Heroes: Truth & Consequences

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November 27, 2007

By TrinityVixen
Looks like I was wrong about a few things last week. For starters, Adam and Peter have their heads so far up their asses, so they haven’t got time to go mucking about in the resurrection business. Mohinder hasn’t learned diddly or squat since almost murdering someone. And Elle isn’t going to be bucking the Alchemist’s authority any time soon.

I did manage at least one correct prediction: even in an episode that wasn’t killing time until the mid-season finale, Sylar and Mohinder’s two-second conversation at the end was the hottest thing going. Next to Sylar being shirtless and wet midway through the episode, that is.

Vague plot developments abound and, predictably, go nowhere fast. Last week was a cruel tease; there are no similar developments of comparable import. Everyone wants to control the Shanti virus—either by curing it away (Mohinder), destroying it outright (Peter), or releasing it (Adam, and possibly the Company). Outside of the Company, only Victoria Pratt, the heretofore unknown woman in the photograph of the previous generation of heroes, has the goods on the virus’ whereabouts.

Peter and Adam confront her, Peter selling hard his fervent belief that he’s on a mission to destroy it, and Adam undermining that with every shifty look. Victoria gives Peter a bitch slap upside the head with her shotgun; she’s well aware of what Adam Monroe wants with the virus and wants to wake Peter up. Of course, Adam and Peter being on the happy side of regenerative abilities, they get the better of her. Peter pulls the location of the virus from her head with Matt’s copied ability. Adam finds an excuse to kill Victoria, burning the bridge behind them in case anyone else comes looking to get at the virus through her. That’ll certainly throw Matt off the trail.

But not Hiro. You know, you have to wonder if Adam isn’t really pissy because of jerks like Peter and Hiro who can jump around in time. It sorta steals the thunder from immortality when just anyone can pop in and out of times that he’s had to live through linearly. Hiro’s visit to the past set him off into a four-hundred-year grudge; Peter’s screwing around in the present trying to save some chick in the future. And now Hiro’s using his abilities to data-mine in the past and render useless Adam’s homicidal efforts.

Thankfully, Hiro’s learned his lesson about screwing around in time. He leaves no footprints on the past and leaps forward again to take out Adam in the Primatech Paper factory in Odessa. Peter the eternally dimwitted Petrelli moves to stop him, still convinced that Adam, despite all evidence to the contrary, is going to grow roses out of the manure he’s laying down. Hiro rushes at Peter en route to beheading his father’s murderer. The “TO BE CONTINUED” screen flashes before we can see how that goes for them, but I’m predicting that, once again, Peter comes through. Hiro couldn’t kill Sylar with a sword to the chest; I doubt he’ll do better against an opponent who can not only counter his ability but can heal from any injury.

Some people just aren’t meant to be killers. On the other hand, some people are fabulous at it. You don’t have to like his character or his motivation, but you have to admit that Sylar possesses mad skills at murderatin’. His lying proves to be hit-or-miss, however. No matter how distressed she was, nor how much she’s in love with the beautiful stranger she almost ran over in Mexico, Maya shouldn’t have fallen for Sylar’s simplistic machinations. He all but told her, “Dump your brother for me. He’s depressingly moral, whereas I am hot,” and she did it. He works much better when he lightly bends the truth or tells the sweeter version of it; when Alejandro attacks his credibility as a roadside angel by pointing out that Gabriel Gray murdered his mother, he cops to it. And two awesome things happen all at once: he spins the tale of his mother’s murder as a tragic accident that makes him look like the victim and he does so while telling the complete truth. Of course, he conveniently neglects to mention the other ten or so murders he’s committed that were completely on purpose.

Oh, and he omits the fact that, while he’s obviously seducing her, he’s just killed her brother. He’s fairly slick about it for a guy who was cut open and half dead less than a few weeks ago. Alejandro throws down, and Sylar body slams him to the carpet then pins him to it with a knife. One down, one to go! This smooth operator trips Maya out with the ol’ “I was in the shower” gag so that she doesn’t take that one incriminating step into his room that would lead her to discovering her Alejandro’s body.

Okay, Maya’s been a bit stupid up to this point, but once the Quinto busts out the naked, wet chest arsenal, she cannot be reasonably blamed for becoming quivering putty in Sylar’s hands. Thank you, Powers That Be. In one wonderful instant, Maya’s ignorance becomes utterly irrelevant, and I got shirtless, damp Sylar. I still totally object to Sylar kissing Maya, but the shot of him closing the door on Alejandro’s corpse while doing redeems it. Sylar kissing gives me the ick; Sylar being a sly, murderous bastard is made of win.

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