."
Or is it, "I hate Heroes"? They're either acknowledging that Sylar's redemption arc failed, or that the characters hate their own show. Either way, I'm inclined to take it as self-parody.
Noah brings Claire to the Vortex Safe House. It's either good continuity or a cheap re-use of an old set.
How much does Noah know at this point? Does he know Claire accompanied Elle to Pinehearst? Does he know about Pinehearst? Does he know Arthur's alive? Does he know Sylar defected to Team Pinehearst to be with his dad? I guess none of it's essential to the story, but when Noah says he's trying to protect Claire, we wonder whether he realizes what he's protecting her from.
Noah tells Claire she's being stupid and careless and behaving as if she has a "license to act like a brat." Good dialogue, and a reminder of why Noah's absence has been missed so much throughout this volume, because he voices exactly what's been on our mind since the start of the season.
Midas Study. Tracy wins a *PING!* Dumb As Peter Award for taking a seat in Angela's chair and fingering her photo of the Petrellis WHILE SECRETLY ON THE PHONE TO ARTHUR. It's in Tracy's nature to manipulate and backstab. You would have thought she'd be more discreet when it comes to reporting to the enemy.
The reference to the Parris Island facility was an interesting detail. Future-Nathan was lobbying to create a superpowered army in "I Am Become Death," but the implication seems to be that Arthur's looking to pull it off several years in advance. Again, it seems like a part of the plot that needed to be fleshed out: we don't know how this fits in with Arthur's larger plans, who he expects his army to be fighting in the "war" he's anticipating, or how he thinks this will stop the planet from splitting in half. There's suspenseful and intriguing, and then there's underdeveloped and exasperating.
Angela overhears Tracy's half of the conversation, and apparently now knows enough to call the Marine Corps Recruit Depot and warn them about a slimy, scaly, monologue-spouting bug-dude who'll pull up to their base and try to peddle injections. It's also worth noting that Angela doesn't immediately call Tracy on her betrayal, but instead seems to reconcile this with her nightmare of at least one of Ali Larter's personalities turning evil.
Chandra's Crib. Am I the only one who wonders how it falls to a 10 year old to read a prophetic comic while the adults in the scene pace back and forth and wonder what to do next?
Hiro teleports Matt, Ando and himself to Daphne's farm in Lawrence, Kansas. There's no chyron to help us, but it's established in the dialogue, and it's impossible to mistake the location based on the geographical accuracy:
Kansas has mountains!
Whatever, show.
The eclipse was beautifully shot. And even though the effect of the eclipse hasn't been explained, and it's absurd that people can see it in Kansas and Haiti at the same time, and the eclipse lasts a lot longer than it should, and it's a b**ch to screencap because everything's so dark ... it is well executed.
The entire montage coming after it was nicely done, but two moments stuck out as remarkable: Arthur sweeping his sketches off the table with frustration -- which, except for his agitation when he was poisoned, is the only time we've seen him even slightly rattled; and Elle and Sylar swiping a convertible from the Hotspur parking lot -- which is kind of cool in itself, but worth noting for the reflection of the eclipse in the windshield, which should earn the visual effects team a bouquet.
In the Midas Study, Angela goes back to scrutinizing the Petrelli family photo, and the symbolism when the eclipse covers half of it up ...
... speaks -- or rather screams -- for itself.
Nathan loses his flight over Haiti, and he and Peter come crashing down in a lake.
Peter: "Wasn't there an eclipse that first day you flew?"
Nathan: "Yeah."
I guess you could argue that catching Peter when he jumped off the rooftop was the first time Peter saw Nathan fly, or that it's the first time Nathan intentionally flew. But the way this was worded, it's as if the show forgot how Nathan launched out of his car when Linderman's goons tried to ram him, and it's a plothole that pulls viewers who remember the backstory out of the narrative, because they now spend the rest of the scene halfheartedly trying to think up an explanation.
The brothers launch into the strongest scene of the episode, with Nathan chastising Peter for being a helpless wimp and Peter writing Nathan off as a tool for their dad. It's a confrontation which thrives on the way it draws elements from the show's backstory, but which, more importantly, involves the characters saying what they think. It resonates because you can appreciate why both of them would be angry at the other.
Peter effectively tells Nathan he'll become evil in the future, which seems like a deductive leap if he's basing that on the future he saw in "I Am Become Death," especially when -- paradoxically -- Peter was the one slicing Nathan's head open. The fact that Nathan becomes president and seems to run Pinehearst doesn't necessarily make him evil, even if he didn't seem fazed by the sight of Future-Claire hacking into Present-Peter or the sight of his dead brother on a gurney in front of him. In any case, Nathan takes this news surprisingly well, dismissing potential futures with the resolution to do the best he can in the present. Which might make Nathan an idealistic fool, but somehow, to me, Nathan's sincerity ends up making him noble and Peter even more of a judgmental d*%k for doubting his brother's integrity.
Speedster Farm. Papa Millbrook turns out to be Ray Baker, which is all kinds of awesome, not least because he uses a handful of scenes to establish the character as a warm-hearted but slightly old-fashioned dad.
Matt attempting to Parkman-whammy his way past Papa Millbrook is hilarious, for the way it confuses Daphne's father and for the way it makes Matt look like an idiot. But on some level, it takes you back to the way Matt used his mind-reading to trick Janice. He's apparently still such an upstanding guy that, if the love of his life doesn't want to see him, he's willing to use coercion to bypass her father and ignore her wish. It's not a big deal in the scene, and it might just be me, but somehow it seemed disrespectful towards Daphne's father to be falling back on the Parkman Whammy within a minute of meeting him. I would have preferred to see him introduce himself, explain why he'd come to see Daphne, and try to convince the guy to let Matt see Daphne without his ability.
Brea Grant plays all of her scenes on the farm with subtlety, but the way Daphne hugs her legs in this scene -- because she's feeling vulnerable and insecure, but also because she knows she's about to lose control over her legs -- was a particularly neat detail.
Vortex Safe House. Claire continues bashing wood against the walls, then channels Badass Future-Claire when she reveals that nothing ever made her angrier than Daddy Bennet leaving her to go on business trips. Her anger's sufficient to trip Noah up and put him on the receiving end of a sharper plank of wood, and Noah's expression in that moment ...
... demonstrates why Jack Coleman is one of the most dynamic actors on the show. I could be wrong, but it looks like he's afraid of the animal he released. Another shade of the expression looks like guilt, probably because he realizes how he hurt Claire and how he's forcing her to dredge up that pain, but perhaps also because he realizes he's turning his daughter into the character we've seen her become several years down the line.
Elle and Sylar show up. I'm sorry, but I still call BS on the likelihood of them tracking Claire and Noah to this location. Anyway, Elle twigs that her EllectroBolts aren't working, Sylar gets to look as dumb as Matt by waving his fingers in the air and wondering why nothing happens, and Noah gets to beat the life out of Sylar.
It's morbidly satisfying to watch Noah beat on the guy who terrorized his daughter, but, at the same time, that twisted pleasure never extends to uncertainty over whether Noah will actually kill Sylar, and it's part of what undermines the horror of the scene. Noah gets an opportunity to make good on his promise to kill Sylar, so you have to wonder why he wastes so much time knocking the life out of the guy instead of snapping his neck right away. The inevitable conclusion is that it's not because Elle gets in the way and shoots Claire, but because the show can't bear to let Noah make good on his vow to kill Sylar.
Elle moves to shoot Noah, and Claire gets inbetween them. The scene plays out with such earnestness that you know it's intended to be a Very Serious Moment. Noah hits Elle so hard that it actually makes me wince. It reinforces how Noah doesn't have any issue resorting to violence and kicking everyone's ass, but also how ferociously he'll lash out when he needs to protect his daughter.
Was the slo-mo too much? I'd say no. Even the ominous percussion and discordant strings don't feel too overplayed. The focus seems to be more on Noah's panic that Claire isn't immediately healing than on the prospect of Claire dying. Which helps, because, as with Noah hypothetically killing Sylar, Claire dying feels like a non-issue.
Noah brings Claire home, Sandra freaks out, and Noah forbids her to call the hospital for fear of alerting the cops. I guess Noah doesn't want to draw attention to Claire's injury if she's suddenly going to regain her ability and regenerate, but this eclipse -- besides covering everyone and everything at the same time -- seems to last for a length of time defying all laws of the universe, so Noah's assumption that Claire will inevitably instaheal back to health seems like an error in judgment, and that's before we know he's lying about the seriousness of Claire's wound.
Nicely played by Hayden. You see and feel her pain, but also her delight in getting to feel that pain, and her regret when she tells her dad she was wrong to think she was invulnerable. If you're optimistic, it's a moment that unlocks potential for change: the experience could broaden the character's perspective, and it could set up why Claire stops trusting anyone after her father lets her bleed out instead of calling an ambulance. If you're cynical, it's another instance that'll be forgotten the next time we hop on the Love-Noah/Hate-Noah/Forgive-Noah merry-go-round.
Speedster Farm. Matt asks Hiro how he's supposed to get his abilities back. I find it telling that Matt's calling on a 10 year old for advice on winning the love of his life, but it also underscores why Hiro's the smartest person in this storyline for actually bothering to read the 9th Wonders comic.
Matt admits he never thought he'd miss his ability. It's an interesting admission, but was Matt the right choice for the dialogue? He's been comfortable with his ability since the end of the first season; he adapted to it and uses it on a regular basis to get what he wants. The prospect of a character enjoying a respite from their ability is covered by Sylar in the final scene of the episode, and it might have streamlined the episode to limit this dialogue to one of them instead of both.
Hiro throws corn at Matt and urges him to win Daphne back by following the Hero's Quest and triumphing without his powers. Then:
Which is as limited in its humor as anything else in this story thread, but it's made adorable by Hiro's deferential bow and the way Matt glowers over him.
The current comic reaches its last page, but there is, of course, another issue. Isaac's contribution to comic-book lore -- and to this show -- has no limits.
Hiro references the Greek oracle at Delphi, the Library of Alexandria and the Hall of Justice. To Hiro's credit, he doesn't need Wiki for this, and, perhaps alarmingly, he comes across as a lot more intelligent as a 10 year old than he does as his mid-twenties counterpart.
Helix Compound. Mohinder's scales and psychosis disappear, and he's back to his old, pre-Season Three self. You're thinking it must be some kind of miracle for the character -- and for us. But then ...
Oh, CRAP! No, show, NO! Don't even think about it!
Oh God, SHE'S IN NEW JERSEY. So the show can dangle this threat over our heads anytime it wants? What's it going to take? Bribery, petitions, more viewers jumping ship?
Arthur and Flint show up. I've never been happier to see either of them. Arthur instructs Mohinder to park his ass back down and figure out a way to bring everyone's abilities back. I'd point out that locking Mohinder in his lab and forcing him to figure out how to reverse an astronomical phenomenon would take Mohinder a loooooong time, so long he'd never have a chance to head over to New Jersey to visit Ma-... Ohhh, I see! Clever, Arthur. Very clever.
The Haitian shows up in the jungle and starts leading Nathan and Petrelli back to their village, and then we meet Baron Samedi. Baron Samedi makes the Haitian look like a shrimp. His voice is so deep that I wonder if the ground rumbles when he talks. He makes Arthur look decrepit. He makes Sylar, Adam and Maury look like sissies. Seriously, folks:
This guy? ... scares me. And even if he didn't have that whole "impenetrable skin" thing, I can't figure out why he'd ever take orders from Arthur. Even with Arthur's TK-snapping and coercion and civilized menace, he's completely outmenaced by this guy. It's only one scene and one K.O. when he knocks Nathan down like a feather, but Demetrius Grosse owns the scene. Great casting.
Speedster Farm. Matt sings Daphne's praises and tells her he's in love with her, which, aww, even though you can hear Janice and L'il Matthew weeping while he says it.
Heartbreaking. It fits with the references to her "old life," with her love for her ability, and with her fear of Arthur snatching it away.
Props to Grunberg, because he manages to capture Matt's reaction without letting it stray towards false sympathy or indifference. You don't doubt for a moment that Matt will love her no matter what, but at the same time you see him realizing that Daphne was right, and that he had no idea who she was before he met her.
And props again to Brea for nailing this scene, because she steers clear of self-pity or bitterness and evokes our sympathy through her sense of shame. The camera lingers on the crutches for a moment, but avoids focusing on them so long that it would feel sentimental. It's the focus on the look between the characters that makes the moment as poignant as it is.
Canine Central.
Brilliantly shot. I love how the focus shifts from the glasses to Claire, as if Claire's becoming an extension to the icon that personifies The Company. Nicely done.
Noah promises to figure out what's happening to her. Claire tells Noah she loves him. Noah calls her "ClaireBear." It's the most moving aww of the episode, and it reminds you how rarely we get moments like this anymore: emotional, moving, human moments between the characters.
The only thing undercutting it is that, looking back, you realize Noah's lying through his teeth because the first thing he plans to do is NOT figure out what's happening to her, but instead go back to the Vortex Safe House and blow Sylar and Elle's brains out.
Again, superbly shot. I love how the smile he puts on for Claire vanishes the moment the glasses go on, and -- get this -- how Noah adjusts his tie as he's leaving the room. He's planning to haul out a sniper rifle and kill the people who shot his daughter, and he actually straightens his tie before he does that. It's such an amazing nuance, and it's so in character, and I'm willing to bet it's a Coleman improv, because only he could think up a detail like that.
Presumably, Noah knew Claire was bleeding to death. And he lied to and abandoned his daughter because revenge outweighed his readiness to watch her die while the killers got away. There's moral ambiguity, there's emotional detachment, and then there's plain heart-of-stone ruthlessness. And it's probably to Noah's credit that, after Claire gets shot, we can't tell where any of those ends or begins for the character.
Dun-dun-DUN!
Even if he doesn't go through with it, Noah this week brings new meaning to the word "badass."
This one's essentially a set-up episode, so, like "The Hard Part" without "Landslide," it's hard to judge the episode without seeing the follow-up. It has some strong moments, particularly in Claire and Daphne's storylines. You want to believe the show will change after this: that Matt and Daphne will become closer, and that Claire's near-death experience will affect her perspective. But then, in line with this season's focus on plot above character, you can't help wondering if large chunks of potential character development will just as easily be effaced or ignored.
As a set-up episode, part one of "The Eclipse" suffers from an inability to capitalize on its concept: the characters lose their abilities, but we learn nothing about why, and we spend most of our time on characters who were either already powerless or who rarely used their powers anyway. Why make an episode in which the characters lose their abilities and focus on an already-powerless Peter? Why focus on Hiro when the predicament in his storyline -- the loss of his memories -- has nothing to do with the eclipse? Both of those threads were well executed this week, but they sap time that could have been used to explore how the episode's predicament affects other characters: how does Angela react to the prospect of dreaming without horrifying prophecies? How does Knox's role as a minion change when his leader's strength disappears at the same time as his own? How do supers all over the world who love their abilities and use them for everyday purposes -- including long-forgotten supers like Monica and Micah -- react to the prospect of normality? It's possible a lot of this will emerge in the second part, but at this point, with the exception of Daphne and Claire, there's very little in this episode that couldn't have been achieved without an eclipse.
The episode also fails to generate any real sense of anticipation or foreboding. It seems like none of the potential developments will be as ominous or far-reaching as they should be. We know the show won't dare to kill Claire off; we know Noah won't end up shooting Sylar or Elle; we know no one in Team Pinehearst will think to turn on Arthur while he's vulnerable -- even though it would make sense.
The gist in the media seems to be that a major character's about to be killed off. Despite the mutiny it'll inevitably cause among portions of the fanbase, I hope that's true. Not because the show should delight in killing characters we love -- or, conversely, because it should bow down to pressure from fans to thin the herd -- but because the show seems afraid to shake itself up and thwart our expectations. When Hiro provides comic relief, I'd like to wonder -- just once -- if it won't go on like this for the rest of the show's run. When Claire is wounded, I'd like to wonder -- just once -- if the show has the courage to ignore our attachment to the character and refuse to write their way out of it.
Which isn't to say that death is the only way to sustain tension on the show; just that several of the characters are in near-death peril in this week's episode, and that it was impossible to feel invested in any of those moments. I'm not advocating the death of a main character for ratings or shock value: I'm advocating it because it'll help episodes like this to carry real weight and real tension -- two things this episode was predicated on, and two things it lacked.
Whether the characters' abilities return next week or the week after, this episode struggles because its concept isn't supported by any sense of tension. It fails to resonate, and it lacks substance. We know -- mostly from previous experience on this show -- that any calamity can be fixed, undone or rewound, or, in some cases, rewritten altogether.
Here's hoping the show bucks that trend and surprises us.
2.5 out of 5
Comments (55)
Posted by Raissa | November 28, 2008 4:46 AM:
Posted on November 28, 2008 04:46:
Good review. I'm just glad we got a probably temporary good moment on the "Love-Noah/Hate-Noah/Forgive-Noah merry-go-round." I hope this is a dynamic they forego during "Fugitives." As for this story and what follows, I have no emotional investment. I'm just burning off eps. until Volume 4.
Posted by Thepandorarose | November 28, 2008 5:37 AM:
Posted on November 28, 2008 05:37:
I totally agree with your entire review. Crazy, I know. :)
I'm hoping next week explains more, but not telling us why this eclipse is different, why Arthur has never had such an event in his life or say that Nathan flew for the first time in the pilot... I can't get past it.
It would seem Arthur and Angela fear the eclipse and Arthur is fascinated... so why? Because something weird always happens? Well, that needs to be explained in part one, not part two - if it's coming.
But a show that expects us to forget when Nathan first flew so it can fit into their new plot idea when two episodes ago we just flashed back to that moment is sloppy. But I will assume it will be explained next week.
As for the car dealer: Based on the show and hearing the production people talk on BBC's Heroes unmasked I've decided that the set people have a better memory then the writing staff.
Posted by Susan | November 28, 2008 7:11 AM:
Posted on November 28, 2008 07:11:
Another good, entertaining review, Otto. Thank you for taking the time to do these.
I continue to love the great visual aspects you point out like the directing. In fact, I actually caught the one about the Petrelli Family photo and who was in the dark before you pointed it out. :)
As for the brothers fighting, it is one of the highlights of the episode for me. I also like the potential parallel of Peter and Nathan with the Haitian and Baron Samedi.
Volume 3 has been good but it could be so much better and deeper, if they just took some time with the events and characters. I just wish I knew which fans TPTB are listening to when they say they are making changes according to the fans' wishes/complaints.
It's the most moving aww of the episode, and it reminds you how rarely we get moments like this anymore: emotional, moving, human moments between the characters.
That is exactly what is missing. (Well that and a bit of writing continuity.) Apparently these moving moments are only allowed for Claire and Daphne. I wish the Petrellis could get some more of them too.
Part 2 concerns me based on the NBC preview, but the Canadian promo made me feel better ... at least it included a couple of different story lines.
Posted by Ian | November 28, 2008 9:58 AM:
Posted on November 28, 2008 09:58:
Good review.
I think viewing both eps at the same time will make them better. The same was true of the final three S1 eps, which are one giant episode in three parts.
In saying that, I was disappointed that we didn't get a worldwide montage of powers being taken. Even seeing fleeting glimpses of Micah, Monica et al would've been great. In saying that, Flint's scene was excellent - just enough emotion to work, without overshadowing everything else. He's still a big, dumb kid but essentially more dangerous without his ability.
Re: the Eclipse, I think they were too subtle. Arthur was fascinated with them (as mentioned in 309) so I'd wager they have many different effects, this one has just rarely manifested before.
Total agreement on Daphne. I'd be surprised, and disappointed, if Brea wasn't made a regular in V4.
Posted by Ian | November 28, 2008 10:12 AM:
Posted on November 28, 2008 10:12:
Oh, few fun things from www.heroes-wiki.com.
What Hiro said when Matt was trying to read his mind:
「亀さん見たいよー」 I want to see the Turtle!
「亀さん見えないじゃん。じゃま!」I can't see the Turtle! You bother (as in bothersome obstacle and is directed at Matt)!
「亀さん欲しいなあー。」 I want a turtle..
(Josh (talk/contribs) 22:04, 25 November 2008)
And there are allusions to The Wizard of Oz in Daphne's storyline which work for me. They seem subtle enough so that it doesn't beat you over the head, but the combination of that with Brea's excellent acting and the Hiro/Ando/Matt interplay (Grunberg and Oka sure had some untapped chemistry) bring the episode up higher for me.
Posted by Gord and Tanya Pratt | November 28, 2008 12:10 PM:
Posted on November 28, 2008 12:10:
"I'm not advocating the death of a main character for ratings or shock value: I'm advocating it because it'll help episodes like this to carry real weight and real tension"
I am absolutely down with that.
You know I love reading your blog every week. Tell me who do YOU like to read?
Posted by Jimmy | November 28, 2008 1:22 PM:
Posted on November 28, 2008 13:22:
Another great review...
This episode pops a lot of questions in my head.
The obvious one, how the hell Sylar and Elle knew where to find Claire? They only been told that Claire with HRG right?
And i wonder about the scene at Car Rental, Elle's intention (you know what i mean)
Daphne power is speeding by running right? How is it healed then? Just by her power? Hopefully it will be explain on the graphic novel next week.
I wonder who they will killed off the show, they said blonde female. That mean Daphne, Claire, Elle, Tracy, Meredith, or Sandra, Right?
And about Sylar/Gabriel, i no longer know what is his intention anymore, whose side he's on.
How Mohinder end up cocooning himself ON THE WALL? And why he would want to looked up on Maya on the screen?
I think this episode is the lowest of all in 3rd season, or maybe it's just the 1st part of the eclipse.
I don't know, it's not making me excited at all.
Posted by KellyH | November 28, 2008 1:24 PM:
Posted on November 28, 2008 13:24:
Well, if they do kill off a major character, there won't be a heck of a lot of suspense for fans because obviously it will be Elle. Kristen Bell's limited contract is a matter of no mystery to anyone.
You know, I just wish they wouldn't even go there with the possibility of Claire dying. There will never be any suspense, not only because of her ability (even when it's "inactive"), but because kiling her would be like killing Sydney Bristow or Jack Bauer. There's just no way they can do it. She is the one truly indispensible character. Even Hiro is expendable these days, and I'd say Peter is as well. Males ages 15-25 are largely watching so that they can stare at Hayden. So bringing up that possibility is just wasted plot, as far as I'm concerned.
There are so many reasons why death seems cheap on this show. The ONE time they actually killed off a truly major regular without giving him a dose of magik blood or something (I don't count Simone as major, and since Ali Larter is still around, I don't count Niki either--I guess DL could count, but anyway...) as I was saying, the one time they killed off a truly major regular who had been there since episode 1, they weren't willing to live with the consequences, as evidenced by the continuing issues of 9th Wonders.
I don't know what the word is on Bryan Fuller, but I don't know what or how much he can fix things. I'm deeply saddened at the state of television this week. My two favorite shows both involve Bryan Fuller. When he left one of them, quality went downhill. And then the strike killed the beautiful creation he left it for. Did anybody SEE Wednesday's episode of Pushing Daisies?? The last five minutes were a thing of utter beauty, and are exactly what quality television is all about. But since there is a requirement that in order to have a Nielsen box, your IQ must be below a certain threshold, this beautiful piece of television is on the "brilliant but cancelled" scrap heap, and networks will never give a show like that a chance again. Instead, we get CSI: Detroit and Law and Order: Corporate Fraud.
My point is that Pushing Daisies is creatively brilliant, but that viewers are too stupid to realize that. They are still (somewhat)turning in to "Heroes," even though "creatively brilliant" is not exactly how I would describe it right now. To me, this is at least some evidence that Bryan might actually be able to "fix Hiro" (in Ando's words, with Hiro being a surrogate for the show itself). I really hope that he really is on board.
Posted by Ian | November 28, 2008 1:57 PM:
Posted on November 28, 2008 13:57:
Kelly - I'd say Hiro and Peter (and Sylar) are in no danger of dying, at all. Kring can hint that they will, but they won't. The reason Peter won't is because he's Krings favourite character (or was), and represents the central theme of the show in 'love.' Hiro won't die because, though they've messed him about, at the heart of Heroes he is the finest example of what most of the fanbase aspires to be - the little guy who discovers he's capable of amazing things. Obviously they have to improve that aspect of him and make it more subtle. And Sylar won't die because he is Heroes version of Magneto. We're always going to have Sylar in the gap between good and evil, because he represents a duality that allows for conflict and yet character growth.
As for the concept of death, I'm torn. Heroes has killed a lot of characters, so I don't understand the 'no-one stays dead' argument on that hand... but I don't for a second buy that Claire is going to die here. Or at all. But then, I never believe the leads of a show are going to die... or stay dead. I didn't believe it on Angel... I don't believe it on Lost... because there's a combination of 'Jack is too key to die' and the general weird construct of the universe. Even if people died on Lost or Angel, they always came back - and for my money, if you die and come back in flashbacks that's as much of a con as dying and being brought back to life. Now I can overlook the two of them, but I get bemused by fans who think flashbacks are acceptable but ressurections aren't.
Posted by Michael | November 28, 2008 3:31 PM:
Posted on November 28, 2008 15:31:
Otto,I didn't think this episode was that bad. I don't think that Nathan was putting aside his hostility towards Angela. He just was following her orders because he wanted to prevent the future that Peter and Matt saw.
I don't think that Daphne was wondering how Hiro tied in with the formula. I think she was wondering, "Hiro's been a complete screwup this season. Why do Matt and Angela think he'll be able to save the day?"
I don't think that Samedi was taking orders from Arthur. I thought it was just "Arthur, you told me where my enemies are. Thanks."
Kelly- the strike didn't kill Pushing Daisies. It was getting less than 7 million the last episode BEFORE the strike. There are plently of legitimate reasons to dislike the show-it's too whimsical, the main character is a murderer but everyone treats him like a nice guy,etc.
Posted by KellyH | November 28, 2008 4:50 PM:
Posted on November 28, 2008 16:50:
Michael, the last episode before the strike was buried in mid-December and the bad taste of the strike was in everyone's mouth already. The episode before that got 10+ mil. It was the strike that did it in, and ABC's refusal to air any new episodes in Spring '08 after the strike ended. I don't begrudge anyone for disliking it, but I think that a show like that losing to Knight Rider speaks a lot to the intelligence of the Nielsen families. Anyway, I do hope Fuller is back and helps to fix Heroes.
Posted by Ian | November 28, 2008 5:34 PM:
Posted on November 28, 2008 17:34:
Pushing Daisies is a great show, and as it isn't as intensely serialistic as quite a few other shows it could have benefitted in airing new eps shortly after the strike ended. Much as people knock Heroes for losing viewers, they could afford to lose some and still get reasonably high ratings.
Posted by Jason | November 28, 2008 5:42 PM:
Posted on November 28, 2008 17:42:
Great review again, Otto.
I have an observation about the eclipse. This must be the first time in 400 years than an eclipse took away powers. It's already been established that the only reason Adam Munroe was able to live so long was because of his ability, and he instantly died when Arthur took it away from it. So any previous eclipses that took away powers would kill Adam instantly.
Seeing as Adam was so terrified of Arthur taking away his power, he must have either been constantly afraid on an eclipse, or not known the repercussions. But if he's been alive for 400 years, he must have gone through an eclipse at some point.
Posted by Daniel P | November 28, 2008 7:13 PM:
Posted on November 28, 2008 19:13:
Good review, Otto. Props again for catching some of those visual cues, and calling the show's crap wherever it may be found. Although, I wouldn't rate it as lowly as you did.
Still, you're right. The show needs to be more daring. No fan-gripe driven house cleaning, but just that sense of danger we haven't really had since season 1. Even then I never really expected Claire, Hiro, or Peter to die, but that was when they were great, likable, growing, and consistent characters, so it didn't matter. But there was something about this episode that evoked a little bit of that. Except for Hiro. As you have said, Masi puts an incredible amount of effort into a role that he doesn't deserve (in that he deserves much better). It's strange that the lost second half of the second season took them in much more interesting and consistent directions.
The show really does seem to gloss over a lot of small plot details, as you've pointed out. However, I think that's becoming a matter of the show having to deal with so many characters and events that no one internally can keep track of them. I guess it can't be entirely their blame though, since making Heroes is such a mind-bending and complex show to make.
Posted by Ryan | November 28, 2008 7:26 PM:
Posted on November 28, 2008 19:26:
May I suggest that you ask Entertainment Weekly for the job of doing "Heroes" recaps each week? Because, seriously, your reviews are the best things since sliced bread compared to their biased crap that's written by someone who appears to never have been a fan of "Heroes" to begin with.
Though I don't think I would've given this episode as low of a mark as you did (I was actually shocked by your 2.5! Wow!), I do agree with almost everything you pointed out.
There is no suspense, there is no shock, there is no reason to be invested. The writers need to raise the stakes quite a bit of they expect the viewers to even care about plotlines or plot-twists anymore.
As far as the Tracy tidbit is concerned...While she may be my favorite character on the show right now (not just because she's played by Ali Larter...Ok, maybe that's why but whatever), I have to admit that the writers did nothing to explain why she was even at Primatech to begin with. Just to find out what's going on with Nathan?
For a character who has so much potential for greatness and excellent, mysterious storylines, the writers treat Tracy Strauss like utter trash. Heck, they've treated EVERY Ali Larter character/personality like trash since 1.23 "How to Stop an Exploding Man" when they completely dropped the Jessica personality without any true explanation - and, from there, Niki was reduced to a sideline character who did nothing but help other characters progress the "plot" and then she died and they've brought Tracy in to do the same thing and dropped whatever storyline she had in the beginning of the season.
There are SO many different options that the writers can take with Tracy Strauss. I mean seriously. Just to name a few: Who are the Synth Trip's biological parents? Where's Barbara? What was Tracy's childhood like? What EXACTLY is she capable of? And then there are the more dramatic storylines like - what if DL isn't dead? What if Jessica isn't dead? What would happen if Tracy hunted down Hal Sanders to learn more about Niki? What if she was given an antagonist of her own to face off with?
Is it sad that I, a teenager in high school, can come up with countless storylines and ways to execute them but the PROFESSIONAL WRITERS never seem to bother?
Posted by Otto | November 28, 2008 9:25 PM:
Posted on November 28, 2008 21:25:
Raissa, "a probably temporary good moment on the 'Love-Noah/Hate-Noah/Forgive-Noah merry-go-round'" sums it up so well. Do you think that cycle will change after this week? Coming so close to dying could change Claire's storyline completely, and getting upstaged when they were sparring seemed like a revelation for Noah. I'm hoping the entire dynamic between them could change if the show wants it to.
ThePandoraRose, it is indeed worrying when we agree on all points. :)
You bring up the same point that Ian and Jason do about the eclipse: what effect do you think the other eclipses would have? I can believe your take on it -- that "something weird always happens" -- but I'm stumped on where the show would go with it. Besides removing everyone's abilities, what are the options? Abilities temporarily going haywire? Abilities being enhanced? High fever, nausea, loss of motor control? The whole concept puzzles me because, no matter what effect the eclipse was going to have, Arthur must have known it would be bad, and the impression I got was that Arthur didn't have a clue.
Susan: I have to agree about the Petrelli confrontation being a highlight of the episode. For me, it was a highlight of the season. I don't know if that says more about the scene or about the season, but I wish we'd get more scenes like this: scenes with plausible conflict, where the characters are honest about how they feel.
"Volume 3 has been good but it could be so much better and deeper..."
You just summed up my feeling exactly.
Gord, Tanya, thanks so much for reading. I could reel off a dozen sites which influence me and have brilliant people writing for them, but if I had to plug one Heroes-related site, it'd be THIS ONE.
KellyH, I'm not sure if contractual obligations add up to killing Elle off. The show could just as easily write her out the way they did Maya, leaving the door open for a couple of episodes each season. But, ultimately, I agree: given that Claire's guaranteed to stick around, and given that Brea Grant's still shooting scenes (although those could easily be flashbacks or alternate realities), I'd say the candidates are Elle and Tracy. The show went to the effort of reintroducing Ali Larter with a new personality, so I'd be amazed -- and kind of appalled -- if they killed off that new personality after just 13 episodes.
With Claire's life-hanging-in-the-balance storyline amounting to "wasted plot," I have to agree. What do you think the alternative is? If she never even comes close to looking like she might die, would we begrudge the show even more for telegraphing that her death is off the table?
Ian, I'm with you on the montage which this episode needed: a couple of shots of supers around the world losing their strength and speed and getting a "WTF?" expression could have gone a long way. The way this episode played out, even with the scenes in Haiti and Kansas, it felt very insular; we didn't get a sense of the eclipse affecting people all over the world.
Thanks for the translated subtitles. I did wonder what Hiro was thinking.
Interesting point about Sylar being one of the core "safe" characters. It hadn't occurred to me, but, yeah, I guess he's now as safe as Peter, Hiro and Claire. Good point about Sylar's duality, too. The show seems to be pushing Peter in the same direction, only from the opposite direction. My issue with this episode is that, at least as far as Sylar's concerned, the push seemed to become very muddled. Do you think the whole "redemption" arc is over?
With the "no one stays dead" angle, perhaps it ties in with the whole "catering to fan wishes" debate: the argument seems to be that if characters are popular enough, they're guaranteed a healthy run on the show. Hence, you have Sylar and Nathan still alive, you have Kaito and Linderman showing up as ghosts and in flashbacks, you have characters like Adam and Maury -- whose story arcs seemed to have closed -- popping up where it fits with the story, etc. etc. I'm not complaining when it comes to a lot of those instances, but I think it's an indication that parts of the story are dictated by whether or not the fans and the producers "like" the characters. If they're popular enough, no manner of death and no cliffhanger will keep them off the show. It's great if you like the characters, but it's also kind of predictable and sycophantic on the show's part.
I'm OK with resurrection AND flashbacks, but I think the context and focus have a lot to do with it. I'd hate to see the show resurrect Kaito, but when you get an episode like 3.12, where his presence seems like it'll almost be an incidental thing, it has the potential to complement the rest of the characters' storylines.
Michael, I definitely agree about Nathan: he puts the fate of the world ahead of his issues. The point I was trying to make is that I would have liked a little dialogue to support that. Without more of a transition, it feels (at least to me) like the backstory's being glossed over. Maybe it'll be addressed when Nathan returns to Primatech, but the way that hostility between Nathan and Angela wasn't even mentioned was something which jumped out at me. If it didn't bug you, I'm glad.
With Daphne's question about Hiro, I was mostly projecting off of her dialogue. She says, "I don't understand what H. N. has to do with any of this." I agree with your interpretation of it, but, again, the point I was trying to make is that a part of the story wasn't as clear as it could have been.
With Samedi, it's definitely speculation on my part that he works for Arthur. The way Samedi mentioned Arthur telling Samedi to be himself, it struck me as if there was a boss-minion dynamic there. I could easily be wrong.
Jason, I'm really glad you brought up the regeneration/eclipse debate. Could someone please explain this to me: hypothetically, if Arthur hadn't sucked Adam's ability out of him, and if Adam had survived long enough to witness this eclipse, would he not have turned to dust now anyway?
I love the idea of Adam cowering in terror every time there's an eclipse. I think David Anders would have a lot of fun shooting that. :)
Daniel P,
"The show really does seem to gloss over a lot of small plot details ... However, I think that's becoming a matter of the show having to deal with so many characters and events that no one internally can keep track of them."
I dunno; most shows have a continuity supervisor who's paid to keep track of that stuff. This show has at least one of those, and, from what we know, it usually has at least one writer on set during production. Most of the time I can let the details slide if they aren't glaringly wrong and pulling you out of the show. Some of the stuff this week did pull me out, though, so I thought it worth picking up on.
Ryan, thank you for the kind words. I agree, there wasn't a good reason for Tracy to show up at Primatech. Maybe she was there to offer moral support? Maybe to offer any information she had on Pinehearst? Maybe just to ice anyone who came near Angela or Nathan? Your call. :)
Posted by Matt | November 28, 2008 9:27 PM:
Posted on November 28, 2008 21:27:
Excellent review, Otto - you tapped into everything I felt about this episode.
Your comments about Elle's characterisation were spot on. She's being written so inconsistently that it's atrocious; it's a testament to Kristen Bell's acting skills that she's still one of my favourite characters despite the fact that the writers clearly don't know what to do with her. If Elle is killed, my main reason for watching this show is gone...I'd really have to think about whether I was invested enough in the show to continue, if that was the case.
One thing I'm really confused about is Sylar's power. Was his original ability empathy, like Peter, or intuitive aptitude? If it was empathy, did he pick up intuitive aptitude from a superhuman that he walked past in the street without realising it? And no matter which came first, surely if he had intuitive aptitude, he should have seen how his powers work and recognised that he had empathy? It doesn't seem like the writers have thought this arc through - Sylar's motivation for seeking redemption reduced him to a simpering, easily-manipulated pawn from his position as a devious villain, and now this? Ugh.
I'm also awaiting clarification on the 9th Wonders issue. Whether it's made from Isaac's notes/sketchbook or a new character, it's becoming an irritation that drags me out of the story every time I see the comic onscreen.
Posted by Ian | November 28, 2008 10:29 PM:
Posted on November 28, 2008 22:29:
Matt - I think we're meant to believe that Intuitive Aptitude and Empathic Mimicry are the same ability. It's Power Absorbtion, at the end of the day. Sylar manifested one aspect of the ability because he was raised to be technical and repair watches, which left him cold and passionless so he could see how things work. Peter manifested Empathy because he grew up with a dreamer of a Mother who - judging by 308 - loved unconditionally and was mind-wiped when she didn't.
If Sylar grew up with Angela, and Peter with The Greys, chances are they would have swapped the way they use their abilities. What Arthur did to Sylar was to show him he could be Empathic, the same way Future Sylar showed Peter he could understand how things work.
Posted by Ian | November 28, 2008 10:34 PM:
Posted on November 28, 2008 22:34:
Otto - I think the redemption arc was something we percieved but wasn't actually there. The show wanted us to understand Gabriel, but I think some of the fanbase misconstrued that was white-washing what he had done.
It's more about understanding what Gabriel could have been. He has the potential to do good or great things, but there's no steady guidelines for him. Even now, Angela, Arthur and Elle are manipulating him - he hasn't acted of his own accord since 301, to be honest. Everyone is treating him like a puppet (except Peter, oddly), and that interests me because next time Hiro and Gabriel meet I'd LOVE to see Hiro show some regret for stabbing Sylar in Kirby Plaza. He saw how The Company created Sylar, and has to feel some sorrow for the guy... especially given what he did to Adam.
In fact, V4 has the potential to rock. If they get Mohinder, Matt, Molly and Daphne together that has enough storyline for a good few episodes JUST based on what happened in Volume IV.
And can SOMEONE tell Nathan he's related to Sylar already. Pasdar and Quinto haven't shared a scene yet, and you just know those two would knock it out of the park.
Posted by Ian | November 28, 2008 10:38 PM:
Posted on November 28, 2008 22:38:
In regards to Takei, I think he's awesome. But if we get an Elder tale in V4, please go grab Roundtree again. Retcon him in as Micah's Grandfater if you have to... :)
Posted by Steve S. | November 29, 2008 12:44 AM:
Posted on November 29, 2008 00:44:
"May I suggest that you ask Entertainment Weekly for the job of doing "Heroes" recaps each week? Because, seriously, your reviews are the best things since sliced bread compared to their biased crap that's written by someone who appears to never have been a fan of "Heroes" to begin with."
With all respect to Otto, I'm not so sure. What is worse, a show being routinely raked over the coals by someone who really has no idea what the show is about, or by someone who has been a fan - and still claims to be one. I know, I've commented in this vein before so I'm being redundant. But, aside from those positive comments about particular shots or angles, most of the positive comments are either preceded or followed by a caveate that diminishes the impact of the positive. It has almost gotten to the point that those negative points that *are* based in solid reasoning are drowned in negative argument supported by personal opinion, an overly stubborn unwillingness to suspend disbelieve, a bias involving a particular actor's acting skills or lack thereof, or something else equally subjective.
And, while subjectivity is part and parcel of a critigue, I have always thought the point of a fan site-related critique was to convey an overall supportive stance of the show, since Herosite is - after all - a site for fans *of* the show. While this critique is always well written and intelligent, it seems as if there it has become more of a search for reasons to criticize rather than for reasons to praise.
As I mentioned, I know I've written similar comments after the last couple of critiques. In most cases, I'd simply shut up and stop reading, but in all honesty I've enjoyed these reviews for Heroes more than any review column for any other show. I guess I'm just hoping to get back some of the more positive Otto of old. Call me a fanboi. If the shoe fits, I'll wear it proudly.
Posted by Susan | November 29, 2008 12:50 AM:
Posted on November 29, 2008 00:50:
As for Tracy being at Primatech, it sure would have been nice to have some reason for her being there. As it is, it's very odd, strange and confusing. All it would take is one line as she was leaving, either from her or Angela, to clear that up. I hope this isn't another case of a semi-crucial line being cut, like the one line from 3.08 about why Arthur was going to kill Nathan.
Ian Your explanation of Peter and Sylar's powers is also how I see it. Throwing Arthur into the mix, his power is a leeching/parasitic type which is a good fit for a lawyer. While they all have a similar base power, personality plays into how it actually develops.
And can SOMEONE tell Nathan he's related to Sylar already. Pasdar and Quinto haven't shared a scene yet, and you just know those two would knock it out of the park.
Yes, please! It would, or should, provide some much needed information, such as what Nathan remembers or knows about that issue. But, then again, that may be exactly why it hasn't happened yet. :(
Posted by Raissa | November 29, 2008 12:58 AM:
Posted on November 29, 2008 00:58:
Raissa, "a probably temporary good moment on the 'Love-Noah/Hate-Noah/Forgive-Noah merry-go-round'" sums it up so well. Do you think that cycle will change after this week? Coming so close to dying could change Claire's storyline completely, and getting upstaged when they were sparring seemed like a revelation for Noah. I'm hoping the entire dynamic between them could change if the show wants it to.
I hope it does. If nothing else, I want Claire to come to terms with the fact that she's Noah's moral compass. No, it's not a healthy dynamic, but it's the one they have. If Claire accepts her role as Noah's moral compass, his muse, his cheerleader, if you will, then she will have a purpose throughout the remainder of his lifetime and during other centuries after he's dead. She could make a sideline out of keeping obsessively motivated men from going off the rails in exchange for protection, tutelage, and companionship. Think Thomas Mallory (King Arthur) meets John Le Carre Meets the Bronte sisters.
Posted by Manxita | November 29, 2008 1:16 AM:
Posted on November 29, 2008 01:16:
Some of the issues that you're all discussing here have been adressed at this week's Behind the Eclipse column at comicbookresources.com :
Astro wanted to know:
�In �It's Coming,� was Sylar using his ability to �understand how things work� through empathy? How is this different than Peter's ability?�
It�s not. Interesting. No?
Jason Williams wants more comics � on the show, that is:
�First of all, thank you for referencing Isaac and his series. When I saw them pull out that comic, I nearly I nearly jumped for joy. Apparently Isaac has seen very far ahead into the future with his �9th Wonders� comics, hasn't he? How is that comic still in publication when he is dead? And how much longer will it stay in print? I, myself, hope that we will be receiving the painter's predictions for a long time.�
You�ll be seeing more of Isaac�s �9th Wonder� comic books over the next two episodes. Comic writers and artists finish their work months and months ahead of publishing (or at least that�s the idea � sometimes we run a little late � sorry.) So, what we�re seeing is the posthumous works of Isaac Mendez. Our friend Seth Green is going to discuss that next week in Episode 11, �The Eclipse � Part II.�
Here's the link to the whole thing:
http://www.comicbookresources.com/?page=article&id=18931
Hope it helps ^^
Posted by Ian | November 29, 2008 1:23 AM:
Posted on November 29, 2008 01:23:
Steve S - you make some good points. It is difficult to see Otto, an unabashed fan of the show, find fault with it... but I think we all respect his honesty. He doesn't sugarcoat things, if something doesn't sit well he raises it in his review and allows us to debate it with him. There's no hatred here, we're all adults and we all banter and throw our perspectives into the mix in a way that's constructive.
Posted by Ian | November 29, 2008 1:24 AM:
Posted on November 29, 2008 01:24:
Claire and HRG... I'd actually like him to start helping her patrol in V4. Maybe he realises that he can't keep her hidden, but if he goes out with her he can keep her safe. A watchful eye, almost. And it'd be great to have a Vigilante character taking on the smaller crimes.
Posted by Raissa | November 29, 2008 2:47 AM:
Posted on November 29, 2008 02:47:
Ian,
That's a cool idea. But, based on Vol. 4 spoilers, it doesn't look like that's what we're going to get.
Posted by Nina | November 29, 2008 2:49 AM:
Posted on November 29, 2008 02:49:
I don't know if anybody said that before, but today I was seeing the 'six months ago' chapter. And I noteced that there was an eclipse the time Nathan was in the hospital after the car crash, they showed reflexed on the window. And Peter dreamed about the Nathan accident so he knows what happend, but indeed it is a cute mistake the show is making. Im hopefully waiting to see that in the second part they explain it right.
Posted by Nina | November 29, 2008 3:27 AM:
Posted on November 29, 2008 03:27:
First I'd like to say that I love your reviews, and that I disagree with what someone said above, just because you are a Heroes fan it doesn't mean that you have to be positive and enjoy everything. I really wish Tim Krin would listening to people like you, Otto. Mainly because we share basically the same point of view, but hey, no problem in that (;
Let me say that I don't know what the problem is with this episode, had great things, great scenes and stories. But there's something off, and I can't put my finger on it. I wish I could.
The whole 'eclipse' thing is bothering me so much. I see some explanations, but I wish the show could clarify more.
I TOTALLY agree with you when you say that the show needs a death. A major death, like Isaac's was in the 1st season. But I don't see this whole 'there's-no-death-thing', however in a show like Heroes it needs to have big ones. And I think Tim Kring is afraid, I used to love him, but now, not so much, I just wish he would shut up and not give more reasons for people to say bad things.
Posted by Thepandorarose | November 29, 2008 5:04 AM:
Posted on November 29, 2008 05:04:
You bring up the same point that Ian and Jason do about the eclipse: what effect do you think the other eclipses would have? I can believe your take on it -- that "something weird always happens" -- but I'm stumped on where the show would go with it. Besides removing everyone's abilities, what are the options? Abilities temporarily going haywire? Abilities being enhanced? High fever, nausea, loss of motor control? The whole concept puzzles me because, no matter what effect the eclipse was going to have, Arthur must have known it would be bad, and the impression I got was that Arthur didn't have a clue.
Yes, Arthur had no clue, yet is fascinated with the eclipse, so why? The writers seem to say that it effects some how. And I can believe that maybe there is a rash of people manifesting, even though NOT everyone would - or anything really - much like how on a full moon they say the emergecny rooms are full. I think they could make up a million reasons(hey the day of the pilot Peter's dreams we're crazy, right?)that would be creative and I could believe - and perhaps ever 40 years or 100 years it takes powers away, so Arthur would have no idea and maybe Adam never mentioned it, or had no idea as he was dust - whatever. But for me.
A)Don't leave it for part 2
B) Don't make me forget that Nathan didn't fly for the first time in an episode you just flashbacked to.
I agree that Season 3 has been enjoyable, but had so many places to be deeper. I guess I've been waiting for it and now feel under satisfied - something I think wouldn't get me so upset if they didn't have a character forget the first time he flew his wife was crippled. And I enjoyed the episode as I watched it. But HRG and Claire's scene should be a scene like that in ever episode - or how about skipping over Peter and Nathan's reaction to "their mom can see the future!?"
I'm sure after next week I'll have my faith back - I adore the Petrellis, but when I know more about your show then the writers do, I find that lazy. When you want a storyline, but you don't find a creative way to make it make sense, I call lazy. I can think of a million reasons to make the eclipse important, when your episode 6 months ago kinda took that away.
Posted by ThePandorarose | November 29, 2008 5:10 AM:
Posted on November 29, 2008 05:10:
PS
Ryan, thank you for the kind words. I agree, there wasn't a good reason for Tracy to show up at Primatech.
She came looking for Nathan, but just missed him, after all she has a mission and she's Arthur's little spy.
So, she waited in Angela's office while Angela had some work to take care of - like protecting Claire and giving her over to HRG.
I didn't think her being there was odd. In fact I figured her whole "i'll bring Nathan back" would be never realized and be just a red herring like why Niki was going to kill Nathan as Jessica for Linderman.
(I figure maybe Linderman was gonna heal him and get the man's loyalty - I'm sure its a thing he does... worked with Arthur."
Posted by Matt | November 29, 2008 9:44 AM:
Posted on November 29, 2008 09:44:
Matt - I think we're meant to believe that Intuitive Aptitude and Empathic Mimicry are the same ability. It's Power Absorbtion, at the end of the day. Sylar manifested one aspect of the ability because he was raised to be technical and repair watches, which left him cold and passionless so he could see how things work. Peter manifested Empathy because he grew up with a dreamer of a Mother who - judging by 308 - loved unconditionally and was mind-wiped when she didn't.
If Sylar grew up with Angela, and Peter with The Greys, chances are they would have swapped the way they use their abilities. What Arthur did to Sylar was to show him he could be Empathic, the same way Future Sylar showed Peter he could understand how things work.
That's a well thought-out analysis, Ian. But even from that, shouldn't he have been able to see that he could take powers without scalping? And I still think that the show should be explaining this sort of thing itself; speculation is one thing, but when the fans are forced to fill in plot holes, it marks a need for rapid improvement.
Yet another Sylar-related question: Angela foresaw what he would become in her dream. But if she'd never had the dream, he never would have been adopted by the Greys, and his killing spree would never have been triggered off by the Company. Not sure if that makes any sense, but am I right in assuming that this doesn't quite fit? Or am I just being nitpicky?
Posted by Ian | November 29, 2008 11:42 AM:
Posted on November 29, 2008 11:42:
Matt - Sylar saw that the powers existed in the brain, but as we saw with Claire he didn't really do anything to the brain except touch it. His mind rationalised the scalping, but he never had to do it. The equivilient is like me finding out the answers to a Maths question, but wanting to go back and prove it's right. I had the answer, but my mind wouldn't calibrate it until I made sure it was right.
re: Angela, she saw one way Gabriel went crazy. Chances are he scalped Peter and Nathan. So she freaked, tried to down him. Arthur probably stopped him, then wiped her memories - he wanted to use Sylar later on, couldn't have him dying. So Angela didn't know of Gabriel until her memories came back in 308, and by then she'd lost all of her love. That, and visions of the future sort of come true always, just not as they expect.
Posted by Ryan | November 29, 2008 7:26 PM:
Posted on November 29, 2008 19:26:
Manxita: The explanation that was given would make total sense...if we didn't already see what the last issue of 9th Wonders (that Isaac produced, at least) was about. The last issue was about how to kill Sylar in 1.23 "How to Stop an Exploding Man." It was about how the heroes save the world. We saw that and he even told Sylar that he's told the world how to kill him right because Sylar scalped the poor guy.
It's inconsistent. The last issue that was written/drawn by Isaac Mendez was supposed to be about the events in "How to Stop an Exploding Man."
The paintings from season 2, I can accept those. They're paintings. He just painted them. And it was a short time after his death. However, 9th Wonders should not still be getting published - let alone written with an accurate portrayal of the future - since Isaac's last issue was essentially "How to Stop an Exploding Man."
This is a huge error on the writers' part. Who knew that one little detail from an episode in season one could cause so many problems two seasons later?
Posted by Ian | November 29, 2008 8:55 PM:
Posted on November 29, 2008 20:55:
Ryan - that may be the 'last' issue, but who says he wasn't ahead by a few months before that? Even when The Company snagged him in S1, it doesn't appear there were any 9th Wonder delays.
Sure it doesn't make complete sense (Isaac was apparantly able to paint timelines past Kirby Plaza), but I don't think it's a detail that should take people out of the show.
Posted by Otto | November 29, 2008 10:04 PM:
Posted on November 29, 2008 22:04:
Matt,
"If Elle is killed, my main reason for watching this show is gone...I'd really have to think about whether I was invested enough in the show to continue, if that was the case."
You're definitely not the only one who feels this way. Is the reason you'd stop watching based on principle, though, or is it that you feel Elle contributes a big part to the show? I'm curious because a lot of people have voiced your sentiment in recent weeks, and I find it interesting that any one character -- especially a recurring character on an ensemble show -- would sway viewers to stop watching. I like Elle, particularly this season, but she never struck me as a central character, or one we knew so well that losing her would be like losing a staple part of the show. Do you think the show would be drastically different without her, or is it more about emotional investment in the character?
With Sylar's adoption, I'm pretty much on the same page as Ian, but I'd also suggest that Angela only got a glimpse of Sylar's villainy 30 years down the line. Her nightmares might not have given her any indication of how he ended up a killer -- only that he did. So, perhaps it's a timeloop. Perhaps Angela didn't realize she was indirectly fulfilling that prophecy by giving Sylar away.
That, or Sylar was going to end up a psycho no matter what the circumstances of his upbringing.
With Sylar's IA vs. his empathy, I could definitely go with Ian's take on it, but I see it slightly differently: I think they're two distinct powers which Sylar and Peter both have, and that they're two different approaches with the same outcome (that's to say, both abilities lead to the owner acquiring abilities). The reason why the two brothers manifested different abilities to begin with is because of their temperaments.
Ian, great angle on Sylar's redemption arc. If it's only something we perceived, though, does that mean he's still more or less the show's villain? This is where I wonder if the character arc became muddled, because 3.04 seemed to point towards Sylar becoming repentant and changing to the point where he's afraid to reconnect with his old self.
With Sylar never acting out of his own accord, I'm tempted to disagree, but again it depends on how the storyline plays out: I was convinced that Sylar chose to stay at Pinehearst because he was planning to betray Arthur, but if it wasn't a ploy to help Angela then wasn't that decision to stay with Arthur his own?
Very interesting point about Hiro gaining a new insight into Sylar after the spirit walk. You mention upthread the dynamic between Hiro and Matt; I'd love to see what the dynamic between Hiro and Sylar would be like.
Adolescent humor:
"Maybe [HRG] realises that he can't keep [Claire] hidden, but if he goes out with her he can keep her safe."
I had to re-read that in light of Kring's comments on the 1.23 commentary about Claire and HRG being the show's central "romance." :)
Steve S, am I raking the show over the coals? I hope it's all still fair criticism and that it hasn't descended into indiscriminate bashing. Your points are never redundant, and I'm grateful that you're still reading even though you disagree with my approach to reviewing the show.
I can't be certain, but I'm pretty sure the column inches -- even in this season -- add up to more positive comment than negative. (And, please, no one go back to make sure...:)) If the negative aspect is the part that sticks out to you more, then, as I've said before, I'm sorry for that. I hope you'd prefer me to be honest. The alternative is excising portions of the review before I publish it, which would spare you the "bias" and "overly stubborn unwillingness to suspend disbelief" (most of which is in good humor and in no way an attempt to condemn the show), but would also leave you with a one-sided reaction. I hope you wouldn't consider that preferable, because from my perspective, that wouldn't be fair to the show, or -- more importantly -- to you or anyone else reading the review.
You're absolutely right, HeroSite is a fan site, and it is here to provide an online appreciation of the show. To my mind, "appreciate" doesn't necessarily equate to "praise." Negative criticism can lead to constructive debate, and that's a big part of why we created this blog in the first place. Like I say, I hope it's all still constructive criticism -- even when it's negative -- and that I'm not bashing certain characters or storylines without good reason.
"I guess I'm just hoping to get back some of the more positive Otto of old."
Steve -- me too! :)
Susan, I agree, the lack of a solid reason for Tracy being at Primatech seemed odd. I tend to go with PandoraRose's interpretation: that she was there for Nathan, and to offer Angela general support.
Had to chuckle at this:
"[Arthur's] power is a leeching/parasitic type which is a good fit for a lawyer."
Not that we're stereotyping lawyers or anything ... :)
Raissa, I'm with you on Claire being HRG's moral compass. I saw a lot of that in the shot of HRG cleaning his glasses; the way the focus went from the glasses to Claire, it seemed like someone on the show -- Beeman, Goodman, someone -- wanted to convey that Claire and The Company are now inseparable to HRG. I guess they always were up to a point, but I think that's the case now more than ever.
Nina, thank you. :)
ThePandoraRose, I definitely get why you felt dissatisfied after this episode. It wasn't so much the details for me, it was more the sense that there was no real urgency or peril because almost all of the predicaments could be fixed or undone by the conventions the show's following this season. You're one of the most devout fans the show has (and I mean that in the best possible way :)), so if you're talking about losing the faith, it's a bad sign.
In the show's defense, I can totally forgive a couple of continuity errors and a couple of weaker episodes each season. That's inevitable when they're on such a tight production schedule.
Posted by Ian | November 29, 2008 10:18 PM:
Posted on November 29, 2008 22:18:
Otto - Gabriel refusing to use his powers at all and pretend Sylar didn't exist... I can see why that would be seen as character growth, but it's also a fatal flaw. Ignoring who someone is never ends well, and seems like a classic case of avoidance. He does feel some repentance, but in 304 I got the sense (and get it more in retrospect) that it was such a shift that it was almost like he was fighting to convince himself he was good the same way he fought to convince himself in S1 that he was evil.
I think they'll always throw out the idea that he can be somewhat redeemed, but it'll be in a Magneto style way. In the X-Men comics (and films), Magneto is capable of incredible evil and barbarism... but he also finds himself crushed whenever Charles is harmed. I can see Heroes doing that with Peter and Sylar - you have one brother who wants to see the good in everyone, and another brother who sees people as fundamentally weak but also believes he's doing the right thing. The dreamer versus the realist I guess you could say - sort of a flipside of Arthur versus Angela.
I guess that makes Claire a Rogue like character, who everyone wants to protect needlessly... which saddens me because I would have LOVED to have seen Adam teaching Claire how to use her ability.
ADAM: And this will help you battle Japanese Samurai.
CLAIRE: Oooh!
Posted by Nina | November 29, 2008 11:27 PM:
Posted on November 29, 2008 23:27:
Ian, good point. It'd be great to see Adam teach somethings to Claire, the show lost that when they killed him. Who better to teach Claire everything that she's hoping for than him?
And yes, I think that the dreamer vs. the realist can explain their differences, and why he saved Peter from dying even though he trough him out the window.
I think I said that in the previous comments, but I think that you, Otto, are right on the critics, they don't bash at all the characters and storylines. They just show the real thing, constructive criticism, and that is what the show needs. In fact every show needs that. And I'm pretty happy wth the debates Heroes is causing, because even the people who go saying they hate the show are still in forum and in show topics discussing that. That shows that even if they're just bashing, Heroes is still a big show and people tke their time on it, even though they don't like it. Strange I know, but hopefull.
And, Otto, or someone here, please try to explain to me why there's an eclipse in the six months ago episode? They don't show it clearly, but in many times there is a reflexion on the widows, glasses, etc. That would explain, that in fact they did got their powers with the eclipse, or perhaps it was enhanced (?).
-- Sorry for my english, I can understand everything perfectly but I have some troubles in writing setences because I don't pratice a lot. Hope I wrote everything clearly.
Posted by Ian | November 29, 2008 11:38 PM:
Posted on November 29, 2008 23:38:
There wasn't an Eclipse in Six Months Ago. What I got was that they were using a lighting trick on a mirror to make the shot prettier and suggest a connection to 101. It was an awesome visual effect, but it goes back to Sylar and Peter both using 'Eden's' yelly voice - sometimes the visual and audio teams just want to throw in an awesome effect, but because Heroes is so serialised we look for connections everywhere.
I think HRG could teach Claire a lot, but I wouldn't mind seeing another regenerator show up. Perhaps differentiate it by having someone whose body heals but he/she still ages. They're not immortal but self-heal wounds. And cast someone British and snarky.
Posted by Ian | November 29, 2008 11:47 PM:
Posted on November 29, 2008 23:47:
Nina - your English is very good.
Posted by Nina | November 30, 2008 1:41 AM:
Posted on November 30, 2008 01:41:
Yes, Ian, I know that that was an visual effect, even so. The image of an eclipse is symbolic telling us that it has an influence on that scene, the same way that everytime Sylar appears it has the clock sound, you know what I mean?
I know, maybe I'm looking too much into it, but I can't adimmit the show would make an error like this, make us believe eclipses give people power after showing clearly it didn't. And doing that only a few episodes after remenbering us when Nathan fisrt flew.
Of course HRG can teach Claire a lot, for me he's the most smart character, but somebody with the same abillity showing her how to make it usefull would be interisting. And good idea with the other type of regenaration, I think somehow the Haitian's brother is like that. He has impenatrable skin, can't get hurt, but I think he would probably still age as a normal human being.
Otto, I do agree with you on how amazing it is the effect that Kristen Bell's character have on some people. I wouldn't stop watching Heroes if she dies -- but hey, I would continue to watch Heroes even if they only showed pictures of the characters doing nothing -- but I'll miss her a lot. I do think she is a main character, even if the creators don't think so, because if Sylar is so big to the show, the person that helped him achieve what he became is important as well. She could also be a 'reason to fight' beteween the two brothers, because Peter cares a lot for her too. Wonder what would happen if those three end up in the same scene.
Posted by Daniel P | November 30, 2008 6:41 AM:
Posted on November 30, 2008 06:41:
Very true, Otto, but I don't think even the writers can cover this show. Whether that's a matter of their competence (which, given how phenomenal they have proven themselves before, what's up with them now?), or the complexity of the show, I don't know. Although, Greg Beeman's posts really show that the staff is aware of what goes on, but simply choose to ignore stuff. Aron and Joe seem to get this across. Maybe it's a combination of both. Regardless, it's not good.
Let me bring something up here--I'm no comic expert, but comics do take months and months to get out there, by Joe and Aron's word. That means that in combination with Isaac's sketchbook (which they've said would be brought back into the story around this time), all these new 9th Wonders can happen. Still, Isaac has now predicted two alternate futures--what the heck? At the very least, Isaac's ability to contribute to the story seems to be winding down--if the writers don't throw out another set of paintings to use as a plot device.
On another note, I think too many characters have been merely...supplemental. Tracy and Maya are the big examples. I'll always enjoy watching Ali Larter on screen, and Tracy was in the midst of a decent storyline, but she's quickly lost that. Her suicide, political position (where the heck is Malden?!), sisters, and her sudden enjoyment of her powers are only lightly touched upon, in favor of being motivated and influenced by Nathan at every turn. It's pretty weak, and because of it I feel more concerned for Tracy because she's played by the wonderful Ali instead of because of her actual character. As for Maya, it's strange--no one wants to see Maya anywhere, except for ogling Dania Ramirez (and lamenting for the wasted energy she puts into a pitiful character), but at least in season 2 she had a character and an arc (a very repetitive arc). Now she's just Mohinder's object of weakly-written affection. Maybe it's a blessing in disguise, but really, this is getting ridiculous. Elle is really caught up in Sylar's storyline, but I feel she carries herself well, both in acting and in writing...well, sort of for the writing part. Daphne, I feel, has really grown into her own--I've come to care about her as a character. Elle, luckily, has the benefit of a very awesome stint in season 2.
Oh, and has anyone noticed how Ando no longer seems to really care (remember?) that Matt, in the future, kidnapped and tortured Hiro as well as killed Future Hiro? I guess Ando had time to get over it last season.
Posted by Ian | November 30, 2008 12:56 PM:
Posted on November 30, 2008 12:56:
Daniel - I think the fact that they stopped the explosion means Ando figures Nathan and Matt are good guys. Yeah, it's a leap in logic... but I think a scene where Ando ums and ers over Matt helping them would probably just be filler, especially as they would eventually seek out his help.
Maya wise, I don't hate her at all. What I disliked was that they gave her a decent story, but it didn't tie in with the main arc during S2... or S3. She's not a bad actress, and I was hoping that she'd be 'the light' in S3. That wasn't to be, but I like the fact that she COULD return if they have a decent story for her. Giving her a classy exit was a nice move by the show.
Posted by Matt | November 30, 2008 4:59 PM:
Posted on November 30, 2008 16:59:
Otto, my reason for hinging a lot of my investment in the show on Elle is mainly because of Kristen Bell's performance. The character herself isn't key to the overall plot, is inconsistently written, and has the quickest moodswings I've ever seen (excluding Sylar and his "hot potato" allegiance-switching, of course). But Bell brings such a finesse to the role that she stands out from even this stellar cast. I'd feel the same if Tracy or Angela were going to be killed, because they are amazing actresses and sell their scenes no matter how ridiculous they seem.
Maybe it's just because the show's narrative isn't as sharp as it used to be, and so I've come to appreciate the actors and actresses more and more as the seasons progress. It may sound like I'm really disliking this season, but I'm not; it's more enjoyable than Season Two, and some of the episodes have been great. I'm just disappointed with some of the key story elements and don't like the way some characters have been wasted. However, there's still time for things to reach their potential; for example, I'm hoping that Sylar will be revealed to have been playing both sides and that neither Arthur or Angela was every really manipulating him as they thought they were; I'm hoping that Mohinder will redeem himself without demonstrating any kind of stupidity; I'm hoping Angela's precognitive dream with Adam, Maury, and the others will be explained and fleshed out.
And if those hopes aren't met, Volume Four could still hit the mark...
Posted by Ryan | November 30, 2008 8:32 PM:
Posted on November 30, 2008 20:32:
Clealy, I agree with Daniel P. Like I said earlier, any character played by Ali Larter has been undeservably shoved to the sideline in favor of other characters or has had their storyline weakened to the point of being, as Daniel said, merely supplemental. It is the most unfair treatment of an actress that I have seen in quite a while.
I also feel like Cristine Rose is also being sidelined in favor of weaker A-plots. Rose and Larter are, in my opinion, the two strongest actresses on the show. They bring class to the screen and make the most of the few scenes they're given and are so consistent with the quality of their performances that it puts Hayden Panettiere's countless scenes to shame (most of the time).
These women are series REGULARS. The writers need to start treating them as such and stop giving weaker storylines - and actors - the most screentime. Because, seriously, Masi Oka is doing a fantastic job with the pathetic 10-year-old comedic relief, but why waste the time doing a storyline that's been covered to DEATH when they could have Tracy Strauss actually GROWING and DEVELOPING into double the character that Niki Sanders was (and she was on the show for a season and change, since I don't think it's right to count season 2 as a complete season for Ali Larter since she was barely ever there). Or how about showing some character development with Angela Petrelli? Why not explain why that woman wanted so much attention in season 1 that she went out and stole socks? Why not have her become more proactive as a character and stop handing out assignments and, instead, doing something herself?
It infuriates me to watch this show and know that the writers are wasting time with repetitive storylines and weak characters and not giving the stronger actors and actresses their turn in the spotlight (which includes the ridiculously underused Ali Larter, Cristine Rose, and Jack Coleman - all three of which seem to be merely standing in the massively bloated and distorted shadows of the "key characters").
Posted by John | December 1, 2008 12:06 AM:
Posted on December 1, 2008 00:06:
I think the biggest flaw this season has been their inability to create that very sense of foreboding and fear as you stated Otto.
In season one, it was clear that two events (Claire's murder and New York's destruction) would lead to a cataclysmic future... they took their time, and slowly unwraveled the mystery of this future, and how the events tie together. This season tried to do that in 5 episodes as opposed to 10... the patch work is brutal and it doesn't help the audience feel any sense of impending doom.
By creating this JLA/Legion of Doom rivalry, it allows the show to fall from plausible and relatable to gargantuan and science fiction. The idea of Arthur and Angela being the two heads of each side is its only real redeeming factor... it adds a humanity to the rather belicose war thats going on.
I am hoping that the writers have planned on giving explanations and suitable outcomes to all these events by the end of Voilume 3 or the beginning of Volume 4.
This season HAS created its best villain in Robert Forster's Arthur Petrelli... but I believe his character will serve better if he is defeated and gone from the show... only to return when the show has gained its focus back. I still love this show, but it is still a far cry from what it started in season 1...
Don't be afraid show... shake things up!
Posted by ThePandoraRose | December 1, 2008 3:16 AM:
Posted on December 1, 2008 03:16:
Ryan, so well said. I think I love you. :)
The show needs to understand not all the viewers of the show are young kids who only care about the young hot people. And still Rose and Coleman are decades older than me, yet I still find the fascinating. I consider the show an adult show and as soon as they get back to that it will be a step in the right direction. Yes, I'm a little bitter this week. :)
Posted by Daniel P | December 1, 2008 3:32 AM:
Posted on December 1, 2008 03:32:
You make a good point Ian, but would Ando really know and recognize Matt? I doubt Kaito introduced them, and there was nothing really implying it. Plus, Ando did seem surprised and confused by Matt's presence back when they talked in season 2. These characters just seem to be meeting together multiple times, but constantly forget them. Same goes for Nathan and the Haitian, and Matt and Peter in "It's Coming" (apparently, the writers forgot that Matt was sent to Africa by Future Peter disguised as present Peter, and Milo Ventmigilia had to remind them), and various other instances. Still, none of them are inherently outright impossible to explain, as your idea on Ando and Matt suggests. But I'm having a hard time believing anything when there are just so many gaps to fill.
In a way, I love Maya. I love her because Dania is always very charismatic and dedicated to her role. Not unlike Ali. But her actual character just never works for me. I liked where she was going in season 2 at first, and was willing to defend her at times, but there isn't any point to me anymore. I too was expecting more out of her in season 3. They had the complete opportunity to salvage her storyline, but they just stuck her in another lame one. Dania said we'd see Maya's importance, and in a way we did, because she influenced Mohinder greatly, and to a lesser extent, Tracy and Nathan, who in turn affect many others. But it's very flimsy. Still, if you weren't aware, Maya was actually supposed to be a huge part of season 2--she was to be the cure to the Shanti virus.
I feel that Hayden is a great actress as well (her reconciliation with Zach in "Godsend" is one of my favorite scenes of season 1), but she really shouldn't be the centerpiece of everything either. Cristine, Ali, and Jack still deserve more screen time though.
Posted by Mike | December 1, 2008 3:48 AM:
Posted on December 1, 2008 03:48:
Hey this is my first post so please be nice with me lol
OK, here we go:
I think everyone here is being a bit too harsh on the show. I mean, don't get me wrong, every complaint is justified, and Otto's reviews are the best, hands down and all, but how does ANYONE expect the show to reach the level of brilliance it did in season 1?
In my opinion it's simply not feasible, and for many reasons.
The reason why the first season was so great was because it mixed an incredible amount of concepts such as time ordinary people discovering abilities, time travelling and alternate futures, mysteries to be revealed, and something that incredibly got to me: the ability to make the characters cross paths in seemingly natural yet extraordinary ways, making the HEROES universe seem like a small world with fate guiding the heroe's actions.
I don't know how you guys see it, but personnaly, the moment I finished watching "how to stop an exploding man" I knew that the show had produced their best, and alas, unmatchable season.
It was obvious that the quality would go downhill from there on, because they had used up most of the elements at their disposal in a near perfect way. After setting the bar so high,it's no surprise that they're hard-pressed for originality and have to try different stuff before finding that magic touch the first season had.
I know it's still no excuse for continuity screw ups and poor character developpement and some of the other stuff that's being pointed out.
But hey, just give the guys a break.
Posted by Ian | December 1, 2008 4:08 PM:
Posted on December 1, 2008 16:08:
Mike, I love the show.
I think even at it's worst that it's one of the best things to ever be on TV. And when I say worst, I'm comparing Heroes to itself... the reason we critique the show is because we know it can be better than it is. At points, it is just phenomenal storytelling that makes me proud to be a (unpaid though I may be) writer.
But as with all writing, it has flaws. And we like discussing them.
As for the S1 comment, I think S1 (for all the ups and downs) is the best season of television I've seen in terms of scope, bookends, character arcs and symbolism. It hasn't been matched for consistency, but I think individuals eps (209, 304, 309) have hit that standard of brilliance.
Posted by Ryan | December 1, 2008 4:48 PM:
Posted on December 1, 2008 16:48:
I don't think Hayden Panettiere's a bad actress. I think she makes the most of her role and takes her character to the limit in several scenes - most of which, oddly enough, were from season 1.
However, I do not think that she deserves double (triple, in some cases) the amount of scenes that Ali Larter, Jack Coleman, or Cristine Rose get each week.
To me, it feels like Claire has run her course. Things are getting dry, stale, and boring for me. There are only so many rebellious acts a teenager can do before it gets ridiculous (and, again, boring). How about having her grow up? Have her accept her ability but, in the upcoming Volume 4: "Fugitives," have her willingly go into hiding. Have her willingly live a normal life. Keep the use of her powers to a minimum, stop looking for action, just live like a teenager should live in her senior year.
MAKE. IT. REALISTIC.
This brings me into my next fatal flaw of "Heroes" over the past two seasons: there are no relatable storylines left! Everyone is so caught up in such sci-fi, comic-book-y, surreal fantasy storylines that there's no one left who I feel like I can genuinely relate to or sympathize with or, hell, even pity!
Season 1 was driven by how the show was a realistic drama about ordinary people with extraordinary abilities. They lived normal lives and showed how their powers got in their way.
Now it appears that the show is about how they're living extraordinary lives and showing how their normalcy gets in their way.
And, back in season 1, the writers KNEW how to balance an episode (and a season) with borderline equal distribution of big storylines and screentime amongst the series regulars.
What happened there?
Ultimately, there is a way to get back to the high quality show that "Heroes" once was. It's not impossible and it's not too much to ask. The writers are just too caught up in these extravagant storylines and in their favorite characters' storylines that it just...fails to recover and moves from one mess to another.
Part of me wishes that the writers would break up into teams. Divide the characters up between said teams. Let Tim Kring keep control of the seasonal storyline. And just go at it. Each team can only write and control the lives and stories of the characters they're responsible for. The writers meet, they discuss, they decide what's good and what's not, how the storylines will weave together, blahblahblah. Ultimately, you'll have a well thought-out, well structured season on your hands.
Right now, individual writers are coming in for each episode and writing on their own, seemingly without discussing it with anybody else, and writing based on their favorite characters and their own big ideas.
It's unorganized and it's a mess.
And I just transitioned through like...four major topics of mine? In one post? Jeez. Go me.
Posted by Daniel P | December 1, 2008 9:48 PM:
Posted on December 1, 2008 21:48:
I think the lack of storylines to relate to is because almost everyone from season 1 was really meant to be around for only one season. Kring founded the show on the concept of ordinary people discovering extraordinary abilities. As such, the first season really explored a lot about these characters and their struggle in understanding these powers. But their popularity and the logistics of rebooting the show season after season really forced Kring into continuing these characters' story.
And that creates the problem of concocting more relatable storylines. These characters are getting used to their abilities, are experiencing very strange things more and more often. It's hard to keep them grounded after something as crazy as what happened in New York.
Still, that doesn't excuse them. It's not entirely impossible for more storylines (season 2, after all, was going somewhere with this).
Posted by Kevin | December 2, 2008 12:11 AM:
Posted on December 2, 2008 00:11:
I'm so bored and frustrated by this whole "Volume," that I'm just about to give it up. In fact, I'm not even sure if I'm actually bored and frustrated, or just so used to being bored and frustrated that I can't tell the difference.
The Comics genre is not known for its slavish devotion to little things like continuity and character consistency, but honestly, is there any point at all in having watched the (much better) First Season, and (now, surprisingly better) Second Season? There is so little continuity, in either plot or character, from volume to volume and episode to episode, that we might as well be watching "Carol Burnett Show" re-runs: same actors, same format, some of the same sketches, but essentially a different show every week.
I've held on this long, so I'll stay with it through the end of "Villains," and check out the beginning of "Fugitives," but they really need to take control of this runaway fridge, and soon.
Posted by Mark | December 3, 2008 6:55 PM:
Posted on December 3, 2008 18:55:
The one thing I don't understand is this:
In a world where somehow you can see an eclipse in Haiti and Kansas, and you can see it only two years before in Texas, New York, Nevada and Japan, how can Arthur be so clueless about what the eclipse DOES? He's been around for a few years at this point, right? If there's an eclipse like this every two years ... why is he so clueless and frightened NOW?
Just my thoughts ...
Posted by Raissa | December 4, 2008 12:17 AM:
Posted on December 4, 2008 00:17:
You're not the only one who wonders about that.