The Marx brothers is such a fitting image. *adopts*
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.
"way down it the polls": it's significant that Nathan doesn't adopt the euphemisms Linderman and, um, later others use when talking of Plan Let New York Blow Up; in his first conversation with Linderman, he called it "insane", and in later ones he says "mass murder". He's a realist among visionaries (good or bad) in this; but otoh, he's not completely unreceptive to the thoughtline of "if this happens no matter what, AND PETER WILL SURVIVE no matter what, well, then maybe I could make a difference and create something good out of it", which is the temptation. And then there's the part where Nathan is distinctly uneasy about the whole superpower thing anyway. He could handle Linderman as long as he thought Linderman was simply a very powerful mobster, which made Linderman dangerous, but a part of his normal Nathan Petrelli, ADA and aspiring politician life, something he's good and confident at. On the other hand, Linderman revealing he's one of the chief pull stringers in the special powers world changes things, because Nathan's instinctive response to the whole superpower thing was repress, repress, repress, and he had only started to gradually relax about it due to Hiro and of course the necessity of dealing with it because of Peter.
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 family fuckedupedness.
I knew he wasn't permanently dead (not because I was spoiled at the time, which I wasn't, but because that was a no-brainer, given that Peter's role as the bomb obviously meant he had to be around in the finale), but I still found the scenes very affecting for what they said about each relationship.
The orcish mockery of Issac's President Petrelli painting? That was very good, very ominous.
Some people deduced something from it which I didn't, so I was curious whether you would. We'll talk after you've seen Five Years Gone. *veg*
Sidenote: it's a neat subtle trivia bit 12_12_12 pointed out: when Peter is using Isaac's gift back in Hiros, he's painting like Isaac does, meaning some physical posture down to head tilt, and he's painting left handed whereas Peter normally is right handed. Also, the result, while not as accomplished as Isaac's paintings, is in Isaac's style. Whereas when Sylar uses Isaac's gift, his physical posture is entirely his own, he's painting right handed (deliberate choice, the actor is left-handed), and the style again is his own. Which says something about the different way each gets and deals with others' powers.
Oh, and .07% gives us the first of the wedding photos. These keep turning up in different variations on this show, to the point where you wonder what the wedding photographer was thinking. I mean, one photo of the groom and his brother, 'kay, but so far we've got:
no subject
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.
"way down it the polls": it's significant that Nathan doesn't adopt the euphemisms Linderman and, um, later others use when talking of Plan Let New York Blow Up; in his first conversation with Linderman, he called it "insane", and in later ones he says "mass murder". He's a realist among visionaries (good or bad) in this; but otoh, he's not completely unreceptive to the thoughtline of "if this happens no matter what, AND PETER WILL SURVIVE no matter what, well, then maybe I could make a difference and create something good out of it", which is the temptation. And then there's the part where Nathan is distinctly uneasy about the whole superpower thing anyway. He could handle Linderman as long as he thought Linderman was simply a very powerful mobster, which made Linderman dangerous, but a part of his normal Nathan Petrelli, ADA and aspiring politician life, something he's good and confident at. On the other hand, Linderman revealing he's one of the chief pull stringers in the special powers world changes things, because Nathan's instinctive response to the whole superpower thing was repress, repress, repress, and he had only started to gradually relax about it due to Hiro and of course the necessity of dealing with it because of Peter.
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 family fuckedupedness.
I knew he wasn't permanently dead (not because I was spoiled at the time, which I wasn't, but because that was a no-brainer, given that Peter's role as the bomb obviously meant he had to be around in the finale), but I still found the scenes very affecting for what they said about each relationship.
The orcish mockery of Issac's President Petrelli painting? That was very good, very ominous.
Some people deduced something from it which I didn't, so I was curious whether you would. We'll talk after you've seen Five Years Gone. *veg*
Sidenote: it's a neat subtle trivia bit
Oh, and .07% gives us the first of the wedding photos. These keep turning up in different variations on this show, to the point where you wonder what the wedding photographer was thinking. I mean, one photo of the groom and his brother, 'kay, but so far we've got:
and the one in the middle of these pictures.