Category: Heroes (Page 8 of 22)

Heroes 3.9 – It’s Coming…But Is It Something Good? (Could Be! Who Knows?)

Aaaaaaaand we’re back in the present again. But was it worth the trip?

Well, as goofy as they were, I have to admit that I enjoyed the breeziness of the segments with Hiro and Ando, though to do so required me to set aside my uncertainty about what the hell had happened to Hiro in the first place. I mean, we’ve seen Brother Voodoo make with the mind wipe maneuver, but based on the way Hiro was screaming, I figured Papa Petrelli was all but ripping his brain to shreds, and when he announced that he thought that he was 10 years old, my presumption was that Papa had wiped out everything he’d known prior to that age. But given Ando’s conviction that he can trigger Hiro’s memories to return, I guess we’re supposed to presume that Papa now has the ability to inflict hysterical post-traumatic amnesia…? Well, fair enough, then. It’s not like it’s the most ridiculous conceit I’ve had to buy into with this series. The scenes in the bowling alley were silly fun, and as a geek of the highest order, Hiro’s rant about the changes in comic books was very much of the “it’s funny ’cause it’s true” variety for me.

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“Mad Men” tops Bullz-Eye’s 2008 TV Power Rankings

TV Power Rankings 2008

It’s been nine months since the writers’ strike shook up the entertainment industry – forcing some shows to shut down production for the rest of the season and leaving others to scramble for survival – and television still isn’t the same. Many of our favorite shows have yet to return to form (here’s looking at you “Heroes”), while some (like Power Rankings newcomer and new #1, “Mad Men”) have risen to the occasion and helped fill the void. If there’s any pattern to this year’s TV Power Rankings, however, it’s that there is none. While NBC’s reign in the top 10 continues, a dozen of the 20 shows below didn’t make the cut last year, and nine of those 12 are making their Power Rankings debut (“The Shield,” “The Daily Show” and “Family Guy” have popped up in previous editions). Still think the writers’ strike didn’t have a lasting effect? Think again.

Below you’ll find some sample entries, but be sure to check out the full list, where you’ll also find links to DVD reviews and interviews, as well as some Honorable Mentions and our list of favorite shows currently on hiatus.

1. Mad Men

In any sane world, Matthew Weiner’s “Mad Men” would not be on any “power ranking,” much less in the #1 spot. This supremely stylish drama about the alcohol-soaked, nicotine-stained, sexual harassment and adultery-friendly lives of early ‘60s advertising execs started out as a low-profile curiosity from a former member of the writing staff of “The Sopranos.” Still, with some help from ecstatic reviews and the Emmys, the show has emerged as first-class appointment TV and a launch pad for at least one potential superstar in Jon Hamm. As the metaphysically secretive Don Draper, Hamm knocks back too many Old Fashioneds while casually invoking the sort of grown-up masculine charisma of classic era film stars Gregory Peck and William Holden. Better yet, Season Two saw the show’s large and very strong cast of supporting characters become even stronger and more layered as the subject matter grew bolder. A semi-surreal late-season left turn with a roving band of wealthy Euro-bohemians was just the tip of the iceberg as rape, nuclear annihilation, religion and the meaning of existence were broached, with vaguely disturbing yet highly entertaining and sexy results. “Mad Men” cannot be pegged, and that’s the best thing about it.

11. How I Met Your Mother

We were close. We were so damned close. Creators Carter Bays and Craig Thomas had teased us for three years, but we were sure that Ted Mosby (Josh Radnor) had finally found the mother of his kids in Stella Zinman (Sarah Chalke). Of course, as we now know, we were wrong, but it was a hell of a ride getting there. Last season, “How I Met Your Mother” found the largest audience of its history as a result of scoring a pair of guest appearances by the superstar train wreck that is Britney Spears. And, even more impressively, she was really funny. Greeted with these new viewers, the series rose to the challenge of keeping them on, offering us Ted and Stella’s courtship, Robin’s rebound relationships, Marshall looking for work, Lily dealing with her credit crisis, and Barney banging as many babes as possible. We’re still not sure about this new wrinkle that Barney’s pining for Robin, but we trust that Bays and Thomas won’t turn it into a jump-the-shark situation. Or if they do, they’ll do it with a knowing wink and a smile.

17. Sons of Anarchy

If you took all the best parts of “The Sopranos” and “The Shield” and smashed them into one show, you’d have something that looks a lot like “Sons of Anarchy.” Created by “The Shield” co-writer and executive producer Kurt Sutter, the series is more Shakespearean than anything on television. It’s essentially a retelling of “Hamlet,” but instead of Danish royalty, they’re a California biker gang. There’s Jax (Charlie Hunnam), the second-in-command; his mother, Gemma (Katey Sagal), the very definition of a queen bee; and his step dad Clay (Ron Perlman), the club’s hard-nosed president and best friend of Jax’s deceased father. Heck, there’s even an Ophelia in the group – Wendy (“The Sopranos” alum Drea de Matteo), the drug-addicted mother of Jax’s newborn son. The theme of family and brotherhood is something that was explored in great length in both “The Sopranos” and “The Shield,” and it’s the driving force behind “Sons of Anarchy.” Add to that a supporting cast made up of some of the best tough guy character actors in the business (Tommy Flanagan, Mark Boone Junior and Kim Coates) and a multi-episode guest stint by Jay Karnes and you’re looking at a top nominee for Best New Show of the Season.

Heroes 3.8 – Another Villain on the Cover of Every Major Magazine

Even with the major media outlets gleefully listing off the reasons to be less than enthusiastic about a new episode of “Heroes,” it’s hard not to excited about any show which offers up an episode with a cast that features Robert Forster, Malcolm McDowell, and Eric Roberts.

Fortunately, the series did not disappoint.

Oh, sure, when one looks back at this episode in the grand scheme of the season, it will be one that can be easily skipped, since all it really does is fill in a few blanks that didn’t really need to be filled in. But this was an episode for the longtime fans, those folks who have watched the evolution of the characters over the course of the show’s run and have had various little plot details gnawing at them.

Given my past praise of Robert Forster, it will come as no surprise that I thoroughly enjoyed seeing him get the opportunity to dive into the role of Papa Petrelli during all of the key moments from the past that we’d heard about but never seen. He’s clearly having fun playing the villain, as seen during his scenes with McDowell and his declaration that having his own son knocked off would be just another day at the office. Then again, it seemed like Cristine Rose was having a ball herself, particularly during the sequence where we got the skinny on how Papa Petrelli came to be paralyzed in the first place. (It’s not nice to fool Mama Petrelli…)

It was also a lot of fun to see Eric Roberts return to his role as Thompson, watching him smirk as he treated Meredith and Flint – hey, who knew they were siblings? – like his playthings, trying to train Meredith while keeping Flint under lock and key with assurances that he, too, would become a field agent one day. Roberts has been known to have a little too much fun with his roles, but he plays Thompson perfectly, with the moment when he gave Meredith the opportunity to reconnect with Claire a particular highlight of his performance.

There was, however, at least one real bummer to the episode, and that was the storyline where Sylar and Elle became best buds. It felt like someone said, “Hey, the good news is that we’ve got Kristen Bell for another week, but the bad news is that it’s for the week that we’re filming the flashback episode. Heads we shoehorn her into the Sylar story, tails she’s working with Thompson.” The Elle / HRG scenes were fun, but the show died a slow death every time it went back to Sylar and Elle. Maybe it’s because there was no suspense whatsoever, since we knew that every word that came out of Elle’s mouth was a lie and that Sylar was going to snap eventually.

There were some great one-liners scattered throughout the episode, such as Peter’s bemusement that his father couldn’t bring himself to describe his son as a nurse, or Meredith’s comment to Flint that “God didn’t give you a brain, he gave you an older sister.” As far as flashback episodes go, it certainly didn’t live up to the standards of Season 1’s “Company Man,” which delved into HRG’s back history, but it was nonetheless enjoyable to finally have Papa Petrelli’s role in the recent pasts of Nathan and Peter fleshed out. Those guys have an evil, evil father…and if you didn’t feel that way during the course of the flashbacks, then you sure as hell felt that way in the last two minutes of the proceedings.

Yikes.

Heroes 3.7 – Repeat after me: “Robert Forster is AWESOME.”

Robert Forster is a god among men…and I’m not even talking about his character of “Heroes.” I don’t know what it is about the guy, but he just brings something to his roles where he can deliver more coolness than ought to be allowed by law, and “Heroes” is certainly no exception to that rule. Mind you, even with that ability, he still couldn’t pull off that awful line that was teased in last week’s preview (“Son, until you change that attitude, you’re grounded”), but I refuse to believe that there will be a funnier delivery of a line by any other character this season than his delivery of the punchline, “Have you met their mother?” Genius. But while Papa Petrelli’s scenes this week with Peter and Sylar were great, his best moment came with his handling of Maury Parkman. Wow. Nice knowin’ ya, Maury.

Claire and Mom have bonded over her handling of the Puppet Master, but it doesn’t stop Mom from being hesitant to accept the idea of Claire going on a road trip with her new best gal pal, Elle. And, really, can you blame her? Elle’s got a villainous past. Still, you have to like the fact that everyone from Claire’s little brother on up is aware that all they have to do to stop Elle is pour water on her.

There was a time when I would’ve heard Claire deliver that line about how “something’s wrong with us” and I would’ve figured it was just the writers being lazy…or possibly Claire just being stupid and somehow forgetting that her problems didn’t start until Sylar sliced into her brain. But, no, it appears that she’s actually being smart for a change and blatantly using Elle to get her own problem fixed, even if its origins aren’t the same as Elle’s. But speaking of stupid, I couldn’t believe the ridiculousness of Claire and Elle flying on a commercial aircraft while Elle’s powers were sparking left and right. I have to believe that the entire scene only existed because someone in the writer’s room was too proud of the “please turn off all electronic devices” joke to let it go unused.

While I’m glad that Mohinder seems to be working his way back to being the same guy we remember from the earlier seasons, it seems like somewhat of an abrupt about-face. Maya’s quivering speech about how he needs to redeem himself for his previous actions is presumably supposed to be the impetus for his return to good-guy status, but it’s going to take longer than an episode or two to erase the whole MohinderFly thing from my memory…especially as long as those cocoons are still hanging around his pad.

Speaking of Mohinder’s place, the scenes that took place there, with Nathan and Tracy meeting up with HRG and Meredith, worked better than I had anticipated. They felt more…real, I guess. Instead of the “Heroes” equivalent of a comic-book crossover, where one hero’s adventures cross path with another hero’s adventures, it felt weirdly casual. (“So, you’re her biological dad, you’re her adopted dad, and she’s her biological mom…?”) That feel lasted into the scenes were Nathan and Tracy met up with Peter and Claire, when Claire offered up that great line, “Dads aren’t always what they seem.” Actual drama in “Heroes” rather than melodrama? Will wonders never cease!

I’m not sure what to make of the whole Matt / Daphne love story. I don’t blame Matt for being naively hopeful that the future he’s seen will come to pass, but how naive is he going to be, and how much is he going to let Daphne get away with? I did enjoy the scene where he pulled a fast one on Knox; it’s been so long since Matt really had a chance to let loose with his abilities that I’d forgotten he could even do that. Or was this the first time we’d really seen him do something as profound as that? I noticed that he made a comment about how his dad could do it, but maybe we hadn’t actually seen him use his own powers on such a level before this.

As for the Peter / Sylar sibling rivalry, Peter definitely got the better one-liner this week (“Just kick his ass, and let’s get out of here”), but I’m interested to see where the Sylar storyline will go. He’s getting to be more of a Mama’s boy each week, reaching a point this episode where Mama Petrelli played to his desire for motherly approval in a big way, but it looks like Papa has his ear at the moment. Then again, Sylar’s so freaking wishy-washy that he’ll probably switch sides half a dozen more times before the end of the season.

Lastly, there’s Hiro and Ando, who served as the episode’s bookends. As much as I could do without another trip through time, the series’ flashback episodes have always proven to be a lot of fun, and the idea of seeing Malcolm McDowell, Robert Forster, and Eric Roberts in the same episode is too much to resist.

Heroes 3.6 – Wise Men at their End Know Dark is Right

I can’t believe I’m saying this, but…tonight’s episode of “Heroes” was really good.

I’m not even going to limit my praise to calling it the best episode of the season (although it was), because it deserves more love than that; it was legitimately enjoyable across the board, with only a few moments which gave me pause.

Hiro and Ando: Clearly, we knew Hiro hadn’t really killed Ando, but doing a flashback which showed Hiro visiting a joke shop was pretty funny. As aware as Papa Petrelli and his secret society of super villains are, it wouldn’t take them long to figure out that Ando isn’t really dead, but since Ando doesn’t have super powers, then the only person who’d really care about it one way or the other is Knox, and his ability isn’t one that lends itself to him finding out the truth. It was a nice touch that, when Daphne left, Ando pointedly released the breath he’d been holding. Why was it so nice? Because it showed that someone behind the scenes at “Heroes” finally realized, “Hey, the fans are actually noticing stuff, so we’d better start covering our asses a little better.” If Ando hadn’t released that breath, someone would’ve said, “Didn’t Daphne notice he was still breathing?”

When Hiro and Ando tried to catch Usutu the precog in Africa, it was a little bit like watching Austin Millbarge and Emmett Fitz-Hume at work, but, c’mon, who didn’t laugh out loud at the caption of “One minute before Hiro got hit”? The sequence was funny, but the writers actually had fun with the notion of Hiro going back in time…and, again, I have to think that was in response to all the moaning about FuturePeter not choosing a better time to go back in time to change the past. If I didn’t love Usutu already, watching him smack Hiro over the head with the shovel would’ve cinched the deal. His otherwise Zen-like manner makes him my favorite new character of the season, so it should be interesting to see how things go when the villains attempt to make him for them.

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