Hooper Reviews Heroes: Fugitives - Episode 6

Heroes Season 3
Volume Four: Fugitives


Episode Six: "Shades of Gray"

Note: This will be really short, as I didn't see the whole episode the first time around and have been busy since.


A quick rundown:

*Parkman had a bomb strapped to his chest by the Hunter (Danko); he was drugged and released into a crowded area around Congress. The SWAT team surrounded him, and Nathan quickly arrived (flew) at the scene, calming Parkman down. Matt was able to read a bomb tech's mind and defuse the device. He was taken into custody after being knocked out by Nathan (can't have him reading minds now, can he?).

*Sylar came to the end of his road trip, an old shack in the woods, and finally met his father, Samson Gray (played liver-spotted, in full beard and very grey by John Glover)...who turned out not to be the great white hunter Sylar expected. Dying of cancer, on oxygen, Samson also has the intuitive/absorption power. In fact, he "hunted" for a number of years before giving up on the big game, finding it pointless, and settling in with what powers he can still remember (including a lulling whistle [sedation] and telekinesis).

He stuffs animals now (not slang for anything, you pervs). Sylar chose not to kill him and instead sought answers, such as why did Samson kill his wife (as seen last episode in flashback). Unfortunately, the years have not been kind to his memory, and Samson didn't remember. But he did remember the hunger that drove him to kill for powers, that Sylar deals with, when he saw his son cut his finger and then heal.

Pinning him to the wall with arrows and sedating him, he moved to cut Sylar's head open and gain access to all his abilities, but was stopped. Sylar was playing possum (irony!) and proceeded to choke Samson with his own oxygen tube...before realizing it better to let this old, broken man die alone and in pain. He left, having only made one mistake: he told Samson where he got the healing power...a cheerleader in California

*Tracy got moved back into her heat room in Building 26, received a message from Rebel that hope is coming, and then Nathan said that he's her "only hope." Danko questioned her about Nathan, trying to get her to admit he has a power (she did say, "You're one of us!" at one point). She replied he's lousy in bed, and doesn't know anything about any power.

*Danko continued to press Nathan, but it appeared he pressed to hard. Nathan came back after the Parkman affair with a presidential order removing Danko from the task force. Catching the Senator in a glass (exterior) elevator, Danko shot the glass and pushed Nathan out. Of course, Nathan flew away after exchanging quite a look with our dear Hunter. "Tell me you didn't know about this," Danko whispered to a stunned HRG.

*Claire helped the Puppetmaster (Doyle) evade the agents and supplied him with fake IDs. While she was saving him, he actually resisted the urge to have a female agent shoot herself, instead forcing her to knock herself unconscious against a wall.

*Hiro and Ando got a message from Rebel telling them to save Matt Parkman at a certain address. They showed up, looking for "Matt Parkman" and are mistaken for babysitters...for the infant named "Matt Parkman." Hilarity is sure to ensue.

To be continued next week in "Cold Snap."


Heroes: Fugitives
Episode One: "A Clear and Present Danger"
Episode Two: "Trust and Blood"
Episode Three: "Building 26"
Episode Four: "Cold Wars"
Episode Five: "Exposed"


-Hooper

Read on, faithful few!

Mixed Signals

A few thoughts regarding the proposed Illinois crosswalk/pedestrian law that would require cars to stop for pedestrians in the crosswalk:

To be clear, I have no issue with a law on our books stating that for the crosswalk going with the flow of traffic, the pedestrians should have right-of-way vs. turning cars. That's common sense.

However, entering into law the notion that a driver would be legally responsible to stop (therefore in the wrong, in case of an accident) when a pedestrian uses the crosswalk that runs against the flow of traffic is more than just bad legislation. It's dangerous.

We have walk/don't walk signals at all stop-light controlled intersections. This lets pedestrians know when it is safe to freely cross (walk), when discretion is required (don't walk-flashing) or when it is unsafe and then can't/shouldn't walk (don't walk-solid). When traffic is flowing, say, east-west, the north-south crosswalk signals show a "don't walk" sign, the equivalent of a pedestrian's "red light." They know not to cross, as they would be going against the flow of traffic and, as such, in the wrong for any accident. It all has to do with respecting those with whom you share the road - cars, pedestrians, bicyclists, rickshaw drivers (Chinatown), etc.

If the law, as proposed, is passed, that "don't walk" signal becomes meaningless. Now, pedestrians no longer have any legal obligation (only mortal) to not cross against traffic. Why should they? The law says they are in the right and cars must yield to them. It's hazardous for their lives and the motorists and is bad form when held against the rules of the road and all the safety skills we had drilled into us at Safety Village.

In a perfect metropolis, the only big vehicles on the roads would electric street cars, with bike lanes and better sidewalks. But we don't live in this semi-science fiction world. We have cars, and must deal with their presence not with hostility but respect, as we want them to respect us, the pedestrians. Violating the crosswalk signals places us in mortal danger, as it does those cars headed towards us.

A new law on the books would also add undue mental distress to motorists who would face not only the physical and mental damage of hitting a dumb guy who saunters across the road in clear ignorance of the "don't walk" solid signal, but also new legal woes. Moving forward with what is presented, we're treating motorists as health advocates treat smokers - not deserving of equal treatment.

I'd urge you to push for a change to this crosswalk law, to contact your state congressmen and senators and see some positive amendments put in place. If not that, I would implore you to think through the ramifications of this law in all their forms.

More information can be obtained by talking to the Active Transportation Alliance, a great non-profit promoting "better biking, walking and transit."

-Hooper

Read on, faithful few!

Trade-Waiting: Why Make It Hard First?!

Raise your hands if you intend to buy the "Thor: Balder the Brave" Premiere Marvel Hardcover, 176 pages for $25. I...don't see much interest. Collecting Balder the Brave 1-4 and Thor 360-362, seven issues from the mid 80s, Marvel has decided to sap your wallet of its meager cash supply, insisting these issues require fancy treatment. Yes, Walt Simonson, author and co-artist (with Sal Buscema), tells a very epic tale and his style has definitely influenced the current generation of "widecreen" artists, not to mention the recent slate of Matt Fraction-penned Thor tales.

But $3.57 per issue for seven, 20+ yr-old comics that no one's beating down the door to buy in deluxe edition? Is this the best we can get collect? Thinking on Thor, what about Dan Jurgens's run that, more recent and "relevant" to modern audiences, remains only collected piecemeal?

While these old comics are great, and Simonson's Thor run deserves to be fully collected, why not choose omnibus trade paperbacks that are affordable? For $24.99, DC reprinted the whole of Superman's "Our Worlds At War" saga - 20 issues! - and fulfilled the two "A+A" principles of comic book trade collecting: Affordability and Availability. Yet even DC has been failing, with Marvel, on the first principle, probably the most important.

Because publishers love it hard.

***

Release a popular story, and you know it will sell in trade in today's market. A great example is the Sinestro Corps War in the Green Lantern titles over at DC. Several one-shots and months worth of both Green Lantern and the Green Lantern Corps, the "SCW" was admired by fans and non-fans alike for its effective, clear, self-contained storytelling. Three collections (vol. 1, vol. 2 and Tales of the "SCW") hit stores after the conclusion...in hardcover. The prices were $24.99 for vols. 1 & 2 and $29.99 for Tales...; the softcovers (or what we traditionally think of as "trades") are $14.99 for each.

So let's break that down looking at vol. 1. It collected the one-shot that started the story as well as the next four parts. The HC prices out at ~$5 ($4.998) per issue. To be fair, that's how much the GL: Sinestro Corps Special cost, and it was 64 pages. The other issues carried a $2.99 cover price, a $2 mark-up in HC. Of course, materials costs in a hardcover are greater than an SC.

Over in that SC, each issue costs you $3 ($2.998). So it's a $1.96 savings over buying the issues as they were released, while the HC is a $8.04 mark-up over the singles.

Which would you choose?

This is but one illustration of a trend that's gripped the Big Two over the last several years. Before 2000, trades were rare to begin with; only the biggest stories were collected, or those by the better-known creators. Titles were sporadically gathered into trades, often leaving large gaps between storylines (tragically, in the 1990s there was no DC or Marvel title fully collected among their best-sellers - that goes for Superman, Batman, Spider-man, the X-Men, etc. - when such a practice would've probably revolutionized comic collecting). The back issue business boomed (well, then busted, but it boomed for years before that!).

Over the last ten years, publishers have realized the revenue potential of the bookstore market, which means you need collections, square bound if softcover or just HC, to fill shelves. And because we're dealing with capitalist organizations, they want to make a buck. Thus, overpriced hardcover collections are released, followed months later by softcovers.

It used to be that HCs were reserved for the best a company had to offer. Neil Gaiman returns to The Sandman with "Endless Nights," released first as an oversized HC and then later, an oversized SC. It was a big deal, and the HC made that apparent; it even broke into the NYTimes top 20 fiction bestsellers (HC) when it was released. Now, you get every so-so X-Men arc in "premiere" HC shortly after it concludes, with the SC still half a year away. The pizazz of the hardcover collection is diminished.

***

Let us not deride collecing in trade every issue of an ongoing series. There's nothing wrong with creating such a backlist. Personally, I think it's great to be able to check out a year's worth of a series from the library or "trade-waiting" (the practice of not buying singles and only getting trades) and not missing anything. But Marvel and DC are missing the point. People buy these things for convenience/availability, yes, but due to the financial breakdown of the trade allowing for better affordability than singles.

Single-issue ads pay for large chunks of a comic's cost as does the cover price itself; trades then, ideally, are closer to "pure profit," produced after creators are paid their gross fees with just royalties owed now (if any) as well as production costs. Therefore, trades can be priced less than the sum of the single issues they collect. That's the logic that governs softcovers, but HCs are priced higher (in the case of vol. 1 of Sinestro Corps War, ~ 47% higher) to capture more profit. The economic logic is simple - understandable, in today's highly competitive market - but long-term deadly.

Imagine I'm a new comic book reader. I decide to collect X-Men in trades, as there's no comic book store nearby, but I can get the collections easily at my local Borders. I decide this after 1) seeing one of the X-movies on cable and checking out the first Astonishing X-Men trade from the library. Going whole hog, I choose to get all three main X-titles (adjectiveless, Uncanny and
Astonishing), as it will cost less in trade than in singles, so I can afford all three. I follow along online with what's going on in the singles, when stories end and when I can expect trades. Much to my disappointment, however, my financial situation does not allow me to pay 40%+ more for the issues in HC and that is the only way I can get the titles once the arcs have finished. I could
wait for half a year (at least) for the SCs and realize my 10%+ savings, but I am disillusioned that for entry-level titles at the biggest comic publisher in the US, I have to pay a premium to get what is essentially the second go-around of the offering plate. I am punished for buying the collections. I make another decision and choose not to get the HCs. In time, I forget why I wanted to buy these in the first place and just...drop comics. Then, I go on a shooting spree.

While a bit extreme, the above does illustrate the problem of releasing HCs so far in advance of softcovers. There is no incentive to buy HCs if you're watching your wallet and SCs are down the line; but then again, there is much rage when forced to wait close to a year after a story's wrapped up to buy said softcover. Much rage.

***

How does the "HC-first" policy help titles? Are the companies claiming it's better for business and helps grow the customer base? If anything, new customers will abandon bookstores and comic book shops (the former matters less than keeping the latter alive and prosperous), heading for discounts online at Amazon or DCBS. This hurts the industry, long-term, by destabilizing brick-and-mortor retailers like a Comics Galore or Graham Cracker Comics or Asylum Comics.

So it's no only the consumer who is punished by the edict to issue trades in HC first, softcover later, denying them affordability (you can't argue that the quick publication denies availability; in fact, they publish collections - incl. HCs - so quickly now for a lot of titles, that availability of a story is almost better than during the hey-day of the "comic book shop" pre-1994); now the comic book store that kept the industry alive* during the bleak mid- and late-90s loses business to the online retailer because it can't offer the same level of discounts.

What sort of companies deliver their primary (or most visible) delivery system? With the newsstand market long gone and other distribution methods still in growing pains, it becomes more apparent to me to provide beneficial pricing opportunities to comic book stores to keep this "direct market" afloat. Perhaps this can be done by releasing softcovers to them at the same time as HCs, though not to bookstores or online retailers (they can get them six months after the HC is released, or whatever the timeline is). The HC market exists, but not in the size to justify every single story getting it's own select or premiere or deluxe oversized HC treatment.

***

The best example of a series' collection is that of Dark Horse's Conan (the Cimmerian) by Kurt Busiek, Tim Truman, Cary Nord, et al. When it comes time to release a collection and they are prompt, the release comes in both hardcover and softcover almost simultaneously. The printing of the HCs is even far lower than the SCs, owing to the smaller market, higher price and desire to create an aura of "collectibility." Perfect. If you want to release everything in HC, this is the way to go.

Another good example is how Marvel treats their "Ultimate" line and DC their "youth" books (such as Titans-related, including Teen Titans and Blue Beetle): no hardcover releases at all of one arc. You might get a big HC, as with the "Ultimate" line, that covers three or so trades; what a great idea! And Teen Titans? Those stories are great for younger readers, good hooks, but HC collections would be like putting a electrode on a gerbil's food pellet. The shock to the system (cost; a sense of...fiscal violation) conditions one not to do said action again.

The big hurdle for publishers is to realize that not every arc is worth putting out in such deluxe format. Most of the mainstream titles at the Big Two would see brisker trade sales in paperback (conjecture) if released when the HC normally came out. Save the HCs for omnibus-type collections, like Marvel did with the first two years of Brubaker's Captain America run, or DC currently is doing with Starman (six deluxe HCs covering the whole series plus supplemental material...released long after the trades). Enchance their impact.

Long run, this method will be better for the comic book industry: more titles out in cheaper formats sooner to create and hook readers with a steady supply of material that will make said readers more apt to purchase the higher-cost items in the future.

And by Odin's beard, get some the lead out and collect Dan Jurgens' Thor run!


-Hooper



*An argument can be made that comic book stores, specialty shops that bloomed into existence over the 1980s, grew beyond their means in the 1990s and that the eventual closing of more than half nationwide over the late 1990s (continuing through today) was a market adjustment. The newsstand market gave comic books the mass media status they've enjoyed since the 1930s, though the days of the spinner rack are long behind us.

Read on, faithful few!

The Den of Mystery Reviews WATCHMEN

"Set in an alternate 1985 where the "doomsday" clock is at four
minutes to midnight, Nixon is in his fifth term and heroes existed...once....
Outlawed in the late 70s, only "masks" working for the government can keep
active, the rest slipping into obscurity, retirement or the shadows that birthed
them.

"Until one of them dies."

That is a wildly simple intro to the world of Watchmen, Alan Moore and Dave Gibbon's "graphic novel" magnum opus. Lauded as one of Time's top 100 novels of the last hundred years, it was a game-changer when it was first published. Declared unfilmable by both Alan Moore and legions of fans who doubt the complexity would transfer to screen, Watchmen now comes to theatres after twenty years of legal and studio wrangling.

It has a hard "R" rating, is awfully close to three hours long, has no real "star" power in the cast and features superheroes analogous to other superheroes...and no one's heard of any of them. A tough sell.

We at the Den, Hooper and Buck, caught it separately this past weekend and will try to untangle some of our own thoughts on the film.

Hooper gives it a hard 8/10, citing maintenance of the overall thematic integrity of the original series; flaws exist but still a damn fine film.

Buck claims it fell short of the mark, giving it 6/10, and calling it "too faithful" to the source material. Prior knowledge is almost a requirement.


And now, the review. Beware, ye readers, of SPOILERS.

***


Hooper:
I walked out of the theatre happy (overall) with what I saw. This movie captured much of the original series, focusing the story without fundamentally changing it. The essence of what made the story great and lasting - the deconstruction of these heroes, why they put on the mask, what it means to even consider yourself a "super" hero, how we compromise - is up there on the screen.


Buck:
I found it...lacking. Initially, a 7/10 or "C." You can be TOO faithful when adapting a story. Ultimately, I did not find it satisfying.


Hooper:
1. Do you think it was right to keep the movie set in 1985, as some people say the nuclear/USSR threat is a novelty/unbelievable by today's youth?

2. When you say "too faithful," do you think it would've been better to cut out, say, the Mars stuff and Laruie's parentage (+ mom)? Basically, I wonder how, given what you saw, you'd've addressed an adaptation.


Buck:
What I meant by "too faithful" is that the movie actually made me upset that I'd dragged Mrs. Buck to see it. Knowing she's unfamiliar with the material, I tried to watch the film from her point of view, and grew increasingly frustrated. The film almost had an attitude of "Everyone's read this, right? Okay, well, what we're going to do is film it exactly as it appeared on the page. We're going to go into painstaking detail to re-create Alan and Dave's creation. Except for the ending." As an adaptation goes, this wasn't constructed for people who are unfamiliar with the source.

That being said, I do want to see it again to see if my opinion changes. Who knows? Maybe the 7-hour (or however bloody long it is) director's cut will be a revelation that makes me love it. But as it stands, I was disappointed overall.

Pros: Jeffrey Dean Morgan's Comedian, Jackie Earle Haley's Rorscach, and while at first I was a bit thrown, I grew to really enjoy the detached way Billy Crudup portrayed Manhattan.

Cons: Matthew Goode's Ozymandias, the completely maudlin denouement in Antarctica, some of the "ramping up" of the violence (not that I'm a prude, more that I simply considered it unnecessary).


Hooper:
Morgan and Haley made me buy their characters as real. The most important "sells" in the move were those two characters. Do we see the "dark grey" morality of Comedian as a result of his worldview and its crushing weight or is he a jackass with a flamethrower? Is Rorschach a paranoid nutjob version of Batman, dolling out violence like candy, or is he the only real hero in the movie? Very strong performances that will help set their careers in high gear for a long time.

So we shared a dissatisfaction with the ending (for me, the "squid" change wasn't bad, but the scenes after it were) and the hyper-violence (which, while the comic was violent, caricatured a caricature).

One could argue, so far as adaptations go, that even Lord of the Rings was written for the fans, not the average movie-goer. Did we really need all that Last Alliance nonsense and any related lore? "A ring created by a malevolent sorcerer-king that corrupts everyone" - there, I saved you ten minutes at least from the first film. And references to other rings; those are just Easter eggs. Why not have Galadriel just a powerful sorceress-queen (elf) at odds with the evil guy? And all that walking and the talking trees and that other wizard (in white like the good guys' wizard guide? C'mon. I can't keep this straight). You could strip that novel down to one, 4-hr movie. Still epic, but not boring in the least.

Likewise, I think you could either cut out or add in to Watchmen, but so long as it's a superhero movie that hates superheroes and their petty fisticuffs, regular movie-goers will feel put out and lost. That, to me, is what I came away with from the few times I tried to think of myself as a layman on the subject matter. I understand entirely why you feel upset at bringing Susan; it's why I didn't press Mandy to go. This isn't a non-fan movie. Not all movies have to be made with EVERYONE in mind as the audience. Watchmen cannot be all things for all movie-goers; it has to choose, and as Matthew Goode said, it's essentially a 3-hr arthouse film. It takes comic book/superhero stereotypes to task, forcing us to think about what we enjoy about them. And maybe what we shouldn't.

In fact, Snyder was talking about Watchmen and 300, saying they are essentially big-budget cult films that'll recoup their investments and then some, but are not meant for the general viewing public.

Would you then downgrade your initial 7/10 to something that reflects "disappointed overall?" That seems generous for a movie you didn't like.


Buck:
I've downgraded initial viewing to 6/10. Like I said, maybe a solo repeat viewing will change my mind. CHUD reported today that Snyder wants to put his cut in theaters this summer, and I might pony up for a repeat trip to the theater to try it out. Someone at CHUD (I think it was Devin) actually said that it's a movie that will get better with repeat viewings, calling it a sort of new Blade Runner (misunderstood film that gets better the further it's removed from its initial release).

I didn't really press Mrs. Buck to go; it's more that she knew I wanted to see it and doesn' t like me to go to movies by myself (she thinks I look like a creepy loser when I do that). The main problem she had was that she wanted the skinny on who all these people were. She wanted to know how they ended up as costumed adventurers, etc. Sadly, with the exception of what was left out of Rorschach's story, there really wasn't any more origin material in the original comic. So it's not really a fault of the filmmakers, but it was her chief complaint.

I have a feeling I'll like it the more I watch it. I've actually caught myself re-visiting scenes I liked in my head. So it could be that my current distaste is a result of trying to view it as an outsider rather than a fan.

To go back to your questions:

1) I don't know what "threat" you'd have if you didn't set it during the Cold War. That being said, there should not have been that much Nixon. The man is seen as too much of a pop culture punchline/fodder for impressions, and while I had no problem with the actor's performance, there were giggles in the theater each time he came on-screen.

2) Yes, you could have left out Sally Jupiter altogether. Possibly the Mars material as well, though I'm not sure where you would have put Jon during his alone-time.

Lastly, a 20-something couple sat next to us...with their 3 1/2 - 4 year-old daughter and 8-9 year old son. And the mom and dad fell asleep during the movie. That's some damned good parenting there, folks. Does anyone even look at a movie's rating anymore? You know that the son probably saw commercials with people in costumes and figured it was just like Spider-Man or X-Men and the parents didn't even bother to find out what the movie was about. It's possible that my anger towards them and fear for how the children were processing what they were seeing helped to color my impression of the film.


Hooper:
Except for when jerks make noise in a movie, I don't pay attention to anyone else in the theatre. They can applaud at the end, or be shocked or laugh when appropriate. That's fine. Sort of a "live studio audience" for the movie. But I'd've seen that crew, commented to myself that the parents should be beaten (maybe even in Rorschach's voice!), and ignored them.

I think the "new Blade Runner" analogy is perfect, especially since there are multiple cuts extant: theatrical, director's sans Black Freighter, director's w/ Black Freighter. Who knows, there might be a scene of Manhattan returning to Ozy at the end on the cutting room floor or the "you tried to rape her!"/"Only once..." exchange, the death of Hollis Mason, etc. I don't know how much was cut.

Some say the threat should've been terrorists/radical Islam, that it should have been made now, with Bush in office as Nixon was; make it "topical" like V for Vendetta...because that helped that movie immensely (...ahem). It surprises me that people our age don't remember the USSR or at least the idea that their parents lived under the threat of nuclear war for much of their young lives. We're not that removed from two decades ago, are we?


Buck:
I wouldn't think so.

I do know that Hollis' death was filmed and cut. Don't know about any of the other material you mentioned.

Your opinion on performances? You've mentioned Haley and Morgan already, and they did turn in great work. What did you think of the rest? I thought Ackerman was all right, if nothing spectacular. And Wilson did a fine job, although I felt the "What do you expect? The Comedian is dead." line was delivered all wrong.

So what's your take on the cast?


Hooper:
As we've said, Morgan and Haley did stellar work, easily worth at least a few small critics' choice supporting nods (if not wins).

Malin Ackerman was flat and just "ok" as Silk Specter II. Another reviewer said he thought Karen Allen was the sort to have played here, were this the 1980s and she still young and fiery. But Ackerman...didn't really add anything. I think they needed an older actress in the part, not a young gal playing slightly older. But she is the weakest character in the original story.

Patrick Wilson, Nite Owl II, did a serviceable job, but didn't feel washed out; rather, creepy instead. Sometimes I felt like I was watching a mouth-breather basement dweller D&D fan socialize for the first time in years. This isn't the brilliant, has-been inventor. That being said, he delivered most of the lines accurately, but not always convincingly. Like with Ackerman, I would have preferred an older actor.

Ozymandias/Adrien Veidt is a tricky character to imagine. Should Matthew Goode have played him happier, more of the scholar-athlete/eccentric billionaire (Bruce Wayne outed, but happy about it because he found out his parents were really Nazis who deserved to die) or as the detached genius who tires of these greasy people with petty problems and no vision of true greatness, of the betterment of all humanity, of the Big Picture? I think it's obvious which one he chose. The former is the comic version, and what I wanted to see on screen, yet I found myself appreciating the latter take. It might be more "real" for the character to have no bubbly outer face, no mask. Hm. I'm torn. I think...okay, here we go. Give Ozy back his triumph at the end, the tears, the smile, the convo w/ Manhattan; have the hired shooter kill only the secretary and then get pulped; make it Rorschach who informs him of the mask killer and not Dan D: that would make Goodman's performance 100% palatable. The meat of his part on screen was sometimes reliant on scenes changed w/o good reason.

Crudup as Manhattan - the voice, the flashbacks, the look - it all made sense.


Buck:
Good points on Ozymandias. I kept asking myself, "Why Lee Iacocca gotta get whacked?"


Hooper:
Even unadjusted, it's amazing to see how big Watchmen's opening was in relation to other comic book movies, especially when you look at X-Men, Superman Returns and Batman Begins. Big names that didn't get this many raw dollars (though, adjusted, did sell more tickets) in their opening weekends - and they were PG-13 and well-known properties!

A guy at work came up to me, asked me how my weekend was. I said good, and that I saw Watchmen. Great, I hear it had a big weekend! he said. So...you think $55M+ is a good opening? I asked. Sure! Especially for unknown superheroes in March.


Buck:
I did say yesterday that $55M is a good March opening, especially for a genre picture.

While replaying the "a Comedian died in New York" line at the end was most likely put in there to make it crystal clear to the stupid viewer that that was Rorschach's journal in the basket, I did like hearing it again.


Hooper:
I think it underscored that Rorschach, for all his dark mania, was really the hero.


Hooper's Take: 8/10

Buck's Take: 6/10


The Den of Mystery gives Watchmen...7/10.

Read on, faithful few!

Hooper Reviews Heroes: Fugitives - Episode 5

Heroes Season 3
Volume Four: Fugitives


Episode Five: "Exposed"

What Happened:

Like last week, we focus on only a few of the heroes and leave the massive ensemble behind. Tight plotting here, folks. Forward movement. Let's get it on!

Claire's secret is discovered as Mrs. Bennett finds Alex in the closet. The explanation Claire uses, that they were having sex, doesn't hold water as Aqualad emphasizes he never touched and barely looked at the 17-yr-old cheerleader. That Claire lied and Alex has powers disappoints Mrs. Bennet, and she says that both Claire and HRG underestimate her strength, especially in times like these. She plots to evade the gov't agents in the van parked across from their house (they know Alex is there, even if Claire is off-limits). First hiding Alex in one of HRG's hidey-holes when the agents do a random search and then causing a diversion, Mrs. Bennett proves she's not just a brainwashing practice dummy. Her diversion (driving with Lyle to the movies) gives Claire and Alex enough time to sneak out the back, dodge the agents and hide in a swimming pool (of course they have to "kiss breathe" to keep Claire alive; they've been flirting pretty hard since Mrs. B "outed" him) until Alex can get to a train. They part fondly, and Claire returns home and starts to bond with her mom...until the Puppeteer shows up. Why? "Rebel" told him "Barbie" can help....

Meanwhile, in NYC, Parkman keeps painting the same image over and over (him wearing a bomb vest), wondering if it's tied to the floor painting he did of a nuclear bomb (or mushroom-cloud producing blast) leveling the "capitol" district of Washington, D.C. Peter tells him Rebel has sent a message over the computer telling them where Daphne is (D.C.) and to flee, as the Hunter has a idea where they are (Isaac Mendez' studio). They copy the address, trust Rebel and escape just before the Hunter's agents (plainclothes) arrive.

At Building 26, the Hunter sets Peter and Parkman as top priority for detainment, but also says they are armed & dangerous. So shoot to kill, if you have to. Nathan disagrees but the Hunter calls his bluff and exerts some ominous authority. HRG vocally agrees with his immediate agent superior, leaving Sen. Nathan Petrelli in the cold.

Now, too, at Building 26, Parkman and Peter worm their way in using double-barrel telepathy (Peter ditches flight for it; "I guess the rooftop escape is out," says Matt) and make it to a control room. Now seen by the Hunter on video monitors as just down the hall, Parkman and Peter mind-control two guards to draw their sidearms and by threat of force keep the Hunter from interfering. They discover Daphne isn't at this facility and Peter downloads a crap-load of data (including video of detainees being loaded onto planes) to use as leverage. Rebel pops a message up on the computer ("You have 30 seconds"), causes a blackout and the two heroes flee...right into HRG, the Hunter and their guards. Parkman holds everyone ("his" guards & the Hunter's group) until Peter has safely escaped.

When the Agents discover Rebel's message still on the computer screen, the good Senator calls on his mother, Angela, and asks if she is tipping them off. She knows a lot, after all. No, she says, why would she jeopardize the protection Nathan affords her? Besides, she can't work a computer. Peter then phones in while they're talking and says he'll deal - Parkman and Daphne for the wildly damaging data. If not, or if he's killed, the data will be leaked. Nathan says yes, and sets a place. The Hunter, upon hearing this, says he's operating on Presidential orders ("we do not negotiate with terrorists") and will either capture or kill Peter. Nathan reminds HRG that Peter can "hear [your] thoughts," implying that he should warn the guy.

At the meeting, HRG does just that, thinking loudly (as Peter calls out for Parkman and Daphne) that it's a trap. The Hunter, no veteran of telepaths, broadcasts his thoughts about sniping Peter and though his target hears, the Hunter does hit him high in the left shoulder, sending him falling off the parking garage roof...and right into Nathan's arms. Landing a good ways away, and meeting up with Angela, Nathan tries one last time to get Peter to turn himself over to Nathan's care. All Peter wants to know is why his big brother is doing this. It's out of control, I'm the only one who can, Nathan answers. Peter sadly mocks that it's because his brother loves him that he wants Peter under his eye, right? Sure, the Sen. says, but Peter knows better, takes a dose of "flight" and zips off. Angela warns Nathan that the game has changed and she has foreseen terrible happenings. And then, she whispers in his ear, leaving Nathan looking like he's been gut-punched.

Across the country, somewhere with mountains, Sylar and Luke Campbell drive on, and our favorite serial killer is getting a wee bit annoyed with Thrill-Kill Campbell. They stop at a boarded up roadside diner, Big Jim's. Sylar's been here before, he knows this place. Exploring inside, he has a flashback and discovers that he has been here before, when he was a young boy. And with his biological father, Samson Gray. But it is the worst memory he could dredge up, as it was then that Samson sold Sylar to his brother Martin. Sylar chases his father into the parking lot where he witnesses Samson arguing with his wife. It gets serious, and Samson waves his hand and blood streaks across the back window. He pushes Sylar's mom out of the car and speeds away. Li'l Sylar then sees what will be his calling card: a ragged slash across his mom's forehead, eerily reminiscent of her boy's amateur neurosurgery.

Coming back to the Now, Luke admits Samson is a world-class jerk and Sylar should give up the hunt. The can go off together, they don't need this- Ah, mistake, Luke. Sylar realizes the boy is doing this for the thrill of it all, the excitement of being "bad," and ditches him with a parting gift: his life. Now it's on to meet Samson Gray...alone.

On the TV, the US sees footage of American soldiers detaining - without Mirandizing or probable cause - dozens of US citizens. What is this secret gov't program? Is it legal? Peter has made good on his promise.

Back in DC, the Hunter fiddles with a drugged up Parkman as they drive in a black van to an undisclosed location. You'll be the face of their fear, says the Hunter. He gives Matt an injection and pushes poor Matt out of the back of the van into a large plaza...near Congress. On his chest? A bomb vest. It's the painting, come unfortunately to life.

To be continued next week in "Shades of Gray."


In Character Development:

No Hiro, Ando, Daphne, Suresh or Tracy. Thank God, for the last one. Two weeks without Tracy.

Peter...eases further into an adult role, taking telepathy for its tactical advantage, realizing you can't plan for the end-game (rooftop escape) if you can't reach the objective. Hurray! It's taken over fifty episodes, but he's thinking his actions through.

Nathan...is quickly losing control. I see sacrifice in his future. His own.

Matt Parkman...starts behaving less like a wounded, cornered animal. When Daphne is returned to him, odds are he'll begin acting like a cop again. In this episode, he controls at least four people at once, and though it's taxing, we see he's got a great will and is more powerful than previously thought.

HRG...is our man on the inside. Agreeing with the Hunter while protecting the sanctity of life (...sort of), he walks a thin line. Not really much here, but we know he's a good soul.

The Hunter...is not a good soul. He's like Linderman or Arthur Petrellie - the ends justify the means. Also, no prisoners and he plays for keeps. Since he is capable, and not some big brute or intimidating "power," his villainy is craftier, colder, sharper. I like him.

Angela...is certainly more involved than ever, and running at least one shadow operations (HRG as double agent).

Claire (w/ Mrs. Bennett and Alex)...thinks like an adult, like her Uncle Peter. By accepting her mother as more than a domestic damsel-in-distress/target-of-opportunity, she realizes that she can rely on other people to help her. A bit sappy, but necessary. This turn should've happened sooner. Alex is out of the picture, but he'll be back and gunning for Claire's pants. Mrs. Bennett shows a little bit of characterization. Fancy that!

Luke Campbell...shall be spoken of no more, until he microwaves himself back into our hearts. Not the abused, downtrodden boy we might've thought, he is a sociopath and a dangerous influence for Sylar. Left to his own accord, he'd see many more dead.

Sylar...finally has some answers. Next week, we see the Gray men come together, I hope.


Thoughts:

*Quick paced, better than many Season 2 episodes; the season begins to turn around.

*Claire is a better character after this episode, as is her mother. I think the writers figured out the petulant victim-child and brain-adled housewife weren't that appealing.

*I'm glad Luke is no longer a Lost Boy and is just lost and alone. He's bad news.


Looking Ahead:

*Samson Gray: about damn time.
*Does Nathan fly another nuclear-armed hero to a spectacular night-sky finish?
*Hiro or Ando...anyone?

Heroes: Fugitives
Episode One: "A Clear and Present Danger"
Episode Two: "Trust and Blood"
Episode Three: "Building 26"
Episode Four: "Cold Wars"

-Hooper

Read on, faithful few!

Hooper Reviews Heroes: Fugitives - Episode 4

Heroes Season 3
Volume Four: Fugitives


Episode Four: "Cold Wars"

What Happened:
You've waited for answers. And for about a third of this "volume's" story, we got them last night. Unlike other weeks, I can be very brief here because the episode was so tightly focused. There was no ensemble-cast wanderings, like we've had since the volume's opener. Let's begin.

HRG, kicked out of his house after admitting to still being an "agent" of sorts, goes to the hotel bar to have a drink. It is spike with barbitol, obtained by Nurse Peter and somehow secretly administered (did Parkman mentally coerce the barmaid to add it?). They drag him off to their room, keep him drugged up and Parkman begins to "interrogate" him, i.e. push through his memories to see what he knows about this new government round-up program, who organized it and what potential weaknesses there might be.

The Hunter and Nathan notice HRG's absence.

In a series of black and white flashbacks, Parkman uncovers some of HRG's recent past:

*Angela gave him a "retirement" package (plus watch) from the Company and told him to go live a normal life.
*Idly doing crosswords, he approached by Nathan to help form this new government "Company" to round up those with powers and safely contain them on the way to stripping away said powers. HRG says yes, demanding some ground rules be laid down first. He also shows Nathan his "Public Storage" room filled with boxes of data and a big black cased packed with guns, ammo and grenades.
*HRG and the Hunter, upon meeting, are oil and water. The Company's "one of us, one of them" maxim is abandoned for "twelve of us...and none of them." Overwhelming force.
*HRG even goes to the Hunter's apartment (showing he does his research) for a male bonding session that really doesn't go well. No fighting, but you can see these alpha males are headed for a showdown.
*In a twist, we see that Suresh was approached by HRG to be an agent of his, an undercover power to help counteract whatever the gov't decides to do. Suresh refuses.
*When faced with a gun, HRG lets Matt into his mind one last time to prove that Daphne is still alive, but drugged up and wounded.

Now, while we are learning that HRG is a mover and shaker, though not the power behind the black-clad commandos, the Hunter has been trying to locate his wayward agent. After seeing the bit about the public storage unit, Parkman jots down the location and lock combo; Peter takes it and flies over to it. Of course, there is a camera in that unit and the commandos close in. Peter snags a few guns and grenades (smoke, flash, etc.) and flies away.

After Parkman discovers Suresh knew something was afoot, he attacks him (a fight he can't win easily) and in the confusion, HRG escapes. He doesn't make it far, as Peter lands on the car he's trying to hotwire. Parkman sends Peter to the Hunter's apartment, where the two have a tense stand-off (lopsided, as only Peter has a gun). Nathan risks exposure and flies over, defusing the situation and letting Peter escape. This reiterates the point the Hunter has been making: Nathan, with his powered brother and daughter, is too compromised.

With the commandos closing in, Suresh offers to divert their attention, shortly after they find out about Daphne. Suresh knocks some soldiers around, but gets tagged by about eight or nine electro-rounds and the commandos still snag Parkman. HRG escorts him out and, once in the open, Peter swoops in and snatches him from their midst.

The Hunter tells HRG to take some time off, but this situation has galvanized HRG and he says he is not torn anymore between loyalties and will Do What It Takes. He later meets with Angela and we discover he's a double-agent, gaining Nathan's confidence while having an ulterior motive. When told by Angela that he'll have to make some hard choices to "prove" his loyalty to the Hunter & crew, HRG replies, "I've always been comfortable with morally grey."

In Building 26, Natahn approaches Suresh and asks for his help...or else the government won't just contain and seek to strip the powers away, but kill on site.

In NYC, Parkman finishes a furious bout of painting and wonders why, why! he's cursed to paint this. He and Peter look down at the big picture on the floor, the centerpiece of all Parkman's prophetic doodles: a nuclear bomb erupting in Washington, D.C.

To be continued next week in "Exposed."


In Characters Development:

Nothing this week with Hiro, Ando, Tracy, Sylar, Luke, Alex or Claire. Here are some quick thoughts on the others.

Matt Parkman - his orderly, police-trained mind is now showing the strains of his run from the law and seeing his love gunned down. He is out for revenge and is letting it cloud his judgement. It's a human reaction, though I'll say Greg here doesn't quite play it as well as he could. Hm. I think he needs to start thinking like a cop again. When Daphne is rescued and his desire to kill fades, especially as he starts to realize what he saw in HRG's head can be interpreted differently than "pure evil" based on his actions, I think his character will rebound into the "likable" column.

Suresh - he is wracked with guilt over killing people (vol 3., Villains) and just being a jerk overall. In fact, he probably carries a degree of guilt for those he let Sylar kill, unknowingly. So now he seeks redemption, and the sacrifice to let Peter and Parkman escape is just the beginning. Will he become Nathan's "pet special" and superscientist? What damage will he inadvertently cause this time?

Peter Petrelli - a soldier in this episode, and still a bit headstrong, I think he's taking more ownership of his powers and their responsibility, understanding that making a decision requires thought and care and that wanton revenge is not the right way (or else he'd have killed the Hunter).

Nathan Petrelli - conflicted over what he's doing and worried about the beast he's unleashed (the Hunter), perhaps after three seasons of "greater good" talk and always falling in with the smooth-talking bad guys he'll finally see the light.

The Hunter - he knew there were heroes before joining Nathan's little initiative. What more do we need to know? Who had powers in his past (see "Rev. Stryker" in God Loves, Man Kills)?

HRG (Noah Bennett) - playing the undercover hero, the spy who'll never get all the credit he deserves, the "Company Man" will most certainly play a key role to undermining and dismantling what the Hunter is doing. We see his humanity numerous times in the flashbacks, as he stresses these are people they are hunting, not animals. They can be an asset, many can be good. Remember, not all were locked up at PrimaTech, only the most dangerous. Tag the quiet ones, watch them and make sure no one goes "boom." But those tactics did prove flawed as more heroes started popping up. Perhaps he'll work for integration or some sort of mass-hiding to protect these "special" people.

Daphne - Not dead.


Thoughts:

This episode moved. More importantly, it moved in the right direction, highlighting good characters (HRG, the Hunter, Parkman) who had dynamic stories to tell. We need to have some episode that are predominantly action at this point, not just talking heads. Bryan Fuller's first episode is close at hand.


Looking Ahead:

I want Sylar to get to the end of his road trip and an actual resistance to be formed with Peter and Parkman at its head. Are you saying that between those two (and with Angela's shadow backing, bound to be made apparent to them) they can't 1) get a hideout, 2) gather more heroes and 3) counter-attack? Come on!


Heroes: Fugitives
Episode One: "A Clear and Present Danger"
Episode Two: "Trust and Blood"
Episode Three: "Building 26"

-Hooper

Read on, faithful few!

Hooper Reviews Heroes: Fugitives - Episode 3

Heroes Season 3
Volume Four: Fugitives


Episode Three: "Building 26"

What Happened:

Not much. An aside: Bryan Fuller, a creative force behind the show's first season, returned with "Fugitives" after it became apparent that his ABC wundershow "Pushing Daisies" was dead (hi-ohhh!). Responsible for the stellar "Company Man" episode about HRG's past, many say his return marks the show's return to good storytelling. Alas, we're not there yet.

This week, Claire is pissy with HRG, her mom and life. At breakfast, she gets a "Rebel" text. HRG now claims to be a "consultant" and he reminds Claire that the last time his real career was known to his wife, she almost died (so pipe down, blondie). She gets a "Rebel" text telling her to warn "Alex" that danger's on its way. Sylar continues his road trip with Luke "Hotplate Kid" Campbell and the boy has fun, testing Sylar's lie detector power and getting Peter Pan to admit he's a serial killer. They stop for lunch.

Back in...India?, Ando and Hiro find a random wedding they are supposed to interfere with (did I miss something specific about their target in that painting?) and Hiro determines to stop the wedding/save the bride from the marriage. In related news, Ando glimpses a familiar looking woman, follows her and they talk. She admits that the wedding isn't her idea of a good time, but she wanted a sign not to go through with it. Ando then uses his sparky red powers to convince said bride that he is a sign from above that she's not to get married. Hiro (and the fiancee) are (separately) PO'ed. Fiancee knocks Ando on the head, absconds with him and demands the wedding go forward.

In Washington, D.C., specifically Building 26, the Hunter uses several large boards to map out the various heroes (by power or just at random?) and we see little pictures of far more than we've been introduced to. Hunter derides Nathan, who then slaps back and gives a pep talk ("I'm requesting our budget be doubled."). Guest-star Moira Kelly, last seen in 1992's The Cutting Edge, rolls in, says she's with the Department of Homeland Security and all this black-ops nonsense needs to be justified. And the illegally detained US citizens on US soil? Trouble, Sen. Petrelli.

Clair manages to track down Alex, and he turns out to be a comic book store employee (thin, though with glasses) who can breathe underwater. He is doubtful of her warning, but after a healing demonstration, he believes. They dodge HRG, black-clad goons (during which he opens up about his power) and she hides him in her closet.

Back at Building 26, Cutting Edge tells Nathan the gig is up; powers just aren't real. As if destiny were itching to prove her wrong, Tracy at that moment breaks the chain holding her, escapes her cell and its heat lamps, and takes an analyst hostage. With guns trained on her, and both Cutting Edge and Nathan watching, Tracy freezes the analyst and shatters him, looking an awful lot like angry "Jessica." Tasered, she is returned to her cell where she tells Nathan it was awfully convenient her door was unlocked and the chain was loose. He pretends not to understand...or does he? After Cutting Edge agrees with Nathan that yes, powers are real and he's got all the funding he needs, Nathan confronts the Hunter, giving him the analyst's name and family story. Wife, two kids. So the Hunter knows what his "demonstration" cost, as he obviously engineered Tracy's escape attempt, for the "greater good." Casualties of war, and what not, he claims. Tensions rise.

On a roadside diner, Sylar and Luke chit chat about stuff, the past. Samson Gray went fishing with Luke, trucking along a red wagon, treating him like a son and even admitting that he'd sold Sylar to his brother Martin for money. Sylar reaches back and remembers that red wagon, being pulled in it. Not the monster his traveling companion is, Luke writes down the location of Samson's hideaway, casually hoping Sylar won't kill him. As they bond, some suits enter the diner and it's apparent the Hunter's men have acquired their target again. In another well-staged fight, Sylar defeats the suits, an undercover agent and some commandos. Luke pretends at first to be an abductee, but only to distract the undercover agent so Sylar can TK him across the restaurant. Sylar flees, locking Luke (who then gets tasered) out of the car. Ah, but he returns a short time later and messes up the van-full of commandos, stealing their hard case laptop...and Luke. The obvious question (that Luke then poses, once conscious) is why Sylar rescued him. Why indeed....

The wedding back on in India, Hiro now takes the opportunity to interfere, claiming the bride is being forced to marry and his Ando is being held hostage by the groom. The groom protests; the bride agrees this traditional marriage isn't for her, as she catches the eye of a eager gal in the back row. The groom threatens, but Hiro grabs a novelty/decorative sword and takes a stand (bringing Parkman's painting of Hiro to life...which in no way looked like a wedding on my TV. Just saying). Seeing defeat, the groom relents, leaves and Ando is freed. Hiro understands the powers don't make the hero; the person does.

After hiding Alex, Claire talks to her mom and can't take the lies, telling her that HRG's new "consulting" job is a bit more secret police-oriented than first described. Stopping by her bedroom, HRG gets teary and says the Mrs. wants him to move out for now. For the best, right, Claire-bear? She gets weepy, they hug and he leaves. "Aqualad" is seen in her closet.

HRG heads to a hotel and has a few drinks, getting far tipsier than anticipated. He collapses and his buddies offer to take him home. Parkman, Peter and Suresh prop him up and exit stage left.

To be continued next week in "Cold Wars."


In Character Development...:

First off, nothing happens on screen with Angela, Suresh, Parkman or Peter. Next week, for the latter three. Daphne is still dead.

Claire & HRG (and Alex)
She's a whiny brat, and that needs to change. While going against her father has put her in the good graces of "Rebel," it keeps her character growth tamped down. Still the victim and unwilling (or unable) to make mature choices, she needs to be put on the back burner for a while. HRG just needs to pick a side and start the freaking fight. He's more dangerous than his fellow agents.

...and we needed an Aqualad?


Sylar & Luke Campbell
Cut the road trip junk and we'll be cooking with gas. As it is, the driving, reminiscent (as one reader said) of Season 2's South American extravaganza, gets old. Have at least some better adventure on the way. There was no "real" development with these two, though we were reminded that Luke isn't a wholesale devil like Sylar, has feelings and can sympathize.

Hiro & Ando
As I said, Hiro learns that powers aren't a requirement to consider yourself a "hero." Just standing up for what's right, the helpless, the distressed can do it. Ando, take note. It's been said that Ando's a better character than Hiro, as he isn't so dreamy and flighty, but there's a resentful streak running through him that doesn't allow for logical reasoning. Really, with either of them. They tend to leap to a conclusion and if it brings conflict, get upset like a dog that's knocked its ball under a couch.

Tracy
You gonna get it, girlie. She never learns and will ideally be killed off, paving the way for Triplet the Third who, if all goes according to plan, will be a rounded character full of complexity. Instead of voicing her opinions to the gathered commandos, before she froze the analyst, she just makes a face and does the deed. No explanation. Seeing "Cutting Edge" in the back, knowing her escape was a set-up, what not come out and say that?


Thoughts:

A slow, uneventful week. Do you have something?

*The writers won't be the same in a few weeks as they are now, and the hope is that the new blood (Fuller) takes out some of the artificial roadblocks to good storytelling. You don't have to keep Sylar away from the other heroes, but if you do, is road tripping with a sidekick the best route? Better to have him find his dad earlier and let their story play out over more than a few episodes. Maybe...they talk! And argue without killing each other.

*Not shoe-horning in Parkman, Suresh and Peter into this week's stories worked wonders. Honestly, not every episode needs to feature every character. The best old episodes left us guessing week on week what Character X was doing while Character Y narrowly escaped peril. Or learned of a new power.

*This week was called "Building 26" but it focused more on other people than the Hunter, Nathan and their crew. Shouldn't this have been look at who they are? A missed opportunity.


Looking Ahead:

*So...no John Glover/Samson Gray next week? Double drat.
*Daphne? I'll take a body, but I need to know.
*Will we get a bigger glimpse of that board? Lotta heroes on there...
*Does HRG really truly no-backsies choose a side next week?

Heroes: Fugitives
Episode One: "A Clear and Present Danger"
Episode Two: "Trust and Blood"

-Hooper

Read on, faithful few!

Hooper Reviews Heroes: Fugitives - Episode 2

A week late and a dollar short, but here's the next review, all spit-polished for your enjoyment.

Heroes Season 3
Volume Four: Fugitives


Episode Two: "Trust and Blood"

What Happened:

The story is told in flashbacks, as Nathan talks on the phone to a mysterious, silent individual. He's at "Building 26" and it's forty-eight hours after the plane crash. Everything...didn't go according to plan.

Well, the plane crashed, and that could hardly have been on the flight itinerary. Anyway, the plane goes down and "some" of the heroes escaped. Commandos busy themselves hunting through the Arkansas woods and do a poor job. Clarie briefly tries to escape with Peter, but HRG steps in and says, Nuh uh, Claire-bear...but he lets Peter get away. Meanwhile, Ando's bummed that he can't get a plane ticket to Arkansas (a mythical place to his Japanese travel agent) when in a flash (ahem) Daphne jets over and whisks them both to the crash site. Parkman, Suresh, and Hiro link up, Parkman goes all Isaac-eyes and rushes into the woods where he demands drawing material. The other two get some clothes at the sedentary trailer/hill-folk dwelling they find while Parkman sketches some stuff out. Meanwhile, Tracy and Peter pull the old prisoner-running-this-way-as-distraction-while-other-prisoner-karate-chops-the-commando-on-the-back-of-the-head maneuver (the ol' PRTWADWOPKCTCOTBOTH Maneuver, as I learned it).

Meanwhile, a woman and her teenage son (Luke Campbell) pass the taxidermy shop, surrounded by ambulances and cop cars; she knew it would come to this, what with that nut living there. The boy, by the by, is dark-haired, morose and recently got in a fight at school. No dad in the picture. Upon entering there house they find the commando Sylar was questioning, duct-taped to a chair with screw drivers pinning his hands to the armrests. They freak, Sylar appears, TK's them into chairs and says he'll torture them to get the commando to talk. Ooo.

Back at the crash site, Daphne and Ando have arrived. Parkman, Suresh and Hiro look at Matt's drawings: one of Hiro & a blond (Claire?) in India; one of Daphne getting shot in the shoulder in front of the plane wreckage. The second has Matt nervous and he starts back to the crash site and the others reluctantly follow. Claire gets the third degree from HRG and Nathan, giving some fire back, too. Daphne and Ando, the sidekicks, meet up with Parkman, Suresh and Hiro. Daphne acts impulsively (hah! that's two!) and dashes into the camp to get Claire. And here's where things get bad.

While standing, for a moment, in a plain view of the every eye in and about the crash site, Daphne takes that fateful shot in the shoulder as a squad of commandos crests the ridge behind the group's hiding spot. She then takes another, and several more for good measure before collapsing in blood and dust. Claire leaps forward and gets shot, shrugs it off and gives her best Wolverine I'm-a-pissed-off-unkillable-psycho look while Parkman cradles Daphne's lifeless (?) body. Much happens in slo-mo. Parkman now looks up at the soldiers and concentrates, forcing the main shooter to kill his other fellows until he is killed by the main commander, the Hunter. The heroes (Suresh, Hiro, Ando, Parkman) run away as Claire struggles to heal. Hunter takes Claire captive and threatens to put a bullet in the the back of her head, her Achilles' heal, but Nathan steps in, giving her to HRG to ferry back home. HRG promises to her he'll not be such a jerk to her friends. Claire returns to Costa Verde and gets a text message from "Rebel," who promises revolution against Nathan's people.

Tracy, after calling Nathan and promising Peter in exchange for her life, and Peter meet up later that night with Nathan...who did not come alone as promised. Peter holds Nathan at gunpoint, HRG and Hunter have their sights on him but HRG claims he "doesn't have the shot" (that's for you, Claire-bear). Peter flies away; Tracy is captured and taken to Building 26 where she's bound and drugged. For the greater good. Peter finds the other guy heroes and they plot to save their friends and counterattack.

Back to Sylar. He starts to choke the mother after the commando lies, claiming Luke wants it anyway, that they are hindrances to each other, basically putting all his own angst on the kid. Surprising us all (or, not at all), the kid has powers! He uses them to boil and burst the cup of coffee in Sylar's hand. He and Sylar have a pow-wow in the other room while the mother recuperates and the commando frees himself. But, Luke sees disaster (for who?) and microwave blasts the commando in the chest (the effect is like air rippling above a hot road), killing him. Sylar agrees to take Luke with him after the boy says he knows where Samson Gray, the taxidermist, lives. The head off in the Campbells' car.

We find out that Nathan's been telling the story over the phone to his mom, Angela, and she will not absolve him of any guilt over the tragic events. She will have no part of it and hangs up as she looks over the files she has of the Hunter...and others.

To be continued next week in "Building 26."


In Character Development...:

Peter and Nathan
Aside from reiterating that Nathan's a jackhole, there's not much on him. He is protecting Claire, but he's not learning from his mistakes. The "greater good" spiel might've worked circa Season 1, but characters grow. I guess not enough.

Peter, on the other hand, has grown. Showing determined leadership and realizing not all will turn out right with the world, he's made the decision to be forceful. Making a decision in general is big, but to take the lead and not appear wishy-washy floppy-haired Peter is a grand development. The power limitation also forces him to be practical where he's been spacey and relied on a bevy of crutches in the past.

Tracy
She screwed. Politicking doesn't get you out of "heroes" Guantanamo, where/whatever that might be. Betraying Peter (or was it Nathan?), constant hedging, ignoring moral choice - these don't help in this fictional world. Good or bad, you have to come down on a side.

Suresh, Parkman and Daphne
So Daphne maybe dies; no body bag is seen. If she is worm-food, not great loss...except her power and what she does for Parkman (happiness). Speaking of, Parkman takes a big leap forward this episode by actively using his power in a combat situation. It's not the psychic knives or brain blast many of us (X-Men) fans desired, but "commandeering" still works. The psychic/seer stuff might get old fast; hopefully, he just gets flashes of insight and not full-fledged plot foreshadowing (ala Isaac Mendez). Suresh runs around.

Hiro and Ando
Not entirely a hero yet, Ando follows Daphne, another sidekick, and avoids death. Is he seeing what it takes to be a hero and, therefore, how best to use his abilities? In combat, I'd imagine his boosting would make Parkman an engine of mental destruction or Suresh a Bombay Hulk. The learning curve Hiro discovered in the first and second seasons plays out again, but with Ando.

Not one to sit by and not complain, Hiro laments his loss of power and says he needs to be a hero again. Parkman's painting supports that theory. Ideally, if he is to get his power back, it'll be an added bonus of heroism, not the direct benefit. Get a sword.

Claire and HRG
She's a victim who wants to take action against her abusers. HRG is a good solider with a conscience. See previous seasons. It's not that I don't like their characters (he is still my favorite), but until Claire realizes she's not Invincigirl all duded-up with the martial ability to combat evil, her story will be repetitive. Perhaps - and this goes against contact, popularity and wisdom - she needs to sit out half a season or so. Rest the character, save the plot.

What to do with the Company Man? I like his moral quandaries, but I think he's had enough now to realize that "fighting from the inside" doesn't work. Instead of derailing the Hunter by not killing Peter or keeping Claire free, maybe he should be in the field terrorizing this new fascist black-ops commando unit. Give him the Invisible Man, the Haitian and a few other "acquaintances;" I'm sure his hero team would boost the ratings.

Sylar (and Luke Campbell)
Of all the characters, Sylar is moving forward. By giving him a Maltese Falcon/MacGuffin (in the guise of his biological father) to hunt, we can see him interact with people differently than if he was on a killing spree. Already he has a sidekick, the mentally unwell Luke Campbell. I smell future betrayal. Luke brings a new power to the fore, microwave emission, and a random character dynamic. Is he evil? Misguided? A normal teen rebelling? And what's his (blood?) relation to Sylar's father?


Thoughts:

*Sylar plays Peter Pan, picks up a Lost Boy (Solar Lad? Hot Plate Boy?). Positive. The best part of Season 2 was the "team-up" between Beard-O Nathan and Parkman as they hunted the latter's father.

*Daphne goes the way of the dodo...or does she? Speedesters, in comics, are notorious for both dodging death and healing quickly. I don't count her out.

*HRG isn't a total bad guy, as we all knew. However, he's not interesting enough anymore. I want less "new company, same as the old company" and more "I do have a particular set of skills..." bad-assery.

*Peter's powers? Perfect for him. It forces him to make difficult choices, making him grow up at the same time. Limiting him to one-at-a-time also allows for less arguments of "Why doesn't he just go ballistic on these people with lightning, TK, ice, telepathic assault, etc.?!" when faced with conflict and impediments. I like this quite a lot.

*Claire needs to heal Hiro so he gets his powers back. Maybe Peter, too. Mandy (wife) seems to think this is the best course of action. Linderman's ability healed brain damage by the Haitian. Suresh's formula could give powers and gave Peter almost his original one. Adam Monroe's blood healed people not him.

*Parkman using his powers aggressively? Finally. Finally. Now he needs to use them for espionage.


Looking Ahead:

*Is Daphne Dead?
*Where is John Glover/Samson Gray?! How long will this be dragged on? Road trips are fun; fantasy-novel style Walking Without Destination less so.
*Does the Hunter have a power we don't know about?
*Does Tracy make a deal?


Heroes: Fugitives
Episode One - "A Clear and Present Danger"


-Hooper

Read on, faithful few!

Hooper Reviews Heroes: Fugitives - Episode 1

If you haven't watched the previous two and a half seasons of Heroes, I can catch you up right quick.

Concept! Heroes walk among us, ordinary people with powers far beyond those of mortal Man. Some want to be left alone, others want to help the world while yet more desire power, control and to be feared. Periodically, they clash. Rarely do they stay dead.

Ok? Now to the first episode of the second half of Season 3 (also called vol. 4. Whew!): Fugitives.

***

I will be breaking the reviews up into four parts: the episode summary, main characters development/activity, my thoughts, and questions for next week. Please use the comments section to add your wild theories, because we all know you have them.

Heroes Season 3
Volume Four: Fugitives


Episode One: "A Clear and Present Danger"

What Happened:

When we left our heroes, they had scattered after taking down Arthur Petrelli's "villains" and destroying Pinehurst, a front company in reality founded to artificially develop "powers."

Several months pass.

Nathan, using his post, is planning on rounding up all those with abilities to protect the regular citizens. He starts the episode giving an interview that vaguely refers to his plans to help protect America. What he will do - remove their powers, imprison them, force them to train and work with the US gov't - is up in the air. As the episode progresses, we see his black-clad squads capture Tracy, Suresh, Hiro, Parkman, Claire and Peter. The only one they have trouble with is Sylar, now on the hunt for his biological father. After he seeks out "Martin Gray," his adoptive watchmaker deadbeat dad, he gets the address of the main Martin claims is his real dad. While there, the goons attempt - and spectacularly fail - to capture him. Then he starts "asking" some questions....

Taken to an airport hanger with other captured heroes, blindfolded and manacled, our protagonists are led onto a plane bound for parts unknown. Except for Claire. Nathan, her biological father, packs her away in a car and tells her to forget all of this. Of course, she doesn't. Instead, she knocks out the driver and sneaks aboard the plane.

In mid-flight, Claire unhooks the imprisoned heroes from some chemical nose-plug thing that obviously inhibits powers. Peter awakens, sees the situation, absorbs Suresh's strength and begins to fight the guards. Pandemonium ensues, causing him to get Tracy's cold touch, which he unfortunately uses on the tail end of the plane...now a gaping hole sucking out nameless people we don't care about. Claire goes to the cockpit and sees her father, HRG. "Claire?!" She looks stunned. The ground rushes up through the cockpit as they lose cabin pressure and control. The episode ends.

***

In character development...:

Here's what they did before they got on that plane (no, this isn't about LOST).

Peter & Nathan Petrelli
Peter Petrelli is an EMT now, his brother Nathan a powerful Senator on the Homeland Security committee; the death of their deranged father is behind them. Peter had his abilities stripped from him partway through the "Villains" arc but, using Suresh's super-serum, got them back...or did he? Unable to save the life of an accident victim, he laments to his co-worker that he could've saved him, if he had more power. Throughout the episode he runs into Claire, who warns him of Nathan, and Suresh; they just catch up before reminding each other to be careful. He also seeks out Nathan after Claire's warning, and confronts him not once, but twice (though, the second time, Nathan is in his apartment, waiting). The greater good is brought up, and each has clearly different views of what that really means. Nathan asks Peter, when they first meet at their mother's mansion, what powers he currently has. Flight, Peter replies, as he hasn't seen any of the other heroes since Pinehurst. When Nathan surprises Peter at the apartment, he maneuvers him into a trap and captures him with his chief "hunter's" help.

While Peter struggles to be a hero, Nathan has bullied his way into a very powerful post. He's giving interviews, talking about the greater good, the larger struggles against unseen threats. We know he means "heroes," but the average American can just think he's after terrorists. Good cover, because regular citizens would flip if they knew he was masterminding a program to round up all those with powers and shuttle them off to an undisclosed facility...for everyone's own good, of course. He defends himself and reiterates to his mother that Claire is to be kept away from the others and in the dark. There is a small part of him that cares for his daughter, even if he's never really been a father to her. When everyone is aboard the plane and it taxis for take-off and flies in to the night sky, he stares after it...regretting? Scheming? Mentally rubbing his hands together in evil glee? Or is it resignation, as he knows what he's done to these people is a violation of our freedoms, but in his "greater good" mentality these actions remain the best course to keep the country from ruin? Hm....

Tracy (triplet the second)
She's getting back in with the Governor of NY, or at least still has her political contacts to fall back on after being on the losing side in the PrimaTech heroes vs. the Pinehurst villains fight. The episode - in general - starts with Nathan giving an interview/stump speech about protecting America; Tracy watches while assuring NY's governor that she has no leash on him anymore, that he's climbing the ladder under his own steam. And then she gets taken. She is the first to be kidnapped, and here her attackers show their preparedness. As we know, she can freeze things by touch, and tries to do so when the first attacker closes in on her, grasping his arm and icing it up...but it thaws. Yes, they have built in to their uniforms some measure of "power repellent" against some of the easier-to-block abilities. She is still taken after they use a powerful taser device against her.

Mohinder Suresh
Suresh drives a cab again. After chatting with Peter, a gaunt man gets into his backseat, pulls a gun and tells him to drive. We see his face and it's Nathan's chief black-clad hunter. Driving to the top floor of a parking garage, Suresh stops the cab and finds himself facing a ring of goons with rifles and a waiting fan to whisk him away. The hunter tells him to get out, and he does...but he doesn't go quietly. Gripping his open door, he pulls it off the hinges and batters the chief hunter away (so they have armor on those suits; otherwise, he'd be pudding). He uses the door as a shield against the goons, who fire taser rounds (about the size of sidewalk chalk) ineffectively and with stormtrooper-quality aim, until reaching the downward ramp. Sprinting around the spiral ramp, he stops as...Noah Bennett (HRG) pulls up in his stylish black crossover SUV, urging him to get in now! To save himself! He does, foolishly (why does Suresh always make the wrong choices? He knows Bennett has frequently worked at odds to the heroes, both good and evil, to keep humanity safe from super-humanity). Bennett asks if he's been in contact with any other heroes, Bennett skids to a halt as gaunt hunter appears, Suresh gets confused and apologizing, Bennett tasers and delivers him to the goon squad.

Claire Bennett
Struggling with the mundane real world, Claire wants the action back. Something to keep her from being just another kid. Her biological grandmother, Angela Petrelli, pushes her to choose a college and therefore a normal life. Claire wants to hunt down Sylar, knowing that the "trips" her dad is always away at are related to special people. They have to be, in her mind. Angela tolerates her, at best, saying that Sylar is dead. End of discussion. Later, Claire picks up the phone and hears an agitated Angela talking to Nathan about the future abductions of Peter and Matt Parkman. Nathan tells Angela to keep Claire away from them. It is then that Angela looks up...and sees Claire on an extension.

So later, Claire tracks down Peter and warns him that Nathan's coming to get him. Being who he is, Peter believes her right away and goes off to confront Nathan. Claire, meanwhile, heads to Parkman's apartment. She knocks and they talk, but Matt's more interested in these drawings he's made (see below) that show he and Claire...looking at the drawings. Another shows something sticking out of Matt's neck. What is that, Claire asks. And then Matt is shot with an electro-tranq dart, commandos burst into the room and she's taken.

Hiro & Ando
Hiro, now without his powers since Arthur Petrelli stole/blocked them, is trying to make Ando (who still retains his artificially granted ability to augment others' power) a hero and instill in him a sense of responsibility. This...isn't working so well. Hiro has bought an old firehouse and has converted it to a sort of Ando-cave for his superheroing. To keep tabs on each other, he injects Ando with a GPS tracking device, saying he did the same to himself. Hiro even got an "Ando-cycle," complete with two-way communications to base. Ando is skeptical and views this as Hiro's attempt to live through Ando now that he's powerless. He leaves.

Later, Hiro tracks down Ando and calls him, demanding to know why he isn't saving the world or being a hero. But I am, Ando says. Then why are you in a strip club, Hiro replies. Ah, Ando. As they continue to bicker, Ando hears sounds of a struggle on Hiro's end and we see our pudgy protagonist carted off, unconscious, by the Hunter's commando squad. Ando races back to the firehouse and is able to track Hiro...to the US.

Matt Parkman and Daphne
They are trying to live normal lives, if their powers (and Daphne's impulsiveness) can let them. She's working and he's a security guard, but neither is really happy. But better being normal than in danger. It's while arguing about what they should be doing that Matt gets a vision of Usutu, the dead African seer. Daphne agrees to be normal, and heads out. Matt's turtle later escapes and in putting in back, he sees Usutu again who tells him he'll be a great prophet and gain the ability to draw/paint the future (like Isaac Mendez). And sure enough, his eyes get all cloudy and he begins to draw. And several hours later, Claire appears, they talk, get taken, etc. You've read that before.

HRG (Noah Bennett)
... is, as always, an enigma. He's working for Nathan, co-leading the round-up of heroes and yet...I don't believe it. See Suresh and Claire for his part in this episode.

Gabriel "Sylar" Gray
Oh, and Sylar, thought dead in the fiery demise of Pinehurst, is healed up and back in the game, searching for his biological father. Sylar tracks down his adoptive father, the watchmaker Martin Gray. At the watch repair shop, Martin pulls a shotgun on Sylar before realizing who he is. To our great surprise, he doesn't lie to Sylar and admits that he wasn't a good father and walked out because he couldn't stand Virginia, the snow globe collector; they should never have had a child together (small lie). No, Sylar's father is the watchmaker's brother, Martin explains after light (verbal) pressuring. The brother, Samson Gray (named later), needed money and gave his child to Martin and Virginia who wanted a kid but couldn't have one. Martin gives Sylar the address; there is no violence between these two, just some regret and resentment.

Going to the address given him, a taxidermy shop, Sylar enters and pokes around. A small picture of a young boy with black hair and glasses (little Gabriel "Sylar" Gray...?) is seen, as is a snow globe and a smoldering cigarette. Suddenly, one of the better action scenes of the series starts. The black-clad commando squad attempts to capture Sylar, shooting electro-darts in him, noosing his head and arms with those contraptions animal tamers use (metal noose at the end of a pole). To no avail. Using his telekinesis, he literally moves the house he's in, shaking everything, throwing his attackers all over the place (with a little electrical assist) until they're down for the count. One remains conscious. Shaking off the restraints, Sylar levitates him off the ground and informs him there will be a Q & A session following this beat-down.


Thoughts:

*Sylar returned too early; I was hoping he'd sit out most of the season and come in towards the end as a repentant savior figure. Following his end-of-the-episode appearance, the next ep would detail where he'd been all season, what he'd learned, done, etc. But that was my fantasy version of the story. As is, I look forward to John Glover giving his impression of Father Knows Best to a bratty superpowered psychochild.

*I want HRG to be good. I think, at the core, he is. But to side with Nathan? Eh...I hope there are wheels within wheels.

*Suresh's super-strength in demonstration was terrific. In fact, the use of powers, the crack detainment squads, the action in general - big fan of all of that.

*I think the direction is better now than it was before. It's not as...average. The producers have realized this show needs a visual flair to match the storytelling and whoever is in the director's chair agrees. Technically superior to the last two "volumes."

*I don't know how Nathan would know about Ando having powers, as they weren't part of the same plot group at any point last "volume." So unless he shows himself off, I think he's clear to act.

*Forcing Peter to touch heroes to get their ability adds a degree of vulnerability to his character, instead of just passively absorbing them through proximity. That was a cop-out to make him this God-like hero.


Looking ahead:

*Looking forward to the plane crash and how they survive.
*Will HRG emerge more heroic after his fellow commandos/goons are knocked out in the crash?
*Where's Daphne? Did she dodge capture?
*Is Angela a plotter, maybe with something on the side with HRG?
*Do we meet John Glover/Samson Gray next episode? They can't get him in soon enough.

Until next week!

-Hooper

Read on, faithful few!

The Hooplah Reviews "Final Crisis"

Right off the bat (not "write off the Bat"), this series succeeds beyond it's immediate "crisis" predecessor, Infinite Crisis, and in the fullness of time will stand as one of the most articulate and well-realized comic book stories about stories.

Don't believe me? Let's look at this a bit closer.




Grant Morrison has been chomping at the bit to write Jack Kirby's myths-made-flesh, the New Gods, since he started in on mainstream DC heroes. His JLA run heavily featured their involvement, not only as members but as threats to humanity, the cosmos, reality, etc. Theirs was a story of never-ending battle, cyclically ending in calamity. First World becomes Second becomes Third cracks into Fourth and dies to give birth to glorious Fifth.

But what's important is the story. It changes over time from that of gods clashing to man deciding its destiny. The Fifth Age, ushered in over the trying times of Final Crisis, is the age of Man. Self-determination, to borrow from Woodrow Wilson.

So does FC do all that? Does it move past the normal Event tag into some grander space?

On the whole, yes.

Without talking down to us, Morrison has used the medium of the comic to pull back the layers of our heroes and their narratives. Their tales and myths, if you will. Deconstruction in comics isn't new, and has been a trend for the last two decades, but at the core of Morrison's heroes isn't self-loathing, doubt or regret. It's hope, optimism, the relentless pursuit of Good against all odds.



In the back-and-forth Buck and I had on this, he told me, "I guess my only beef is that it almost reads like an Elseworlds, because it didn't seem to change a whole lot in the grand scheme of things."

To a large degree, he is right. These heroes and villains were there before and they will be after. The city of Bludhaven (destroyed in Infinite Crisis) is still a war zone, of sorts. The teams still exist, though they might have a different roster. The Daily Planet globe still stands. No major heroes died, though it looks like the Hawks are back on the cosmic wheel, waiting to spin back off, reincarnated into new bodies. Batman was zapped millennia into the past where he's leaving clues to his whereabouts (I see a mini coming up next year!). Superman lives. Wonder Woman is back to being a hero. Mary Marvel was forcibly changed back to normal, and therefore has the potential not to be evil. Mr. Tawny is still sipping tea.

I think the reason it didn't change anything - well, aside from the world now acknowledging the Multiverse - was that it was meant to reinforce what we already knew. These heroes never give up. It doesn't matter if they die - death won't keep them from at least trying. They are amazing forces for good, as I've said. Their "story" supersedes all others, all negative strains, all doomsday plots and schemes and devices.

That's what the two-issue tie-in Superman Beyond was about, to a large degree - the "good will always triumph" story dominating whatever evil is thrown at it. Likewise, the same with Final Crisis.

But there is change at the end of it.

Batman picked up a gun...and used it. Shouldn't that be some banner event? His demise was a sacrifice, but not an end. Still, he shot the Darkseid-possessed Dan Turpin. He didn't shoot to kill Turpin, but fatally wounded the essence of Darkseid.

The New Gods are back, as is the pre-Crisis Multiverse. In this, Morrison is (perhaps) saying there shouldn't be limits on these stories. Why say "one Earth," "52 parallel Earths," "x-dimensions of the Snowflake," etc.? The Power of Story (and the wild potential of comics) bursts from such constraints.



To be critical for a moment, Morrison did play this a little close to the crazy vest. Plotting it linearly for six issues (there's nothing awry with any of that structure; if you can't grasp it, go back to Archie), he diverges into the scattershot narratives upon narratives form that confused many in #7. Time has no meaning until it's all hashed out, the heroes have won and the rebuilding started. Unless you accept the conceit he laid out previously - time is collapsing in itself as result of Darkseid's fall/higher-dimensional death and has no meaning on Earth in the classic sense - the last issue is a confusing mix that cannot be followed, much less understood. Were I him, and aware as he is that not all comic book readers want to put in a great deal of effort for the big Event comics, I'd've made this slightly more coherent for the casual reader.

As it stands, that hurt the read-through only slightly. This is a story about ideas (and ideas about story); what impact does time really have on such things?

In a recent IGN interview, Morrison said, "This isn't arbitrary. This is the result of a lot of thought. You know I love to talk and theorize about comics and the creative process but I feel I'm close to over-explaining and justifying something that was really simple. It's about trying to create a feeling."

I agree with Morrison. We aren't dumb. He knows that. His talking about every little thing - satisfying the instant gratification desire that forces us in only a week to demand all answers after one quick reading - will ruin not only his creativity and faith in readers, but our faith in ourselves as creative participants in the vivid and continuous dream that is story.



Whether or not Final Crisis is a rewarding read depends on how you go into it. Scott McCloud talks about the iconic in comic books, how we see ourselves and larger ideas in the stories and line work. Morrison grasps this concept, and maybe overreached a little here and there. But taken as a whole, we've been given an amazing sequential art experience. It challenges us to keep up, promising all the knowledge we'll need. How many comics do that?

As an "Event" comic, it only partly succeeds. The casual reader can have a hard time, tie-ins were mismanaged (or mismarketed), the art and schedule proved problematic. The grander DC Universe is impacted, but in ways far more subtle than, say, giant crashed alien spaceships in NYC, heroes uncovered as alien invaders, "no more mutants" or even the disappearance of infinite earths.

But as a comic, as a story, it raises the bar and the imagination. I'll take that over splash-page battles and soap opera melodrama that masquerade as good writing.

-Hooper

Read on, faithful few!