Newsgroup: it.fan.startrek
Titolo: Heroes, fine prima stagione

Altro che sottotono, bellissima la fine, molto poetica. Solo, fossi stato
in lui, avrei buttato giù dalla finestra la mamma.
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 in lui, avrei buttato giù dalla finestra la mamma.
bellissima una palla.
peter puo' volare per conto suo,non ha bisogno del fratellino che 
l'accompagni(e ci rimanga secco)in orbita.
inoltre ha anche i poteri di hiro e puo' teletrasportarsi nello spazio e 
nel tempo.
se tu fossi un uccello per migrare prenderesti l'autobus?
se voleva lasciare la citta' lui e claire bastava che volasse via invece 
di andare in macchina.
per non parlare di come "perde il controllo",ridicolo e poco credibile.
per non parlare della convergenza di tutti i protagonisti in quella 
piazza forzata all'estremo.
finale bruttissimo e totalmente privo di senso
che rovina una splendia serie...
mrt^^
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che rovina una splendia serie...
Io invece l'ho trovato perfetto.


 Io invece l'ho trovato perfetto.
Non viene detto nulla sul "consorzio" che ha ordito l'esplosione, quando
avevano costruito una impalcatura narratica per tutta la seconda meta'
della stagione (e resta da capire come prevedessero di metterla in atto
questa esplosione, visto che tutto avviene cosi', alla cazzo di cane).
Tutta uan serie di persoanggi che arrrivano e muoiono cosi' tanto per fare,
vedi Thompson, con impatto zero sulla trama.
Sylar che da un momento all'altro decide di fare "buuum" e va a Kirby
Plaza, ma ancora non si capisce PERCHE' va proprio a Kirby Plaza. L'ha
letto sul fumetto? Cazzo, che intelligente.
Linderman che crepa nel modo piu' insulso possibile.
Jaessica si ravvede e lasciail controllo a Niki, cosi' tanto per fare,
spiegazione zero.
Jessica che non si capisce perchè si ravveda.
Il padre di Simone che scopriamo c'ha i poteri pure lui, ma non capiamo
quali, che appare a Peter, ma non capiamo se e' un sogno che o cazzo altro,
tutta una 
Il vecchio accudito da Peter che appare in una cosa che non si sa se è
sogno o meno, ma senso non ne ha.
Sylar che nonostante ll presidio della polizia, scappa agonizzante in un
tombino...
Perche' far scarificare Peter e Nathan quando basta sparare in testa a
Peter, e poi togliergli il proiettile dopo, visto che si rigenera?
Parliamo inoltre delle trame di Hiro e Niki portate avanti svogliatamente
quando potevano essere risolteinmeno episodi (chiaro segno che erano
programmate per una mezza stagioen di 13 e poi una volta avuta la full
season si sono ritrovati con troppo spazio, la sindrome da Galactica
direi).
Parliamo della bimba che individua gli Eroi. Manipolata da dottori per mesi
e mesi, poi arriva quell'imbecille di Suresh (uno dei persoanggi piu'
demenziali della serie) e subito a fare pucci pucci.
Heroes e' come Smallville, tante idee buttate li', ma senza raffinazione
della sceneggiatura.
Questo articolo evidenzia molte magagne di Heroes:
DAMON LINDELOF'S MESSAGE TO TIM KRING? 
Last night’s episode of Lost threw down the gauntlet for all of American
television, daring other shows to shake up their status quo in as major and
exciting way as they did. But coming a couple of days after the finale of
Heroes – a finale that even the show’s zombified fans must see as wildly
disappointing – the finale of Lost reads like a major fuck you to the sorry
attempts at serialized storytelling it has inspired.
Tim Kring’s Heroes has often been seen as an answer to Lost – where ABC’s
show is all about the mysteries and teasing things out for as long as
possible, NBC’s superhero spectacular is unwilling to leave its viewers in
the lurch for more than a couple of episodes. It’s part of the show’s basic
modus operandi: where Lost has faith in your intelligence and stamina,
Heroes knows that its audience isn’t that bright. Never mind Lost’s
ambitious literary and philosophical references (‘You’ve always been a
hero!’ is about as philosophical as Kring’s hunk of junk gets), Heroes
wants to keep frustration levels at a minimum. To be fair, that isn’t just
because the producers know their program appeals to people who hate to
think – they’ve watched Lost’s trajectory and understand that it’s easy to
lose the luster of being the hot new show in a blink of an eye. It’s good
business sense to keep things as simple as possible on Heroes.
But that’s where the show failed in its finale. Well, it’s one of many
places. Lost’s finale had more action, excitement and tension in its first
twenty minutes than Heroes’ last three episodes had in their entirety. The
final battle between Peter Petrelli and Sylar, which has been building for
months, was a complete letdown that ended up being a quick fist fight in
the street. It’s mystifying that the show didn’t spend more money on those
climactic moments (let’s just forget how badly written and directed the
finale was – that’s a given with Heroes. Compare how Heroes looks with how
Lost looks, just from a cinematography point of view); Heroes is one of
NBC’s big hits, and you would think that a couple of extra bucks would be
freed up for the big finish. Hell, we’ve seen how other shows deal with
limited budgets – shows like Battlestar Galactica set up episodes that can
be filmed on the cheap, allowing them to splurge on terrific sequences like
the Galactica’s atmospheric drop and rescue in the opening arc of the third
season. Instead we get a couple of punches and Hiro dropping into an
ancient Japan populated by a handful of people. (PS, they’re ripping off
the end of Evil Dead II there)
Still, budgets are a reality. One of my favorite TV shows of all time,
Buffy the Vampire Slayer, would run headfirst into the budget wall all the
time (although almost every season finale of Buffy was more spectacular
than the finale of Heroes, and that show was on third rate networks) – you
just hope that the writing and acting can make up for the cheesy snake
monster or whatever failed effect is highlighted that week. But Heroes,
being one of the most consistently poorly written and directed shows on
network TV, doesn’t even have that going for it. The finale sucked from a
production value point of view, but it also sucked when looked at as a
climax of any sort. Most of the characters we’ve been following all year
end up together… for no good reason. Rather than having most of these
people actually play roles in the finale, Kring and company have them stand
around uselessly. By the time the final minutes of the show happen, Kring
and his writers have had all the characters do whatever little bits they
had to do – kill Linderman, help Horned Rim Glasses Man find a floor in a
building (easily the lamest role a ‘hero’ has ever played in an epic), etc
– but because of the show’s incredibly poor pacing we’re left with a
paradox: all of these events took too long to happen, and occurred only
after the show spent hours and hours spinning its wheels, but at the same
time they all happened too early. So while it seems like the show slapped
about three episodes of filler in there at the end, it still ends up
feeling like the non-Peter and Sylar stories blow their loads too early.
Instead of having a massive climax where all these stories wrap up in a
short time span, we get trickles of wrap up and then a final fight where
most of the characters – including at least one character IN the fight –
are utterly useless.
That’s to be expected, though. I am not giving in to hyperbole when I say
that Heroes is one of the worst written shows I have watched (just look at
the episode before, when Hiro learns to be a swordsman in an afternoon and
yet doesn’t bother popping into the other room to tell his friend that
he’ll be working for a couple of hours, thus giving the writers a cheap
excuse to send that friend into some half-assed danger), so having the
finale be not just filled with badly conceived narrative but also bad
dialogue (see the entire exchange between Shaft and Peter Petrelli) is no
surprise. What’s most annoying is how the Heroes finale sums up the show’s
contempt for its audience, and how it’s completely different from how Damon
Lindelof and Carlton Cuse approach Lost’s viewers.
The anti-climax of Heroes comes not just from the cheap and boring final
confrontation, but from the fact that the events of the last minutes – the
‘How to Stop An Exploding Man’ of the episode title – are so transparently
obvious to anyone who has watched the show. Heroes has spent most of the
season building to this ending, and when the writers got there they chose
the single most predictable way to pull it off (despite the thing being
full of plot holes. For instance, if Cheerleader shot Peter in the head, he
would die but get better as soon as they pulled the bullet out, so that
seems like a good way to stop him from blowing up). I think they did this
for the simple fact that it makes the fat-headed fans of Heroes feel smart
– ‘I called that ending!’ Of course you did… so did anyone who watched any
previous episodes and had a concept of basic storytelling clichés.
Meanwhile Lost went the absolute opposite direction, delivering a finale
that was a complete mindfuck, an ending that no one could have guessed six
weeks ago. That’s because the producers know that the fans of Lost –
intelligent, literate people, mostly – love the sense of excitement that
comes from having expectations challenged, not met. The crowd that loves
Heroes is the same crowd Robert Zemeckis cuts his trailers for – the people
who want to know exactly what they’re getting when they walk into a
theater, the people who choose McDonalds over local food when traveling for
that same reason. These people are the lowest common denominator, and
Heroes shovels its shit into their happily gaping maws on a weekly basis.
There are other ways in which the Lost finale spanked Heroes – for one
thing Lost has characters that feel three dimensional, who have
contradictions and hidden depths, quite the opposite of Heroes’ cheap
carboard cut-outs (the character who got closest to having anything
resembling depth was Nathan Petrelli, and he got blown up… although I’m
sure he’ll get better next year), and these characters evolve and change in
interesting – and not predictable (hello, Peter Petrelli and Hiro Nakamura
arcs of gaining confidence) – ways. Lost has a more exciting and intriguing
concept and set up as opposed to Heroes’ Comic Books’ Greatest Hits
stories. But when the dust settles at the end of this week, the truth is
that the biggest difference is how the two shows treat their fans. I’d
rather have Lindelof and Cuse think of me as so smart that they can throw
in tiny hints and also little bits of disinformation to keep me guessing
over Kring thinking his fans are too stupid to be able to deal with actual
shock or excitement. 
Source: CHUD
( 
http://darkufo.blogspot.com/2007/05/damon-...-tim-kring.html
 )
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 Io invece l'ho trovato perfetto.
bha :)


della sceneggiatura
Smallville bleah.............


invisibilita' e volo insieme.
Non me lo ricordo, non mi pare, sei sicuro?


 sotto stretta sorveglianza ha scritto:

mi sembra di si(mo' e' un po' che l'ho visti).
ma se non puo' usare piu' di un potere insieme potevano dirlo
esplicitamente.
si dice in diverse occasioni che anche se peter dovesse esplodere si
rigenerera'(sono due poteri insieme)
e cmq continuo a trovare il finale insulso :)

 Smallville bleah.............
A livello di sceneggiatura la seconda parte di Heroes non e' tanto
distante. Sara' meglio si ripigli nel volume 2.


Suresh e' un emerito coglione. Non appena si muove fa cazzate.
E infatti chi è che ha salvato Molly dalla malattia e dall'occhialuto?


 E infatti chi č che ha salvato Molly dalla malattia e dall'occhialuto?
Vogliamo fare l'elenco delle cazzate invece? Quello che "Sylar lo blocco
iooooo", quello che "io si'che mi fido della gente giuuuuuuuusta"
Ma va a cagher, Suresh, essere inutile.
