Heroes

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DeAnn Welker: C- | 1 USERS: A
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"I Can't Bring Nathan Back, Peter. But I Can Sure as Hell Swing a Sledgehammer."
In a hurry? Read the recaplet for a nutshell description!

I know I said in the recaplet that I can't believe they wasted an episode on filler this close to the end (and after one good episode), but I take it all back: I can believe it. This entire season has been filler, and the only reason I mildly hope it doesn't get canceled is that I want it to come back for one season only, but with an entirely new staff of writers. There are good people working in this business, so I suggest NBC and Tim Kring find them, offer them some money, and bring them on. Then pare back the bloated cast to a few we will actually stick with all season (and, preferably, care about, meaning no Tracy or Parkman or Hiro) and give it one last shot. With an end-point. It really upped Lost's game once they had an end in sight. Although, to be fair, that's still playing out, too, and it could all end ugly (though fewer people would admit it than with this show).

So, previously, Claire told Samuel to surrender, and when he agreed, she told her dad, who unfortunately listened to her, getting Lauren, Samuel and Claire shot, Lydia killed, and Noah framed for it all. Mama Petrelli told Peter that he couldn't save Emma from playing music while the world ends, but when he realized someone else could, he took her power and dreamed about Sylar being the savior. Of course. Because he's always had that in him. Peter found him with Parkman, who was bricking him into a wall. Peter took Parkman's power to bring Sylar out of the nightmare Parkman put him in inside his head (don't ask), but then he got trapped there: New York City. Daytime. Alone.

Which leads us to now: Peter's passed out against a brick wall. Presumably it's the one Sylar's behind, but they didn't have the budget to put Zachary Quinto in the same scene so it's just Peter. We hear him say "Hello? Hello!" repeatedly and then we're in his head, which is to say we're in the empty streets of New York. He's looking for someone. Back with sleepy Peter, whose eyelids are moving around a lot. The camera zooms in on the mortar between a couple of bricks and then sort of goes through the bricks until we find Sylar inside. It's dark, so, what? Did Parkman finish the wall after Peter passed out, and just leave Peter here on the ground? That Parkman sure isn't a hero. Oh, right. He's a "special" -- leaving us all puzzled by the name of the show. Then we're in Sylar's nightmare, too. He's in a watch shop listening to different watches tick. How is that Sylar's nightmare? I'd think he'd damn-near orgasm from all the ticking.

Soon enough, he hears a loud noise coming from outside, so he heads out into the street and starts his own version of the "Hello?" song Peter's been singing. He walks the empty streets and then Peter bangs some sort of pipe against the ground behind him. Sylar turns and breathes, "Peter? Is that really you?" They walk toward each other quickly, but instead of embracing, Peter just tells Sylar he's here to drag his sorry ass out of this place. Sylar says there's no getting out of here; he's tried for three years. Peter thinks that's crazy since it's been three hours since he got here. Sylar doesn't believe Peter's really here, and thinks it's all in his mind. Then he says what anyone would say to someone who isn't real: "I'm not going to let you do this to me" and "If you follow me, I'm going to kill you." He runs off, and Peter chases after him as the camera shoots the empty street from above, with them running down the center yellow line and "Chapter Seventeen" written above it with "The Wall" written below.

Peter chases him all the way to wherever it is Sylar decided to run. It looks like maybe the watch shop again, or maybe it's not a watch shop and is just his apartment with a lot of watches in it. He's wielding a hammer and tells Peter to get out of his head. Peter tells him to calm down, because he really is here to get Sylar out. Sylar asks why Peter keeps saying that, and Sylar explains that Parkman put Sylar in this dream. Sylar yells that it's not a dream; it's real. Peter asks if he really doesn't understand it's a nightmare, and Sylar replies weepily, "Of course it's a nightmare. Three years. Alone." Sheesh. Am I supposed to sympathize with the serial killer now? Peter explains what happened last episode: Parkman trapped him here. But Sylar is a slow learner, so Peter has to walk him through it. The last thing Sylar remembers is wanting his life to change so he wouldn't spend eternity alone. Peter says he has Parkman's ability and can take him out of here. (Okay, so if Peter can use his abilities in here, why can't Sylar use his? Because, if he can, why a hammer?) Sylar wonders why the brother of the man he murdered (correction, Sylar and writers: one of the many men he murdered) is coming to his aid. Peter says he needs his help, though he'd rather leave him here to rot. He needs Sylar to save his friend Emma from killing thousands of people. Sylar says he's not the savior kind, as Peter should know. But Peter tells him he's going to save her. Because the creators and writers of this show masturbate to Sylar, so they had to go and make him the hero. HATE. Sylar tells Peter to try to get them out of here, so Peter touches him on the shoulder. But he can't do it. Sylar tells him they're trapped here forever, so they decide to spend their time making out. Okay, not really, but wouldn't that be a better show? Opening title.

Carnival. Samuel walks by the funhouse and to his trailer (people supporting him along the way with their looks and shoulder taps, so we know the shooting had its desired effect, bringing them back to his side), where we hear Claire banging on the door to get out, but Replicating Eli is standing guard. He tells Samuel they've really got to do something about her, and Samuel says they will, and then lets himself in to the trailer with Claire. She wants to see her father. Samuel says he's safe and unharmed, which is more than he deserves after shooting into a crowd of innocent people. Claire says he didn't shoot anyone. If he had, Samuel would be dead. True that. HRG isn't so much of a misser. Samuel asks Claire if she's really that naïve, since her father came here with a gun and wanted to use it. He asks if that isn't why she talked Samuel into surrendering in the first place: because she was afraid of what he might do. She says she wants to see him and tries to push by Samuel, but he pushes her back and says her devotion to her father is touching, but she's blinded by it. He thinks it's time she opened her eyes and saw him for who he really is. She says she knows him, and he can't say anything to change that. He agrees, so he's going to show her who HRG really is.

House of Mirrors. Claire runs in and hugs HRG, who's tied to a chair. She touches the rope for a second, but doesn't really even try to untie him, then turns to Samuel and tells him to do it. That's weird. But Samuel's not ready yet. First, he calls Damien in to reveal HRG's memories on the mirrors. Samuel says she deserves the truth, but HRG says to let her go, since he doesn't need her anymore. Samuel wonders if Bennet's afraid she'll see the real him. He nods in Damien's direction, and HRG begs him not to do this. Black and white images appear on the mirrors (because life didn't come in color when Bennet was younger, of course). They've tried to make Jack Coleman look younger here, but it's not super successful. Anyway, he's a car salesman, and is too nice to be very good at it, because he sends people to a cheaper car lot instead of making a sale. Then his boss sees him. Not sure why any of that matters, though, because soon enough a lady comes up behind HRG and puts her hands on his eye

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