WARNING SPOILERS ARE DEFINITELY CONTAINED HERIN!
Tonight’s episode was written by Joe Pokaski and directed by Greg Yaitanes. And, if you don’t mind me saying so, both these lads did quite well on this one.
I think this is one of our best, most exciting episodes of the season. Like last year’s “Company Man” it concentrates on one main storyline, the Bennet’s on a collision course with Suresh, Elle, Bob and the destiny of Isaac Mendez’s painting. Secondarily, we follow Hiro’s story as he seeks to change time and fate once again, by preventing his father’s death.
Also, tonight George Takei discovers what others before him have - Just because you die on HEROES doesn’t mean you won’t come back and do a few more episodes.
Oh yeah, and HRG dies.
But before we get into all that, a bit of praise for the principle behind-the-scenes creative operatives of this episode. Greg Yaitanes is new to our team. He’s a guy I’ve been trying to book as a director for several years now. But he’s a hard guy to sign up. He’s always off doing pilots and features and so on. (One of the many advantages of being on a hit like HEROES in season two, is you can finally get to book all the directors you’ve wanted to work with, Greg, Dan Attias and Lesli Glatter certainly fall into this category for me.) . I first got to know about him years ago on the first TV show I ever produced, NASH BRIDGES with Don Johnson.
Anyway, in the area of performance direction, we mainly have good results with our directors. The primary quality we look for is the ability to work with actors and guide performance. But, in the area of visual style, what I find with the directors we’ve used, is that there are some things about our style that I can teach and some things I can’t. Certain things I say, such as - "Shoot low angles” and “Shoot big wide feature-style masters” and “When we get into the meat of the drama, shoot super tight close-ups” - get good results. They’re concrete instructions and people seem to get that. But when I say, “Look for incredibly graphic compositions – like a comic book or graphic novel.” Or “move the camera fluidly, yet aggressively, try to never have it call attention to itself, but let cranes and push in’s and sweeping camera moves become a lyrical part of telling the story” I get more haphazard results. Those instructions are more subjective and less concrete. And in those areas a director either intuitively has a graphic sense of composition or not.
Yaitanes, without question, has an incredibly graphic style. I know that he brings that style to all the shows he does. But it really fits here. I love the way he shot this episode. Image after image are SO graphic. In fact, he brought a couple of new ideas to our visual language that I intend to co-opt and make part of our ongoing style.
I loved the way he used silhouette in the Japanese cemetery, and the way he composed through the thin vertical headstones.
Look at the way he used the street signs in the scene where Suresh lies about West’s location. These simple shots work on so many levels. First they clearly and simply convey the critical story information – that Suresh is lying about what street names he’s giving HRG. Secondly, the shot is efficient, by putting HRG small in the background and the sign huge in the foreground, we get the story point AND HRG’s attitude about what he’s learning all in one combined moment. Thirdly the composition is wonderfully graphic with the sign dominating the top of the frame with its clean graphic straight lines, and the lower part of the frame is wide open organic because of all the foliage. HRG and West are small but their body language is clear. By using a very wide lens for this shot Greg was able to keep it all in focus. Finally, the shot is humorous. It’s hard to pin down why, but it’s a funny composition. The wide angle helps make it funny, and having HRG centered small in the frame helps too. A more conventional, and much less interesting way to film this moment, would be to have HRG look off-screen when Suresh tells him the street names. And then to cut to a shot of the street sign, which would be HRG’s Point of View. I promise, nine out of ten directors would have filmed it that way.
There’s another notable scene – The one in HRG’s car, between Suresh and HRG. This is an incredible directorial challenge. In this scene, two guys are, by the nature of the scene, static in an enclosed space for almost three pages! Greg used all incredibly tight angles, but unusual angles. Look at the shot over HRG’s glasses into the mirror onto Suresh. Greg Y used the swing and tilt lens to keep HRG in focus and Suresh in focus. Sometimes HRG turns back into profile, sometimes he turns away and addresses Suresh in the mirror. That simple shot is so full of tension and drama. Again, it’s also efficient. The split focus lens and the mirror gives you both performances in one shot. And then come the close-ups. Now, I LOVE close close-ups, but Greg Yaitanes went BEYOND in this scene. There are a number of shots that are just details: lips, eyes, HRG’s glasses. And he lets relatively long chunks of dialogue play on, say, a shot of HRG’s eyes. Frankly, it’s beyond what I would have been comfortable with as a director, but it works.
Alright, enough kissing Greg Yaitanes’ butt… And onto kissing Joe Pokaski’s! Joe, as I understand it, was one of Tim Kring’s writing assistants on CROSSING JORDAN. Tim gave him a script to write on that show. And, according to legend, when he was writing the pilot of HEROES, he had Joe (as well as Aron Eli Coleite) read all of the drafts and give him feedback all along. When the HEROES writing staff was being put together Joe was brought over.
I don’t know how old Joe is, but he seems young to me (of course “young” seems to be moving upwards every year.) He is super enthusiastic and collaborative – but mostly I think he “gets” HEROES, as well as anyone. So far he has written three episodes of the show: “FALLOUT,” and “5 YEARS GONE,” from last season - And now this one. What’s noteable about all three of those is, not just that they all turned out great, but that, other than for budgetary reasons, none of them were extensively re-written from the first draft. That is an extremely good thing. Sometimes, when we get a script (usually 10 days or so before we start shooting it) they are troubled. There have definitely been “all hands on deck” preps for some episodes, and that can really divert energy that is needed elsewhere. But Joe’s shows have uniformly come out of the gate both creatively satisfying and shootable.

DIRECTOR GREG YAITANES (HE’S THE ONE IN THE FOREGROUND)

WRITER JOE POKASKI - HRG BORROWS HIS GLASSES
I think the drama is great in this episode. There's an ever-escalating sense of tension, like a pot rising to a boil. All the characters feel like they're really under pressure. I especially love the way HRG and Sandra's relationship develops. How angry she is at first, and how she openly questions why she never left him before now. Then, when HRG is talking to Elle about why SHE was the reason he never handed Claire over to the company, Sandra's crying face - which we cut to two or three times - let's us know how she's coming to understand them. Another, very simple shot which I love is a close up their hands, as HRG tries to hand her a gun, and she puts her hands on his chest. So beautifully visual. And it completes the arc of their story.
Also, I want to talk about the scene in the cemetary where Hiro meets his younger self. This scene made me cry on the page. But it came under a lot of debate in prep. Many people believed that we'd never find a young boy who could speak Japanese and deliver the performance. Also, some thought the scene was extraneous and time consuming in an already busy show. Cooler heads prevailed, and we adopted a "let's see what happens" attitude (which I think is always wise.) We decided that if we didn't find the right kid, we'd cut the scene. If we did, we'd schedule the scene last and if we fell behind on the day, we'd cut it then. Well, our casting directors came through, as always, they somehow found a little kid in L.A. who could speak fluent japanese and act and looked enough like Hiro. And Yataines, God bless him, shoots fast. Yataines comes from low budget syndicated Tv - he did a lot of shows like VIP, which - wether you like that kind of show or not - have to be shot fast. VIP was always shot in six days. I've seen some of Greg's episodes and they're a lot of fun. But, in that medium, you have to be super specific, shoot the shot, get it right and move on to the next FAST! That served him well here - Greg made all his days (OK there were thirteen of 'em, more than double the shooting shedule of VIP, but stil!) The scene was shot and I welled up again the first time I saw it put together.
Not that there were NO problems with this one. It was a hard beast to wrangle episodically. There is A LOT that happens. And a lot of action. The scene in the alley where West flies in and saves HRG from Elle was complex. The scene on the beach, with its 6 characters, hostage handoffs, flying, zapping and shootings was EXTRA complicated.
We scouted several places for the beach parking lot. We needed it to be remote and deserted, but still large enough to stage the scene. The one we used was in San Pedro California; it was perfect! Unfortunately Greg and I scouted it at 4:30 in the afternoon, when the afternoon light was perfect. Our DP, Charlie Lieberman was busy shooting other episodes, so he didn’t see it for a week. He saw it at 10 in the morning, when it was shrouded in shadow. At that point (after we were already committed to the location) he revealed that we wouldn't be able to film on that spot until the afternoon - there wouldn't be enough light. That meant that what a one a 1 day scene would have to be split up over two days. We scrambled to find more locations that could go with this one. There was a little park, which I thought was beautiful, right above the beach location. And we found the streets where Elle and Suresh’s van is parked and where Suresh confronts HRG in his car and we built two days out of it.
Greg and Charlie really wanted a sundown feeling to the scene. But we couldn’t really wait until sundown to film the whole scene, or it would have taken weeks. So they made sure to film all the wide shots in the latest part of the day. They filmed as many of the other shots as possible in backlight. And then, in color timing (the last stage of the photographic process) we modulated the colors, adding red, and sometimes graduated filter effects in the sky to give the whole scene an end-of-day look. We also tried to make the scene feel more and more sunset-ty as it progressed.
One thing I was happy about, in general, was that I feel this episode finally featured the beachy Los Angeles setting that we’ve been saying the Bennett’s live in. Up to now, other than the odd oceanside scene, we haven’t had the opportunity or ability to really go to the beach cities (they’re kind of expensive to film in and kind of hard to get to.) But I think we well captured the L.A. beach feel on this one.
Okay now, pictures:

HAYDEN AND A TECHNO CRANE

CONTEMPLATIVE NICHOLAS D’AGOSTO

WE PAY KRISTEN BELL IN CASH AND SHE COUNTS IT OUT EVERY DAY

HRG – ONE BACKLIT BADASS

GREG YAITANES ON SET - HE'S THE ONE IN THE BACKGROUND

THE CAST OF “SUMMERLAND,” EH, I MEAN “HEROES”

HRG IS NOT A MAN TO BE MESSED WITH

SWEET REVENGE

KRISTEN BELL PLAYS “LADY MACBETH”
Now, the next group of photos falls into the “don’t ask/don’t tell” category. I credit Greg Yaitanes for staging all these pix, under the supervision of Joe Pokaski. Their cultural significance will become clear in the coming months, so… pay attention!

ANDO IS STARTLED BY SLUSHO

MOLLY, LIKE ALL GOOD GIRLS, LOVES SLUSHO

CLAIRE RECOMMENDS SLUSHO TO ALL HER FRIENDS

ADAM DRINKS SLUSHO AS WELL

SURESH CALLS ON SLUSHO

EVEN ELLE CAN’T GET ENOUGH SLUSHO

MATT PARKMAN ATTEMPTS TO MINDBEND SLUSHO – AN ATTEMPT THAT WILL BE DOOMED TO FAILURE!

MATT TRANSPORTS SLUSHO TO SAFETY

HIRO AND KAITO ENJOY A FATHER-SON SLUSHO

SLUSHO MAKES HRG LAUGH

BUT SLUSHO CAN TURN FROM FRIEND TO ENEMY QUICKLY – ALWAYS KEEP YOUR EYES ON SLUSHO
Tonight’s episode was written by Joe Pokaski and directed by Greg Yaitanes. And, if you don’t mind me saying so, both these lads did quite well on this one.
I think this is one of our best, most exciting episodes of the season. Like last year’s “Company Man” it concentrates on one main storyline, the Bennet’s on a collision course with Suresh, Elle, Bob and the destiny of Isaac Mendez’s painting. Secondarily, we follow Hiro’s story as he seeks to change time and fate once again, by preventing his father’s death.
Also, tonight George Takei discovers what others before him have - Just because you die on HEROES doesn’t mean you won’t come back and do a few more episodes.
Oh yeah, and HRG dies.
But before we get into all that, a bit of praise for the principle behind-the-scenes creative operatives of this episode. Greg Yaitanes is new to our team. He’s a guy I’ve been trying to book as a director for several years now. But he’s a hard guy to sign up. He’s always off doing pilots and features and so on. (One of the many advantages of being on a hit like HEROES in season two, is you can finally get to book all the directors you’ve wanted to work with, Greg, Dan Attias and Lesli Glatter certainly fall into this category for me.) . I first got to know about him years ago on the first TV show I ever produced, NASH BRIDGES with Don Johnson.
Anyway, in the area of performance direction, we mainly have good results with our directors. The primary quality we look for is the ability to work with actors and guide performance. But, in the area of visual style, what I find with the directors we’ve used, is that there are some things about our style that I can teach and some things I can’t. Certain things I say, such as - "Shoot low angles” and “Shoot big wide feature-style masters” and “When we get into the meat of the drama, shoot super tight close-ups” - get good results. They’re concrete instructions and people seem to get that. But when I say, “Look for incredibly graphic compositions – like a comic book or graphic novel.” Or “move the camera fluidly, yet aggressively, try to never have it call attention to itself, but let cranes and push in’s and sweeping camera moves become a lyrical part of telling the story” I get more haphazard results. Those instructions are more subjective and less concrete. And in those areas a director either intuitively has a graphic sense of composition or not.
Yaitanes, without question, has an incredibly graphic style. I know that he brings that style to all the shows he does. But it really fits here. I love the way he shot this episode. Image after image are SO graphic. In fact, he brought a couple of new ideas to our visual language that I intend to co-opt and make part of our ongoing style.
I loved the way he used silhouette in the Japanese cemetery, and the way he composed through the thin vertical headstones.
Look at the way he used the street signs in the scene where Suresh lies about West’s location. These simple shots work on so many levels. First they clearly and simply convey the critical story information – that Suresh is lying about what street names he’s giving HRG. Secondly, the shot is efficient, by putting HRG small in the background and the sign huge in the foreground, we get the story point AND HRG’s attitude about what he’s learning all in one combined moment. Thirdly the composition is wonderfully graphic with the sign dominating the top of the frame with its clean graphic straight lines, and the lower part of the frame is wide open organic because of all the foliage. HRG and West are small but their body language is clear. By using a very wide lens for this shot Greg was able to keep it all in focus. Finally, the shot is humorous. It’s hard to pin down why, but it’s a funny composition. The wide angle helps make it funny, and having HRG centered small in the frame helps too. A more conventional, and much less interesting way to film this moment, would be to have HRG look off-screen when Suresh tells him the street names. And then to cut to a shot of the street sign, which would be HRG’s Point of View. I promise, nine out of ten directors would have filmed it that way.
There’s another notable scene – The one in HRG’s car, between Suresh and HRG. This is an incredible directorial challenge. In this scene, two guys are, by the nature of the scene, static in an enclosed space for almost three pages! Greg used all incredibly tight angles, but unusual angles. Look at the shot over HRG’s glasses into the mirror onto Suresh. Greg Y used the swing and tilt lens to keep HRG in focus and Suresh in focus. Sometimes HRG turns back into profile, sometimes he turns away and addresses Suresh in the mirror. That simple shot is so full of tension and drama. Again, it’s also efficient. The split focus lens and the mirror gives you both performances in one shot. And then come the close-ups. Now, I LOVE close close-ups, but Greg Yaitanes went BEYOND in this scene. There are a number of shots that are just details: lips, eyes, HRG’s glasses. And he lets relatively long chunks of dialogue play on, say, a shot of HRG’s eyes. Frankly, it’s beyond what I would have been comfortable with as a director, but it works.
Alright, enough kissing Greg Yaitanes’ butt… And onto kissing Joe Pokaski’s! Joe, as I understand it, was one of Tim Kring’s writing assistants on CROSSING JORDAN. Tim gave him a script to write on that show. And, according to legend, when he was writing the pilot of HEROES, he had Joe (as well as Aron Eli Coleite) read all of the drafts and give him feedback all along. When the HEROES writing staff was being put together Joe was brought over.
I don’t know how old Joe is, but he seems young to me (of course “young” seems to be moving upwards every year.) He is super enthusiastic and collaborative – but mostly I think he “gets” HEROES, as well as anyone. So far he has written three episodes of the show: “FALLOUT,” and “5 YEARS GONE,” from last season - And now this one. What’s noteable about all three of those is, not just that they all turned out great, but that, other than for budgetary reasons, none of them were extensively re-written from the first draft. That is an extremely good thing. Sometimes, when we get a script (usually 10 days or so before we start shooting it) they are troubled. There have definitely been “all hands on deck” preps for some episodes, and that can really divert energy that is needed elsewhere. But Joe’s shows have uniformly come out of the gate both creatively satisfying and shootable.

DIRECTOR GREG YAITANES (HE’S THE ONE IN THE FOREGROUND)

WRITER JOE POKASKI - HRG BORROWS HIS GLASSES
I think the drama is great in this episode. There's an ever-escalating sense of tension, like a pot rising to a boil. All the characters feel like they're really under pressure. I especially love the way HRG and Sandra's relationship develops. How angry she is at first, and how she openly questions why she never left him before now. Then, when HRG is talking to Elle about why SHE was the reason he never handed Claire over to the company, Sandra's crying face - which we cut to two or three times - let's us know how she's coming to understand them. Another, very simple shot which I love is a close up their hands, as HRG tries to hand her a gun, and she puts her hands on his chest. So beautifully visual. And it completes the arc of their story.
Also, I want to talk about the scene in the cemetary where Hiro meets his younger self. This scene made me cry on the page. But it came under a lot of debate in prep. Many people believed that we'd never find a young boy who could speak Japanese and deliver the performance. Also, some thought the scene was extraneous and time consuming in an already busy show. Cooler heads prevailed, and we adopted a "let's see what happens" attitude (which I think is always wise.) We decided that if we didn't find the right kid, we'd cut the scene. If we did, we'd schedule the scene last and if we fell behind on the day, we'd cut it then. Well, our casting directors came through, as always, they somehow found a little kid in L.A. who could speak fluent japanese and act and looked enough like Hiro. And Yataines, God bless him, shoots fast. Yataines comes from low budget syndicated Tv - he did a lot of shows like VIP, which - wether you like that kind of show or not - have to be shot fast. VIP was always shot in six days. I've seen some of Greg's episodes and they're a lot of fun. But, in that medium, you have to be super specific, shoot the shot, get it right and move on to the next FAST! That served him well here - Greg made all his days (OK there were thirteen of 'em, more than double the shooting shedule of VIP, but stil!) The scene was shot and I welled up again the first time I saw it put together.
Not that there were NO problems with this one. It was a hard beast to wrangle episodically. There is A LOT that happens. And a lot of action. The scene in the alley where West flies in and saves HRG from Elle was complex. The scene on the beach, with its 6 characters, hostage handoffs, flying, zapping and shootings was EXTRA complicated.
We scouted several places for the beach parking lot. We needed it to be remote and deserted, but still large enough to stage the scene. The one we used was in San Pedro California; it was perfect! Unfortunately Greg and I scouted it at 4:30 in the afternoon, when the afternoon light was perfect. Our DP, Charlie Lieberman was busy shooting other episodes, so he didn’t see it for a week. He saw it at 10 in the morning, when it was shrouded in shadow. At that point (after we were already committed to the location) he revealed that we wouldn't be able to film on that spot until the afternoon - there wouldn't be enough light. That meant that what a one a 1 day scene would have to be split up over two days. We scrambled to find more locations that could go with this one. There was a little park, which I thought was beautiful, right above the beach location. And we found the streets where Elle and Suresh’s van is parked and where Suresh confronts HRG in his car and we built two days out of it.
Greg and Charlie really wanted a sundown feeling to the scene. But we couldn’t really wait until sundown to film the whole scene, or it would have taken weeks. So they made sure to film all the wide shots in the latest part of the day. They filmed as many of the other shots as possible in backlight. And then, in color timing (the last stage of the photographic process) we modulated the colors, adding red, and sometimes graduated filter effects in the sky to give the whole scene an end-of-day look. We also tried to make the scene feel more and more sunset-ty as it progressed.
One thing I was happy about, in general, was that I feel this episode finally featured the beachy Los Angeles setting that we’ve been saying the Bennett’s live in. Up to now, other than the odd oceanside scene, we haven’t had the opportunity or ability to really go to the beach cities (they’re kind of expensive to film in and kind of hard to get to.) But I think we well captured the L.A. beach feel on this one.
Okay now, pictures:

HAYDEN AND A TECHNO CRANE

CONTEMPLATIVE NICHOLAS D’AGOSTO

WE PAY KRISTEN BELL IN CASH AND SHE COUNTS IT OUT EVERY DAY

HRG – ONE BACKLIT BADASS

GREG YAITANES ON SET - HE'S THE ONE IN THE BACKGROUND

THE CAST OF “SUMMERLAND,” EH, I MEAN “HEROES”

HRG IS NOT A MAN TO BE MESSED WITH

SWEET REVENGE

KRISTEN BELL PLAYS “LADY MACBETH”
Now, the next group of photos falls into the “don’t ask/don’t tell” category. I credit Greg Yaitanes for staging all these pix, under the supervision of Joe Pokaski. Their cultural significance will become clear in the coming months, so… pay attention!

ANDO IS STARTLED BY SLUSHO

MOLLY, LIKE ALL GOOD GIRLS, LOVES SLUSHO

CLAIRE RECOMMENDS SLUSHO TO ALL HER FRIENDS

ADAM DRINKS SLUSHO AS WELL

SURESH CALLS ON SLUSHO

EVEN ELLE CAN’T GET ENOUGH SLUSHO

MATT PARKMAN ATTEMPTS TO MINDBEND SLUSHO – AN ATTEMPT THAT WILL BE DOOMED TO FAILURE!

MATT TRANSPORTS SLUSHO TO SAFETY

HIRO AND KAITO ENJOY A FATHER-SON SLUSHO

SLUSHO MAKES HRG LAUGH

BUT SLUSHO CAN TURN FROM FRIEND TO ENEMY QUICKLY – ALWAYS KEEP YOUR EYES ON SLUSHO
Comments
And I loved the slippery slope that Parkman found himself on. I note that he wound up with a name on that post-it note. We're going to have to watch him.
The last words of the episode were completely priceless.
I absolutely loved the parallels here to last season and the switched Mohinder/Noah scene in the car this time around. Their positions, their demeanors... Oh, and Noah waking up on the table like Claire did?? PRICELESS!
I can't believe there's only two episodes left!!
LOL at Slusho, those pictures are HILARIOUS!! Will there be a cameo of it in the next ep? I seemed to have missed it in this one...
I think you outlined perfectly why this episode was so great. It had a two main storylines that built up perfectly like a pot coming to boil. For me, it allowed me to become immediately invested in the 2 stories, and I could not stand to miss one second of the last 30 minutes! Please thank everyone (especially Joe P. & Greg Y.) for this fantastic episode.
PS - I totally forgot about Slusho! I found the site for Slusho so many months ago, but it just slipped out of consciousness. I can't imagine it's significance!
Best. Line. This. Season.
http://www.slusho.jp/
Thanks for keeping us all in the know. Looking forward to future entries!
Go Slusho! XD You guys are hilarious.
Very intense, although I feel sorry for Suresh having to come out the loser in the popularity contest - his defense of Bob will never stack up against HRG's defense of Claire, despite great acting from everyone involved.
I would also like to add to the chorus of a "Company Man" style episode revolving around the Petrellis. You just know their history is chock of interesting stories.
Gabe.-
I was also so glad to see the Bennet family back together and cooperating again, especially Sandra. (Lines I particularly loved included "Noah, put the tape DOWN," and "Why? Because he can fly?" in reference to West being like Claire's father. Awesome.)
In other news, I'm really hoping Angela gets an opportunity to kick Matt's butt for doing what he did to her. Christine, as usual, totally rocked that scene. I say again: when is she going to be a regular??
PS THANK YOU for giving us Arthur Petrelli's first name. Now can we get a name for the Haitian? (I know, I know, we're just never satisfied!)
PPS Mr Muggles going over to Sandra and dropping his toy in her lap at the end there was a perfect little touch. Gotta love the detail on this show.
I had to miss the first fifteen minutes of the episode because of school, but as soon as I got into my house I parked myself in front of the tv with the parental units. Immediately, I go into film criticism mode. "Ooh, guys did you see that shot? Look at that close up! OH MY GOD, the composition!"
The scene with HRG and Mohinder made me feel tingly in places...well, places I won't mention here.
*cheers for Heroes!!!*
I love you guys.
(I'll note I'm commenting at the behest of my Indian flatmate, who was so upset at this phrase she paused to throw something at the TV screen.)
Btw. dear Mr. Beeman, I've linked some of your images on my blog, if you don't mind. If you disagree, please feel free to say it and I'll take down the pictures.
The very best regards
Merzmensch
WHY WOULD MOHINDER SHOOT NOAH!?
Seriously, he struggled to shoot SYLAR of all people, yet in just a few hours of Bob telling him what to do, he turns into a cold-blooded killer who shoots Noah in the face? I'm not buying it. There has to be more than this, or I just don't even like Mohinder at all anymore. It's totally out of character for him to do that. I know he's kind of naive sometimes, but he's not stupid!
p.s. Jack's face in that Sweet Revenge photo just cracks me up. And don't get me started on the Slusho ones...
I responded with a "See you can't escape Issac Mendez"
The ended was so awesome. I also loved whatever noise HGR makes when he wakes up.
My only worry is that Monica, Maya and Alejandro are not going to be wrapped up before this ark is over. They were definitely placed on the back burner. Also what's going on with Sylar?
I kept teeter-tottering back and forth about HRG... maybe the painting had been misinterpreted... it's so easy for those of you on Heroes to have us second-guessing ourselves. *g* But when HRG was finally shot I was like "no freakin way! He's coming back (I told my husband) you just wait, he'll be back... LOL... I thought it was nice of you to let us see that at the end... and not make us wait a whole week. Because, let's face it, that just would have been cruel.
Okay, now I'm off to watch the commentary (even if you weren't the one to do it this week.) Thank you so much for the blog... and I can't believe there's only 2 episodes left *cries*.
~Nicky
Just curious...
Is it me or i feel like you guys are trying to detox us from Sylar, as we see him less and less? Not working though, the french forums are mourning...
Anyway, thanks again for the good show!
Although the Japanese cemetery site was a bit odd (knowing what the Japanese cemetery looks like...), it was very interesting to me.
THE GOOD
No Wonder Twins. yay!
Parkman becoming his father. Mind rapes Momma Petrelli. Bad Parkman!
THE BAD
Too many "duh!" moments.
Bob is Elle's father? Well, DUH!
HRG doesn't really die? Well, DUH!
Adam kills Hiro's father? Well, DUH!
Characters are acting too out of character...
Claire loves daddy HRG last episode and this episode she completely hates him? Emotional flip flops for easy writing.
Has Elle's power's changed? In every other instance of her power, she shoots *bolts* of electricity. Now she tosses electricity balls?
What is up with Suresh? His becoming this incredibly unrealistic character. First of all, I don't understand why he accepted a gun -- the biggest gun in the world! Why not a tranq gun? With someone like Nikki or Elle by his side, isn't a firearm a little overkill?
And he's a doctor -- so he shoots HRG in the HEAD? Why wouldn't he just wound him in the arm or leg? Completely unbelievable. Another character flip flop makes for sloppy and lazy writing.
And why do Matt and Molly live in the grayest, darkest apartment in the city? Did a couple vampires live there before? Very depressing and weird set.
And I still don't get why Hero or his father let him get murdered. I understand the honor of death, but he was *murdered*, there was no honor in that death.
All in all, it seems like the writers needed characters to end up at "point b" to get them ready for future events, but got them there without regard to believability.
Seeing as Mohinder is one of my favourite characters I'm very interested to see where this character is going. Right now it feels like he's hitting rock bottom, feeling like there is no one he can trust (not even really trusting himself) and crossing his own line with the actual shooting of Bennet. Mohinder tries to hold himself up to this higher moral level, but what I liked about this episode was him realizing that he's not necessarily better than anyone else. As much as he tries to do the right thing he keeps falling further down the rabbit hole.
I found it interesting that in this episode you had Hiro learning from his father how there are some things that you can't change, but there are always choices to be made...Matt is slowly heading down a similar path as his father (despite trying to use his powers for "good")...and Mohinder has become more like Bennet (something Bennet even comments on when he says Mohinder sounds just like him 20 years ago). The difference is that Mohinder doesn't have Bennet's current 20/20 hindsight.
Maybe Mohinder needs to hit rock bottom before he can begin to climb back up. I can't wait!
Like the saying goes, " better late than never" which applies to this episode. It is noticeable that the creator and executives are trying to steer this show to what made it a big success last season.
Mister Beeman, this last episode was a success and a well done piece of writing, directing and acting.
The way it was edited so that the audience (us) would think: "HGR made it, he knew what was coming and change its future", to find out at the end of the episode that he didn't. That was perfect writing and editing.
It was a great episode.
The formula --> ONE MAIN story at the time in this case the Bennets, with ONE MINOR story that keeps the motion of the main plot, in this case, ONE WEEK AGO, which also touches on Parkman's story.
That's what we want...that's why this episode worked so well.
Now it's all up to get rid of the characters that have incorporated nothing to this story.
Keep up with the good work, hope the next 2 episodes work as well as this one.
Thank you for your time reading this comment
On a related note, who gave HRG the blood!? It had to have been Bob or Elle, because in the van, Mohinder was still looking at the gun and feeling like the most evil person in the world, so he must not have given it to HRG. But why? Didn't Bob have plans for that blood, and wouldn't he have noticed if Elle gave it to him? And we also *know* that Claire still things HRG is dead, if we can believe a teaser where she throws his ashes into the ocean. Did Bob know what was going to happen...the Hatian knew about the paintings...aaah! I will just have to wait and see. Awesome mirror image of HRG coming back to life the same way Claire did when she was on the autopsy table. Thanks for the pics (Backlit Badass being my favorite), thanks for the blog, and thanks for an AMAZING SHOW!
That's all I can say.
Wow.
It's episodes like this that make me happy I have eyes and ears that work and can enjoy such a masterpiece.
If there was ever evidence that shows the foolishness of the studios to not give the writers what they deserve, this is it.
I'll be on a high for at least a day after watching this episode.
P.S. You should give HRG his own spinoff, he's that good.
Isn't Grunberg also in that movie?
Cool
I remember seeing Clare behind a wall near HRG's body on Isaac's painting.
but there was no wall when he was shot ?
Why don't you and your roomate actually bother to learn what the term "gone native" means before you start throwing the "racist" label around? It has nothing to do with race. The "natives" that HRG refers to are Bob, Elle and the rest of the Company. What HRG is saying is that Mohinder is becoming one of them instead of remaining one of the good guys.
If an International audience can't understand that, then they don't need to watch. I don't watch Chinese films and expect that they conform their content and dialogue to what may or may not be misinterpreted by an American with a lack of understanding of the culture.
It's the viewer's responsibility to learn and step up their own understanding. Much like reading a book, if there is a term you don't understand, you look it up in the dictionary. You don't bash the author based on your own ignorance of the term.
As for it being a cliche, would you rather him say "gone over to the dark side"? That would have been the sloppy written cliche. And then of course someone would be on here claiming "socio-cultural implications" of using the word "dark" in a scene containing a non-caucasian.
Any ideas?
I'm not claiming that HRG intended it as an insult within the context of the show - clearly, he was talking about Mohinder and the Company. I'm not even claiming the writers intended the subtext. But I think it's pretty clear that the use of the phrase to an Indian character was at best jarring - it threw me right out of the scene - and, at worst, deeply insulting to a lot of South Asian viewers. It's not what HRG meant that's the problem - it's the implications of using the phrase, which are all the worse precisely because the writer seemed unaware of them.
Nuff said! Love it!
But seriously, LOVE! for this episode. It even made West and Elle interesting. Wow.
I'm stunned that TV can be this good.
Eccelston and HRG together again), and there are things which I still find annoying about the
characters not *talking* to each other when I think they should. Some dynamics are born out of what I
consider contrived silence - yes it would have made a slightly different story, but that doesn't mean
bad (also which originally sprung to mind was: Why doesn't HRG get some other glasses, at least for a
while!)
Not that this was bad overall, it was much better - in fact this was probably the best of the season -
alas for me the rest of the season has been less than i hoped for. I think this episode was not only
stronger because so many of the new people were not there (what a joy to avoid the temporal
twins who keep killing and healing in a perpetual circle), and we return to the core group most people
care about instead of a larger group of people they never learned to care about (and when West falls
the viewer can at least entertain the notion that he dies on impact!). I suspect Krings notion of having a
revolving door of people is one of those concepts which sound interesting to writers but would be a
hard sell to viewers many of whom i suspect are there for additive emotions not subtractive.
The writing well, ok, but not something to write home to Ma Whedon about (oh wait, her son is on another show ;)
I generally like the directors choices as well, though find it slightly scary that it is almost perceived as a disaster if there is a scene with several words of dialog. Slight visual confusion on the graveyard 17 year hence, where it looked to me like little Hiro was looking at double old dad.
The good: THANK YOU THANK YOU THANK YOU for Kristen Bell in her bikini. Can I push my luck and ask for one of those pictures to be posted on here?
Is there any character on the show that can have a fist fight with someone and then turn around the next minute and recruit him to a cause better than HRG? I loved it and of course the creative use of Mr. Muggle's bath tub.
I definitely got a perverse thrill watching Mama Petrelli finally getting hers. For once this manipulative witch was finally made to do the bidding of another. You go Mark Parkman!! Or should we now call you Eden ?? Looks like Peter is all the more powerful now too.
Hiro Hiro Hiro. Sigh. One kiss with a woman that he didnt stay with and now he is in a blood feud with an indestructable man. Didnt he learn his lesson last year with Sylar about how futile it is to stick his sword into a man who cant be killed? Oh wait that was future Hiro, LOL....I loved the scene when modern day Hiro and boy Hiro both adjusted their glasses at the same time....
The Bad. Suresh...Geeze his character is dumb as dog-poop. Anybody figured out why he still on the show now that he has presumably warned all those with special abilities about the dangers they face **snicker snicker**
The Ugly...Major HOLE in the plot. Season 1. This abilities come from the BRAIN remember? That is why Peter was temporarily dead when he had glass in his brain, why Sylar ate people's brain and why Lindeman died when DL ripped his BRAIN out. Now Claire's blood is causing people like HR to regenerate too? Come on now! ITS THE BRAIN! I guess the regenerative ability can be short lived in these guys, but it shouldnt be at all!!!
Please please please, the bikini photo of Kristen!
Thanks for everything.
YOU GUYS ROCK for putting those up!
Here's to Cloverfield! And the best market campaign I've ever seen!
(And before someone starts to rant about race - there is no support in science for the notion of race in humans, its an old colonial way of supressing people. Enlighten yourself here http://www.understandingrace.org/ )
Oh, right - how dare she be offended at something which directly touches on her cultural background! And, of course, she's just a hysterical woman, so her opinion doesn't actually count. She must be mentally ill or something!
Jesus, but you're pathetic. If you don't have an actual _argument_, don't bother.
Pokaski is the man. FYG was my favorite last season, and he really delivered in this episode. So many great and memorable lines! And the season 1 references were funny as well.
Those pictures are probably the greatest I've seen -- ever!!
thanks for the BTS
Anyone who didn't see the end coming from at least a mile in, is an idiot.
That said, however, the episode itself was completely farking awesome.
Now, the Heroes guys need to figure out how to do all that, WITHOUT giving all your stuff away 3 episodes ago.
Who gave HRG the blood?
Why couldn't it be Mohinder? He realized what he's done, he KNOWS the blood can save him and he has butt heads with Bob before.
Also interesting to note, no glasses needed. Sure it could be because he's waking up - BUT it could also be because the blood is regenerating him and any previous "ailments".
Awesome episode!
For the whole season?
Please tell me it isn't so.
http://bp0.blogger.com/_YPCf8JFgUdI/R0MxCI4bI9I/AAAAAAAABa8/6j1_SpswgHs/s1600-h/heroesscreenshot.jpg
How the hell did you get a new Panic! At the Disco song to play before it's even been released?
Slusho! Love the pics! I want one! XD
Amazingly directed, acted and written. It was like watching the first season (emotionally wise) and it reassured me that this is the best show on t.v.
Thanks to all involved and looking frwd to the upcoming chapters...
and this week's episode did indeed KICK ASS!!
i love number 8 finally peter and nathan!
But i didnt like 1 to 6 in general there were some tiny good things in them but nothing more...
i want to say this because ..well i have to say it...
I need i so much need with all my heart and soul i need the petrelli brothers together in a lot of scenes and i need the petrellis with Claire together in a lot of scenes!!
I miss them so so much!!!!
Please dont do that again! they need to be near each other like any family!
i love number 8 finally peter and nathan!
But i didnt like 1 to 6 in general there were some tiny good things in them but nothing more...
i want to say this because ..well i have to say it...
I need i so much need with all my heart and soul i need the petrelli brothers together in a lot of scenes and i need the petrellis with Claire together in a lot of scenes!!
I miss them so so much!!!!
Please dont do that again! they need to be near each other like any family!The lack of petrellis moments and peter and claire moments is killing me!
A) A small amount of the blood was injected into his heart, so it would restore function to the tissue around him begin pumping. Or,
B) By virtue of the way Adam's blood works, and it's likely the blood is either Adam's or Claire's, the moment the blood touches injured tissue it would begin restoring normal function almost immediately.
I wouldn't read too much into the how it doesn't work, know that whatever it is, their blood is probably some combination of cell and virus, extremely resistant to disease of any kind.
The drawing was dark and clare was behind a wall ?!
The Japanese kid did a very good job.
The Japanese kid did a good job too!
The showdown scene was just perfect in every artistic way. You guys should keep HRG in Heroes. He is the most interesting character. I wonder if he is going to reunite with his family and his glasses!!! I can't think HRG without them.
Episode 9 was the BEST of Season 2 so far. EXCELENT work!
im guessing that the only reason y slusho was in heroes xP
carlosamallo@gmail.com
This is with no question the best show on TV.
Here at Guatemala City there are many fans of Heroes.
We are expecting to watch more about this great adventure!!
Keep the good work!
Oh and whats the mothers power?
i always watch heroes... can't wait for the next episodes and seasons!
I liked the fact that no matter what HRG did to change his fate, the picture's prediction occured (made me remember the unavoidable death of I.Mendez).
BUT even if HRG is one of my favorite character (he has charisma, and he is ambiguous, he is not THE good guy or THE bad guy, I love that), his resurrection made me feel relieved and disappointed at the same time.
We had all this touching conversation between Hiro and his father about accepting people's death and then what ? HRG dies but lives again thanks to a little amount of his daughter's blood...
IMHO you should have made a choice, you had to kill him for good (don't like this idea) or to show us a HRG wounded but not dead, no resurrection please.
The other thing that annoyed me is young Hiro playing with his sword near his mother's grave...
Otherwise everything was great, and Elle ! OMG I'm already attached to her character, poor thing.
Thank you for this blog, sorry for my bad english.
Anshine from France.
Thanks for posting those pictures.
cep program
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