This is it, the penultimate episode of HEROES. There’s only one more to go. It’s kind of sad to see the end coming, although I must say it’s been a long journey. Actually, the way things lay out is weird. The shooting crew has been done for a few weeks. The editors and post production people are just now wrapping up. But the writer’s room is back in full force as of this week.

Season 2 is well under way; at least as far as the creative inception of it goes. It’ll be awhile before we air again, sometime in late September or early October. I believe the season 1 DVD will be out in the third week of September – which many of you have been asking about. Also, much excitement will be generated, I’m sure by HEROES ORIGINS. But there will be time to discuss that later.

This episode is one I directed which usually gives me a little more to say about.

Last week I described that episode 21, 22 and 23 were, in a way, 3 parts of one story. As a director, I looked at the episode as being similar to (my favorite) STAR WARS movie, THE EMPIRE STRIKES BACK. My mission as a filmmaker was to bring together all of the characters and all set up all of the elements, setting the table for the finale’. There is action and tension aplenty, to be sure, but ultimately my goal was to ratchet up the tension and drama, so that you the viewer won’t be able to stand waiting another week for the finale.

Jesse Alexander’s script was very tight from the beginning, so we had to do almost no structural or character work on it at. Jesse’s a great guy. We hung out on set together and I got to know, and really like him. It’s weird, technically we’d worked together all year, but Jess almost never leaves the writer’s room. He’s like the engine up there, pushing through all these scripts making sure they all work. And I’m always prepping and hanging on set. So our paths hadn’t crossed that much. We had a lot of fun on this one.


One thing that was exciting was that this episode literally brings all of our characters together in a way that we’ve never had before. Yes, many of them have crossed paths but here HRG, Claire, Ted, Matt and Peter come together in one story, Hiro, and Nathan in another, Candace and Micah in another. Nikki, DL, HRG, Matt, Suresh and Molly Walker in another.

To serve this idea., it struck me that I wanted to visually reinforce the idea of the heroes coming together. I imagined a sewing needle, making a loop and then piercing through it, as a visual metaphor. So, I made the decision that, whenever a new set of Heroes came together, I would use the camera to circle them and then push in, replicating the needle and thread shape. I circled Ted, Matt and Peter in the plaza with the camera (maybe a little to dizzyingly – but I like it); I had HRG and Claire walk in a big circle around the plaza. I circled around Peter, Claire and Ted as they realize Sylar is listening to their thoughts. I circled around Hiro and Ando as they saw Nathan. I did a half circle and push-in onto Jessica and DL as they see Nathan drive off… Etc. Not sure it worked or mattered, but I’ve come to believe that ANY visual plan, even a half-baked one, imbues a show with more integrity than no plan.

I remember the only scene that worried me was the one where Kaito trains Hiro to be a swordsman. I was worried that it would seem foolish that Hiro learned so much in just a few hours. Nobody else was worried about this; they told me that as long as it came of magical it would be fine. Still I worried about it. The scene was just Masi and 60+ year old (? I think) George Takei bashing each other with Samurai swords. After some heated debate, the idea sprung up to add the story of Kensei and the Dragon, and layer two aspects of this. One Hiro’s memories of being a boy, playing with his toy knights and dragons while his father read. The other was to pan across picture books of the story. The art department created the picture book. Jesse and I sat with Ruth Amon, and we i.d’ed the key moments of the story. I actually did some rough sketches of the illustrations and Ruth got an in-house artist (the same one who painted the tapestry in episode 12) to do the books. They were all done in four days and I think they look beautiful. Then, George and Masi got together with a swordmaster/stuntman (a guy who’d worked on THE LAST SAMAURAI.) We all spent an afternoon together working about the dramatic beats of the fight, and then George and Masi went off to practice. It was amazing, Masi got it right away. It’s complicated, sword fighting, kind of like a dance routine. And George has an amazingly strong will. He memorized and willed himself to do the routine. On the day we shot we had two stunt doubles standing by. We never used Masi’s once, and George’s is used only a few times in the very wide shoots. Those guys did a great job. And let me remark upon what a nice guy George Takei is. (Masi does a great imitation of him.) We made sure to find a great warehouse to shoot in, and I encouraged our DP Nate Goodman to “Bruckheimer” it up, with shafts of smokey light streaming in. That’s not really Nate’s thing, he’s more realistic. But after I pressed for a while we did it, and I think it looks good. In post the sequence took awhile too come together. It was too long. The flashbacks (which were shot in color) weren’t having the impact they should. Also, the original concept was that George Takai would read the story as narration – but in English. Tim Kring analyzed that this wasn’t working because we had never heard Hiro’s father speak English, ever. We reconceived the sequence by (a) shortening it (b) having Masi read the voice over (b) by making the flashback black and white – as we had in “Company Man” and (d) by never showing Hiro’s father’s face in the flashback’s. This seemed to subtly make it feel like a memory.







Another challenge is that, the whole episode takes place exclusively in New York. It’s the first one that has. We tried hard on this one to make it look right. In the scenes where Peter, Ted and Claire cross the street and in the scene of Ted’s takedown, I felt we finally had the appropriate amount of taxi’s and traffic and pedestrian. The AD’s (assistant directors) scrambled to manage all the traffic (forty cars ten cabs) and extras (100 bodies). Stargate added the Chrysler tower. I’m proud of our New York shot in L.A. I shot it all on very long lenses to compress everything together and had the camera’s drifting back and forth with a semi-hand-held feel to give the shots a kind of jostling crowded energy. I think it worked.

One strange random thing that happened is that the Stanley Cup suddenly showed up on set. The folks from the NHL wanted to get some shots of Milo and Hayden hanging out with the cup, for promotional reasons. Strange stuff happens in this business – I’ve learned not to question it. But I made sure to get a shot or two of me with the Stanley Cup. See, I spent five years in Canada on SMALLVILLLE, with a hockey-crazed Canadian crew. I was an anomaly to them. I didn’t care about hockey at all. Not in Canada, in America or internationally. Those poor saps all love a team called the Vancouver Canucks (which seems similar to loving the Mets, Cubs or White Sox – a true love, but doomed to pain and heartbreak.) Sure enough, as planned, my photo’s successfully created a feeling of envy and injustice in my old friend’s hearts.







Okay, I’m gonna pause for a second and reflect upon how cool our show is. And I want to tip my hand to the whole writing staff for really planning this whole year. Let’s talk about Molly Walker. She was seen briefly in episode 2 and 3, and had only a handful of lines in those two episodes. But, way back when we first cast her, we were told that she would be important and that we had to cast a very good actress. Way back in August the writers wrote an elaborate two-page Matt/Molly scene that was full of emotional twists and turns. We auditioned Adair Tishlerat that time. She is a great little actress... She is mature and engaged and highly able to access her emotions. (Probably a lot like Hayden was at age 10!) Nineteen episodes later (last week) she reappears and now, in 22, a comparable scene to that original audition scene occurs. It’s this level of planning and layering that, I believe makes our show special.

I’m very proud of the whole of Act 4 – from commercial to commercial this means: the sequences, which begin with Matt, HRG, Jessica riding the elevator through Sylar flipping the FBI van. I feel that, as a sustained film, this section is one of the most successful I’ve done. The design of the first part was to gradually and systematically build tension. The first shot is a 4 shot in the elevator. This is static, designed for a little comic relief. (Actually, this wasn’t in the script. Greg Grundberg thought of it, after we’d already finished filming the elevator. He said, “Wouldn’t it be funny to have a four shot of all of us, just riding the elevator, muzak’s playing and Jessica’s looking at me and I’m all nervous.”) I was like “Sh*t. That’s a great idea.” Then I did what you’re never supposed to do, I said, “Guys, we’re going back to the elevator set. Start re-lighting!”)

After that all of the shots in the sequnce begin to move. In the scene with Suresh and Molly, the compositions are balanced and the camera is slowly pushing in. When we cut to the over’s, again the camera slowly is pushing in. I visualized a plunger in a tube, relentlessly pushing in and in and in to add pressure. When HRG and Matt get off the elevator, I got to faster push in’s and following shots, all done with very low angles. I described to the music composers here that I wanted the music to have a highly rhythmic beat, like a metronome that slowly increased in tempo. When we go back to Suresh, the push in’s are slow again, but the music tempo’s up. He knows what’s coming – so the pressure is still rising. Then in the sequence where HRG shoots Thompson, I did a relatively long sustained shot. From the time Matt and HRG and Thompson duck behind the wall to the time HRG shoots Thompson is all one long-ish shot, with the camera kind of gliding around to show what we need to see just when we need to see it. I LOVE long takes, but I haven’t found too many opportunities on HEROES to do them, because so frequently there is so much obligation to specifically show the audience certain things at certain times. But here it felt possible. And isn’t HRG a badass when he kills Thompson? No hesitation. No regret. Jack Coleman shows again the complexity of this character who loves fully yet kills without mercy to protect his family.

A moment later I went into an even longer sustained shot, which I’m very happy with. It begins on the monitor in Suresh’s room, showing HRG and Matt leaving Thompson’s body. The shot pans to Suresh, he goes over to Molly and comforts her. Then back to the monitor’s. HRG and Matt are right outside the door. Back to Suresh panicking. Then the camera travels through the wall to reveal Matt and HRG outside – but it’s still all one shot. We get on their backs as they enter the room – we wonder – where did Suresh go? And we follow them right up to the curtain, which opens and then we push into Molly. This sustained shot adds tension because it’s happening in real time. The video monitors where actually done with a live feed. We built a false wall for the camera to move past. It was cool.

I also want to tip my hat to Greg Grundberg in this episode. I don’t think I compliment him enough, because he always just shows up and does his thing flawlessly and makes it look easy. But, in this episode in particular I feel Greg brought some legit comic relief to the scenes, without losing any of his character’s integrity. The act out of the third segment, i.e. his reaction when Jessica says “Didn’t I throw you out a window?” was priceless. I also love the moment when he tells Jessica “Good luck,” and the elevator doors close revealing Matt in the reflection and he quips, “Nice seeing you too.” Greg is just funny – and a show like this needs funny to break up all the tension.

The scene of Sylar flipping the truck was emotionally easier for me, but physically harder. The whole scene was carefully storyboarded and I had to just set up the shots and wait for our FX Gary D’Amico to do hhis thing flipping the truck. The truck was actually towed down the road on a line and, at a critical moment, Gary blew a cannon that was welded inside the back of the truck. As has been the case all season, Gary’s rig worked flawlessly. I had 5 camera’s rolling. Then I had to get some shots of Zachary Quinto doing his evil Sylar theme – get Matt last name hung iupside down in one of the most uncomfortable harnesses known too man and voila’… The scene went together like butter. The reason it was hard is because we had to shoot all night until dawn, and it was thirty-six degrees with a howling wind. Oh well.

Also, I’d like to mention the final sequence in which Nathan gives his speech and it’s intercut with all of our other characters moving into position for the final battle. Bottom line, it was all 100% scripted by Jesse Alexander. A lot of times I talk about this or that thing that we came up with spontaneously, and those moments are special and additive to the script. But the script is always the foundation. This sequence was laid out line-for-line, shot-for-shot in the script. Certain key words in Nathan’s speech were meant to lay up against certain pictures. I followed the map. It’s interesting because in the first cut, the editor cut it differently than written – and it just didn’t work. It laid their flat. I got it more on track, and later Jesse went into the cutting room and made sure the lines he wrote laid up against the pictures he’s imagined. When that happened it was suddenly massively more powerful. It’s great when film works that way.

And finally, in my HEROES IT’S LIKE A TV SHOW, ONLY BIGGER, I’d like to discuss two sequences. The set where Nikki/Jessica and DL confront Linderman was built for this episode ONLY with 260 degrees of blue screen wrapping the set outside the 10-foot high windows. Okay, NO TV SHOW DOES THAT! Also, for the final sequence of Sylar on the rooftop we built a big set piece 15 feet in the air with a 50-foot wide, 30-foot high blue screen. ALMOST NO TV SHOW DOES THAT EITHER.

And, come on, what about that ending. Sylar's all bad-ass and he whispers “Boom!” Whose not coming back to watch next week after that?!?

I love my job!







Ok that’s it for now. Next week… Everything blows up!


Unknown said…
Last night's show was SO. FREAKIN. AWESOME! Everything was just there and clicking together and on point. The dialogue, the effects, the action. Everything. I can't wait for next week!

Thanks so much!
Anonymous said…
Great work, Greg. The scope and epic sweep were so evident last night.

And plus, I love stuff shot in NYC. Can't get the same footage in Toronto or Vancouver, can you.

Thanks again.

Joe at
Anonymous said…
Excellent show, I can't wait for next week, but I will cry when its over.

"Boom". gave me goosebumps, it did.

Anonymous said…

I just don't understand one thing. In the early episode description for episode 22 released all over the net, we have "Angela is forced to take a more active role in Nathan and Peter's life" (or something to that extent). Whatever happened to that scene? Did you guys decide not to use it and keep it for season 2?
Azar said…
Fantastic episode - yet again. Thank you very, very much!
Daniel Lackey said…
Wonderful work on episode 22... very intense. Loved every moment. Can't wait for the finale.
Doc_Bo said…
Greg... why do I think that Jesse Alexander and you worked on either Smallville or Crossing Jordan?
Anonymous said…
Tremendous, Greg. I love the show. I agree wholeheartedly with you that (I'm paraphrasing) even if some of the more subtle visual effects are lost on the viewer, the care that goes into constructing each scene makes a big difference to the finished product. If you tell a story with integrity, even one as fantastic as this, you'll always find an audience for it. You've also done a great job in building the story each week and weaving the different plot lines together. The feeling of an approaching crescendo is almost palpable. Awesome! B/T/W,I was pleasantly surprised to see that you're not averse to killing off characters if the story calls for it. It tends to heighten and sustain the suspense. I can't wait for the finale.

Anonymous said…
This was one of my favorite episodes. It was very well-balanced between ALL of the characters, their emotions, and their storylines. There was a good balance of drama, character development, and action.

One of the best episodes of the season, if not the best (I'm torn between this and Company Man for that title.)

-- Sarah
Anonymous said…
Thanks for breaking a rule and doing the elevator shot. It was 5 seconds of pure awesome.
Anonymous said…
I loved each of the endings. Especially the connection between molly and Matt,I had forgotten she was the little girl from the beginng. I was a little shocked that DL killed linderman, I was just starting to like him after he healed Hedi's Legs.
RosieBoo said…
Bravo, Greg! My word, what a show! And, I love Zach I the only gal in love with the villian? :)

Thanks for the DVD release date...whew, all summer I have to wait, but I'm sure it will be worth it.

Next question...will you be posting during the summer? Please say yes!! :) For those of us missing Heroes, we need some kind of fix....
Anonymous said…
Is it a coincedence that the best episodes of Smallvile and Heroes were directed by you?

Christmas comes early next monday.
Ben Andac said…
Thanks for the post - interesting as ever. And great job on the episode :)

Quick note however, when you refer to the actor playing Ted you say: "Matt last name"... :o ;)
Unknown said…
MUCH AWESOMENESS! Especially the deaths of Linderman (did NOT see that coming, and his eyes are still creeping me out) and Thompson (I cheered! The bastard! Haha!) And of course all of Matt's scenes were awesomeness, including in Five Years Gone where he goes "WHAT???" ROTFLMAO! I REALLY hope he's not as dead as he looks next episode...

That said, I have some issues. :)

Swirly-cam on the plaza scene literally made me ill and I had to close my eyes because it was giving me vertigo. Ack.

DH and I both feel Hiro got WAY too good WAY too fast, we expected him to go back in time so that it appeared to Ando that no time had passed. But I did like the legend and the way that whole montage was shot (now if only I could stop singing the montage song from Team America...)

The wonderful chemistry between Nathan and Hiro is destroyed! NOOO!!!! I would always light up when they got together because it was guaranteed to be great, and now that's gone.... :CRY:

That's it for now. But I do have a serious business question that I REALLY need answered from SOMEONE on the staff... please respond? Anyone???
Anonymous said…
Dear Mr. Beeman. Thank you a lot for this great executed show. One question remains: Is the final going to be around the "usual 45min" long, or as the rumour has it around "2 hours"? Thanks for any feedback, jim hawkins
Anonymous said…
Greg, first of all, i really like how you've taken us behind the scenes with this blog. Thanks!

The only things on the show that i take issue with, i'm with you on. A few weeks ago you noted budget issues caused Mohinder to knock Sylar out with a chalkboard, which was pretty lame. Then the montage this week -- couldn't the writers have set it up by Hiro and his dad going to the past (or the future) for a few weeks of training, rather than the 20 minutes that it felt like? I love me a good training montage, and i liked how this one was done--except for the ridiculously compressed training time.

Of course, if those are the only issues i've had a problem with all season, and everything else has been fantastic, then the show must be a hit. Oh, that's right, it is! Keep up the good work, and keep fighting for your views!
Anonymous said…
LOL. Thank you for that Adrian/Milo picture, Greg. The two are hilarious and I hope to see more of them in the second season. Actually I've never seen Nathan and Peter joking around for once. It'd be a nice thing to see on screen.
Anonymous said…
GREG! great show last night!!! and the shot when sylar was on the rooftop was cool! HEROES rule all shows!!!
Anonymous said…
That was an awesome episode!!!!!
I believe Heroes is one of the best written and directed shows on television. It is like watching a mini theatrical movie each week. Your work was awesome!
MediaGirl said…
Every single Sylar scene in "Landslide" was positively brilliant! Okay, every scene was positively brilliant but I'm a little biased when it comes to Sylar.

The final shot of Sylar standing above the city, tiny fire bombs in his hands, was just mind-blowing! I don't know what I'm going to do during summer hiatus!!

Your work on Smallville is sorely missed, but I'm so, so glad you're with Heroes!!
David said…
It did seem foolish that Hiro would learn to use the sword that quickly. There were so many easy ways to have explained that - why was it presented without any cover at all? Also, Ted dying with no fireworks at all - after what happened when he was wounded in Texas - was a bit strange as well. Still, a very good episode overall.
Anonymous said…
You forgot to mention my favorite shot of the whole episode: the zoom away from the plaza to Sylar who's been listening in. That rocked.
huckerby said…
Hi Greg, fantastic work on the blog and on "Landslide". It had everything anyone could possibly dream of in a television show and more - suspense, humour, drama... and best of all, it builds up perfectly to next week's finale (sigh).

Save the cheerleader, save the world! (still??)
Dave said…
It's so awesome to get your insights on the show. I've really enjoyed the series thus far.

I don't watch much TV, but always catch Heroes (well, the day after on the NBC website).

Keep up the great work!
Anonymous said…
Thanks for letting the amazing Rena Sofer walk again! I hope we'll see some more of her in season two.
Anonymous said…
Hi Greg, great blog! I also got the chills when Zachary Quinto said, "Boom". It is amazing what he did with that one little word.

I just wish Claude were there to fight with Peter too...*sniffle*. I truly hope he returns next season.

Masi and George...with swords? There's some GOOD television right there! George Takei came off in that scene as a force to be reckoned with. A very powerful man like those guys in Rising Sun. Or those guys in the Yakuza movies (but not a villain)! Great job!

As of now, I am officially holding my breath until next week!

~See ya .....*inhales*

X Robin
Anonymous said…
greg...great work as usual...heroes really does belong on the big screen...i know ive gotta be missing much of the nuance watching it on my 25 inch analog...but im poor...

the casting directors must get huge props...adair is a huge find, and yes, that girl is gonna be the next hayden (when she turns 17)

im curious...will candace's true form ever be revealed? im betting that she is a overweight, video game playing, comic book reading geek (for what 20 something girl would know how cool it is to own silver surfer 1, or hulk grey (by loeb and sale...very nice touch)

and if yoda could turn luke into a jedi in what seemed a matter of days...why couldnt mr nakamura turn hiro into a samurai in a matter of hours...suspension of disbelief is a beautiful thing

and talk about many network shows kill off so many characters who seem to be important to the overall plot in just one episode...the only other one i can think of is the sopranos

as for the heroes origins spinoff...if you guys make it like comic book could be beautiful....get guest directors from different genres, and sign a bunch of real comic book writers

hope you will keep doing the blog on occasion during the summer months to tease us with what we can expect for next season, and giving us other behind the scenes tidbits on the first season.
Anonymous said…
Great job on this episode Greg.
Thank you for posting this amazing photos, I love to see what we can't usually see about my favourite tv show :D
Anonymous said…
First I want to say "Thank you".
I have not been so entertained by a show EVER.

Second, I finally think I understand Nikki/Jessica's gift and it is good and evil. Brilliant spiritual balance and power from the imbalance.

I can't wait for next week.
Rob Cox said…
Heroes is my favorite show. Thanks for blogging too. I love reading about the creative process and the art behind making the show.
Anonymous said…
That was a freaking awesome show. I must say the first part really caught my attention. The part when Peter was asking Ted to come with him to that town, and it was zoomed out to see Sylar saying 'Me too'. That was brillant.

I really did like the shots taken in NYC, Brilant.

"Boom" really was a great end.
Great Job!
Matt D. Kerr said…
What's the point of time-travel if you can't change the past? I'm not anxious to see the finale at all since it's so predictable what's going to happen from the previews (all prophecies being realized, etc).

I think the show has jumped the shark. Sorry guys.
Anonymous said…
Hey Greg-
Thanks so much for the great, detailes blog and photos.
One thing you said confused me, Sylar was listening to their thoughts? He was just listening to them with the super hearing, right? Peter is the one who heard Sylar's thoughts. Is this correct?

Can't wait for the finale and DVDs. You are awesome!
Anonymous said…
It's not hard to tell when you're helming the episode, Greg. I loved the sweeping camera shots and the interesting ways you found to spark a scene to life. Even Linderman turning in his chair was visually fantastic.
I can only agree that integrating suggestions from people on-set was the right thing to do. You've got such great talent for making funny in the cast that it would be a shame to let it go to waste.
I can't wait for next week and look forward (anxiously) to the Origins and Generations stories. Will you be in charge of any of the Origins episodes? Are they going to be like TV only bigger? Ooooh the tension, she is killing me!
Thanks again for making my week.
Anonymous said…
Greg, You (and others of course) did excellent job on this episode!
I was smiling for hours after I saw the episode :)

And I love how you circled the characters in a every scene.

Can't wait for next episode!

P.S: Who ever thought about Sylar eating the ice cream while stalking the heroes is a genious!

P.S 2: Just to let you know, you're all loved in Israel!
Serena said…
Monday's episode was AWESOME!

And Korean BBQ is so good! xD
Anonymous said…
A great job as always Greg. I loved your work on Smallville. When I see your name in the credits, I know it's going to be a kick-ass episode.
Anonymous said…
Thanks Mr. Beeman for your wonderful insight into the show. It is great to come here every week and read about what it takes to make an episode of the greates show on TV. Landslide was wonderfully produced, I was on the edge of my seat even during the commercials.
Anonymous said…
lol. you spelled Greg Grunberg's name wrong. teehee. Don't worry, i still love you.
This was my fave episode of the season (so far, i might like next week's more, haha)
i love how Molly deffinatly has a crush on Mohinder. =]
Unknown said…
Loved the episode,
you're obviously an amazing director.
I was really surprised at the amount of deaths in this episode...
Ted, Thompson and Linderman, all in the space of 15 minutes...

I really liked Ted, but I suppose I liked Issac too....

Don't let Ando die...

Good luck with Season 2!
Anonymous said…
I thought the show was well put together. Couple of things I thought were odd was Claire and Peter trying to get out of town in a car and getting stuck in traffic. Also I did not feel the magic in the training of hero. Like many here it seems we needed to better understand Georges powers if he had any and how they may have influenced the training, even if we knew that Hiro had some training as a youngster ... anything would have helped.

Matt (Greg's) humour was superb, made me laugh, he deserves a great deal of credit for his subtle humour, so much from his facial expressions alone.

What I have seen from episode 20 to this episode is that maybe saving the cheerleader did help to save the world as the past seems to have changed the future at bit. Comments made in that episode vs those who do not appear to last in this last episode suggest the changes have begun ..

Anonymous said…
That picture of Nathan/Peter is awesome and funny. Would love to see more of the two in the future both on-screen and in photos.
Slippy Lane said…
Cliffhanger: Beautiful, tense, subtle.

'nuff said.
Serena said…
There has been a date set for the season 1 DVD releases. It's not the third week of September, but August 28th. In fact, it's now available for pre-order on DVD and HD-DVD at the NBC Universal Store.
Anonymous said…
man! i'm just getting goosebumps just thinking about the finale! AHH i can not wait, i love HEROES!!!
AB said…
I don't think this has been answered in the show. It's DEFINITELY not been shown... What exactly does Sylar do with the brains? Does he eat them? Put them in storage. Toss out after use? What's his deal???
Anonymous said…
Yeah what was the deal with Claire and Peter getting stuck in traffic and why is it Peter could not use his powers to protect Ted when the time came, they seemed to have created a friendship and yet Peter left him to his own devices to escape.

This is one episode where I think you tried to hard to make the script work and it actually dummied up the heros, the did not seem to want to use their powers.

The whole take a deep breath to become Nikki and run over and hug DL was to Disney for me you need to come up with a better way of transitioning between the two

I like the show but this episode seemed to work to hard to get it all to fit together.

Even with all this negativity I am still waiting to see it next week. Oh and I did like the last scene ... "BOOM" ... kewl.
Bren Kirk said…
Hi, Mr. Beeman! I have to things to say. Maybe three.

(1) I heard you like my comic strip, so I'm sucking up to you by leaving comments in your blog.

(2) I love baby Hiro. If you could just randomly work in baby Hiro for absolutely no reason at all, I'm a happy camper.
Anonymous said…
there were so many times in this episode where i found my self laughing uncontrollably because of the sheer ingenuity!

like the part just before the title card where the camera zooms out and Sylar says "me too.".. classic.

oh and ali larter is amazing, the fact that we can immediately tell whether she's niki or jessica just by her facial expression. i didn't think it was disney at all, actually. you can tell that niki was dying to come out and was so relieved when she did.

i did think the samurai part was a little cliche, but the thing is the show is so good you can't help but try to spot the scarce mistakes or loopholes in the plot.(i haven't found any yet; at first i wondered how sylar could hear from so far away in the scene up there, then i realized he had the power.)

great work directing too (really suspenseful - the fact that literally anyone can die adds to that), and thanks for the write-up. its interesting to learn how the truck scene was done, among others.
Anonymous said…
I have a quick question. When Jessica and D.L. confront Linderman, does Jessica say "boo" or "Bill" (as in his name is Bill)?
Anonymous said…
Quick question #2 - was that Chris Claremont in the past couple of episodes, or a character named after him?

Anonymous said…
Excellent plan, and perfect execution! This fast-paced yet comprehensible ep was one of my facvorites (next to Company Man). The angles, lighting, props, and sets were spot-on so that not for a minute did I knot think I wasn't in New York. Sylar, hanging gargoyle-like (or Batman) with this creepy 'boom' was a great cliffer! As more and more Heroes are biting the dust I'm getting excited for future prospects (or is the second season headed for past aspirations?).

Bless your writer, your lighting guy, your cast, and your directing ability! Tomorrow is IT!
~d~ said…
Love everything - Heroes, this blog, the cast - great! My only problem is that you killed TED *gasp*!


(I want hair like his. Is it just me or did you kill off all the male characters with long hair?)
Unknown said…
I just want to let you know I have cried for days over the death of Ted.

Maybe it was because I was on my period, but STILL. Majorly depressing. :(

Major props to Matt Armstrong.
His whole storyline really got to me, and I really wished he could have stayed on. Such a tragic character.

I love him. RIP Ted.
Unknown said…
oh and even though he's on notice (for killing ted) sylar is SO DAMN HOT. zach quinto is just PERFECT. he makes me feel all tingly when he's on screen. in good AND bad ways.

i hope his character is eventually redeemed.
Anonymous said…
the episode was gr8!!!
is it true that WWE Superstar ROCK is gonna be cast in the next season???just curious!
heard it on E!
Anonymous said…
Michele said…
Fantasticaaaaaa serie
Bravi :)
Anonymous said…
That's the same way I respond to ice cream...

Hehe ice cream is good isn't it?

Anyway, great episode, continue with the great work! Actors and behind the scenes people!

P.s. Sylar SCARES me..
Anonymous said…
thank you nice sharing

cep program
Anonymous said…
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شات شات
العاب العاب
منتديات منتديات ترفيهيه
توبيكات توبيكات
توبيكات توبيكات
توبيكات حب توبيكات حب
توبيك توبيك
قصص قصص
صور حب صور حب جديده
صور بنات صور بنات خيالية
صور مضحكه صور مضحكة جديده

حرب الخليج
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