raw. Hiro’s visit with his father was a nice aside from the main event, and really solidified Hiro’s place as one of the most human characters in the show. From a writing point of view, it also neatly placed some boundaries on Hiro’s all-powerful abilities. If Hiro was capable and willing to travel back in time to save the life of anyone who died, the show would quickly become ridiculous. “Hiro, I need to dart across this freeway here to get to that AM/PM over there. If I get clipped by a semi or anything, could you be a bud and go back in time and stop me? Thanks dude.” The other side plot this episode centered around Parkman, who has gone from being a sadsack to a possible psychopath with moderate to extreme father issues. We didn’t learn much new from his interrogation of Angela Petrelli, but his no-holds barred approach was a surprising development. He’s turning into a doughy Jack Bauer. And finally, I noticed a lot of pretty glib one-liners this episode. Somewhat out of character for the show, but a welcome reprise from all the “Alejandro!” wailing we’ve sat through. Some particularly fine examples included: “Hey Fight Club.” (Veronica Mars to a nose-bandaged Mohinder) “Stings like a b***h don’t it?” (Bennet to a soggy and now smoking Veronica Mars) “They were in an organization in the seventies. – You mean like a disco?” (Parkman’s boss) Of course if I was writing the show (I’m not, for many, many very good reasons) I’d have capped off this one-liner spree with another during that scene on the Mystery-rooftop. When the camera cut to the close shot of Hiro as he finally sees Adam/Kensai’s face, I’d have punctuated that with an exclamation in Japanese followed by the subtitle:

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