#411: 'Thanksgiving'
Wr: Adam Armus & Kay Foster
Dr: Seith Mann
Synopsis: As Noah hosts a Thanksgiving dinner, an unexpected guest visits the Petrellis. Meanwhile, Lydia tries to discover the truth about one of the carnival's secrets.
Review: Sometimes, it's the simple things in life that prove to be the most rewarding. Thanksgiving' is an unashamedly straightforward piece of work, stripping away the complexities of narrative minutiae to produce something that reads rather like a slice of minimalist theatre, predicated entirely on three thematically connected stories that remain, geographically at least, notably static. There is very little action here; movement is considerably restricted. The story pivots on the concept of Thanksgiving, taking three very different, but equally as psychologically messy, dinners - at the Carnival, the Petrellis' and the Bennet's - and using them to delineate a number of important character points, as well as to gentle nudge forward a handful of plot tropes.
Surprisingly, Claire's tet a tet with her parents actually proves to be a highlight. Where usually, the banality of her narratives cause the eyes to roll, here, Armus and Foster prevent its verisimilitude from ever becoming mundane with the aid of some highly naturalistic, and quite often understated, dialogue. For all its contrivance, HRG's appropriation of Lauren's assistance is actually rather engaging, precisely because their interactions feel human, full of awkward attempts to disguise the truth and repressed emotional feeling. And while Doug is a little silly, his interruptions at the dining table are deliberately kept to a minimum and used to great effect in conjunction with the issues surrounding the other characters. Take Claire's frustration at her power's tendency to alienate her from those she loves: excellently illustrated by a physical, as well as emotional, outburst involving a kitchen knife. The moment is considerably shocking, but the effect it has on Doug balances the horror with an element of humour, creating a satisfyingly rich tapestry. And then, of course, there's Gretchen's return, which actually feels welcome thanks to some solid and believable writing.
In the other 'households', the Petrellis provide some of the most wonderfully forced and horrifically awkward moments this side of an X-Factor audition. Cristine Rose is at her level best as a defiant Angela, trying desperately to cling to the illusion that her family is still together. Her confession feels refreshingly genuine, a trait that we don't often associate with the character, but one that looks decidedly good on her. Ventimiglia's disdain and distrust makes for a nice counterpoint, while Pasdar's increasingly unhinged and broken Nathan is fascinating to watch. When Quinto worms his way into the mix, things only get better; his taunting and manipulation carries on from the superlative work he has been doing with Greg Grunberg, coming across as deliciously sinister precisely because it avoids the hyperbolic. Sylar's psychological evaluation of the Petrelli family is absolutely spot on; so much so, in fact, that when Nathan starts to make a reappearance, it's almost disappointing.
The Sullivan Carnival, meanwhile, proves to be a delightfully warped place for a celebratory dinner thanks to a few important revelations about the fateful night that Samuel's brother died. While it is no surprise to anyone that T-Bag killed Joseph (who is played to perfection by Andrew Connolly), the sequence is so damn good that you forgive it its predictability. Seith Mann outdoes himself here: the greys and blues of the chiaroscuro are beautiful, amplified manifold by the inclusion of a sinisterly overbearing moon that looks bloody magical It's the sort of attention to visual detail that made season one, quite literally, such a feast for the eyes and it's certainly good to see it back. In fact, it's been somewhat of a staple of the season, particularly as regards this storyline, with its skewed camera angles and psychedelic designs. Robert Knepper actually does a lot to help: his grace, poise and manipulative slight of hand intensify the feeling that there is something indefinably fantastical about the whole thing.
'Thanksgiving' only really falters when it does try to amp up the action. The mysterious lightning strike that signifies the 'resurrection' of Sylar feels grossly unnecessary, a kind of tacked on visual designed purely to help spend the effects budget. Why wouldn't he simply transform? Why does there have to be a fanfare? Mostly though, this is a well-structured, cohesive piece of work that feels distinctly real while being considerably engaging. Not much happens on a literal level, but there's a whole hell of a lot going on under the surface, as the characters are nudged in different directions in preparation for the latter half of the season. Certainly one to give thanks for. 8.3
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