''Heroes'' recap: The series rewinds
''Four Months Ago.'' That's the title of this episode. I couldn't help thinking, ''If we had gotten this episode four months ago, it would've gone a long way toward making this season more palatable.'' (Not that it made everything all shiny and good nothing can save the Oily Twins, at this point, save euthanasia.)
First and foremost, it would've made the Adam Monroe/Takezo Kensei story line so much more dynamic. Think about it: The way the story has unfolded, we've already seen how Adam became a bad guy back in feudal Japan (and, yes, I'm fully aware that Heroes will eventually posit a scenario in which we see that his actions, from a certain point of view, are actually good). So we know that whatever story he feeds Peter is just a cover for the eventual big badness. But if we had opened the second season with this episode, we'd think that, at the very least, Adam's a victim of the Company just like Peter, and that he might actually be out to save the world, and then we'd hop back to Japan for the Hiro Escapades and when Kensei turned on Hiro, we'd witness two betrayals at once.
But no. We began volume 2 with the glacially paced slow burn that creator-executive producer Tim Kring now openly admits was a mistake. Such a simple fix for such a fundamental problem.
Now, Heroes has never been particularly crafty about hiding its comic book influences. It is a show about superheroes, so it only makes sense that it draws from a half century of comics history. But this hour borrowed quite liberally from two incredibly well-known sources: Joss Whedon and John Cassaday's Astonishing X-Men series (specifically, the idea of a mutant ''cure'' and don't mention X-Men 3, not in mixed company) and Alan Moore and David Lloyd's V for Vendetta (the inmates of a crazy research institution form a support bond through a tiny hole in the wall). Hey, if you gotta steal, then steal from the best, right?
Speaking of that prison, you'd think that Bob and the rest of his superpowered associates would've put Adam the most powerful of them all, according to Bob himself in a facility a wee bit more secure. This is what they mean by ''locked him up and threw away the key''? Why wasn't he buried in a volcano, or kept in the Nightmare Man's mind trap, or anything more lockdown-able than that retrofitted hospital room? (Looks like St. Nowhere.) But I suppose three decades in any room will turn it into a prison.
And creepy-hot Elle. I appreciate what Kristen Bell is going for with Electra-Lass. She's trying for sultry, for film noir femme fatale à la Barbara Stanwyck in Double Indemnity the kind of girl so bored she plays with her food before devouring it and she's missing by just...this...much. Still, it's fun to watch. Plus, she's good with a clipper.
NEXT: Niki has more secrets