Well, it looks like Robin’s not getting his own show after all. The CW has decided that “The Graysons” concept doesn’t mesh with the “current strategy for the Batman franchise,” as reported by Kryptonsite. This happened before a pilot script was even finished.

 I can’t say this makes me unhappy. As I mentioned in my last blog about this, the show didn’t sound at all like a viable concept. There’s no story to tell about Dick Grayson before he becomes Robin. It’s probably best that it got canned at such an early stage, because it probably would have been cancelled in mid-season.

The CW is coming up with possible replacements, but my guess is, regardless of what they come up with, we’ll have at least another season of “Smallville” (groan). I hope somebody thinks of a better idea than “The Graysons,” and I also hope they finally learn their lesson– you can’t put Batman on TV without Batman. As much as I love “Birds of Prey,” that’s the reason it failed, and the same thing would have happened to “The Graysons.” I doubt they’ll even try to do a DC Comics show at this point. There aren’t a lot of other places to go, especially since “Aquaman” was cancelled just after the pilot aired and a Flash spin-off from “Smallville” was dropped in its early considerations. And if they do a DC property, I really hope it isn’t another prequel show.

Any chance for a Justin Hartley Green Arrow show? Pretty please, with arrows on top??

LLAP

-Cap’n Logan

As soon as I started blogging for Geek Speak last year, I wrote weekly episode reviews for Heroes, until the writer’s strike forced season 2 to end early. I had every intention of doing the same this year, but while I’ve watched every episode so far this season, I haven’t been able to bring myself to write reviews because, frankly, I’ve found it very painful. I know some fans are really enjoying it and I didn’t want every week to be a list of complaints.

I haven’t given up on the show, and after this week’s episode “Villains,” I finally feel compelled to write again. And yes, there will be some complaining, but with deep sympathy for what Tim Kring and the producers of Heroes are trying so desperately to accomplish.

Kring got a lot of flack for the slow-as-molasses pacing last season, myself included. We wanted the show to propel forward from the season finale, but instead, it felt like it started all over. Kring realized the error of his ways and tried to appease us. If they want fast pacing, he probably thought, we’ll give them fast pacing. If they want complexity, by God we’ll give it to them.

Can anyone say pendulum swing? Yes, last season we were bored, but at least our characters weren’t (usually) acting out of character. Good storytelling isn’t that simple. If the recipe needs more sugar, you don’t poor in the whole bag– you keep putting in a little more until you get it exactly right. This year, Heroes has sacrificed meaningful, character-driven stories for the sake of action, pacing, and “complexity.” The complexity I enjoyed in the first season was that of the characters– real people having to deal with uncontrollable powers, a company that wants to control them, and a sense of duty to change the future because they’re the ones with the ability to.

There’s been some of that this year. But for the most part, the “complexity” is in trying to keep up with waaaay too many characters and subplots, to the point of nausea. Entertainment Weekly had an opinion article a couple of weeks ago, saying that one of Heroes’ biggest problems is that it has “too many heroes.” Yes– the show seems incapable of keeping anyone dead! I think the producers are so loyal to their long-term actors that they can’t bare to let anyone go. Ultimately this leads to having characters with nothing to do, and then they end up with forced subplots.

This is also why some characters are acting out of character. Suresh really had nowhere else to go as a character (as much as I used to love him) so the writers decided to turn him bad. But not subtley, over the long term. They suddenly gave him this obsession with having super powers, which he NEVER had before, then contrived a eurika moment so he could conveniently figure out how to give himself powers, then inject himself and become a monster who kidnaps and experiments on people.

That’s not depth. That’s just forced storytelling.

Sylar has been handled a little better. The writers wanted to give him more depth and give him the opportunity to turn good, and while it looked forced at first, they’ve been really taking their time to make us believe that he isn’t just evil, but that he has an addiction to stealing powers. We saw a scene in the future showing him completely rehabilitated and with a son– that’s a future we hope will happen for him, and we look forward to seeing him get there. But it can’t happen in a couple of episodes. Real people don’t change that way, and characters need to progress. Plots have twists, but chraracters don’t.

“Villains” from this week was really rather brilliant. It went back to events during the earliest episodes of first season and gave us more “pieces” to the puzzle, mostly about Sylar, L, and the Petrellis. I say it that way because these pieces obviously weren’t always meant to be there, but they do fit rather nicely, and they make a lot of this season make more sense. Nathan and Peter’s father were dropped in as the big bad for this season out of NOWHERE, and we needed these flashbacks to buy his deep intigration into the plot. This also helps Sylar’s progression to be more believable, and I really love the idea that Noah and the Company are responsible for Sylar’s condition and his killing spree in season one– if Noah hadn’t interfered, he would have stopped after his first kill.

So I hope this episode is a good indication of the direction for the rest of the season, a direction, I hope, that will be less sporatic and more about the motivations of the characters. I’m tired of trying to keep track of who stole who’s powers, who lost their powers, and especially who’s RELATED to whom. I almost stopped watching in the first episode this year when it was revealed that Petrelli is Siler’s mother. I know the show is a comic book, but all these soap opera coincidental familial relations are too much, even for me.

The same thing happened last year with “Four Months Ago.” This show doesn’t seem to start making sense until one episode goes back in time and gives us all the pieces we’re missing. But why are we missing them in the first place? It just makes me aggrevated, not more interested. I’ve said this in probably half a dozen blogs, but good mysteries allow the viewer to discover things along with the protagonists. They shouldn’t hide things from the viewer that the protagonists already know. If we already knew these things about the Peterelli family, the whole season so far would have been easier for me to swallow.

But as I said before, I have a lot of sympathy for Tim Kring. He did something remarkable with the first season– he made an entire television series in 24 episodes. From the first episode, it’s a show that feels like it’s been on forever. It knew exactly where it was going, and when it was over, it didn’t have any more story to tell. But it was popular, and it had to continue, so it did. Heroes has yet to prove to me that it still has something interesting to say that it didn’t say first season– people are still painting the future, and our heroes are still trying to stop bad futures from happening. Until that formula can change– as soon as Heroes stops tring to recreate what it had in that first season– it will never be as fresh and as innovative as it was when it started. And that’s a hard goal to achieve.

LLAP

-Cap’n Logan