The middle management comment was a hilarious moment, and Bennet's reaction made the scene.
The three stooges, I don't think I've ever learnt their names but Bennet would be the Groucho if they were the Marx brothers. Also it's a nice touch to have three middle-aged men with families and mid-life crises attached as a superhero team. Like when Nathan turned out to be the one who could fly.
The thing is, Nathan is not even tempted for as long as he thinks those .07% dying would include Peter.
I don't doubt that Peter is a deal breaker but I had the impression that he didn't think of it at first. His first response to Linderman was that he was down in the polls (significantly not something more idealistic along the lines of a nation united by fear not necessariy being the recipe for a better world). It's not until Linderman counters with the picture of President Petrelli that Nathan remembers that this all depends on Peter being the exploding man. I get the impression that he doen't want to trust Linderman's vision (which is a good instinct), finding that Peter (if no-one else) could survive such an explosion makes things very complicated for him.
both postulate that you don't see good in yourself, you see it in the other beloved person.
Very much so and Nathan being able to tell Peter as much does imply that their relationship is healthy in a way that the one with their mother isn't. Although she could tell Peter she couldn't lose him but it didn't come across as an unforced admission in quite the same way.
I was a little distracted from the mourning scenes by the certainty that Peter wasn't pernamently dead but you're right they were a perfect demonstration of the Petrelli familiy fuckedupedness.
Sylar. Speaking of whom, did you notice what he painted in the last scene?
The orcish mockery of Issac's President Petrelli painting? That was very good, very ominous.
no subject
The three stooges, I don't think I've ever learnt their names but Bennet would be the Groucho if they were the Marx brothers. Also it's a nice touch to have three middle-aged men with families and mid-life crises attached as a superhero team. Like when Nathan turned out to be the one who could fly.
The thing is, Nathan is not even tempted for as long as he thinks those .07% dying would include Peter.
I don't doubt that Peter is a deal breaker but I had the impression that he didn't think of it at first. His first response to Linderman was that he was down in the polls (significantly not something more idealistic along the lines of a nation united by fear not necessariy being the recipe for a better world). It's not until Linderman counters with the picture of President Petrelli that Nathan remembers that this all depends on Peter being the exploding man. I get the impression that he doen't want to trust Linderman's vision (which is a good instinct), finding that Peter (if no-one else) could survive such an explosion makes things very complicated for him.
both postulate that you don't see good in yourself, you see it in the other beloved person.
Very much so and Nathan being able to tell Peter as much does imply that their relationship is healthy in a way that the one with their mother isn't. Although she could tell Peter she couldn't lose him but it didn't come across as an unforced admission in quite the same way.
I was a little distracted from the mourning scenes by the certainty that Peter wasn't pernamently dead but you're right they were a perfect demonstration of the Petrelli familiy fuckedupedness.
Sylar. Speaking of whom, did you notice what he painted in the last scene?
The orcish mockery of Issac's President Petrelli painting? That was very good, very ominous.