Investigating Heroes: Essays on Truth, Justice and Quality TV
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Premiering in September of 2006, the weekly NBC television series Heroes was an immediate commercial and critical hit, lasting four successful seasons. Heroes follows a group of interrelated characters who discover they have superhuman powers, with each successive episode exploring how these people react to and utilize their powers for good or for evil. This collection of essays explores a variety of issues surrounding Heroes, examining the series' content, marketing and reception. Also investigated is the show's fusion of "cult" and mainstream elements of television, analyzing its ability to combine so-called lowbrow elements (comic books and superheroes) with a high-quality television form prizing such factors as moral ambiguity and depth of characterization--and what this blending process suggests about the current hybrid state of genre television, and about the medium as a whole.
of mutant-control that is his dayto-day business. We do not doubt that Noah comes to genuinely love his daughter, but he has great difﬁculty in effectively helping her to accommodate her new powers. Like many parents in more normal situations he seeks to ignore the transition of his daughter from dependent child to a powerful, Heroes and the Family (Beeler) 35 self-actuating adult. The fact that he uses the mind control of the Haitian ( Jimmy Jean-Louis) to erase his wife’s memory so many
ﬁnds her birth mother Meredith Gordon ( Jessalyn Gilsig), Claire realizes that this woman is even less likely to provide the comforting nuclear family that she seeks. Meredith is a frightened yet dangerous woman with pyromantic powers who hides from the world in a trailer park. When her meeting with Meredith leads to Claire discovering her birth father, Nathan Petrelli, she is horriﬁed to ﬁnd that he is afraid that her existence could interfere with his political aspirations. Claire’s meeting
attract a young readership and give these readers someone to identify with, proving extremely successful in this regard. Robin the Boy Wonder ﬁrst appeared with Batman in 1940, in Detective Comics #38, an appearance that doubled the sales of Batman-related comic books (Daniels 36). Heroes also features child characters such as Micah Sanders and Claire Bennet, and, although they are heroes in their own right, their positioning still conforms to the comics model, as Robin went on to multiple solo
Unmasked, “Hiro Worship” (1:4), Kolpack expands on this approach in the schoolgirl’s rescue. This was realized in two main phases. On set, various methods kept objects (e.g., a jump rope) and actors motionless, seemingly arrested during normal movement. A camera moves with Masi Oka (playing Hiro) through the scene as he raptly examines the immobile objects around him. Items thrown up by the truck’s impact are suspended in midair, created by the visual effects team in post-production: I said to
Laura Hilton is in the ﬁnal stages of her PhD at the University of Birmingham, where she also completed her BA and MA degrees. Her doctoral research questions representations of the Gothic double in the contemporary graphic novel and focuses on the work of Neil Gaiman, Frank Miller, and Alan Moore. She founded and co-edited the ﬁrst two issues of The Birmingham Journal of Literature and Language (BJLL) and has articles forthcoming in Gothic Science Fiction, Alan Moore and the Gothic Tradition