When the Marx Brothers approached Irving Thalberg about making their next film, Irving said their previous pictures contained funny material but was inanity built atop of inanity. They needed a firm foundation from which to shake to the rafters. Thus came about their greatest structured comedy "A Night at the Opera."
Much like Mindy in "Mork and Mindy" or Matt Sullivan in "40 Days and 40 Nights," Henry Hart used to be the sweet, innocent, unspoiled center of rationality and normality in the crazy world of Henry Danger, the series' firm foundation, but now only Charlotte remains (whom "the men" now tend to ignore). Henry's now part of the craziness and the stupidity, contaminated by bad examples of ego-centricity and vaingloriousness set by Ray/Captain Man. In the pilot episode Henry studied with Charlotte, and his work ethic was sincere, but now, influenced by bad role model Ray, Henry has become much the same, no longer seeing Ray as someone NOT to become, which loses quite a bit of dynamic between these superhero partners. Here, as Henry studies with Charlotte, he no longer even remotely tries to be a good student, copying her answers without shame, thereby learning nothing but how to skip responsibility.
A lot is overlooked or unexplored in a story which seems padded and in need of substance. Why? Henry's father, Jake, gets a new job in another city and must relocate the family, thereby disturbing everyone else. That means Henry won't be able to be Captain Man's sidekick anymore (which could ALSO mean that Jasper has the opportunity to apply or step in as the new sidekick - but Jasper never thinks of this, instead he becomes fairly gay about losing his boyhood chum, declaring that he thought they'd be together forever). Ray's solution to Henry not moving away is to sabotage Jake's job interview. Henry agrees, with only a slight note of regret about doing it, putting his wants ahead of his dad's. Henry should be old enough to be caught between not wanting to move but seeing the need for his dad to succeed. (After all, Jake is family, and the extra money coming in would benefit everybody financially.). There's not even a discussion about Henry being just about old enough to strike out on his own. He's sixteen, but there could be a deal made about living with Ray down in the Man Cave. That wouldn't solve Piper's problem, thereby keeping the drama fueled.
Seemingly, there should have been (or could have been) more tension between Ray and Henry - with Henry ultimately unable to sabotage his dad's new job against Ray having no problem whatsoever. And then more dynamics with Jasper trying to become the new Kid Danger (ultimately turning against Henry staying), with Ray, not wanting Jasper around more than he already is, doing absolutely everything he can to keep Henry in place.
As is, Henry Hart is well on his way to becoming a full-blown wastrel, just a run-of-the-mill dude, a punk, a lout, a dolt, a knob, no longer someone to admire. With any luck, an episode will come along to give him a gut check, a bit of shame, and some redemption.
Much like Mindy in "Mork and Mindy" or Matt Sullivan in "40 Days and 40 Nights," Henry Hart used to be the sweet, innocent, unspoiled center of rationality and normality in the crazy world of Henry Danger, the series' firm foundation, but now only Charlotte remains (whom "the men" now tend to ignore). Henry's now part of the craziness and the stupidity, contaminated by bad examples of ego-centricity and vaingloriousness set by Ray/Captain Man. In the pilot episode Henry studied with Charlotte, and his work ethic was sincere, but now, influenced by bad role model Ray, Henry has become much the same, no longer seeing Ray as someone NOT to become, which loses quite a bit of dynamic between these superhero partners. Here, as Henry studies with Charlotte, he no longer even remotely tries to be a good student, copying her answers without shame, thereby learning nothing but how to skip responsibility.
A lot is overlooked or unexplored in a story which seems padded and in need of substance. Why? Henry's father, Jake, gets a new job in another city and must relocate the family, thereby disturbing everyone else. That means Henry won't be able to be Captain Man's sidekick anymore (which could ALSO mean that Jasper has the opportunity to apply or step in as the new sidekick - but Jasper never thinks of this, instead he becomes fairly gay about losing his boyhood chum, declaring that he thought they'd be together forever). Ray's solution to Henry not moving away is to sabotage Jake's job interview. Henry agrees, with only a slight note of regret about doing it, putting his wants ahead of his dad's. Henry should be old enough to be caught between not wanting to move but seeing the need for his dad to succeed. (After all, Jake is family, and the extra money coming in would benefit everybody financially.). There's not even a discussion about Henry being just about old enough to strike out on his own. He's sixteen, but there could be a deal made about living with Ray down in the Man Cave. That wouldn't solve Piper's problem, thereby keeping the drama fueled.
Seemingly, there should have been (or could have been) more tension between Ray and Henry - with Henry ultimately unable to sabotage his dad's new job against Ray having no problem whatsoever. And then more dynamics with Jasper trying to become the new Kid Danger (ultimately turning against Henry staying), with Ray, not wanting Jasper around more than he already is, doing absolutely everything he can to keep Henry in place.
As is, Henry Hart is well on his way to becoming a full-blown wastrel, just a run-of-the-mill dude, a punk, a lout, a dolt, a knob, no longer someone to admire. With any luck, an episode will come along to give him a gut check, a bit of shame, and some redemption.
