Category: TV

Heroes Season 2: Episode 1

“Four Months Later”

TV! You’re back! Like sweet manna from the Heavens, I have new things to look forward to (and perhaps deride) each week. Heroes has led the vanguard, and I was fully willing to write it off … until a miracle happened.

Ned: Mohinder? Mohinder Suresh? Mohinder Suresh, I thought that was you!
Mohinder: Hi, thanks for watching.
Ned: Hey now, don’t you tell me you don’t remember me ’cause I sure as heckfire remember you.
Mohinder: Not a chance.
Ned: Ned… Ryerson. “Needlenose Ned”? “Ned the Head”? C’mon, buddy. The Company. I did the whistling belly-button trick at the high school talent show? Bing. Ned Ryerson, I dated your sister Shanti a couple of times until she died of that degenerative disease you were lecturing on? Bing, again. Ned Ryerson, I can turn forks into gold? Well?
Mohinder: Ned Ryerson?
Ned: BING!
Mohinder: Bing.

Yes. Heroes Season 2 is amazing.

Spoilers Ahoy!

Heroes 22 & 23

“Landslide” & “How to Stop an Exploding Man”

What, did people honestly expect me to write about these Heroes? When your penultimate episode is so lacklustre that you couldn’t be bothered to even watch the finale until almost a week after the fact, something is wrong.

Fortunately for Heroes, I failed to be disappointed. I yelled at the screen and felt a little angry, but it’s impossible to be disappointed when you can’t raise hackles enough to care.


Should we go outside?

Yes, it’s another entry about ads! I wouldn’t mention it, but it combines several of my loves: Joanna Newsom, The Chaser, and balls of wool.

Frequently when I go to the movies, I’m being told to visit other states. I’ve gone to the movies, people! I don’t want to go visit Melbourne or become an accountant! (seriously, there’s one recurring ad which is essentially “Become an accountant. See the world”)

Yet there has never been a more compelling reason to visit Victoria than the fact that they give you a giant ball of wool with which to navigate:

I was struck not only by the novelty of featuring Joanna Newsom’s intricate and mesmerising vocals in an ad, but also the very careful editing that features none of her more interesting vocal gymnastics. She’s a controversial figure, is our Joanna.
The idea of traipsing about a city with a ball of wool is intriguing indeed, and exactly the sort of thing you’d use in an Ad Road Test:

Disaster city.

(If you’re wondering what Sprout and the Bean sounds like in its entirety, below is its music video. Sometimes I give until it hurts.

Joanna Newsom isn’t to everyone’s tastes.)

Heroes – episode 21

“The Hard Part”

I only make fun of Heroes because I like it most of the time!
Despite this, I have a difficult time reconciling a lot of the apparent contradictions involved with the web becoming ever tighter.


Tall Men: Australia is good at making beer ads

I was going to write about this anyway, but it also ties into a couple of other things that have gone around.

Forget Coke, beer is where it’s at:

You may recall Flashbeer from last year. In it I lamented Australia’s lack of quality ads but then, in a freak accident involving dodgy Daily Show torrents, I chanced upon some American ads and saw how good we have it in Australia. For seriously, no wonder you guys don’t watch TV any more. I am familiar with the Superbowl ads (I believe that Coke ad in Shamus’ post is of that genre), but if Snickersgate is what they produce I’m no real fan of them either.

The above ad, which I believe is titled “Tall Men”, fills me with joy. Again, I don’t drink beer; my friend Pang, who was no big fan of Flashbeer, commended this ad on actually being about the product. This ad has been playing for a while, but when I have the TV on I rarely watch the ads; I was familiar with this song playing in the background. The first time that Tall Men had my attention was the second time I saw 300 (on that day I was awarded a special medallion for my services to masochism). It was the best part of that cinema session, and proved that the cinema is the only place where advertisements have me as their captive audience – except I normally talk through the ads. This ad, though, you have to watch. Tom Jones commands it.
Tom Jones could probably sing ice to eskimos, but he can’t sing Mars Attacks! to people with taste. Fortunately, beer to Australians is an easier sell than Tim Burton’s festival of horrors.

While I’m on the note of beer, and having already mentioned Flashbeer, The Chaser’s War on Everything featured an Ad Road Test of the Flashbeer campaign a couple of weeks ago. The results, for your delectation:

Back in the day, Australia had the idea of keeping the bastards honest. Maybe the Chaser folks aren’t quite at that point, but they’re certainly not averse to looking silly across Sydney. Every time I worry that Australia is losing a culture that I can identify with or respect, I look at this team of people and I see that not all hope is lost.

In summary: beer is entertaining.

I drink Pepsi or Coke, having frequently stocked my house with both … but have had such an uninterrupted run of Coke drinking that Pepsi isn’t exactly palatable at the moment. The last time I went to America, I found that Mountain Dew gave me headaches (it doesn’t have caffeine in Australia, but I don’t normally react badly to caffeine … so clearly American Mountain Dew contains poison).

Heroes – episode 20

“Five Years Gone”

Man, the future sucks. I’m glad I don’t live there. I’ve got to give it to Tim Kring, though: a lot of this episode, despite the full beards and coke bottle glasses, makes sense. I’m kind of ashamed of some of my analyses from the last round.


Science fiction: the victim of apathy that trickles down into hatred

Now, on underdeveloped scattershot argument theatre …

While I’ll be the first one to call Heroes silly, I’m not a professional TV critic. Alan Mascarenhas of the Sydney Morning Herald had this to write of episode 14, showing this week in Australia:

However, the show seems caught between different audiences. There are special effects but probably not enough to keep the science nuts happy. Any emotional drama is nobbled by the artificiality of the premise: it’s hard to feel much empathy for a mutant.

For one, Magneto would be furious.
For another, Mascarenhas probably doesn’t understand how any of these genres work, confessing that he’s “not science-fiction minded” and that he had not seen an episode of Heroes before episode 14.

I said of that episode:

I really enjoyed the first half of Heroes. Since then we’ve suffered at the hands of an invisible Haggard-esque degaying of Zach (I don’t know: he still seems pretty gay to me), a general anti-climactic nature, boredom at the hands of Niki/Jessica, and the distinct impression that the writers are just throwing revelations at us for the sake of it.

Yeah; but I knew what I was talking about. On that note, Bryan Fuller
totally confirmed the Zach thing again. Now we’ll never see Odessa again anyway, so it doesn’t matter, but oh, what could have been.

Anyway, this sort of closed-mindedness in this day and age makes me sad. I wouldn’t mind if he were specifically criticising Heroes, but he’s laying waste to an entire genre. Many SF fans don’t watch SF solely for whizz bangery. Even something as frequently smug and annoying as Firefly (or, indeed, any of Joss Whedon’s work [I’ll save my rant against his ruination of Angel for when I feel like tearing someone to pieces]) features characters that one can care for, even if they haven’t first hand experienced hijacking a train of its medicine and then being attacked by conscience and then kicking a guy into a jet engine and then having a statue erected in their honour and then having an ill fated but well conceived film made out of respect for what could have been and becoming a leaf on the wind.

The use of fanciful settings for stories allows authors and directors to bring into sharper relief the humanity of their characters. Many stories are analogous to real life situations, and there’s a reason that comics have a strong following in the gay community: it’s not because of the tights; it’s because of double identities, not fitting in, and general difference.

A lot of good SF (if you can really call superhero stories SF when they’re kind of their own genre anyway) just drips with metaphor, and a lot of the time this works well. I wasn’t much of a fan of the X-Men movies, but their relevance to the gay community was … uncanny (“Have you ever thought of … not being a mutant?”). Then it took a turn for the worse with X-Men 3, which was Brett Rattner’s personal journey into “I have no idea what message I’m trying to get across here … I appear to have made the franchise a front runner advocate of pro-life? Okay.”

These frequently subtle, sometimes not, metaphors and subtexts are effective ways of teaching people about issues in roundabout fashions. I suppose that this common subversion is probably one of the reasons that comic books and SF are seen as negative influences, but there’s no shame in learning. Unless that shame is the addiction to magic that made me hate Willow on Buffy for a long time (although that show did teach girls that it’s okay to make out with other girls in the event that your boyfriend cheats on you with a werewolf – which in itself is okay because he’s also a werewolf).
This subtext is also important because sometimes things cannot be said, like the gay episode of Star Trek that wasn’t made 20 years ago (I’d give you more sources, but After Elton is a good resource and frankly, a google search for “gay Star Trek” yields Kirk/Spock. On a side note, could the gay Trek characters be any twinkier? I think not).

Genre is a flexible idea; one can’t discount an entire genre because one does not like a single entry in that genre (also, if anyone mentions Sturgeon’s Law, which is the refuge of cynics who hate freedom, I will be forced to … well, don’t push me). Genre can also make something that is absolute tripe, such as X-Men 3, into something marvellous. I loved X-Men 3 because it was completely by the numbers, designed for maximum emotional manipulation with the added bonus of pissing fans right off.

It’s true that fans can be among the most annoying people on the planet, but every field has people who bring it down for the rest of them. This illustrates to us all that not everyone is the same and, while some might like flash bang magic, others appreciate the genuine character that can be breathed into SF, fantasy and the like. Not every appreciator of the genre is a mouth breather; most people want to be accepted like everyone else, even without the desire for the escape that such flights of fancy so readily offer, and good SF can offer real and likable characters into the mix.

I claim to people who want to know the vague direction that my life will take once I leave university that I would like to become a journalist. Yet mainstream journalism hates the fringe, and it fears the internet, couching everything in terms of condescension that sneer at people who use computers or like video games. It happens, even in the more intellectual presses, and it’s not good. Unfortunately, the apathy that has become the zeitgeist for internet users means that the well meaning but ill informed will rule for a while yet. If SF is going to be as routinely awesome as Eric Cartman 2546, then the ignorami are the ones suffering.

The image of Flash Gordon with Ming the Merciless was one of the first page results for “science fiction sucks” on Google Image Search.

Heroes – episode 18


I appreciate what Heroes was trying to do here, but it didn’t all work. Still, good stuff and a couple of things that I had predicted but was not quite sure of.

At an even 20 different character scenes, it was a busy episode.

Perhaps a small, lady’s spoilér

Heroes – episode 17

“Company Man”

Easily the best episode of Heroes in a long time, if ever. Heck, I even teared up at the end. I was able to watch it twice in two days!