HEROES: A Behind The Screens Look At What Is Going On (Or Why Did Bryan Fuller Jump Ship?)

In October of 2008 NBC finally panicked.  They had ignored Season 2 numbers and were still confident that Tim Kring could bring HEROES back to watercooler discussions everywhere.  However now it was different.  Word had come down from up high to Angela Bromstad that something had to be done with HEROES both creatively and with the budget.  Kring having heard of the problem himself immediately went to action and fired his two most troublesome writers:  Jeph Loeb and Jesse Alexander in November.

heroes_promo1It was also around this time that word was out that PUSHING DAISIES was soon to be pronounced dead.  People at both Universal and NBC went about trying to acquire him.  He had written the most popular first season episode of the series and they wanted him back.  When talking with Fuller, the idea that Season 4 would be a mid-season show was told to him.  Angela Bromstad even mentioned it herself.  HEROES was going to come back in the Spring giving them plenty of time to fix the problems.  Fuller signed on to a 2 year deal at Universal (also the same time frame that JJ Abrams told him it would be before they would start a STAR TREK show) and was brought in to have a key role in the writing and direction of the program.  His Season 3 work is again considered the best work of that season (although that doesn’t take much).

In April word started to leak internally that HEROES would be back in the Fall rather than the Spring.  This is something that apparently Kring was fighting for.  He believed (poorly) that a wait until Spring was just a sign that the show was a dead show walking.  During this time frame Greg Beeman showed his disaproval of certain things with Kring.  Shortly after Beeman was fired.

This left the creative direction of the show to Kring and Fuller.  There was more fighting about certain absurd storyline ideas.  Fuller then quit.

That’s where we are now.  Now lets take a look at the four people who have been dismissed:

Jesse Alexander:  Alexander is of course a longtime friend and business partner with JJ Abrams.  He had a big part to play in ALIAS and helped define LOST.

Jeph Loeb:  Jeph Loeb has an interesting background.  He started out as a Movie writer.  The movies TEEN WOLF and COMMANDO were his first sells in Hollywood.  He would co-write the sequel to TEEN WOLF with Tim Kring.  He ended up having a solid career as a writer for films.  This career would lead to him being hired to bring THE FLASH to the big screen.  While it was a film adaptation that never saw the light of day, it did introduce him to DC Comics.  The people at DC offered him a job writing comics.

As a comic writer, Loeb is a 2 time Eisner Winner (think Oscar but for comics) both for comics that dealt with BATMAN.  In fact his story arc BATMAN: THE LONG HALLOWEEN is one of the most famous story arcs of the last 30 years right behind THE DARK KNIGHT RETURNS, YEAR ONE and THE KILLING JOKE probably in popularity.

Loeb would then transition back to Hollywood writing TV episodes for SMALLVILLE.  In fact he wrote one of the most popular episodes ever, that introduced Red Kryptonite to the series.  He would even win a Jules Verne Award for the show.  He only left due to his son’s bone cancer (Sam Loeb would die at the age of 17 in 2005).  If not for his son’s cancer, Loeb would likely have never been around for HEROES and still be part of the SMALLVILLE team.

Now that you have an understanding of just who Alexander and Loeb were, lets look at why Kring fired them.  He claims that they refused to write character driven pieces like what made Season 1 so popular.  What?  Really?  Because God knows that is their inherant weaknesses.  Alexander has never once written a character driven piece.  ALIAS?  That was total crap.  Crazy stories, crazy characters and none of it believable.  The characters were one dimensional and nonsensical.  Loeb’s work in comics has been noted for its lack of character pieces.  His works are total drivel.  With characters doing things that goes against generally 40+ years of history.  His characters act so out of character you wonder if he even knows what comic book he’s writing for at the time.

Wait.  I just made all that stuff up.  Alexander and Loeb are known for their character driven work.  So what gives?  We’ll get to that in a moment.

Lets look at Greg Beeman.  He too was fired.  So far no one to my knowledge has quoted Kring for why.  Beeman has been around more canceled TV programs than I care to count.  I remember him specifically for BRISCOE COUNTY JUNIOR (check out the future number 1 on my greatest TV shows of all time article… jk).  However Beeman has always understood basic writing.  Characters drive the story.  Stories don’t force the characters to act out of character.

Now lastly, Bryan Fuller.  Fuller is known for creating extremely complex and deep characters usually in outragious, unbelievable, fantastical or absurd circumstances.  So writing complex characters who happen to have Super Powers seems to be right up his alley.

They’re all gone.  We know Kring says Alexander and Loeb are gone because they refused to write character driven pieces.  We know Beeman is gone after things heated up when the schedule was pushed forward 4 months.  We know Fuller quit because of creative differences (ok I know it, and many of you may still be in denial or believing the company line he gave).  We also know that when Fuller was hired it was under the impression they would be given time to iron out the problems.  Then that was gone and it was rushed ahead for a September launch for season 4.

I’m just going to say what I believe here:  Tim Kring thinks he knows what character driven is.  People around him disagree.  They all have reputations for character driven pieces, and some even have the awards to prove it.  Kring on the other hand has only been tied to such masterpieces of character driven subjects as KNIGHT RIDER, TEEN WOLF TOO, and CROSSING JORDAN.  Lets look at CROSSING JORDAN.  That show is infamous by its fans for the characters doing things entirely out of character to push a story forward.  Wait?  Isn’t that the problem with HEROES?

It definitely isn’t too many people, too many plot lines.  That’s a load of nonsense.  It’s poorly written plot lines and characters acting out of character that is destroying the show.  Poor use of “time travel,” and other things.  I mean giving a character with one power a brand new super power of painting the future?  Really?  He paints in the same style as Tim Sale!  Wait, Tim Sale painted all of Season 1′ Isaac’s art work. *Editor’s Note, Tim Sale who does the artwork in HEROES is also a long time collaborator of Jeph Loeb’s including BATMAN: THE LONG HALLOWEEN*

The Sylar character is a prime example of one of the worst written characters in the history of television.  He’s bad.  He’s good.  He’s bad.  He’s just confused.  He’s just an addict.  Wait, no he is bad.  Wait, he still has a good side.  Nope, he’s bad.  Nothing about Sylar makes sense.  Sylar season 3 is incomparable to Sylar season 2 or 1.  Heck Sylar 2nd half of season 3 isn’t comparable to the first half of the season.  He’s a poorly written train wreck that only remains on the show due to the actor’s popularity.

Just pick a character and you can watch as they do things that are entirely out of character but it moves a story forward.  Now who is to blame?  Is it really Alexander and Loeb?  If so, why would Beeman have been fired and Fuller leave?

NBC let Kring act before them.  They then let Kring keep his job.  If fans are looking for anyone to blame… blame NBC.  They could have fired Kring and saved the show last November.


37 responses to “HEROES: A Behind The Screens Look At What Is Going On (Or Why Did Bryan Fuller Jump Ship?)

  1. Awesome story Nick C! I see that Star Trek show coming together on a much faster pace now.Good Bye Heroes!

  2. This is exactly the kind of article that makes me love this blog. Great stuff. I’ve figured that Kring was the root problem since ’07. Glad to see some confirmation.

  3. Nice read. I dont see how the show could honestly go on after season four. Though I do hope that one of the pilots Bryan Fuller is working on is Star Trek… with the huge success of the recent film, that buzz could be what NBC needs.

  4. STAR TREK won’t have a new TV series for at least 2 years, which is why he only signed a 2 year deal with Universal.

  5. Excellent post. Thanks so much for writing this and for helping us to understand what’s going on behind the scenes.

  6. Oh, OK, I must of read it too quick and thought you meant that it was going to be within the two years.

  7. Alias is total crap?!?!?!?!??!?

  8. The_1337, try reading the whole thing. It was sarcasm and stated as such after that paragraph.

  9. Chief, I totally agree. I could go anywhere on the web for speculation about this news, but here I get confirmation. Keep up the good work, Nick!

    Personally I gave up on Heroes mid-season 3. It was clear to me then that the show was never going to handle Nathan the way that I wanted, and he was the only character I found truly interesting.

  10. OH, COME ON! I Loved Briscoe County Junior!

    Don’t be ashamed, give it the number 1 slot.

  11. Excellent post. I really enjoy reading all this behind the scenes stuff. Really interesting to get their histories. Had no idea the two guys that got fired last fall were involved with Alias and Batman comics.

    One thing I am curious about, how does it all go down when somebody like Fuller says “I quit.”? Does he call his agent and say “get me the hell off this show!” or does he actually go to the higher ups and say he just cannot work with Kring and their timetable? How high does the effort to stop him from leaving go? Or does it? Does Kring have total control and he’s the one Fuller gives his letter of resignation to?

  12. The downward spiraling ratings pattern seems to be NBC telling Kring to “fix it”. Kring then blames and fires(or they leave on their own) someone while the story and ratings continue to suck. Repeat cycle until cancelled. 😦

    Was NBC reluctant to fire Kring since he was the show’s creator or were they to blind to see what seemed obvious to people on the outside lookking in?

  13. “We know Fuller quit because of creative differences (ok I know it, and many of you may still be in denial or believing the company line he gave). ”

    To be fair, if the choice is to believe the word of the man himself or some random anonymous stranger on the internet, its not being in denial its just good common sense you believe the man himself – … of course if you reveal yourself … 😉

    (Not that I don’t favor the “Run, its Kring!!!” scenario 😉

  14. Great post Nick.

    Thank you for telling it like it is.

    Keep it coming.

  15. I was surprised to see that Loeb is still known for character-driven comics. He USED to be known for his strength in that area, but has gone in a very, very, very different direction in recent years.

    Generally speaking, when he’s working with Loeb then he seems to focus on that sort of storytelling. When he’s not, then he writes comics that seem quite like what director Michael Bay might do if he were to try his hand in the comic medium.

  16. I very much agree with P,

    The Adventures of Brisco County Jr was indeed a highly entertaining show and a very worthy choice for anyone’s list of Greatest Shows of All Time (though I wouldn’t place it quite so high as #1).

  17. random question unrelated to heroes but does brisco county actually have a satisfying conclusion? never watched but considered buying dvd but can never find info if its more of a cliffhanger or satisying ending.

  18. @ Rob,

    Yes, it absolutely ties up all of the loose ends. The several main plot threads that were brought up were all dealt with over the course of the Season and were completed BEFORE the conclusion.

    In fact. the last 2 episodes were a self-contained story, because everything had already been dealt with and I would assume that the producers did not want to begin new plot lines if they knew that they were canceled or knew that being canceled was a possibility.

    I have watched quite a few shows and would say that Brisco was one of the best examples that I have seen in how to tie everything up before concluding a program.

  19. Brisco County Jr had a fantastic story arc: beginning, middle and end.

    And, then a few extra episodes as well.

    Pity it didn’t get more seasons… [sigh]

  20. You hit the nail on the head on the biggest problem with Heroes.

    When I saw Suresh in Season 2, a competent, efficient scientist test that serum on himself and then walk out on that dock, for no other reason than to transform in public and show off his monstrous brawn on some punks, that was it. Out of there.

    And I was the loudest “Save the Cheerleader, save the world” screamer.

  21. I tend to find myself agreeing with AO when it comes to Loeb – his work is incredibly hit and miss and it tends to be all or nothing when it come to character driven plots. Either he gets it absolutely spot on or gets it completely wrong and throws everything out of the window. Personally I can believe that he was instrumental in crafting at least some of the mistakes in season two and three. I’m not really familiar enough with anything Jesse Alexander has done outside of Heroes to comment, I wasn’t an Alias fan and being credit with shaping Lost does you no favours in my book.

    When it comes to Heroes itself I think the problems are far too deep rooted at this point to have an easy solution or easy definition. I disagree with the notion that this is all about the mishandling of characters for example because as piss poorly as they’ve handled character continuity its far from being the only problem the show has had. The startling lack of originality when it comes to plots and plot advancement has been horrifically bad as well. Every season has revolved around paintings of the future for example, presumably because it worked so well in season one they believed it would work again in every other season of the show. My guess is season four will follow the same path. If the show had managed to retain even a spark of originality coming out of season one then I don’t think its troubles would be quite as deep but they didn’t so now not only are none of the characters consistent but none of the plots they’re changing to fit are interesting or original. The complete lack of consistency when it comes to peoples powers isn’t helpful either.

    I’ll also say that I think the show does have too many characters and too many plots although I’ll add that I don’t think this is a problem because the audience can’t follow them but a problem because the writers can’t write for them all. What for example did Tracey do during season three before Fuller’s Cold Snap episode? She seemed to spend the entire second half of season three sat in a chair in front of heaters, which was just ridiculous. All the characters and the plots for the first season worked because they had a constant forward momentum but the writers haven’t been able to reconstruct that since season one, which says to me they need to ditch some of the characters and focus on a smaller core of them for the immediate future at least. Of course having said all that the astonishingly bad character work is still the main problem of the show and will forever be the main problem of the show.

    I still think the way forward for Heroes should have been to do a big cliffhanger at the end of last season that allows you to kill off half the cast. Or alternatively completely reinvent the show by ditching everyone from season 1-3 and starting again from fresh with a new set of characters and abilities.

    On a Bryan Fuller note, I’ve said this already but I’ll say it again – I don’t see any way Fuller quits Heroes again before anything has aired to work on two new pilots that don’t have network commitments unless he’s unhappy with the way the things were panning out. I don’t doubt that he is working on two new shows and wants to work on them but I think he wants to work on them because he wants to get the hell out of Heroes.

  22. Oops!

    In my post about Loeb, then I meant to write:

    “Generally speaking, when he’s working with Tim Sale then he seems to focus on that sort of storytelling”.

    Sorry for the error.

  23. Well, to answer your comment on TVBytheNumbers, Fuller left, it’s a fact. What would be more unknown would be the circumstances. He has 2 pilots in the work which could justify by itself his departure. “and many of you may still be in denial or believing the company line he gave” : denial is the word, but I’m not in it. I think Fuller is gentleman enough not to hurt the work the cast and crew put in Heroes. After all, even if Kring dug a grave, he’s not alone in it. That’s why he won’t say publicly if he left because of creative opositions with Kring (and frankly, I easily beleive you when you say it’s the real reason why he left). I wouldn’t have said you were a liar if you posted it a weak ago. I would just have waited to see any confirmation.

    As of the departures, Beeman, Arkush, Loeb and Alexander. I don’t even have to know their previous work to see the gap in the storytelling between the first 2 seasons, and the 3rd.
    I will easily believe you too if you say that Beeman and Fuller (Arkush too maybe? No real declaration about why they “fired” him) left because Kring absolutely wanted the season to start on September and not during Spring. But everyone know this is a mistake, except Kring of course.

    That leads me to Heroes itself. Maybe I’m easier to satisfact than most of people, but both S1 AND S2 made Heroes my favourite show. S2 wasn’t S1 level, but it was still well written, and character driven, with an interesting main storyline. The only problem I have with, that was pointed out by everyone, was the slow pacing (This is why I skept everything with Maya when I rewatched it. That just save me an entire episode, way better). The newly introduced characters perfectly fit in the storyline without damaging it (except Maya crying all the time, two times was enough).

    I’d love to know at what point of S3 Loeb and Alexander were fired, just to compare before and after.
    So there comes S3, and basicly here is how Kring responded to problems.
    – Slow pacing ? -> Pyrotechnics, fast pacing, no character development.
    – Time travel ? -> Removed. I don’t see where is the problem with time travel itself. The problem is that they don’t know how to use it wisely -> The writers are the real prroblem.
    – Too many characters ? -> I didn’t think so, but they just killed everyone who was introduced in S2. Those who survived just vanished.
    What we gained? Pyrotechnics ! But they’ve been taken away, because ratings sank. Why did they sank? Too fast pacing, no character development (for 90% of the season if you want my opinion) pyrotechnics and actions was the only thing left, and it’s not why I watch Heroes.
    Volume 4 was better than Volume 3, but I still prefer S2, and by far.
    They’ve managed to make most of the characters not likeable (close to unlikable) in one season, basicly destroying what was built in S1, and which was pretty well maintained in S2.

    Kring is obviously the one to blame (well not to NBC apparently). He is the on that takes all the decision, creatively-wise. And I think you’re right he thinks he “knows” what character driven is, but he doesn’t. The whole S3 prooved it. And since he brought in like half of the writers because they worked with him on Crossing Jordan, I’d like to know if it was even any good (never heard of it).

    S4 will be better than S3. Actually, I don’t see how they could do worst than some parts of S3, but other shows surprised me by getting worst and worst, so it’s still a possibility.
    It will also probably be the last. In the ratings : If it’s bad, it will sink. If it’s good, it might keep its premiere audience. If it’s great (you never know what can happen), it could eventualy slightly go up.

    Of course I’m looking forward to those 2 projects (one sitcom, one hour-long series) Fuller is working on. As I’ve said before, I’d love if some of the cast and crew ended up on one of his shows who would eventualy turn out to be a hit. That would be just poetic justice seeing how many wrong decisions Kring took for Heroes.

    *Just found out about your blog, and I’ll definitively check it out from now on 🙂

  24. I’m with Imkeh about when I should have split. That was horrible!

    But instead I stuck by it in the hopes it would get better. Like comic book guy says “ohhh I’ve wasted my life!”

    Plus I was kidding about BCJ at #1. Although it was a really good show. I have a feeling if it didn’t have Bruce in it I wouldn’t remember it at all though.

  25. The show was dead the minute NBC didn’t try to fix the show by “promoting” Kring off of it.

    Although, to be fair, NBC has to share a good amount of the blame – Season 1 was indeed built around the idea of a predominantly new cast every season, and half the cast should have died heroically at the end of S1.

    I also am not sure the S2 to S3 cast change criticism is fair either. Clearly, actor availability changed during the long hiatus (Tobolowsky couldn’t come back, Larter unfortunately could), and we really didn’t need a long sendoff for, say, the New Orleans crew.

    And to reiterate other comments: Loeb’s writing is rather hit or miss. The Long Halloween plot makes just about zero sense when looked at closely.

  26. I may very well catch criticism for this but I believe the right decision was made when they opted not to completely change the cast from season 1 to 2. Just from a story telling point of view its hard to see what new ground they would have covered by essentially repeating the exact same plot – ordinary people discover they have abilities every season.

    The problem from season 1 to 2 was that they tried to have the best of both worlds – keep the old cast and introduce a new cast and it just resulted in an unholy and cluttered mess that they’re now stuck with. Had they just stuck with one idea keep the same cast or don’t things probably would have been and would now be a little better.

  27. I think I didn’t explain myself correctly. I didn’t mean to blame anything on the S2 -> S3 cast change.
    The problem I have is that they basicly pretended S2 never happened. Killing most of the character introduced in it was just a part of it. I can’t think of anything S2-related that matters now.

    As for the cast changes, I’m aware that Tobolowsky, as an example, wasn’t available. But I’m a bit tired that they deal with 95% of the departures by killing characters off. While Bob’s death seeemed necessary to move the “Villains” arc forward, most of the others just feel pointless to me now that I’ve seen the whole season. None of those who died were part of the main cast, and I wouldn’t have been shocked if some reccuring characters just left to go on with their lives, and eventually come back later if the actors were wanted to and available.
    If they can’t find anything else to surprise the viewer than by killing someone, the show is in worst shape than I thought.
    Of course most of the characters introduced this season ended up dead, but I’m not really surprised there either.

    I think the worst is that in spite of everything they’ve done this season, the show still has potential, and that it is likely to go to waste.

  28. I don’t think I’ve ever seen a show’s creativity implode the way Heroes has over the past few years (except Prison Break). This blog lists how the big collapse happened, and I couldn’t be anymore distraught. The worst part about all this is that Heroes season 3 could have really salvaged the show, had not Kring remained as the head producer.

    Since the disappointing ending of season 1, Heroes felt like it’s been running in circles with no clear path in sight. Season 2 wasn’t as bad as I remember, because at least the characters remained intact and felt properly developed. It was the scatterbrained and repetitive plot, along with the cluster of new heroes, that dragged season 2 down. The writers’ strike didn’t help either.

    But then season 3’s Villains really messed up the foundation. The redundancy in narrative continued, and the retconning (particularly in the ‘Villains’ episode) was insulting. The characters never felt consistent, except maybe Ando, HRG and Claire. Hiro was butchered beyond belief. Suresh switched sides and defied logic every episode. Sylar, I felt, was the Heroes writers, trying too hard to replicate Showtime’s Dexter, and hoping Sylar could feel equally conflicted with his sadistic urges. Too bad it didn’t work. Don’t even get me started on The Eclipse two parter, or the Catylist crap, or how absurd time travel was used, or the extreme unlikelihood of applying the Theory of Relativity with Ando’s new power, or…to hell with it. That season was a plot holed mess.

    Besides the hackneyed character development, Heroes also had a bad habit of cheating death far too many times. How are we supposed to feel tension when numerous characters narrowly escape every possible death? Heroes also suffers the opposite problem with the non-season 1 characters. With the exception of Maya, every season 2 character is either dead or omitted from the show entirely. Few of the ‘Villains’ protagonists/antagonists survived past that volume, only to be killed off during ‘Fugitives’.

    That brings me back to the narrative. I thought evoking the more self-contained episodic feel of ‘24’s’ seasons would be a good thing, but Heroes used it poorly. Instead, it was more of an excuse to wrap up each volume similarly instead of evolving the plot. I know 24 is also guilty of wrapping up every main threat by each season’s end, but at least its writers were wise enough to throw genuine surprises (even game changing twists) to keep the audience on their toes, even when the viewers know it’s essentially the same song and dance. Heroes puts no such effort to avoid serious repetition. On the surface, Heroes is still enjoyable for the mindless action, but its unique personality got chucked out the window after season one.

    I credit Fuller for at least making volume 4 more palatable (even when Fugitives suffered from the same issues, albeit, less so), but even he couldn’t fix all the problems so quickly. Shame he chose to leave, but Kring gave him no choice. That man clearly has no clue how to make a show work, even when he has all the tools at his disposal.

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  30. Dont want to see another Trek show even if Fuller has something to do with it. Oversaturation is what killed Trek before. Time for movies only.

  31. I don’t know. I think a Trek show within the Abrams created universe that isn’t aboard the Enterprise is fine as long as it is just the one show.

  32. Sadly if Fuller is gone and their returning in September (again why???????) its obvious Heroes season four is going to be awful, Season One was great, Season Two was quite good given the writers strike (and the writers panicked) but Season Three was awful (although Fuller’s episodes ‘Cold-Snap’ easily beat anything in season 3 or 2). Kring is a shit writer, all the premiere episodes (that he writes) have been awful (apart from Season One) and the end of season three was sooooooo bad. I will watch the premiere but only out of some beleif that show may have changed, sadly I think Claire, Peter and especially Nathan (WTF would he turn against his own kind?) are now the worst characters ever. AND why did Tim Kring say the show is returning to its root like Season One, the show isnt like season one its characters and even what they have seen will have changed them. So season four will obviously start with them searching for themselves (again) and then suddenly just start fighting for no god damn reason. I kind of wish that they have (even if were cheesy) had someone travel back in time and change the past (have maybe the virus released) and start from there because season three have made just too many complications to the story.
    Though cant wait for Fuller’s new show.
    P.S. The Volume 4 storyline could have been superb but it was utterly wasted.

  33. I find it funny that someone discussing good and bad writing can himself produce sentences like “Because God knows that is their inherant weaknesses.”

  34. Sleestak,

    Pay me as much as Kring is paid, and I’ll make sure I check the spelling and grammar of all my posts. Until then, this is a blog and one I don’t have time to edit.

  35. I don’t agree that Season 4 will inevitabely be “awful”. The writers have been on the work for it for a while now (Fuller included) and I suppose that most of the arcs (at least the big lines) have already took shape. Of course, the execution could go wrong, but we’ll have to wait to see that. So if the beginning of the season sucks, it also means that Fuller unfortunately couldn’t do anything about it.

    I’m kind of happy to see that there are people who liked S2, maybe as much as I did.
    I live in France, and over here, the episodes aired 3 by 3 in late summer saturday nights (with horrible dubbing, may I add). That didn’t hurt it for me in anyways, I enjoyed it, and even missing several episodes I never had any problem to follow (I don’t get why some people find the show confusing. V3 was a mess, but was a easy to follow one) Not even time travel confused be a tiny bit.
    So basicly, when I watched S2, it didn’t completely live in the shadow of S1. I ended up rewatching the whole S1 and S2, and of course I found S1 amazing, but I still loved S2 (while I admit it was inferior to S1). And unfortunately, any time I stumble on an article that mention it, I see “disaster”, “horrible”, etc… and I just don’t agree with it. Of course that’s just my opinion.
    I can and will watch S1 and S2 (minus anything with Maya) over and over again, but I doubt I’ll watch S3 again.
    S2 still had everything I loved about Heroes : a main storyline that ties everyone together, which contributes to character development, and characters I like or even loved for the most, and overall, a plan for the season. V3 obviously lacked all those things. V4 started out interesting but I can’t beleive how much I disliked most of the 3 last episodes.

    And to agree with Fin (sort of), I would I loved if the virus spread over the place. It would at least have been original, in a not-“Oh-geez-we-saved-the-world-at the-last-second” (a bit like 24 if that was what you meant, t3hdow). S2 was getting way better by the end, and from the echoes we had from it, “Exodus” seemed to follow the way up. Of course Kring had that genius idea to change the ending of S2 to start from scratch with Villains, but we all know how that went.

    Finally, I don’t agree that “Cold Snap” easily beats everything in S3 and S2. I think it does beat anything in S3, and everything in S2 except one : “Cautionary Tales”. The episode was a masterpeice from the beginning to the end (including that Hiro VO) which also beats most of S1. At least it does to me 🙂
    Don’t get me wrong, Cold Snap was oustanding, and it’s probably not fair to say that, but it’s a bit dragged down by the context, and by that I mean the mess other writers brought, which Fuller had to deal with to write the episode. And I don’t like Micah, I don’t know what it does there, but I wanted to say it.

  36. Nick, you may be able to confirm this but I’m hearing even more people have left Heroes. Have you heard anything?

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