October 29th, 2007
At a certain point during tonight’s episode of Heroes, I pondered simply blogging about the storylines that I actively enjoyed within each episode. By the end of the episode, I realized that this would be fairly difficult considering there was only one that qualified. As a result, this review shall remain pretty well 90% negative.
There just isn’t anything overly compelling about Heroes right now: at this point, they’re just dropping the occasional hint of something interesting (In this episode, the paintings and Peter’s end of episode time warp) while stumbling towards a climax. The problem right now is that there are only three storylines actively driving towards something meaningful, and only one of them was actually heavily featured in the episode (And is a more recent development). The rest…well, Heroes just isn’t pulling them together.
The one storyline I actively enjoyed was the return of the emotionally conflicted Noah Bennet. His interrogation of his old boss still have some rather awful dialogue (“Your Invisible Partner Claude!” was painful exposition), but it returned to the internal struggle that made the character so compelling last season. After watching him sit on the sidelines for most of this season, the writers finally let him loose; his murderous side returned, and with it came a moral complexity (The show’s first since the season began).
The other storylines of interest, if we can call it interest, were oddly not present: Kristen Bell’s Elle was completely absent from the episode, as was Parkman and Nathan. Even Peter’s quest for his identity has some potential, but it simply served to bookend the episode with a “cliffhanger” of being transported to a year later when New York has been evacuated, and a lame opening sequence.
No, these storylines sat on the bench for us to spend time with Mohinder and Claire, which shouldn’t surprise me. What also lacked surprise was that the two storylines had ridiculous plot contrivances:
- Mohinder destroys various important virus strains with a stool, and promises to take Molly away from the Company. We leave the storyline, and then cut to…Mohinder calmly sitting over Molly’s bedside. Wouldn’t he have wanted to get out of there pretty quickly? And if he stopped based on her health, we should have seen that, not just cut to Mohinder post-recollection.
- Claire and West stage this ridiculous “Mysterious man flies in, kills Claire, chases head cheerleader” scheme to humiliate “Debbie”. Then, as Claire and West discuss how risky and dangerous it was, another cheerleader tells them their plan worked, and that Debbie was suspended from the cheerleading squad…the same night? How did her entire sentencing period happen that quickly? Would they seriously wake a school administrator to handle a cheerleading suspension?
I don’t even want to talk about Hiro’s storyline: Hiro makes out with Yeiko, Kensei sees them, betrays Hiro (Or does he?), and in it all there lies so very many terrible pieces of dialogue. And a chain-busting session which apparently took hours, considering they entered the tent while it was pitch black and emerged in something other than early morning dawn. The storyline just has no gas left in it: Hiro used to be fun, and now he’s just sad.
- Niki and Mohinder as partners is perhaps the series’ worst pairing ever – they have absolutely zero chemistry, not that Mohinder has chemistry with anyone.
- I’m really hoping that Hiro gets back to the real world soon, or else his character might never recover from the tedium.
- The “cliffhanger” was just as tacked on as previous weeks: I can’t understand why they insist on underdeveloping cliffhangers each and every week. Do they think it’s better if we had completely forgotten those characters existed?
- Still, the glimpse at the paintings should be worth rewatching at least that part of the episode: I do question why some are so clearly explicit, and others are “hand holding vial”. Isaac apparently went through a more abstract period.
- I literally just realized that I hadn’t even discussed Sylar and the Twins, and then I remembered why – whether it was the ludicrous “Border Cops” scenario, or the awful dialogue, or the “How is Maya not hearing this” speech from Sylar, it was just plain bad.