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penfield"A hero is no braver than an ordinary man, but he is braver five minutes longer."
- Ralph Waldo Emerson
When the television show Heroes debuted a little more than two years ago, I was intrigued but skeptical. Judging by the advance promotional material, it looked to be a postmodern cross-pollenation of circus freaks and Super Friends.
J. and I watched the first few episodes and found them to be modestly compelling. The writers weren't exactly channeling Shakespeare, but they managed to craft some interesting (if familiar) themes: family vs. rivalry rivalry, power vs. corruption, trust vs. honesty and freedom vs. responsibility.
The show was appealing superficially as well. The cast -- with a few notable exceptions -- was comprised of some very pretty and charming actors. The innovative marketing campaigns, with ubiquitous catchphrases like "save the cheerleader, save the world," built palpable suspense and drama. On the most basic level, we viewers were excited to discover the next character and the next superpower.
"Heroes" was built around a collection of core characters, occasionally supplemented by minor role players who served to propel the plot and generate exposition. As the first season barrelled toward its conclusion, [SPOILER ALERT! IN FACT, EVERYTHING AFTER THIS SENTENCE SHOULD BE CONSIDERED A SPOILER, IF THERE IS ANYONE WHO HASN'T WATCHED THE SERIES BUT IS PLANNING TO] these individual heroes teamed up to defeat the gathering evil, resulting in a satisfying denouement.
But something happened in that first-season finale that would permanently change the trajectory of the series: It made no sense. It was mostly ridiculous. And the part that wasn't ridiculous was just confusing.
And so, when the show came back for its second season, I was eager to learn how the show's creators were going to resolve these incongruities. And how did they do it? By making even more inexplicable and irrational choices. Characters coming back from the dead with no explanation at all? Characters acting in total defiance of logic and self-preservation? One key character going hundreds of years back in time, and then returning to the present months after he left? There seemed to be no motivation for any of the characters' actions beyond their next line in the script. I must have spent 50 percent of each episode muttering, "what the fuck?"
And that's not even considering all the new characters. "Heroes" doubled down on the number of heroes, and powers, and brooding angst. Remember how I said that the first season was "built around a collection of core characters, occasionally supplemented by minor role players who served to propel the plot and generate exposition?" The addition of these new characters turned that design on its head as we followed unfamiliar heroes, in whom we had not invested any affection, into pointless adventures with negligible results. Season two was so awful, the midseason writers' strike served as a mercy killing.
And the show's creators seemed to realize that, too, since they promised a return to excellence in this, its third season. And it's true, they've mostly avoided the nonsensical plot twists of Season Two. Unfortunately, they've turned away from Season One, as well. The show now seems like a full re-boot of the series, wholly divorced from previously established reality. Certain storylines and characters have been abandoned entirely. Sudden personality changes are manifest. One particular nugget, the sudden revelation of a long-lost family connection, plainly contradicts first-season mythology -- and one of the show's most emotionally resonant moments.
J. has stopped watching entirely. I only wish I could stop. Part of me wants to see just where the hell it's going, and if it can be salvaged. Another part of me gets a sick thrill out of watching the show crumble underneath its own pretensions. Mostly I watch so I can keep up with the smart and incisive criticism by the folks at the A.V. Club.
So it turns out that I was right to be skeptical in the beginning. When Heroes was at its best, it had everything: action, humor and pathos. Now it's got too much. But if it goes on like this much longer, it won't have me anymore.
- Ralph Waldo Emerson
When the television show Heroes debuted a little more than two years ago, I was intrigued but skeptical. Judging by the advance promotional material, it looked to be a postmodern cross-pollenation of circus freaks and Super Friends.
J. and I watched the first few episodes and found them to be modestly compelling. The writers weren't exactly channeling Shakespeare, but they managed to craft some interesting (if familiar) themes: family vs. rivalry rivalry, power vs. corruption, trust vs. honesty and freedom vs. responsibility.
The show was appealing superficially as well. The cast -- with a few notable exceptions -- was comprised of some very pretty and charming actors. The innovative marketing campaigns, with ubiquitous catchphrases like "save the cheerleader, save the world," built palpable suspense and drama. On the most basic level, we viewers were excited to discover the next character and the next superpower.
"Heroes" was built around a collection of core characters, occasionally supplemented by minor role players who served to propel the plot and generate exposition. As the first season barrelled toward its conclusion, [SPOILER ALERT! IN FACT, EVERYTHING AFTER THIS SENTENCE SHOULD BE CONSIDERED A SPOILER, IF THERE IS ANYONE WHO HASN'T WATCHED THE SERIES BUT IS PLANNING TO] these individual heroes teamed up to defeat the gathering evil, resulting in a satisfying denouement.
But something happened in that first-season finale that would permanently change the trajectory of the series: It made no sense. It was mostly ridiculous. And the part that wasn't ridiculous was just confusing.
And so, when the show came back for its second season, I was eager to learn how the show's creators were going to resolve these incongruities. And how did they do it? By making even more inexplicable and irrational choices. Characters coming back from the dead with no explanation at all? Characters acting in total defiance of logic and self-preservation? One key character going hundreds of years back in time, and then returning to the present months after he left? There seemed to be no motivation for any of the characters' actions beyond their next line in the script. I must have spent 50 percent of each episode muttering, "what the fuck?"
And that's not even considering all the new characters. "Heroes" doubled down on the number of heroes, and powers, and brooding angst. Remember how I said that the first season was "built around a collection of core characters, occasionally supplemented by minor role players who served to propel the plot and generate exposition?" The addition of these new characters turned that design on its head as we followed unfamiliar heroes, in whom we had not invested any affection, into pointless adventures with negligible results. Season two was so awful, the midseason writers' strike served as a mercy killing.
And the show's creators seemed to realize that, too, since they promised a return to excellence in this, its third season. And it's true, they've mostly avoided the nonsensical plot twists of Season Two. Unfortunately, they've turned away from Season One, as well. The show now seems like a full re-boot of the series, wholly divorced from previously established reality. Certain storylines and characters have been abandoned entirely. Sudden personality changes are manifest. One particular nugget, the sudden revelation of a long-lost family connection, plainly contradicts first-season mythology -- and one of the show's most emotionally resonant moments.
J. has stopped watching entirely. I only wish I could stop. Part of me wants to see just where the hell it's going, and if it can be salvaged. Another part of me gets a sick thrill out of watching the show crumble underneath its own pretensions. Mostly I watch so I can keep up with the smart and incisive criticism by the folks at the A.V. Club.
So it turns out that I was right to be skeptical in the beginning. When Heroes was at its best, it had everything: action, humor and pathos. Now it's got too much. But if it goes on like this much longer, it won't have me anymore.
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no subject
Date: 2008-10-30 04:38 pm (UTC)I agree wholeheartedly with your assessment, but I'm glad you're still watching it so I don't have to :)
no subject
Date: 2008-10-31 01:36 pm (UTC)I can't really handle all the teen-style melodrama in Smallville anymore, but I'm still interested in the larger character arcs. Luckily, I've found that you can fast-forward through the episodes at 2x speed and still follow the plot.