I am a reviewer in search of a theme. Perhaps that is silly this early in the season; the way Heroes seems to be structuring itself by reintroducing old characters and introducing new ones for the first few episodes of the season, as well as setting up the questions and mysteries that they hope will intrigue us for the remainder of the season. To be honest, I’m finding it a bit difficult to stay engaged in what’s happening. My biggest complaint about this show is its tendency to answer questions with more questions. How very Socratic method of them.
The point, I’m assuming, of all this introductory material, is to clue the viewer into the idea that both new and old heroes are concerned with identity. Angela Petrelli being attacked by an invisible assailant, and struggling to maintain the integrity of her own mind from Matt’s power. Matt is still adjusting to his right to cross the police tape. Maya’s and Alejandro’s balancing of power; are they one power in two bodies? This is most clearly exemplified by Peter’s amnesia. He spent an entire season trying to figure out who he was and what the purpose of his abilities would be, only to have the entire slate wiped clean in one big bang. Yet, in the fog of having no name and no idea of his past, he knows what he isn’t; he isn’t a criminal. Will that last? I would be interested to see whether they pursue this question of identity a bit further with Peter’s story. He served as the moral exemplar for most of the first season; is that inherent in him, or is it upbringing and conditioning. (Although it would be hard to conceptualize Angela Petrelli instructing her son in empathy and caring for others.) He is now an extremely powerful man with no memory. Will he use this power for good, or will he become drunk with it? (He is in a pub, after all, with the McClichés.)
Claire, on the other hand, does know who she is; her search is not for identity per se, but for meaning. Which, incidentally, was Peter’s quest last season. What are the limits of what she can do? Claire’s story, unlike some of the more obvious ones on Heroes, is nearly Buffy-esque in the way it serves as a metaphor for the late adolescent experience (I think the “powerful blonde cheerleader” angle has been mentioned close to a quarter of a million times). Claire knows who she is, and has accepted it; now she wants to know how that makes her fit into the world at large. What is her purpose? Noah’s insistence on laying low is indeed a form of protection; but on a personal level, it’s natural for any parent to mistake protection and suppression, to not just keep their child safe from the bad parts of the world, but to keep them all for themselves. Aside from the fact that he’s already lost her once, or that dangerous people will use her power against her, he doesn’t want to lose the child he loves to the greater world. But too much protection can lead to rebellion; it can lead to leaving cars and behavior unlocked. Will Claire be the next to disappear?
It’s been said that a child never truly grows up until they lose a parent. Hiro, stuck in 1671, has no idea that Kaito is dead, but the mythology he imparted on his son through the Kensei story is certainly DOA. There is something refreshing about a character whose natural buoyancy of spirit can take such a huge loss in stride. Last season, Kensei was Hiro’s guiding principle; within hours of arrival in Kensei’s time, those illusions were shattered. His hero is a drunk and a mercenary who was lucky enough to have really good PR. Hiro could be excused for letting this depress him; instead, he takes action. He uses Kensei’s own methods to write the mythology for his past (and future) self. Which also fits in with the question of identity. Who is this Kensei? The self-healing Englishman? Or was Hiro reading about himself all along?
Finally, it makes sense that the ultimate example of identity-less-ness makes his reappearance in this episode: The Haitian. Mohinder insists that his job is research, not going on random assignments; its also thematically fitting that this is a huge lie on Mohinder’s part. He is playing a long game, and the Company seems to be unaware of this duplicity. (Question: If they are unaware, why did they not warn Mohinder of The Haitian’s ability?) Mohinder and The Haitian argue about what the Haitian’s role in this world should be: Godsend or tool of some company? (Its unclear whether The Haitian is referring to his work with The Company or with Angela Petrelli when he expresses guilt about what he’s done.) “There is always a company,” says The Haitian, right before he seemingly wipes Mohinder’s memory of everything and goes on his merry way. Whether this is a warning or a nod to the futility of bringing anything down is yet another element of the story that remains unclear.
*I think it’s questionable about whether Claire left her car unlocked, or whether she wanted to avoid admitting someone at school might have taken it, or worry her father more than he already was, especially when she’s arguing for more freedom.
*Putting aside the horrible accents and clichéd portrayal of the Irish thugs, there were definitely certain compensations in that scene.
*Seriously, is it so much to ask to have a few questions answers, like “what happened to DL?”
*Adrian Pasdar’s beard? Terrifying. I’m thinking it might be well within its right to ask for union scale as a non-speaking character in its own right.
*Claire cutting off her pinky toe? Gross, but awesome. Guess West, the Peter-Pan stalker got a big more than he bargained for with that action.
*Finally, and again I plead, PLEASE give The Haitian a name.
Stay tuned for Sara’s review of Kindred, which is sure to be made of awesome!