Archive for category Childhood Revisited

Gargoyles “The Reckoning/Possession”

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The World Tour has its critics, me among them, but by using the global journey structure, Gargoyles has been able to let individual and specific stories breathe on their own, such that when the gargoyles and Elisa returned home, there would indeed be a reckoning. “The Reckoning” and “Possession” are two great episodes that really tie the most important and “still up in the air” questions of the season. “Possession” has some minor flaws but overall is a pretty solid episode; it’s “The Reckoning” that is beyond reproach, by far the best episode of Gargoyles’ run. Barring the events of “Hunter’s Moon,” the three-part finale, Demona’s tragic and difficult life story ends here, in the most powerful way possible.

Gargoyles 2×48 – The Reckoning

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“The Reckoning” cheats a little, teaming up Goliath, Brooklyn, and Angela at first, all three of whom has specific agendas against Demona, so of course they all find her first. It’s a fairly quick battle, but interesting to note that Brooklyn attacks first, the one character who hasn’t had the chance yet to work through his anger – and is punished for it. Goliath and Angela take Demona down within her battlesuit, and, in determining where to take Demona’s unconscious body, they figure the best place to send her is to the Labyrinth.

It’s all coming together now. The events after “Kingdom” has created an alliance among the Manhattan clan and the Mutates, and they come to an agreement to stand watch over the captive Demona every night for… I assume, ever. This I found absolutely fascinating. Gargoyles pride themselves – natch, live for – protection, for keeping a watching over the things they love. So with minimal hesitation, they agree to take shifts to watch one solitary figure, in a dark, dank room, all night, for eternity. They make it into a second job, they do this for over three months, and there’s nary a complaint. I can only imagine how tedious that must’ve been, but there’s a resolve to their task that’s undeniable.

Angela takes the first watch. Goliath tries to talk her out of it, but it’s Hudson who stops him. The show continues to establish Hudson’s wisdom in quiet, understated ways, and it’s always a treat. This leads to a one-on-one conversation between Angela and Demona, and it’s fantastic. Koko Animation, which handled expressions fairly well in the past, is pitch perfect here, nailing the expressions and framing needed to convey the pain, anguish, and sadness that Demona is feeling, and VO actress Marina Sirtis is on point with every line read. It’s depressing, to see Demona, for a brief moment, express what might be happiness at seeing her daughter, only to jump right back into her rage when Angela tells her about Katherine and her protection of the eggs. Stark proof right there that humans can be helpful, saving her own daughter, but Demona can’t accept it. She won’t accept it.

All this time, however, Demona has been secretly sending out mechanical bugs to suck the blood out of various Gargoyles’ characters. I was a little reluctant about another sci-fi plot – mainly because the conversation stuff between Demona and the various members of the clan was so, so good – but this led to some unexpected developments; namely, the bugs being sent back to a Nightstone Unlimited, where Dr. Sevarius is using the DNA to construct… something, for a well-paying Thailog! Giant genetic “things” in a vat can only mean clones, and Thailog is raising them to be brutish but loyal. Thailog, voiced by a sassier version of Keith David, is just fantastic, as always, and Thailog is really just having fun as the tensions mount.

After a few months, the shit hits the fan. Thailog crashes into the Labyrinth and frees Demona, and the two reunite in love… per se, since Demona still isn’t aware of Thailog’s attempt at his betrayal way back in “Sanctuary,” so we’re witnessing yet another layer to her tragedy. The two escape, freeing Fang in the process, who was there, captured as well, making lame quips and being a nuisance, but it’s okay, since he’s much better as a side villain than the main antagonist of an episode. Goliath and Derek chase them down to an abandoned theme park – a classic showdown location, so kudos, Gargoyles. Goliath gathers the crew, and it’s about to go down.

It’s Thailog who has the jump on them, though. Unleashing his creepy clones onto the unsuspecting crew, the Manhattan clan and Derek are ambushed by multiple doppelgangers and held captive. Thailog is so great, only he can get away with classic evil monologuing, as he regales everyone his massive clone plan and the necessity to keep them stupid. What I like about this part, though, is Thailog very subtly and very carefully decides to try and kill Angela first, mainly to test Demona’s loyalty. Demona has little left to fight for, and while Thailog makes an ideal Goliath substitute, Angela is her actual daughter. She tried to turn her, but failed. Demona has been driven by hate all these years, but when Angela tells her mother point blank, “I hate you,” there’s a moment, a small moment, where Demona realizes she lost her, and all of this was for naught. Yet even in that moment, she still prevents Thailog from killing her.

Then Thailog reveals his most secretive prize: a clone of Demona mixing her DNA with Elisa’s, as an added “fuck you,” because Thailog, yo. If Demona’s lowest point was Angela’s hatred of her, than this is a figurative “kick ‘em while their down” moment. This hybrid, called Delilah, adds an extra brand of creepiness to the proceedings, by being a female that only he can control. Thailog can control the clone gargoyles, yes, but they’re kept stupid, more or less just flesh robots. Delilah is something else, the pure representation of male control, both blindly loyal and a literal-created sex object. Plus, she’s a creation of everything Demona has lived for (herself) and everything she loathed (Elisa and her humanity). When Demona finally fights for something other than herself, it feels wonderfully, powerfully redemptive. “Goliath, save our daughter!” she bellows before freeing them, and the line-read is so perfect I am near tears.

This leads to the most badass battle this show has ever done. Koko gives the A-Team a run for their money, simply by keeping the three fights in clear and distinct contrasts: Demona/Goliath vs. Thailog, the Manhattan clan vs. the clones, and Talon vs. Fang (there’s also a Delilah vs. Angela conflict, but we never see it, and Delilah never stood a chance). It’s an intense fight, not because of the dynamic staging against the backdrop of the slowly destroyed carnival, but also due to the unique contrasts in battle. The Manhattan clan realize that key moments of collaboration are the best ways to take out the single-mindedness of the clone. Talon takes down Fang, mainly because Fang’s a shitty fighter. And Demona is just going all out on her final fight for vengeance, and she and Thailog go at it, even as the fires of the roller coaster burn all around them. Goliath tries to save her, but is force to flee before the burning wood collapses all around them, leaving Demona and Thailog to disappear among the ruins. “Do you wish to perish?” Thailog asks, with a bit of a whimper to his voice. “My vengeance is all you left me,” responds Demona responds, without a hint of irony: vengeance is all Demona ever had.

It ends with a bunch of lost clones needing a purpose, which Derek will provide (along with proper verb usage). It is purpose, though, that led to this tragic moment, that brought Demona down a road of pure hatred, only to have her first “goodness” in a long, long time. Whether she’s dead or not is a moot point; Demona has found redemption, a new beginning, even if that new beginning was but for a few minutes. Angela may have told her he hated her, but maybe Demona saw in that statement, in that moment, a true reflection of herself (signaled by Angela’s glowing red eyes), prompting a change that signaled a need to fight for something beyond avenging gargoyles. Demona, you lived a tough life, and while you never found peace, you’ve at least found a purpose.

[She's probably not dead. She's still cursed and connected to Macbeth. Still, the episode plays it so, so well.]

Gargoyles 2×49 – Possession

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“Possession” is a solid episode too, although it gets a little cluttered in the middle. It kind of feels like it’s reveling in its cleverness, but it’s not letting the audience feel clever along with them. It also doesn’t help that it involves Coldstone’s internal brain demons, which has always been an Achilles’ heel of the show, since those brain demons feel woefully underdeveloped. Two of them are in love. One of them is evil. The ultimate goal is clear.

Gargoyles never quite had a handle on the cyberspace elements, but that was just a general interpretation of cyberspace that existed in the 90s, and the show did the best it could with that interpretation, creating an interesting dynamic battling inside Coldstone’s head. It’s a fight for Coldstone’s soul essentially, which is one of the many secondary themes of the show – struggles for some sense of control and/or independence. Coldstone left the Manhattan clan to try and win his internal battle, but Xanatos seems to have other ideas, after his robot gargoyles subdue him in the midst of the Himalayas and drag the cyborg gargoyle back home.

I like that Xanatos is still naturally a sleezeball. Even with his intentions noble and pure, he never actually tells Coldstone he’s helping him, nor asks for his consent. He just fucking does it, or at least tries to, until it’s clear that science alone won’t purge Coldstone of his conflicting personalities. He then just leaves Coldstone’s head all separated from his body, because that’s the kind of guy he is. Gargoyles’s message is clear. People don’t change, even if their goals do.

It’s all a little disappointing. The second that Oberon told Puck that he could only use magic when training Xanatos’ son, it’s clear that Puck/Owen would be using a training session with Alexander as a means to do some trickster magic. Of course, the episode does a good job of understanding that a training session with Puck would still be confusing and full of tricks and misdirections. I guess magical beings don’t change much either, and what follows is a mindfuck of body transferences and high-level pretense.

Recapping the plot in detail would be a bit out of hand here, due to the sheer amount of body-swaps that take place. The gist is that Puck and Alexander first pretend to be Goliath and Hudson, and they use magic to draw out Coldstone’s three personalities into Angela, Broadway, and Brooklyn. The fun part is that the writers, who always viewed Gargoyles as a heightened take on Shakespeare, takes the allegory up to eleven, with the three of them talking in amazingly delicious hyper-Shakespeare-esqu dialogue. The three voice actors of Jeff Bennett, Bill Fagerbakke, and Brigitte Bako just have fun with their ham-chewing lines, with Brooklyn playing the plotting, cantankerous villain, and Angela/Broadway as the tragic lovers. If anything, just watching the three of them do Shakespeare in the Park is just loads of fun.

Not to say there isn’t a worthy amount of tragedy here. The episode is definitely committed to its characters, so there’s a real concern on whether these souls will willingly stay trapped in the stolen bodies. Even the wholesome duo of Coldstone/his lover discuss this, in their desperation to physically feel each other again (and the sexual tension is not lost on this episode), which creates some scary overtones. Cooler heads do prevail, particularly once Puck-as-Coldstone introduce Coldsteel and Coldfire as potential conduits. The demon in Brooklyn sees Coldsteel in action and wants a piece of that, which Puck grants, and the figures inside Broadway and Angela acknowledge their fate, to which Alexander-as-Lexington (don’t ask) grants by sending them into Coldstone and Coldfire respectively. Everyone is back to normal, Xanatos gets his noble wish granted, and Alexander gets his first lesson, courtesy of Puck’s Rube Goldberg Method of Teaching.

It’s a solid episode, if a bit messy when the head games really begin, but it’s all done on purpose, a confusing episode meant to make all sense in the end. Still, while the character misunderstanding is fine, a bit of plot/pacing clarity would’ve worked in the episode’s favor. It’s no matter, though: the last four episodes have been fantastic overall, and with the season finale of Hunter’s Moon next, we’re looking at a fantastic endgame to an amazing show.

“The Reckoning” A/”Possession” B+

 

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CHILDHOOD REVISITED – Road Rovers

Road Rovers’s lofty premise failed to commit to anything of substance to sustain into a cohesive whole. The question is, why?

I have seen a lot of cartoons by this point. I have seen the good, the bad, the ugly, the beautiful, the strange, the weird, the bizarre, the outlandish. I’ve seen action cartoons, wacky cartoons, subversive cartoons, serious cartoons, and surreal cartoons. I’ve geared myself to engage in every type of animation out there, whether for kids or adults, cracking my knuckles and prepping my fingers to explore what happens within the animated frame and how those events could affect viewers, and how over time those effects may be viewed in a modern context, or within any context at all.

Then there’s Road Rovers, a show that seems so stifled that it’s almost impossible to engage in. Almost.

Road_Rovers

Road Rovers is a curio. I kind of feel like Homer Simpson when he described what a Muppet is – that is, if you were to ask me what Road Rovers is about, I would respond: “Well, it’s not quite an action show and it’s not quite a funny show, but man… so, to answer your question, I don’t know.” Honestly. I’m not exactly clear on what the Road Rovers was aiming for. For a show spearheaded by Tom Ruegger and Paul Rudd, the geniuses behind Tiny Toons, Animaniacs and Freakazoid – three shows with enough narrative oddness to compete with the Bible – Road Rovers may be the oddest of them all, because it seems reluctant to commit to its oddness. Or anything at all, really.

Road Rovers takes its cues from the Power Rangers, and other super sentai shows that were popular (and still are, to a certain extent), in which five or six plucky characters are chosen to be a super-powered fighting force battling evil where ever it may be. Instead of humans, though, the show opts for dogs, which allows it to dip its toe into the early 90s badass, macho talking animal action-cartoon template as well. Road Rovers is clearly building off these two concepts and attempts to, more or less, undercut those ideas and ridiculousness of them.

Yet Road Rovers doesn’t exactly build into anything on its own. It doesn’t really even undercut the super sentai show or the talking animal action cartoon either. The show kinda plays into those elements with this weird, lackadaisical malaise, lightly elbowing and jabbing at all these elements – the action, the comedy, the story, the commentary, the metacommentary – without strongly committing to any of it, or even to the very premise of the show itself.

A lot of that probably sounded like gobbledygook. Let’s look at the pilot, “Let’s Hit the Road.”


Road Rovers Episode 1 “Let’s hit the Road” by dm_51e63c6f9122b

The first five minutes are played completely straight. It’s a bit slow (which isn’t necessarily a problem, but there’s a sense that it’s padding for time), and considering it involves a scientist being blown up, there’s a sense that viewers should be taking things seriously. Then the dogs are summoned. It’s a silly scene, but it’s portrayed with a quiet wonderment, and for a while it’s unclear whether it’s supposed to be funny or awe-inspiring. The first “joke” involves Shaggy, who’s whimpering in fear of his summons. We’re treated to Hunter, who saves his doomed doggy pal before he’s called upon, which gives us a direct indication that he’ll be the leader. Then they’re all transformed into their anthropomorphic, metal-suited selves, and present themselves before their “master”.

A few quips aside, everything is portrayed as direct and sincerely as possible. But that can’t be right, right? The machine that transformed them is called “the transdogmafier,” and it’s a phrase that is spoken by an actual person, and it’s not supposed to elicit chuckles? Then when the master tells the dogs to greet each other, it’s done via an off-camera gag with the Rovers’ tails in the air, indicating that their sniffing each others’ butts. The master sighs and laments he should’ve used cats. It’s a cute, easy gag, but I’m not sure how to take it considering we’re nine minutes into the show. It’s a gag that pushes it into the ridiculous realm, but the show doesn’t feel ridiculous enough to pull it off.

That’s just it. It’s hard to gauge how to respond to the show. In the middle of various action and dramatic scenes, characters will sort of shoot out these really casual comedy bits that seem tonally off. I get the sense that the creators were aiming for a “casual action cartoon,” something where the characters amicably shoot the shit with each other while things blow up around them, a thing that happens quite often with the Rovers themselves. It’s an admirable attempt, but the result rarely creates a solid comedy, and it drastically lowers the action/dramatic stakes. It creates a show that feels perfunctory at best, and ill-thought out at worse.

“Let’s Hit the Road” is actually part one of a three part series (along with “Dawn of the Groomer” and “Reigning Cats and Dogs” [I think - the episodes weren't aired in any order that made sense]) that gets into the nitty-gritty of the master, Professor Shepherd, the villain General Parvo, and The Groomer (Parvo’s assistant and potential lover), and the origins of this transdogmafier. That is, there is a mythology. The show is dedicated to that mythology, but it’s inherently silly, and the show knows it is, but it’s an attitude that doesn’t adequately show up on screen. Plus, it’s a mythology that doesn’t hold up to even mild scrutiny, particularly when they start bringing in Egyptian spells and time-travel. It’s needlessly complicated, which again, would be fine if the show had fun with it. But it treats everything with this weird heavy weight, making it more off-putting then it needs to be.

Yet as mentioned before, the show feels like the joke is in placing its characters in tense situations, creating like a “hangout” show in the midst of an action show. Unfortunately the characters don’t have strong enough personalities to stand out individually, let along make a compelling exchange. Hunter is just a really positive guy. There’s nothing much going on with him other than his optimistic response to everything, but it’s always level-headed, not heavily exaggerated like a Spongebob or a Wander. Colleen is fine but kinda fits the “bad ass female” role, regulated mostly to quipping with Hunter and Blitz. Blitz is the comic relief, although he doesn’t really work. He freaks out at the sign of danger – but so does Shaggy, which defeats the purpose (Blitz and Colleen have a running gag where Colleen pretends not to know Blitz when he hits on her. This doesn’t work because 1) the sexism is too strong here, 2) Blitz is too stupid to vary the responses to this gag, and 3) Blitz works better as a goofy but functional member of the team.) Exile seems to be the writers’ favorite, with his relatively witty putdowns and depth of character that’s lacking with the others. His running gag – reading simplistic children stories in the middle of missions – work the best, because it’s fits his character AND it’s patently absurd.

Lacking a strong premise and a strong cast, Road Rovers kinda limps by with a non-committal attitude that makes it hard to really get behind. Still, the show has promise. The best episodes work with its undeveloped premise, inserts a simple story, and lets it loose. “Where Rovers Dare” is epitome of this. A scepter has been stolen and the Rovers have to get it back. It’s a simple, straight-forward action episode, not bogged down by too much information. It’s enjoyable to see the Rovers in their element, and their banter doesn’t pull too much away from the plot. (“Where Rovers Dare” also has a smartass allegory in its premise, written by this person on Deviantart and confirmed by Tom Ruegger himself. Problem is, the show isn’t overall an indictment of studio cattiness, so don’t expect to be looking for hidden messages everywhere.)

Once the show tries to be complex, though, it fails. The show is too silly to insert that kind of complexity because it raises too many questions the show is not adept at answering (like its mythology), and the obvious lack of a budget and quality writers makes it hard to look good. “Still a Few Bugs in the System” is just a disaster, introducing a bug-crazed scientist who seems like a caricature out of a wackier cartoon. But the episode is sloppy, with nonsensical storyboards and an even stupider plot. “Gold and Retrievers” has a blind kid who’s a native, but also seems to be a leader of a tribe, but it’s never made clear, and it’s frustrating (the show has an obsession with pyramids but nothing is ever done with it, narratively or thematically). “A Hair of the Dog that Bit You” brings in other talking anthropomorphic dogs, characters we never see again, and it’s a baffling reveal. We’re these dogs made by the transdogmafier too? Why is one sitting on a mountain, Dali Lama-style? The show isn’t wacky enough to get away with these kinds of absurd reveals; it’s unclear whether to insert them into the show’s mythology or place them as a comedic outlier. The other episodes are okay, with “The Dog Who Knew Too Much” containing a clever twist, but again, the show doesn’t engage with either its serious or comic sides, making it hard to support it.

A friend of mine is a fan of the show and spoken with a few of the writers/animators in light of the show’s fallout. They basically were working with less of the resources they had with Animaniacs, and it shows. Hunter’s eyes are different colors for several episodes, and Blitz sometimes will have Hunter’s fur colors. They recycle animation and scenes constantly; a post-Muzzle attack re-uses the same exactly shot and background, despite Muzzle being in two different locations in two different episodes. (An aside: the Muzzle-kills-everyone stuff fails to work because the audience doesn’t even get a sliver of an indication that Muzzle’s attacks are grotesque. Also, if he’s so effective, why not unleash him all the time?) I sympathize with the lack of resources, but the team behind this show is way too talented to let monetary concerns limit them.


Road Rovers 13 – A Day In The Life (Unedited… by extremlymsync

“A Day in the Life” seems to be the kind of episode Road Rovers was always going for, which suggests the show needed a gimmick or absurd frame story to situate its characters inside, so that its seriousness and its silliness can breathe in its own way. The title cards indicating the changing timeframes allow certain moments for the characters to hangout and chat, and other moments for them to kick ass. Hunter’s search for his mother is effective, as well as Colleen’s feelings for him are explored, which allows her to actually talk with Blitz in a mature manner. Exile works as a team communicator, and the little comic bits they come up with are, if not funny, enjoyable that deepens the characters instead of forcing dialogue gags to disrupt the momentum (the edited “Russian name bit” is too much – not because it’s offensive, but because it’s really just an Animaniacs gag forced into Road Rovers for no reason).

That bit is Road Rovers in a nutshell. Unable to commit to its drama, action, or comedy, the show tries to do all three but ends up doing neither. The passion is there. You can feel it pushing against the edges of the show. But as the cliche go, Road Rovers’ bark is worse than its bite.

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Gargoyles “Vendettas/Turf”

Gargoyles_Vendettas_screenshot

After the all-out brawl that “The Gathering” brought to us, Gargoyles slows things down and comically livens things up with “Vendettas,” a mythology-relevant but mostly insignificant episode, and “Turf,” a follow-up to “Protection” and “Golem” with a little bit of good ‘ole fashion lust-based teenage competition. Gargoyles doesn’t really do humor all that well, mainly because the overall narrative is so intensely serious, and the strict, solid animation prevents the show from being too wacky, but that doesn’t prevent Gargoyles from having a little fun at its own expense, particularly as a thematic frame story around two relatively simple plots.

Gargoyles 2×46 – Vendettas

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I’m not a super fan over self-aware episodes of cartoons. I don’t mind when the show has a bit of fun at its own expense and the various stories and characters it developed, but putting out an episode that’s just the writers and animators having a circle-jerk of in-jokes tends to put me right off, which makes me the only person who was not a fan of The Last Airbender “The Ember Island Players.” Interesting enough, both that show and Gargoyles created semi-goofy episodes towards the “end” of their runs (“Players” was the fifth to last episode of The Last Airbender, “Vendettas” the seventh to last, if canon dictates the third season obsolete). That all being said, “Vendettas” works better as a episode because it of its focus on an intense, brutal fight between Goliath/Hudson and Wolf/Hakon, with the goofy motorcycle guy whom Lexington scared off way back in “Awakening” being mostly on the margins. Oh, and his name is Vinnie.

Gargoyles does crazy so, so well, with Matt Bluestone and Xanatos’ dad being at the top of the list. Now we have Vinnie, a guy who has so little luck in his life since the gargoyles arrived that his vendetta against the beasts would seem understandable if he didn’t come off so unhinged. I mean the guy purchases what appears to be a massive bazooka, names it Mr. Carter, and rants to it like a it’s a bored bartender as he lugs it around New York. Jeff Bennett brings such a goofy, hilarious take on Vinnie’s psychosis; such a silly approach to the script definitely required an actor who’s familiar with more sillier roles. This allows Vinnie’s plight to come off as comical, but at the same time, feel so real to him that when the episode reaches its climax, audiences are at the edge of their seats wondering what he’d do – then sighs a cathartic relief that he both achieves his “vengeance” and lets the gargoyles off the hook.

Like most Gargoyles episodes, “Vendettas” is dual-themed, both with Vinnie’s ineptitude and Wolf’s/Hakon’s rage. The most aggressive member of the Pack, Wolf, returns to New York after being in Wyvern, Scotland, for some time, and he comes with a talking, magical axe. There’s an undercurrent of goofiness to the whole thing, with Wolf and the axe laughing evilly together, before it gets deadly serious when Wolf finally comes into contact with Goliath and Hudson. What follows is basically a fifteen minute beatdown, and Koko handles the animation slightly better than in “The Gathering,” mainly because there are fewer forced perspectives here. It’s a little wonky here and there, but definitely workable for the most part.

It also helps that the staging of the battle is a bit clearer then the one in “The Gathering” as well. Even as Wolf gets the drop on Goliath, he and Hudson quickly turn the tables. Then Hakon, the spirit in the talking axe, possesses Wolf and levels up considerably, given the power of flight, super-strength, and transparency. He also gains the ability of mind-manipulation, and this is the only part of the episode that Koko (or the storyboarders) screw up on. At first, it looks like Wolf/Hakon is controlling Hudson, gesturing like a puppeteer to move Hudson around and attack Goliath; only with few re-watches did I realize that Hudson “sees” Goliath as Wolf/Hakon, and is mistakenly attacking him. Really, though, it’s a little bit of both, kind of like a RAGE status effect in a RPG. Koko tries to symbolize this by matching Goliath’s gestures with the fake-vision version Wolf’s/Hakon’s gestures, but they don’t match up, particularly with the off-kilter editing. Add to it that it’s unclear where the actual Wolf/Hakon disappeared to, and it makes for a confusing sequence.

It’s not an episode killer, for sure. The intense battle is also intercut with Vinnie’s efforts to blast the main gargoyle, which is also intercut with Vinnie’s flashbacks to all the times he “got” into it with the winged beasts – first in the motorcycle incident in “Awakening,” part three, then in the destruction of the airship in “Awakening,” part four, then finally in “The Cage” as the security guard who “let” Goliath kidnap Sevarius (let’s be fair – Vinnie never stood a chance). The guy keeps trying to get in one good shot but is always hilariously thwarted by the random elements that the Goliath/Hudson vs. Wolf/Hakon brawl produces. The best is when he’s washed away by a crashing water tower. Oh, poor Vinnie.

Goliath and Hudson get no sympathy from the self-assured rage of Wolf and Hakon, though. It’s revealed that Wolf is a descendent of Hakon (which is a bit too coincidental, even for a show built on coincidences), which allows them to work in spiritual tandem, but also keeps them at odds with each other; they each desire to kill Goliath on their own terms. This arrogant thinking leads to their downfall: together as one unit, Wolf/Hakon was wildly powerful, but separate, Goliath and Hudson are able to take on the two respectively, crushing Wolf under a pile of cars and crushing the axe in a trash compactor. Gargoyles is a show about finding your purpose, but also how misguided one’s purpose can be, particularly concerning revenge; it’s that blind rage that Goliath learned about many episodes ago, and it’s that blind rage that does in both Wolf and Hakon.

Not Vinnie, though, as he gets the last laugh. Finally having the gargoyles in his sights, Vinnie fires Mr. Carter – and out blasts a pie, which smashes into Goliath’s face. Satisfied, Vinnie whistles the show’s theme as he walks off. It’s an amusing moment, and the show acknowledges it as much, complete with the IRIS OUT on Hudson’s face. It’s great and a wee bit sad, considering that Goliath and Hudson have no idea who Vinnie is.

Gargoyles 2×47 – Turf

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I mistakenly thought we’d seen the last of Dracon back in “Protection,” but he pops up again here in “Turf,” which pits his crew against the rising Tomas Brod, who’s trying to make a name for his gang in New York. Brod, the gangster who assisted Halcyon back in “Golem,” is muscling in on Dracon chop shop territory, which is starting to escalate. Elisa Maza is back in undercover mode, this time as a blond henchman in Brod’s gang. She tries to organize a police sting to catch Brod in the act of attacking Dracon’s operation, but she gets knocked unconscious and everyone manages to escape, which leaves the police spinning their own wheels.

“Turf’s” dual-theme is in the form of Brooklyn, Lexington, and Broadway’s squabble over who gets to hang out with Angela during all this. Now, in 2014, we as a society have become a lot more vocal (and rightfully so) about shutting such behavior down, hard. Back in the 90′s, though, there was still a more looser, “boys will be boys” attitude, so while the episode portrays the young clan’s actions as juvenile, the crassness is explained away as a “they’re just horny since they haven’t had any tail for a thousand years.” I’m glad that the episode for demanded the “teens” to treat Angela with respect and not as “turf” to be control and won over by one of the three, I just wish the episode came down a lot harder on them and the behavior.

There isn’t much to the episode in terms of mythology or backstory; like “Protection,” it’s more or less a one-off that just happens to involve two characters from the show’s past. Still, it’s a good, tense one; as mentioned before, I tend to be more of a fan of Gargoyles’ one-offs than it’s myth-heavy episodes. I like that we see Matt and the chief of police Maria Chavez in the throes of the case. Even with Matt caught up in the crazy Illuminati stuff, and the chief only appearing here and there (although every appearance has been awesome), watching them get their hands dirty with on-the-beat action is great, great stuff. It’s these kinds of details that keeps Gargoyles grounded, even when things get too sci-fi or fantastical.

The thrust of the episode is about escalation. First Brod hits Dracon’s chop shop, then Dracon’s men burn down Brod’s restaurant/front, then Brod tries to hi-jack a Dracon shipment, but it’s revealed to be a Dracon trap, then, screw-it, Brod goes off to break into prison and kill Dracon himself. Sunwoo has a slightly better handle on  visuals than Koko, which makes the action scenes clear and concise; still, there are some awkward moments, particularly the pushes-and-shoves of Broadway, Lexington, and Brooklyn. There’s some repeating frames and it kinda blobs together, but all the exasperated expressions from Angela are fantastic. The show made it point to note how perspective Angela is, and I like that she’s not portrayed as clueless as to the boys’ behavior. She’s a lot more focused on the mission then they are, which is probably why she didn’t blow up at them earlier.

Elisa and Angela even have a small discussion about this, and I kind of wish this was longer and a tad bit more productive. In fact, Elisa is the one who suggests that the competition between the boys is simply them blowing off steam, and that it’s up to Angela to put her foot (claws?) down. Elisa, being a female cop, should be a tad more assertive, I think, and a lot more supportive of Angela’s concerns, especially after everything they’ve been through, but this is a modern way of thinking. In keeping with the times, the episode address the matter well enough, and Angela’s final diatribe towards the boys is a great moment, and the line “Stop calling me, Angie!” is just fantastic. Once that gets through their thick, horny skulls, Broadway, Lexington, and Brooklyn finally are able to come together and take down Brod’s airship, as well as save Elisa right before she gets decked by Brod himself.

Even though it’s wildly unlikely, the episode ends with the police putting Brod and Dracon together in a cell, basically so they can kill each other. It’s a bit of “comeuppance” amusement, a final “boys will be boys” beatdown that makes a great foil to the renewed bro-ship between Lexington, Broadway, and Brooklyn. They apologize for their actions, and Angela not only forgives them but mentions that she likes all of them, which, well, is a story for tumblr to finish. She also mentions that Avalon has a number of female gargoyles waiting and willing, to which Brooklyn asks, “So, when do we get our World Tour?” Now I know where the fan-name of the World Tour arc comes from.

“Vendettas” B+/”Turf” B+

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