Author Archives: Joe

December 5, 2018

Dec. 5 – “Don Coyote and the Christmas Bell”

By Joe

Originally aired sometime in 1991, probably in December.

After four relatively solid entries this year, I feel like we need to take a look at something that has the potential to be truly awful. In the 80s and early 90s Hanna-Barbera was still trying to remain current while it moved away from the shoddily animated mysteries and animated sitcoms of its past. Its solution for remaining current was to bizarrely adapt the 17th century novel Don Quixote into a show about anthropomorphic animals, in this case changing the title character to Don Coyote (Frank Welker). His sidekick Sancho Panza was now Sancho Panda (Don Messick) though the crux of the story remains surprisingly similar to the source material. Don Coyote is a wandering knight who wishes to do good deeds for the people he encounters. His intentions may be noble, but his imagination runs wild causing him to mistake ordinary objects like windmills for massive dragons. Rather than help people, he tends to make a big mess of anything he touches and has to make make-up for that before the episode’s conclusion. He’s constantly oblivious to his own psychosis, but most of the people around him aren’t, especially his horse Rosinante (Brad Garrett) and Sancho’s donkey Dapple (Welker) who get to be the mouthpiece for the audience in a, “Here we go again,” sort of way.

Don Coyote accidentally pulls this want-to-be knight from a well and immediately becomes the boy’s idol.

The Adventures of Don Coyote and Sancho Panda is not particularly well-remembered and no one seems to care that it was at one-time a thing. As a result, determining when this episode originally aired is almost impossible and I can only say it aired sometime in December 1991 as the show’s 25th episode and part of season 2. “Don Coyote and the Christmas Bell” begins with our heroes stumbling upon a small village as Christmas descends on the area. The locals are moving a large bell to the bell tower and having a tough go of it when Don Coyote mistakes it for a monster or something and smashes it. They’re all pretty irate, while a young boy has a case of hero-worship at meeting Don Coyote. Don Coyote does not realize he did anything wrong, but does notice the broken bell and vows to find the town a new one in time for Christmas. The villagers aren’t having any more of Don Coyote, and they toss him off a cliff forcing his horse to run underneath him to give him a soft landing. Don Coyote mistakes this as a kindness assuming they were showing him a shortcut and vows to return with a new bell.

That’s no bell, but an ogre!

As Don Coyote and Sancho Panda ride off, a dastardly pirate has just stolen a rather large sum of gold. He speaks as if he’s a recurring character and uses a relatively cliché form of pirate-speak. I think he also says his name but I can’t make it out. One of his men reminds him that he’ll never get all of this gold they swiped from the king past the guards, forcing the captain to come up with a plan. They melt the gold down and fashion it into a giant golden bell. He and his men then disguise themselves as monks to carry the bell wherever it is they’re taking it, until they hear of Don Coyote’s approach. The pirate captain remarks that Don Coyote is the crazy knight who destroyed his pirate ship and forced him to this life of crime on land, so we’re apparently supposed to be familiar with him. While I did watch this show as a kid, I can’t say I remember anything about specific plots.

A bunch of pirates masquerading as monks.

Don Coyote thinks these humble monks need an escort, and they try to get him to go away, but he won’t hear of it. They go along with it, while back at the village, everyone grumbles about not wanting to ever hear of, or see, Don Coyote again while the one little kid tries to convince them otherwise. Some physical comedy ensues as one man falls down a hill and drops all of the pieces of the bell and it settles into the shape of Don Coyote. Another village just keeps making sarcastic quips and he sounds exactly like Brainy Smurf.

Pirate captain Jack (I think) finds killing Don Coyote a tough gig.

Meanwhile, the pirate leader tries to get rid of Don Coyote. He has one of his men tell Don Coyote that there is trouble up ahead at another bell tower and Don Coyote races off to help. There he finds the pirate leader at the top of the tower, and seeing nothing wrong, calls for Sancho to help him down. With his back turned, the pirate tries to boot Don Coyote out of the tower, but misses and he falls to the ground. He remarks to the camera (so much fourth wall breaking in Hanna-Barbera stuff) “Well, at least we know the fall wouldn’t have killed him,” for our first genuinely amusing line of the show. Surprisingly, it won’t be the last.

Oh no! Don Coyote has returned! This feels like such a Hanna-Barbera gag.

At the village once more, the villagers have reassembled the bell and it looks like a real piece of shit. Still, they seem pleased enough. Not content to just let others think what they will of Don Coyote, the little boy from before rides around acting like the swordsman and inadvertently destroys the bell once more. He’s doing a good job of realizing his dream.

I’m sure they’ll be fine.

Back on the road, the pirate captain is scheming to rid himself of Don Coyote once again and has created a rope trap that looks like a hammock. He complains of his bones being weary and Don Coyote proposes they take a break. The captain leads the pair to his hammock trap, and insists he and Sancho have a seat. When Don Coyote refuses, suggesting the captain is far more tired than he, the pirate shoves him into it and his man cuts the rope. The two soar through the air undaunted, Don Coyote enjoying the ride while Sancho is indeed concerned. They collide with a docked pirate ship’s sail (I thought the guy said his ship was destroyed?) which sends them back from where they came. As the pirate captain celebrates, he’s then horrified to see the pair returning as they crash into him and all three land back in the hammock which has been inexplicably reset. His man then cuts the rope once more, for who knows why, and the trio are launched into a tree. The pirate captain appears ready to give up the golden bell and his other treasures, until he notices that Don Coyote and Sancho are stuck high up in the tree. He drops down delighted as Don Coyote urges them to push onward to deliver the bell to the village and not to worry about their predicament.

The pirates are making off with their booty.

Next we get some brief sequences. First, we check in on that kid and he’s actually praying for Don Coyote’s success while his mom orders him to bed. The pirates are then shown loading the bell onto a small rowboat and affixing that to their ship. All the while Don Coyote and Sancho Panda sleep in the tree, while Rosinante and Dapple (the horse and donkey, in case you forgot) talk about how it’s all up to them once again. They use the hammock trap to fling themselves through the air at the tree knocking Don Coyote and Sancho from it. They land on their trusty steeds while still soaring through the air crashing down on the rowboat with the bell. The force of their landing causing it to detach from the main ship, and they decide to take the bell back to the village themselves, feeling the monks have done all they can (Don Coyote is still oblivious to the fact that they’re actually pirates).

The real heroes of the show, and the only characters I don’t hate.

As they row through the night, they realize they don’t know where they’re going. Sancho says they need to head north, but doesn’t know which way north is. Don Coyote suggests he just have faith and says they should follow the only star in the night sky, deeming it the north star. The young boy is then shown waiting by the shore at sunrise and his mom scolds him once more to come in out of the cold and to stop waiting for things that aren’t going to happen. The rowboat then makes land rather violently, and the boy and his mother call for help.

Time for a Christmas miracle.

On the beach, the capsized vessel needs to be lifted and the villagers begin raising it once they hear someone from underneath it. As they lift it, the boy peers under and sees Don Coyote. He shouts with excitement about his discovery, causing the villagers to insist they cease lifting the boat. Don Coyote then shouts they have the bell and the villagers reluctantly free the trapped knight and marvel at the shiny, golden, bell. The whiney villager who sounds like Brainy Smurf (I can only assume he is voiced by Danny Goldman) says they’ll never haul that bell up to the tower before Christmas (it’s now Christmas Eve) while the message of the episode is now coming through loud and clear – have faith.

The idiot actually made good on his promise.

They drag the bell up the steep hill to the village and it’s now nightfall, only 15 minutes until Christmas. As the villagers prepare to raise the bell to the tower, the pirates show up and put a musket in Don Coyote’s ear. Now dressed in their traditional pirate attire, Don Coyote still mistakes them for monks and declares everyone welcome their generous benefactors. The rest of the village is skeptical, but the pirate captain turns his attention to the bell and gives a hearty laugh pointing out that thing will never ring because it’s solid gold (though, he withholds the part about it being solid gold). The villagers strike it and it makes just a thud before angrily turning on Don Coyote. As he approaches the bell he trips and smacks his head on it breaking the scaffolding surrounding it and causing a loud “dong” to ring out. Now the villagers cheer Don Coyote and even the pirates. As the villagers hoist the pirate captain in the air triumphantly, he confesses he likes the good attention and decides they can keep the bell, he’ll find gold elsewhere. Don Coyote and Sancho ride off into the sunrise echoing the sentiments about fate or something.

Don Coyote gets his bell run while ringing a bell in the process. Genius.

I set out looking for a bad Christmas Special and I’d say I mostly found one in “Don Coyote and the Christmas Bell.” It contains the same shoddy animation Hanna-Barbera was known for during this era with some cheap sound design as well. The voice actors are ones you have heard before, though I couldn’t find credits for this particular episode. They’re professional, but rely on a lot of clichés from the era and everyone basically sounds like another character from one of the other many Hanna-Barbera cartoons of the era, like the Brainy Smurf clone, for example. Don Messick also uses a mildly offensive accent for Sancho Panda, but Hanna-Barbera was never known for casting minority actors to voice minority roles.

Pirate Jack gets the hero treatment.

What I did like about this episode is just how much the villagers despised Don Coyote. It was rather amusing to hear them openly wish for his death and to see them actually attempt to murder him by tossing him off a cliff. Don Coyote is an annoying character, and he’s intentionally so. He speaks in an annoying cartoon accent, the kind of accent that only exists in cartoons, that’s best described as dumb-speak. It’s bizarre that someone thought a character this annoying should function as a lead, because even as a kid I remember not really liking him when I watched (though strangely I can also remember playing Don Coyote and forcing my little sister to role-play as Sancho) this show, as infrequently as that may have been.

“It’s all faith and shit, Sancho. Trust me, I’m Jesus.”

This special is also somewhat light on Christmas. We know it takes place in the days leading up to Christmas and there’s some light traces of snow on the backgrounds. There’s not much else though until the closing scenes when getting the bell back to town in time for the holiday becomes more urgent. The message of faith is then amplified, though it was there from the start in the form of the little boy who keeps faith that Don Coyote will find a new bell. The “miracle” of Don Coyote making a solid gold bell ring is kind of dumb, even though I saw it coming a mile away. I have no idea if a solid gold bell could ring though. It would make for a great conductor of electricity so maybe that bell tower will get hit by lightning and burn that whole village to the ground. A fitting postscript, indeed.

What intrigues me about this show is just how did it come to be? Did someone just hear the name Don Quixote and say “That kind of sounds like ‘coyote,'” which would be a stupid premise for a show, but this is Hanna-Barbera. Maybe someone actually had a genuine affection for that old story and wanted to share it with children? Or maybe someone was familiar with the tale of Don Quixote and felt it could work as a children’s cartoon? It’s honestly not a terrible, if unconventional, thought. It still kind of amazes me though that this exists.

If for some reason you still wish to watch this one yourself then your only option is via the internet. If you search for The Adventures of Don Coyote and Sancho Panda on YouTube you’ll find it labeled as episode 25. This is another show that no one is trying to profit off of in 2018 so the only thing keeping it offline is the actual public, who probably shouldn’t care about this show either. Watch it only if you’re really curious.

1 Comment | tags: brad garrett, christmas specials, don coyote, don messick, don quixote, frank welker, hanna-barbera, sancho panda | posted in christmas, Television

December 4, 2018

Dec. 4 – Taz-Mania – “No Time for Christmas”

By Joe

Original air date December 25, 1993

Before there was an entire broadcast television network owned by Time Warner, there was the relationship that existed between Fox and WB. Fox, needing a lot of content to launch its kid programming block The Fox Kids Network, partnered with WB and Steven Spielberg to bring the world Tiny Toon Adventures. It was a success, and before long Fox and WB were coming to terms on a number of shows. One such show we’ve covered quite a bit on this blog, Batman: The Animated Series, and another early 90s staple of Fox programming was Taz-Mania. Taz-Mania took the classic Looney Tunes character the Tazmanian Devil and gave him his own show. The character had become inexplicably popular in the early 90s in the realm of merchandising, as basically all of those characters did. He was just more surprising because the actual character was just a mindless predator out to consume the likes of Bugs Bunny. Aside from his rather interesting look, his other notable feature was his ability to whirl in place like a tiny cyclone. It was a pretty odd move to make him the vehicle of a whole new show, but it worked fairly well and Taz-Mania made it to 65 episodes which aired across parts of 3 years from 1991-1993.

Taz and his family (left to right): Jake, Jean, Taz, Hugh, and Molly.

Taz-Mania stars the Tazmanian Devil, who is simply referred to as Taz (Jim Cummings) from now on. He is the eldest son of Hugh (Maurice LaMarche) and Jean (Miriam Flynn) and older brother to Molly (Kellie Martin) and Jake (Debi Derryberry). They live in Taz-Mania which is basically an offshoot of Australia as it’s populated by dingoes and platypus. Taz is similar to his classic portrayal, only he’s more of a gentle soul now. He still speaks in gibberish and shuns clothing, unlike his family. They’re all relatively “normal” individuals and all wear clothing and have modern concerns. Hugh, who sounds like Bing Crosby, is consumed with being a model patriarch and is often even-tempered. Jean is the classic go-go career woman and mother who doesn’t have much time for much of anything in her busy schedule, but always maintains a cheery disposition. Molly is a self-absorbed teen while Jake is a fairly typical little kid. They all seem to quietly tolerate Taz, but also sometimes take advantage of his mental shortcomings. In watching this episode and reflecting on the show in general, it’s a little uncomfortable at times how Taz is treated by his family since he obviously has special needs, and sometimes the family is almost unintentionally cruel towards him. This was the early 90’s when the “R-word” was still in fashion and those characters were played for laughs. If this show were invented today, I bet it would take a different slant or at least punish the characters who casually mistreat Taz.

In addition to the family, the show had a wide supporting cast and many of them will be covered in this write-up. The show also spawned a few video games though surprisingly I don’t recall much merchandise beyond that. No real toys lines or anything, but I suppose it wasn’t that kind of show. It helped keep Taz popular, and he went on to appear alongside the other Looney Tunes in Space Jam. His star, like most of those characters, has faded over the decades, but he’s still rather unique considering the other Tunes never really received a true starring vehicle like Taz-Mania.

Taz seems to enjoy licking stamps.

“No Time for Christmas” opens on the home of the Tazmanian Devil family on the day before Christmas. Taz is eagerly getting ready for Christmas and stuffing presents in a big, red, sack while his mother, Jean, is talking to someone on the phone. She rattles off all of the things she has to do, some mundane like wrap presents, and some insane like re-pave a parking lot. She’s baking cookies as she does this and Taz tries to get himself some, but he’s denied. She leaves behind one, lone, burnt cookie that Taz scrunches his face at, but eats anyway. Seeing that his mom has no time for him, he ventures off to Molly’s room. She’s busy writing and mailing Christmas cards and tries to get him out of her room before realizing that maybe he could be of use. She sets him up with a bunch of envelopes and stamps and instructs him to lick and place a stamp on each envelope. Taz is happy to help, but finds the glue on the stamps rather tasty and just licks them. Frustrated, Molly boots him out of her room.

I do empathize with Hugh here as Christmas in a warm climate must be pretty weird.

Next Taz encounters his little brother Jake snooping around for presents in their parents’ room. Taz seems like he wants to help (he only speaks in grunts and noises, for the most part, aside from the occasional phrase), but Jake tells him, rather nicely, that this is a one-man operation and closes the door. Taz next encounters his dad in the living room. He’s all bundled up and standing by the television which is tuned to a fireplace channel and talking about Christmas. Taz realizes the room is freezing and his dad explains he’s cranked the air conditioner to simulate a real, northern, Christmas like the ones he’s never experienced. He’s lost in his own Christmas fantasy and Taz leaves him to it. Somewhat sadly, he wanders off from home with only his sack of gifts.

Daniel and Timothy are looking to win a trip to Fresno by having the best decorated house.

Taz’s first stop is at the home of the Platypus twins, Daniel (LaMarche) and Timothy (Rob Paulsen). They’re a cheery duo with a deep affection for each other. If they weren’t brothers you would assume they’re gay. They’re the brainy characters of Taz-Mania and they’ve outfitted their home with an elaborate lighting display. The problem is, one of their elves has blown a head and Rudolph’s nose has burnt out. Taz shows up with a gift, and they’re happy to receive it, but have no gift to offer him in return as they’re much too busy. They incorrectly assume Taz would love to assist them in their work and they send him up a ladder with a new bulb for their reindeer. Taz goes along with it as the two brothers then take the ladder away saying they need it to retrieve a spare elf head. Taz replaces the bulb and the reindeer lights up. He then loses his footing on the roof and tumbles down into the space previously occupied by the broken elf. Now holding “hands” with the other elf decorations lining the roof, he appears to be taking the place of the discarded elf and the Platypus brothers thank him before remarking how it’s likely obvious where this bit is heading (they’re so smart that they’re self-aware and break the fourth wall rather liberally). They head over to a giant electrical switch and flip it, causing Taz to be comically electrocuted. He’s shot off like a cannonball from the house, and when one of the brothers remarks that he forgot his sack, Taz’s arm stretches back into the image to grab it before he resumes his flight.

Taz exploding with electricity. This kind of thing seems to happen often when he visits Daniel and Timothy.

Taz next drops in on Didgeri Dingo (Paulsen) who was expecting him. He’s ringing a bell Salvation Army style in the middle of the deserted Outback and remarks that Taz is late. He quickly outfits him with a Santa Claus outfit while explaining that Christmas is the time for charity and they’re going to raise money for his favorite charity – Didgeri Dingo. Taz is rather delighted by the Santa suit, causing him to remark his catchphrase for the episode, “Taz like Christmas!” but he is not at all happy about being forced to ring a bell for charity in the middle of nowhere. In true cartoon fashion, Didgeri sends him off and he’s immediately hit by a bus that literally came out of no where. He’s then hit by a trio of trucks and a train to drive the point home as he’s swept away. Didgeri pauses to speak with the camera so apparently the Platypus brothers aren’t the only ones who get to break the fourth role.

Now we’re getting into the spirit!

The train dumps Taz in another part of the Outback where a couple of bushes are speaking to one another. They have tails and hats and are obviously the Gator characters of Bull and Axl, two hunters who are always trying to catch Taz. They’re the common cartoon archetype of a short, intelligent, abusive, schemer and a tall, dumb, subservient one. The only wrinkle with Bull (John Astin) is that he possesses a rather cheery disposition. When Bull explains to Axl (Paulsen) they’re in a Christmas episode he pops him with an oversized candy cane to further remind me that WB cartoons actually just love to break the fourth wall.

Nothing like a little Yuletide violence to warm the soul and dent the head.

Taz knows these two, and he’s not as dumb as we think. He intentionally lets himself get caught in their rope trap and is suspended upside-down as a result. Axl is somewhat horrified to see they’ve caught Santa, while Bull tries to explain to him that he is indeed wrong. Taz breaks free, and then clobbers the pair in a whirling cyclone that also relieves him of his Santa suit. He leaves the two their present before heading off, while Axl sees the error of his ways. They didn’t capture Santa, Taz is Santa!

Taz even has gifts for his enemies.

Taz’s next stop is the Motel Tasmania, where he is an employee. Bushwacker Bob (Cummings) is standing around trying to read his copy of Life magazine with Bugs Bunny on the cover while patrons of the motel keep bothering him on the phone. Constance Koala (Rosalyn Landor) bothers him further by bumping into him and then having the nerve to point out how her feather duster is in poor shape causing Bob to go on a rant. He’s the typical asshole boss character who thinks his employees do nothing but complain and act lazy. He further points out the “shoddy” work of Constance by gesturing to some fungus on the ceiling. His observation is incorrect and Constance points out he’s referring to the mistletoe she hung up. And since they’re both under it…

I’m always down for a Bugs Bunny cameo.

Mr. Thickley (Dan Castellaneta), a wallaby, enters the picture next and when Bob suggests there’s something he’s supposed to be doing, Thickley can only assume he’s referring to the mistletoe once more and plants another big smooch on him further enraging Bob. Thickley goes off to do whatever it is he does, but he stops to say “Hi,” to Taz and also demonstrates he too possesses fourth wall breaking power. Bob takes notice of Taz and asks him what he’s doing out of uniform. Taz apparently says it’s his day off and Bob can understand his grunts, but he’s not really happy with the response. Taz gives him his present, and Bob seems upset at its small size. When he suggests there should be something more, Taz naturally assumes he’s looking for another smooch and gives him one causing Bob to throw him out. Then Taz, finding that no one has time for Christmas, slowly walks off into the sunset dragging his sack behind him while sad music plays.

Mr. Thickley seems to have a lot on his plate.

Taz returns home to the frigid living room. He sits down in front of the television which is still playing a roaring fire. Taz’s pet, Dog the Turtle (Paulsen), comes running in excited to see him which picks up Taz’s spirit. He gives Dog his Christmas present, a bone, and Dog happily grabs it and runs off. When Taz whistles for him to come back, he does not. Dejected, Taz plops down on the couch while his tears freeze upon forming. Reminding himself that “Taz loves Christmas,” he lays down and falls asleep.

Nothing says Christmas like the love between a boy and his dog, or, a devil and his turtle?

Taz is awakened the next morning by his family. His mom has baked him a tray of cookies and Molly apologizes for being a jerk and gives him a Christmas kiss. Soon all of the characters from throughout the episode enter the house to give Taz his Christmas presents. In doing so, we see that Taz had gifted them all very thoughtful gifts. The Platypus brothers received a new elf decoration, Didgeri a prized bottle cap, the Gators new nets, and so on. Hugh even ushers in the rest of the cast they ran out of time for leading to a whole, group, gathering in the Tazmanian Devil living room. Hugh then gives a speech about Taz and how he never lost the spirit of Christmas. His schtick is that he gives boring, long-winded, speeches and as he gets further into this one everyone else sneaks away leaving Hugh all by himself as the episode appears to end. It’s a fake-out, and the iris shot close re-opens as Hugh informs the audience they can’t end the show without a big holiday group shot. We’re wished a Merry Christmas, and they all imitate Taz’s various noises and tongue thing to close it out.

A sad, frozen, Christmas tear.

“No Time for Christmas” is a simple and effective story. Choosing to focus on the rush of the holiday, the more free-spirited and pure-hearted Taz distills Christmas to just giving gifts to the people he cares about while the characters around him are caught up in everything else. Or in the case of the “bad” characters, they’re either ignoring the holiday or trying to enrich themselves through it. Everyone coming together at the end to make up for their mistreatment of Taz is predictable, but it works well enough. It’s certainly better than doing a parody. Because it’s rather obvious in where it’s going, the episode lacks a real emotional payoff. It’s still rather sad to see a dejected Taz, since that’s not a common sight, but the episode doesn’t really linger on it or really play it for tears. It’s a comedy show, and it never loses sight of that. It’s also not the type of comedy that’s uproariously full of laughter. I wouldn’t go so far as to call it subtle, since the numerous fourth wall breaking jokes are anything but subtle, but it’s the type of humor that just wants you to smile along as opposed to laugh. It’s also probably why Taz-Mania was never appointment viewing for me, because it was just fine as opposed to truly funny.

We have to end it on the group shot too.

As far as Christmas Specials go, “No Time for Christmas” is suitable. Most who watch it will probably enjoy it well enough. Unlike most episodes of this show which were split into two shorter cartoons, “No Time for Christmas” uses the full 22 minute duration to tell its story. Shows that do such a thing sometimes struggle with the longer runtime, but this one moves along quite well. Like a lot of early 90s cartoons, Taz-Mania is no longer broadcast anywhere and hasn’t been for some time. Also like many cartoons from that era, it has only received a partial home video release and “No Time for Christmas” is not on either DVD set. The only way to watch this one is via streaming online, and it’s not hard to find. If you’re looking to watch a special you have not seen and want it to be good, then I think this one is worth the investment of time.

2 Comments | tags: 90's cartoons, christmas specials, fox kids, jim cummings, maurice lamarche, rob paulsen, taz, taz-mania, tazmanian devil, warner bros | posted in christmas, Television

December 3, 2018

Dec. 3 – X-Men: Evolution – “On Angel’s Wings”

By Joe

X-Men: Evolution “On Angel’s Wings” originally aired on December 15, 2001.

Long after the X-Men animated series that originated on Fox Kids had ended, along with basically every other Marvel cartoon at that network, X-Men: Evolution showed up on Kids WB. It’s kind of odd considering WB owned DC and yet they went in on X-Men, but X-Men were still popular and were gearing up for a run on cinema. It also didn’t hurt that a lot of talented people were attached to the show, and today’s episode features the duo of Boyd Kirkland and Frank Paur, both former directors on Batman: The Animated Series.

A snowy New York, which may have possibly been edited considering the events of 9/11 two months prior to air date for this one.

X-Men: Evolution was an attempt at making the X-Men appeal to a younger audience. It fit-in with WB’s programming which also included super heroes like Static Shock and Batman Beyond. Even The New Adventures of Batman had placed an emphasis on the allies of Batman, including the very young Robin and the not quite so young Nightwing and Batgirl. The setup for X-Men: Evolution was not that radical from other depictions: young mutants were gathered at the home of Professor Charles Xavier (David Kaye) to learn how to control their mutant powers. Only in this show, basically everyone is in the Kitty Pryde/Jubilee role of being a teen and they include: Cyclops (Kirby Morrow), Jean Grey (Venus Terzo), Nightcrawler (Brad Swaile), Spyke (Neil Denis), Rogue (Meghan Black), and Kitty (Maggie Blue O’Hara) herself. The twist comes in that the students do not receive their schooling at Xavier’s mansion and instead attend a normal high school where they are put into conflict with a teenaged version of the Brotherhood of Evil Mutants. Also, Storm (Kirsten Williamson), Beast (Michael Kopsa), and Wolverine (Scott McNeil) are teachers at Xavier’s home. Yes, Wolverine is in kind of a grumpy uncle role in this show, which is definitely an odd place for his character, but probably better than having a teenaged Wolverine. Thankfully, he doesn’t lust after Jean in this one. Honestly, the setup of the show never appealed to me and sounds kind of dumb. I checked out a couple of the first season’s episodes when this show premiered and they were pretty lame. Surprisingly, the show started to find itself in season two. It established some strong conflicts and the young team assembled works well. I was wrong about the show, and it actually turned out quite well in the end.

A lonely, wealthy man, just watching some TV. Note the lack of Christmas decor.

In season two the show rolled the dice on a Christmas episode. “On Angel’s Wings” is predictably about the character Angel (Mark Hildreth), who previously had not appeared in the show. It starts off in New York, where the wealthy Warren Worthington is shown in an isolated state. He’s ignoring his phone calls and watching television. Elsewhere in the city, a fire is ripping through an apartment building and a disabled woman is trapped inside. Her daughter is pleading with firefighters to save her mom, and this mobilizes Worthington. He flies to the sight, enters the building, and removes the woman leaving her safely on a nearby bench. No one witnesses it, but her daughter soon spots her mom and runs over to her. They embrace, and when the daughter asks how she escaped she tells her a real, live, angel carried her to safety.

Rogue sheepishly gives Cyclops his Christmas present early. They actually would have made a cute couple.

At Xavier’s mansion, everyone is getting ready for the holidays. The kids will be leaving to head home and they’re having a little party in celebration. Two students will not be leaving: Cyclops and Rogue. Cyclops, being an orphan, has no home to go to while Rogue is a runaway with a poor home life. There’s nothing for her to return to. As the other kids give gifts and Nightcrawler tries to steal a kiss via mistletoe, Jean looks on with jealous eyes as Rogue gives Cyclops a gift. If I recall correctly (and it’s been many years), Cyclops was one of the few to be nice to Rogue when she first showed up early on so she took a liking to him. Plus, they’re both able to kind of bond over the fact that neither is able to fully control their mutant powers. Rogue’s crush was not reciprocated in a romantic way, and Cyclops may even be oblivious, but Jean notices. And like basically every other version of the X-Men, Jean and Cyclops are romantically linked. As everyone departs, leaving only Xavier, Beast, Cyclops, and Rogue behind, Jean looks on with some sadness and worry as her limo drives away (what a tough life).

Angel in action.

In New York, the Angel makes another appearance in Central Park thwarting a mugging. An onlooker is shown and he looks rather menacing. Later, a car gets into an accident on a suspended bridge (maybe the George Washington?) and the Angel, now in a resplendent super hero costume, swoops in to make the save. The car is up against the cables and he first saves a child from the backseat then returns for the parents. As everyone celebrates his heroics, the shadowy man from the park emerges. Summoning powers of his own, he makes one of the broken, steel, cables grab onto Angel. Startled, he flutters his wings and accidentally knocks the little girl he just saved off of the bridge. He dives into the water after her and does return her safely to the bridge, though she’s unconscious. The man, obviously Magneto (Christopher Judge), then shouts that it was the angel who knocked her off. The crowd of onlookers then turns on the hero, declaring he’s not a real angel just some freak, and he’s forced to flee.

I miss CD shopping.

At the mansion, the X-Men have heard the reports of the angel sighting in the city. Feeling kind of restless, Rogue wants to head out and see what they can uncover and she and Cyclops are permitted to go. They have a discussion and it’s revealed that Cyclops kind of wants to believe the person is indeed an angel, while Rogue is dismissive of the concept. She does apologize to Cyclops though, fearing she hurt his feelings, but he assures her he’s fine. They go to a music store and are browsing CDs when they hear about the latest sighting. It’s quite a trip seeing the pair thumbing through music and Cyclops listening to the free previews on a headset – my how the times have changed.

The city of New York is alive with Angel Fever!

We’re then whisked away to a hospital room. The little girl Angel saved is in a coma and her parents are understandably worried. Angel drops in on her and seems depressed over what happened. He swipes a doctor’s jacket and heads off into the hallway. There, Rogue and Cyclops are at a nurse’s station asking about the young girl and they’re told they just missed her parents who left to head to church. Angel overhears this and starts heading off. Rogue notices a feather wafting out from underneath the coat and alerts Cyclops that it’s him, rather loudly. This startles Angel and he takes off running. The two X-Men in training give chase, but he escapes out a window.

I will admit, that’s one bad ass looking Magneto.

At the church, the girl’s parents are shown praying in an otherwise empty building. Angel is looking on from a balcony in the back, shamefully. The camera pans and a figure lurks in the shadows behind him. It’s Magneto, now in costume, and he confronts Angel. He knows who he is and that he lives an isolated, lonely, life. He points out how quickly the people turned on him at the bridge, despite his best efforts, and uses a lot of the same arguments you’ve probably heard from Magneto before about why humanity can’t be trusted. He offers him a place for people like Angel and he, but Angel turns him down rather angrily not wanting to associate with “freaks and weirdos.” He’s a self-hating mutant.

Angel meets the X-Men. They discuss tailors.

Magneto is not going to let Angel just walk away. He attacks, and Angel is forced to flee the balcony. The people below see him as Magneto uses a chandelier to wrap Angel in a chain. As he falls from the sky, a red laser beam cuts through the air and blasts Magneto out of the church through a stained-glass window. Cyclops and Rogue, now too in costume, come running in and free Angel. Magneto quickly returns as a confused Angel flees once more. With Magneto baring down on the young X-Men, Angel emerges from behind Magneto and wraps him in a bear hug. Cyclops calls for him to stand down, and pummels Magneto with more optic blasts knocking him from the sky. While on the ground, Rogue is able to get up close and personal with the Master of Magnetism and syphon away some of his energy. Now armed with the powers of magnetism herself, Rogue is able to chase Magneto through the skies of New York City. Magneto though is a pro with these powers and is able to knock her from the sky, but Angel is there once again to make the save causing Rogue to playfully remark, “I’m starting to think you are a real angel.”

Of course, Rogue needs to be rescued by an angel since she was a non-believer earlier.

Apparently admitting defeat, Magneto is gone and the trio of heroes are back at the hospital. They’re in the waiting area probably hoping to hear how the young girl is doing. Cyclops explains who they are and gives the X-Men sales pitch to Warren, who questions how they’re any different from Magneto. As they talk, a doctor comes out to tell the parents of the girl that she’s awake and going to be all right. Warren is overjoyed and sneaks over to the girl’s room. As he does, Rogue asks Cyclops if he thinks Warren will join the X-Men and he curtly responds, “No.” They join Warren though as the little girl tells her parents she saw her angel again in her dreams. This puts a smile on Warren’s face while Rogue squirts a few tears. We’re then treated to a little montage of the other X-Men and how they’re enjoying their holiday. Jean with her family, Kitty doing Hanukkah stuff, and Wolverine kind of sadly just playing pool all by himself in a dimly lit dive. Xavier and Beast are shown last toasting a couple of hot beverages in front of a Christmas tree to close this one out.

Looks like that little girl is going to have a Merry Christmas after all!

“On Angel’s Wings” is what I consider a quiet Christmas special. It takes place around the holiday, but Christmas just serves as a backdrop for the events in the episode. Tying Angel to the holiday is a smart move, since his obvious biblical appearance lends itself well to the theme. Though despite his presence, this doesn’t go full Hallmark Channel on the Jesus stuff. Beast quotes the Bible at one point, and other than the brief talk of Cyclops possibly believing in angels, the episode chooses not to dive into that subject. There’s also no Santa Claus or anything of that nature. The episode is also very stand-alone as it doesn’t aim to resolve anything like Jean’s jealousy or Wolverine’s loner tendencies or even what Warren Worthington will do next, but it’s still a satisfying little story. The ending is a bit sappy, but the montage was rather tasteful. Also, it should be noted, this show looks terrific and is miles ahead of the old animated series. New York City looks especially authentic and I always enjoy the cool tones of winter in a cartoon.

We need to slide this one in for the Jewish fans.

The voice cast for the show does leave a little something to be desired. Our leads are pretty good, and I think Xavier and Beast sound about right (though Beast is basically a carbon copy of the same character from Fox’s X-Men), but there is also a woodenness to some of the performances. Not every line is crips. The tone of Megneto’s voice is rather intimidating, but the inflections aren’t there (especially when he can’t just be scary, like when he was shown among the mob on the bridge). The character designs are fairly simple and work well. Cyclops has a bit of an X-Factor vibe to his costume, but with the open Jim Lee cowl. Magneto looks rather imposing as his face is often entirely black when in costume, the shape of his helm also reminds me of Age of Apocalypse Magneto. Rogue’s costume is a bit on the bland side though and I never much cared for the design. It has an odd piece of green armor across the chest that’s rather boxy looking. And in general, the female X-Men are drawn rather maturely. It’s a tad creepy how sexy the animators made these children.

X-Men: Evolution has seen an incomplete home video release. It’s also no longer on television, but good news, no one seems to care about it so it’s easy to find online for free. If you want to spend the holidays with Marvel’s most famous mutants then go for it. It’s better than the other X-Men Christmas episode and it should put you in the Christmas spirit.

1 Comment | tags: angel, christmas specials, cyclops, kids wb, magneto, marvel comics, rogue, x-men, x-men evolution | posted in christmas, Comics, Television

December 2, 2018

Dec. 2 – The Simpsons – “Grift of the Magi”

By Joe

“Grift of the Magi” originally aired December 19, 1999

Talk to any fans of The Simpsons and they’ll likely have an opinion on when the show ceased to be great. For most, that occurs sometime after Season 8 of the now 30 season show. Some will argue that, while it may have been past its prime, it was still watchable, reliable, programming for a few seasons following that. Almost no one would consider Season 11, which today’s episode is from, as part of the show’s prime. Season 11 is when the show had moved on from being a character-driven show with occasional wacky antics to a more absurd show with frequent wacky or illogical actions. Such a recipe is fine for humor, but thin on substance. Nonetheless, there are a few gems or moments from Season 11 worth remembering, is “Grift of the Magi” one of them though?

Last year we covered the Season 7 episode “Marge Be Not Proud” for our Christmas countdown, and like that episode, “Grift of the Magi” is not really an obvious Christmas episode from the start. It begins rather innocuously when Bart and Milhouse, trapped in the house thanks to a hole in the ozone layer, decide to raid the closet of Homer and Marge to find something fun to do. They settle on dressing up in Marge’s clothes, complete with wigs that must have been remnants of old Halloween costumes or something, and bouncing up and down on her and Homer’s bed. Homer comes barging in demanding a non-gay explanation for what is going on having seemingly learned nothing from the events of “Homer’s Phobia” and receives a satisfactory explanation from Milhouse that the boys are drunk. In the commotion, Bart fell of the bed and landed on a bowling ball doing enough damage that he needed to be taken to the hospital.

Am embarrassing injury, to be sure.

Once there, Dr. Hibbert informs Bart that he’s fractured his coccyx and we all have a good laugh at the silly word. Unfortunately for Bart though this means he has to spend the next several weeks confined to a wheelchair while his butt-bone heals. Upon arriving at Springfield Elementary the next morning, he finds the school is not equipped to handle a wheelchair. Lisa confronts Principal Skinner about this federally mandated requirement and Skinner is forced to find a cheap solution to his problem so he does what any rational person would do – he goes to the mob!

That’s some ramp.

Fat Tony is happy to provide the services of his construction company in order to construct a ramp to make the school handicap accessible. The company doesn’t stop at one ramp though, and rather turns the school into something pulled from the board game Shoots and Ladders. Nonetheless, Skinner is proud to unveil the new ramps several weeks later, but is dismayed to see Bart’s coccyx has healed at this point and he no longer needs the use of a wheelchair (how he attended school in the interim is not explained, the type of detail this era of the show could not care less about). Still, Skinner is at least upbeat about the fact that the school is now up to code, until the ramps all crack and crumble into dust. The mob and Fat Tony aren’t exactly known for honoring their work, and Skinner is forced to pay 200 grand for the construction anyways, bankrupting the school. It would seem the school would have had to pay that no matter what had come of the ramps, but again, it’s a detail the show cares little for.

The PTA assembles for an emergency meeting on how to fund the school in what looks like the home of the Flanders’. Moe is there for some reason and proposes funding the school via alcohol sales, but Skinner takes note of his Wonderbread bags for shoes and decides that’s probably not a good idea. Other ideas are proposed, and Marge declares them all terrible. It’s suggested to seek the aid of Springfield’s wealthiest resident, Mr. Burns, but Homer of all people rightly points out that Burns will release the hounds on anyone, especially charity. Skinner decides Burns is their only shot and devizes a scheme to present their proposal via a school play in hopes of warming the billionaire’s frozen heart.

Yeah, good luck with that.

Skinner and a handful of Springfield Elementary’s most recognizable faces show up at Burns’ mansion to perform their play. A very game and naive Burns seems to enjoy the play even though it’s rather obvious and direct about its intentions. A bunch of moronic kids with no schooling cause the death of a Burns dummy, with Ralph ripping off Stimpy to show up as Dr. Stupid to decapitate the Burns dummy while trying to save him following a car wreck. Burns is depicted as rather dim throughout and reacts surprised when Skinner confesses this was all a ruse to get Burns to save their school. A humorous trap door gag closes out the scene with Burns refusing to help.

Bart with his new teacher, Jim Hope.

Bart and Lisa, with school still closed, are at home watching the dregs of daytime television when a news report breaks in to declare Springfield Elementary has been saved. A company called Kid First has taken over the school and their president, Jim Hope (Tim Robbins), is interviewed by Kent Brockman as part of the report. He’s a happy and enthusiastic person who fires all of the old teachers and replaces them with Kid First employees. The kids return to school and find Hope and the new direction of the school encouraging, but they seem only interested in finding out what the children like and Hope even assigns Bart’s class to bring in their favorite toy. Lisa’s class is tasked with coming up with fun names for toys and Lisa proposes Funzo when forced to come up with something. She’s also reprimanded for doing math equations and forced to stay after school.

Run, Lisa! Run!

Bart drops in on his sister who’s being punished with Bart’s usual – the chalkboard gag. He enjoys the “ironing” of him getting A’s while Lisa fails and makes further demonstrations of his lack of proficiency with grammar. When he leaves he turns off the light on Lisa causing her to notice another source of light coming from behind the chalkboard. She creeps into the hall and finds a janitor’s closet next to the classroom. Inside she finds what looks like a viewing area for a focus group who have been spying on Lisa’s class via one-way glass. A weird, little robot emerges from some clutter and causes Lisa to flee in terror. That night, she returns with her parents and Chief Wiggum to show them her discovery, but when Wiggum opens the same closet he just finds janitor supplies.

The writers of the show don’t seem to think much of Gary Coleman’s talents as a security guard.

Back at home, Bart and Lisa are once again watching television (this feels like an older episode for the show, where the TV would often advance the plot) and see an ad for a Furby-like toy called Funzo. Lisa had proposed that same name in class prompting her and Bart to head over to Kid First’s headquarters to complain to Hope. There they encounter security guard Gary Coleman, played by himself. He’s a few prawns short of a galaxy, and as he complains on the phone to no one (Lisa points out it isn’t plugged in) Bart and Lisa are able to sneak by and into Hope’s office. There they encounter Hope and resident sycophant Lindsey Nagle and register their complaints about the company’s practices. Hope attempts to bribe away their concerns by offering them a free Funzo, and Bart is happy to accept while Lisa is left frustrated. Nagle confronts the ineffective Coleman to tell him he’s fired, but when he responds with a variation of his signature catchphrase from Diff’rent Strokes (“What’chu talkin’ ’bout, Lindsey Nagle?”) she laughs and re-hires him. Coleman is then seen very proud of himself as he confesses he knew exactly what she was talking about.

Funzo’s true nature revealed. Notice the lack of snow out the window? This seems to happen a lot on this show.

Once again back at home, Bart is happily adding numerous Funzo accessories to his Christmas list while the doll makes suggestions along the way. Lisa confesses the furry little doll is rather cute, but remarks it could never take the place of her beloved Malibu Stacy. At the sight of the doll, Funzo grabs it and rips the head off tossing Stacy’s body into the nearby fireplace. It then targets Bart’s Krusty doll and the Simpson kids deduce the toy is programmed to destroy other toys and eliminate all competition. They decide it needs to be stopped and to do so they enlist the help of Homer.

Homer doing his best Grinch impersonation with surprising success.

The kids and their dad set out on Christmas Eve to steal all of the Funzo dolls, which Springfield has been sent into a frenzy over, from under the many Christmas trees in town. Homer dresses up as Santa and sneaks into the houses while Bart and Lisa distract the residents with Christmas carols. As Homer causes a commotion at the residence of the Hibbert family, Lisa and Bart are forced to sing ever louder to cover-up the noise. Even though Homer doesn’t seem like a particularly good Grinch, the trio are able to round-up a writhing sack of Funzos and head over to the Springield Tire Fire to dispose of them. As the toys are consumed by the flames, Coleman arrives in a Hummer to put a stop to this toy destruction. Lisa is forced to engage him in a philosophical discussion about the commercialism of Christmas, and even Bart and Homer are surprisingly equipped to do the same. Narrator Clarence Clemons pops in to let us know they talked all through the night and arrived at a compromise the following morning that seemed to satisfy all parties. When the remnants of a Funzo doll emerges from the flames like a Terminator, Coleman springs in with a karate kick to dispatch it, a callback to Coleman practicing his martial arts at Kid First earlier in the episode.

And they talked long into the night.

With the Funzo crisis apparently solved, Lisa takes note of a sullen Coleman as she and her family prepare to head home for Christmas. This prompts Homer to clumsily and sweetly invite Gary to dinner, only for him to shoot back he’s having dinner with George Clooney. Lisa says his name in an accusing tone, implying she doesn’t believe him, and he relents. Clemons returns as narrator to let us know Gary and The Simpsons had a wonderful Christmas dinner. Mr. Burns was also visited by three ghosts the night before which convinced him to fund the school with some money he found in his tuxedo. Moe is shown pulling his head out his oven after seeing what the world would be like without him and finds the will to live. He shows up at the Simpsons’ residence with a Christmas goose, and also to tell them he banged up Gary’s car in the driveway. This gives Coleman one last chance to use his catchphrase, before turning to the camera and repeating it happily to conclude the episode.

“Grift of the Magi” is a fast-paced episode of The Simpsons that really zips through its story with no time for a B plot. It doesn’t even become a Christmas episode until midway through, the only sign of the coming holiday being a throw-away line from Skinner during their presentation to Burns and a Christmas tree decoration in Bart’s classroom. The Try-N-Save also has a brief cameo which is notable because the store seems to only show up during Christmas episodes. The use of guest stars is done well and doesn’t really overshadow the episode, though Coleman’s presence is kind of sad in retrospect. During this time of the actor’s life, he ran into some legal trouble while working as an actual security guard. He had a lot of financial trouble and I wonder if he only agreed to make fun of himself here because he really needed the money.

coleman gif The third act is where the Christmas stuff really comes in and it’s not exactly an original take. The episode focuses on the frequent toy crazes that come about every year placing the focus on the ugly side of Christmas commercialism, without resorting to being preachy. The episode doesn’t even really have much to say about it aside from acknowledging it happens since it glosses over whatever lesson the Simpsons learned. It works as a source of humor, though I wouldn’t call it clever. I did enjoy how the episode sneaks in quick parodies of the most frequently adapted Christmas stories at the end in Burns’ Scrooge-like turn and Moe’s It’s a Wonderful Life realization. It closes the only lasting plot-point of getting Springfield Elementary back up and running. The closing minutes are also intentionally corny for comedic sake, but the use of Coleman’s catchphrase still feels lame and lands with a dud. As a result, “Grift of the Magi” is not my favorite of The Simpsons Christmas episodes, but it’s not without its moments. It’s good enough.

The whole tone of this one is very of the era it’s from. It’s quite absurd, and even when you think it’s taking itself seriously it’s really not. Characters are constantly wavering between intelligent and dumb depending on what the scene is asking of them. It’s almost like they know they’re in a Christmas episode and are just going through the motions. It’s mostly funny, but also shallow, giving it a (dare I say?) Family Guy vibe.

If you’re looking to watch “Grift of the Magi” this holiday season then you have several options. It’s available on DVD with the rest of Season 11 and can probably be found for under 20 dollars. It was also released on the DVD Christmas With the Simpsons which is now long out of print, but not hard to come by. There’s also digital purchases available. If you prefer to pay as little as possible, you can watch the episode at any time with a cable package that includes the FX channel lineup. The app FXNow includes Simpsons World which is an on-demand streaming option for every episode of the show. If you don’t have cable, you can even get a free trial that’s plenty long enough to watch one episode. And lastly, the channel FXX is likely to air this episode more than once this month, so check their listings and setup your DVR to record it if you wish. I’ll try and return to this if I come across any air dates.

1 Comment | tags: bart, christmas, clarence clemons, fox, funzo, fx, fxx, gary coleman, homer, lisa, mr. burns, principal skinner, simpsons season 11, the simpsons, tim robbins | posted in christmas, Television

December 1, 2018

Dec. 1 – Aqua Teen Hunger Force – “Cybernetic Ghost of Christmas Past from the Future”

By Joe

Aqua Teen Hunger Force – “Cybernetic Ghost of Christmas Past from the Future” originally aired on December 29, 2002

Welcome back to The Christmas Spot! It’s that time of year once again when this blog takes a break from the usual and turns into your very own Christmas advent calendar of holiday goodness, and some badness. Starting today, it’s nothing but Christmas specials until the big day, and to kick off this year’s installment it seemed appropriate to tackle the episode “Cybernetic Ghost of Christmas Past from the Future” from the Adult Swim original Aqua Teen Hunger Force.

Aqua Teen Hunger Force was created by the duo of Dave Willis and Matt Maiellaro and was one of the inaugural shows featured on Cartoon Network’s Adult Swim programming block in 2001. The show follows three anthropomorphic fast food items: Master Shake (Dana Snyder), Frylock (Carey Means), and Meatwad (Dave Willis). At first, the trio are a mystery solving team, but that premise is pretty much dropped after a few episodes and the show is essentially about nothing. It’s random and absurd with the bad-natured Master Shake often trying to enrich himself at the expense of his roommates, Meatwad and Frylock. Their neighbor Carl (Willis) is a frequent victim of their various schemes and they often attract the attention of weirdos, freaks, and aliens who seek to do harm. Crudely animated and briskly paced, each episode is essentially 11 minutes of surreal comedy. Most of the time it works and it’s really funny, though there are some duds in there that swing and miss badly. The show ran for 139 episodes and even spawned a movie making it one of Adult Swim’s most successful shows.

Carl has a ghost problem.

Closing out the first season is this episode, “Cybernetic Ghost of Christmas Past from the Future.” That mouthful of a title refers to a new character introduced in this episode, the actual Cybernetic Ghost of Christmas Past from the Future (Maiellaro), heretofore simply referred to as ghost or robot because I am already sick of typing out that title. The ghost first shows up at the episode’s open haunting Carl’s house. In February. Yes, this may be a sort of Christmas special but it doesn’t take place at Christmas for the sake of comedy. At first, the ghost is just annoying as he keeps telling stories about the past accompanied by an unusual amount of smoke. He shows Carl his Christmas as a child when his poor, dirtbag, of a father had nothing but carpet samples to give him as a gift. He couldn’t even play with them as the samples were also Christmas dinner. The scene is actually reminiscent of Scrooged and the flashback to Christmas past from that film.

Carl’s unfortunate childhood.

Carl is not exactly thrilled about being haunted by a ghost robot, but he becomes really annoyed when the ghost fills his prized above ground swimming pool with blood. Apparently, the blood is actually elf blood and at this point the neighbors enter the episode to question Carl about the blood-filled pool and the weird, annoying, robot. The ghost is happy to tell them about why the pool has been filled with elf blood, but not before first suggesting they pull up a few chairs and some snacks. He regales them with a story about the origins of Santa Claus, who was once a great, red, ape named Sir Santa of Claws. He constructed crude toys and hurled them at other apes. There’s also lots of defecation, as the robot points out. This Claws came into contact with some martian elves, that he enslaved and defecated upon and the story goes on and on. Eventually, everyone either gets annoyed or falls asleep. All except Meatwad who seems both horrified and captivated by the story.

The ghost is eager to tell his tale, but warns that any who listen will likely want to get a snack first.

At this point, Carl just wants to know how he can make the blood in his pool go away. The ghost tells him he needs to give of himself to the great, red, ape in space. And by give of himself, he means sexually. Carl, surprisingly, doesn’t seem mad as he deadpans a “wonderful” response to the request. We then time-jump to the next day (presumably) and Frylock and Carl are discussing him selling the house. Frylock asks if he considereds just doing what the robot said, but Carl is pretty adamant about not getting raped by a gorilla in space and I can’t say I blame him. He mentions he has somebody coming over to look at the house, then tells Frylock to go away so he can take a shower. He heads off to do just that, then comes running out of the bathroom horrified and covered in blood. Frylock tells Carl he can just shower at their house, but he’s about as excited about “gettin’ nude in your house,” as he is about the space monkey.

Santa Claws!

Carl is then shown giving a tour of the house to his respective buyer, and it is none other than Glenn Danzig who is voicing himself. We’ve covered quite a bit of Danzig material this year at The Nostalgia Spot so it seems only fitting we should cover his foray into animation this Christmas, no? Danzig is illustrated as being a shirtless guy in black pants and he’s pretty intrigued about a house that bleeds. His only concern really is if the robot can make the blood flow up the walls, and the robot pops in to assure he can. He’s also in love with the idea of a swimming pool filled with blood. He’s not a good house-buyer as he’s clearly let on to Carl that he wants the place, and when he asks for a price Carl just throws out a million and Danzig happily accepts. Carl is overjoyed, a rare occurrence on this show as he usually ends up dead or something at the end of most episodes.

Shake has the right idea.

Sometime later, Master Shake is looking out the window at the house formerly owned by Carl and sees Danzig heading over. He tells everyone in the house to scatter as the door is pounded upon by the muscled musician. Shake cheerfully opens the door and offers food from their “Haunted Kitchen!” and Meatwad goes into a lame routine of turning the lights on and off while wailing “Daaaaaaaanziiiiiiiiig! You want something to eaaaaat?” Not amused, Danzig goes into a rant. His robot ran away and he’s the source of the house’s blood so Danzig is quite ticked off that he’s not around. He warns Shake that if he’s hiding that robot there will be Hell to pay, in more words or less. After he leaves, Shake is relieved and the ghost robot pops into the image. He announces that he hates living with Danzig and finds him annoying. Plus, he never wears a shirt. Shake doesn’t care and simply demands that the robot make their house bleed right now and then we cut to the end credits.

Looks like Carl has miraculously found a buyer for his bleeding house in Glenn Danzig.

So this one really isn’t much of a Christmas special. It contains a really wild tale about the origins of Santa Claus, though it will be admitted in later episodes that the ghost who spins this tale knows nothing of the past and isn’t even from the future. Like many characters on this show he’s just insane. Carl is the victim, as he often is, throughout most of the episode but actually ends up doing well in the end. The main characters of Shake, Meatwad, and Frylock actually don’t have much to do since the ghost’s story takes up so much of the meager 11 minute runtime.

Danzig isn’t too happy when his robot runs away. Seems like we’re overdue for a follow-up episode about a rocker and his search for his beloved robot.

There’s no denying that, as a Christmas special designed to make you have those warm, fuzzy, feels “Cybernetic Ghost of Christmas Past from the Future” comes up woefully short as there’s really no Christmas spirit to be found at all. How much you enjoy the episode depends on your brand of humor, and if you’re amused by the Glenn Danzig cameo (which I obviously am). Danzig apparently wrote a lot of his own lines and if you’ve ever heard him rant in an interview or on stage then that probably doesn’t surprise you as his rant at the episode’s end is very much on brand. The episode is animated crudely so it’s not particularly attractive, but there’s value in the crudeness and humor as well. I find this one funny, and it’s short enough that it doesn’t overstay its welcome (though the intentionally long back story of Santa does toe the line) so I can give this one a solid recommendation.

And if you’re looking to catch this one on television this year then you may be in luck. Adult Swim is pretty good at airing its various Christmas specials throughout December. Since this one is so old and from the pre-HD era they may bypass it. In that case, it appears to be streaming for free at adultswim.com and finding it online isn’t particularly hard either. It was also released on DVD as part of Volume 2 of the show (even though it was considered a season one episode) and getting that set probably won’t set you back much. If you liked reading this though then come back tomorrow when we’ll have another Christmas special to talk about, and I promise it will be a bit more “Christmasy” next time. See you then!

2 Comments | tags: adult swim, aqua teen hunger force, cartoon network, christmas specials, cybernetic ghost of christmas past from the future, frylock, glenn danzig, master shake, meatwad | posted in christmas, Television

November 30, 2018

The Christmas Spot Returns for 2018!

By Joe

Hello readers!

Once again we find ourselves on the precipice of another holiday season. In truth, the season began unofficially a week ago with the end of Thanksgiving, though if you’ve been to a retail outlet in the past month then you may have considered it started long before that. We’ve even already past the point where major holiday specials have already aired like Rudolph the Red-Nosed Reindeer and Frosty the Snowman. If you missed out on them, well they’ll probably be shown again, but you also have The Nostalgia Spot to tickle your mistletoe.

That’s right, with December 1st tomorrow that means you have another 25 posts in 25 days to look forward to all celebrating the joys (and maybe the not so joyous) of the season! As a reminder, this is largely inspired by A Cartoon Christmas which has been out of the game for a few years now. I am not affiliated in anyway with that outlet, but I like to cite it as inspiration because it’s still worth reading every year. And since this is inspired by it, I try not to duplicate entries and this year will be my most successful yet in that department. I actually thought I’d get through all 25 days, but I actually repeated one and noticed it well after the fact. Rather than write a new one (because it was one of my favorites that I took in for this year’s edition) I’ll leave it be. Still, 24 isn’t bad now is it? I can’t say they’re all good, but it can be fun to watch even a subpar or downright bad Christmas special at this time of year.

A lot of these entries are of old holiday editions of dead TV. As such, they’re not shown annually any longer. At the end of each post I’ll try to point you in the right direction in the event you wish to watch the special yourself. Some can be found on home media, and a great many can be found for free online. There are a lot of IPs out there that no one cares about and a lot of them had Christmas specials. I believe that with a cable subscription and an internet connection, you can see all of these for “free.”

I hope you will stick around and enjoy these posts for the next 25 as we transform into The Christmas Spot. That does mean that our regular Friday Batman post is going on hiatus for a bit, but he’ll be back before the end of the year and ready to go for 2019. I have a lot of fun doing this each year so I hope people have fun reading it. This is a long process for me that begins usually back in September as coming up with 25 posts for one month takes some time. And for me, I am a dad of two young kids plus I have a full-time job so it’s a challenge to find the time, but it’s also worth it. So happy holidays to all who read, and even those who don’t, and lets see what the season has in store for us in 2018!

Leave a comment | tags: christmas, rodney reindeer, the christmas spot | posted in christmas

November 30, 2018

Batman: The Animated Series – “His Silicon Soul”

By Joe

His_Silicon_Soul Episode Number: 62

Original Air Date: November 20, 1992

Directed by: Boyd Kirkland

Written by: Marty Isenberg and Robert N. Skir

First Appearance(s): Batman Duplicant

Episode 62 of Batman is one where my memory has apparently betrayed me. “His Silicon Soul” first aired on Friday, November 20, 1992 and yet I swear I first saw it in prime time. If it was re-shown in prime time, I can’t confirm, as I suppose it’s possible I missed it in its first showing. Since we’re talking about 26 years in the past though, it’s also possible I created a false memory. It’s just odd to me because I definitely remember my reaction to this one as a kid as it’s a pretty memorable episode. It’s a follow-up to the two-part story “Heart of Steel” which occurred way back in episodes 38 and 39, though in relation to this episode it had aired just days prior with only two episodes airing in between. It ties up basically one loose end from that episode: What did H.A.R.D.A.C. do with the knowledge that it gained from the Batcave?

That’s never happened before.

The episode opens with three seedy gentlemen poking around a warehouse at night. When one questions why they’re here, the apparent leader of this operation says an old computer factory went up in flames and some of the high-end tech it contained was moved here. They come upon a crate and emblazoned on the crate is the H.A.R.D.A.C. logo. They have no idea what that logo means and begin prying at the crate. It soon shakes, and a fist punches through the top. It’s Batman, and the trio of crooks are soon shaken to their core. They attack with crowbars, and Batman remarks how pathetic their attempt is to take him out as he catches their swings. He tosses them around, but one of the crooks whips out a gun and pops off a few shots. They remarkably connect, and when Batman is still standing the crook drops the weapon and flees screaming “He’s not human!” Batman, with a look of shock on his face, looks down to find he’s been wounded and there’s nothing but circuitry spilling out of him.

I know that image.

At Wayne Manor, an injured Batman ascends the stairs to Bruce Wayne’s study. He pauses at a mirror and traces his face with his finger on it and the image of H.A.R.D.A.C. appears. Alfred emerges thinking there’s a prowler and is relieved to see it’s only Batman. When Batman indicates he needs help, Alfred notices the damage and immediately makes the connection to H.A.R.D.A.C. This duplicant Batman reacts with confusion, insisting he needs help and implying bewilderment over his condition. Alfred flees into the Batcave where he’s able to activate a clever security measure that fills the Batcave with gas while he puts on a gas mask. At least, it would be clever if his assailant wasn’t a robot, so I’m not sure what Alfred expected, and the duplicant soon emerges and pulls the gas mask off of Alfred. With Alfred unconscious, the robot accesses the computer database for information relating to H.A.R.D.A.C.

Elsewhere in Gotham, the police have stumbled upon the would-be burglars who faced-off with the robot Batman. The real Batman shows up as well and Commissioner Gordon suggests he not hang the guys so high next time. They lower the bound thugs and Gordon removes a Bat-a-rang from the rope and gives it back to Batman. “Yours, I presume,” he remarks to which Batman responds with “So it would seem.”

Batman notices the guys are pretty shaken up at his presence and he pulls Gordon aside. He explains to Gordon that he didn’t apprehend these men, despite how it looks. Batman seeks information on what the crooks were going after, and finds a microchip stuck to the jacket of one of them.

So when is this robot going to rebel and start killing people?

We’re taken to a farm that’s being attended to by various little robots. It’s the home of H.A.R.D.A.C. creator Karl Rossum (William Sanderson) who has given up on creating advanced robots in favor of a more simpler, but still quirky, lifestyle. Batman approaches him from behind, as he always does, and startles the skittish farmer. He questions if more duplicants could exist, specifically if H.A.R.D.A.C. could have created one of him. Rossum insists H.A.R.D.A.C. is no more and that the police seized everything from his old lab. Batman apologizes for bringing up the past, before taking his leave.

Later on, Rossum is alone in his green house when Batman shows up once again. Rossum is agitated, but then realizes this isn’t the same Batman. It’s the robot Batman, and he’s there for help. He insists something has been done to him, that his mind was taken from his body and implanted in a robot. He needs help getting his body restored, or getting into a new robot one. Rossum explains that he’s not and has never been human but is in fact a robot. When the duplicant reacts angrily insisting it has memories, Rossum reveals that it’s all data driven. When he asks it to recall its first kiss or favorite song it’s unable to, because it’s never had that information. Rossum also reveals its body has been damaged beyond repair and its circuits will likely cease all functions within a few hours. This enrages the cyborg, and it looks like it’s about to inflict some pain on Rossum until the real Batman ambushes it from behind.

It’s time for a rumble in a green house, and this isn’t even a Poison Ivy episode!

The two fight and Batman is at a disadvantage. The robot copy of him fights like him, but with enhanced strength. He takes cover and uses a hose, of all things, to subdue the robot when he blasts the damaged area and exposed wires with water. Rossum runs up ready to destroy the robot with a hoe, but Batman stops him claiming they need this machine to lead them to whatever remains of H.A.R.D.A.C. The robot then “wakes up,” and now has sinister glowing red eyes instead of white. The fight resumes, and the main casualty is Rossum’s green house. The robot tosses Batman through the side of it, but when the green house starts to cave in, the robot Batman goes back to save Rossum. With Rossum tossed out of the falling structure, the whole thing comes down on the robot. Batman walks over to scour the remains, but the robot appears to have vanished. He jumps into the Batmobile and searches on his computer for where the confiscated material from Rossum’s lab ended up and it brings up a Gotham PD impound lot.

Repair sequence initiated. It’s oddly satisfying to watch.

Somehow, the duplicant Batman is already there despite apparently not lifting a Batcycle or Batwing from the Batcave. It enters the warehouse and finds some components. Once one in particular is identified, some latent programming takes over. The duplicant is clearly fighting it, but cannot resist. It pulls off the outer skin covering its mechanical head and inserts a chip into a slot on the forehead. Once done, the voice of H.A.R.D.A.C. (Jeff Bennett) starts telling the robot what is happening. All of H.A.R.D.A.C.’s data files are being downloaded and integrated with the duplicant Batman. It details the robot’s creation and also its new objective. Duplicant Batman is now essentially both a Batman clone and H.A.R.D.A.C. in one and it is to resume the operation to replace humanity with robots. Better yet, that chip activated a repair function that has undone the damage from earlier. The duplicant puts its “face” back on and moves to a window to see the Batmobile has just arrived. It declares it will replace all of humanity, starting with Batman.

Batman enters the warehouse and finds it quiet at first. The duplicant then attacks from behind and it’s Batman vs Batman once more. The only way to tell the two apart now is by the glowing, red, eyes of the robot version. The confrontation is brief as the robot slams Batman through a wall to plunge into the waters below.

When the eyes go red you know you’re in trouble.

The Batmobile arrives back at the Batcave and Alfred is at first relieved to see Batman emerge. He soon realizes, partly based on the more robotic speech pattern of the repaired duplicant, that this is not Batman. The robot declares there is only one Batman now, but it will let Alfred live and continue on as caretaker of the mansion until a replacement is constructed. It also reveals that it intends to use the Batcomputer (Richard Moll) to upload H.A.R.D.A.C.’s directive to all connected devices across the globe. From there it will take over defense systems and hold the world hostage forcing humanity to help build the era of robotics.

You just knew its face would end up like this at some point.

The real Batman shows up to declare this won’t happen. His cape was apparently torn in the last fight, and he has a comically small cape dangling from his back. The duplicant has activated its program though and a classic countdown has initiated with 5 minutes to go. Alfred tries to cancel it but gets electrocuted for his efforts. Seeing no alternative, Batman once more does battle with his imposter. As the two fight throughout the Batcave, Batman taunts the fake declaring it’s been made too well. Since it’s based on him, it won’t take a life. That’s why it didn’t finish him off earlier and it’s why it won’t kill him now. The robot denies this as the two fight, and Batman flings some acid in its face which was basically required as it burns off half of the robot’s face giving us a classic Terminator half-human half-robot look.

More sword fighting!

As the two fight, they end up in an armory where Batman grabs a sword. The robot counters by doing the same, and for the second consecutive episode we get a sword fight. This one is brief though, and results in Batman falling into a chasm in the Batcave. The robot reacts in horror thinking it has taken a life. As it stands before the computer, it goes berserk and with only 2 seconds left it smashes everything in sight. An explosion results that tosses the robot back to smash against the Batmobile. The sprinkler system kicks on and the glowing eyes of the now badly damaged robot flicker out.

Smashing a computer solves every problem.

Alfred heads back to where Batman fell and shines a light down below. A light is returned and Batman is shown hanging from some lighting affixed to the Batcave wall. He climbs back up and both he and Alfred go take a look at the deactivated robot. Batman ponders if, in the end, the duplicant possessed a soul hearkening back to the inspiration for all three of these robot episodes, the Phillip K. Dick story “Do Androids Dream of Electric Sheep?” which was the inspiration for the film Blade Runner. The camera lingers on the face of the android, now mask-less, to ponder Batman’s question a moment before the credits take over.

“His Silicon Soul” is a fun follow-up to “Heart of Steel.” It was surprising that Batman never had to take on a Batman copy in that two-part episode, but it makes sense that the staff saved that confrontation for its own episode. I mentioned how, despite getting the air date wrong in my memory, that I did actually remember the first time I saw this episode and that’s because of the impact it made. I had somehow missed the first-run of “Heart of Steel” so I had no idea what that logo on duplicant Batman’s box was when I first saw this. Seeing Batman fight some guys and turn out to be a robot was shocking and confusing to me. I had no idea what was going on and it actually made the experience more exciting. It makes me wish that logo wasn’t present because it kind of deprives the audience of that initial shock at seeing Batman’s exposed robot parts.

A some-what unsettling image to end the episode on.

For the robot Batman and the fights between it and the real Batman, the episode obviously borrows from The Terminator franchise, which was incredibly popular at the time. It was noted for “Heart of Steel” how the duplicants resemble the Terminators from those films, and this episode even brings in that half-robot look. H.A.R.D.A.C.’s ambitions are essentially the same as Skynet’s and the only thing missing is time travel. Even if it is obvious, it’s still a lot of fun and taking a more Blade Runner approach towards the actual robots injects a little philosophy into the episode which The Terminator lacks. It’s not nearly as heavy-handed as Blade Runner, and the question raised by Batman is almost ridiculous regarding a silicon soul, though it’s also the type of thing that felt really impactful to me as a kid, so considering the audience, mission accomplished. The duplicant Batman would end up as a fan-favorite character and he was even brought back for a 2014 Batman Beyond short where he leads an army of Batmen into the Batcave. It’s nothing special, but it’s kind of fun since all of the other Batmen are costumed differently reflecting a Batman from a prior period in the real world. Aside from that, H.A.R.D.A.C. and its many duplicants will not be heard from again.

Dong Yang animated this episode and does a pretty good job with it. It’s worth noting since it had to follow the TMS episodes, but the robots and the robot Batman are all quite fun to look at. The whole removing of the robot’s face could have probably been embellished more, but they also likely didn’t want it to be too unsettling. I like the sound design for that sequence as it has a peeling sound that is a bit gross, even if the visual is rather tame. Early in the episode I did think the darker sequences did not hold up too well. The blue accents of Batman’s costume have an almost fluorescent quality to them and there are a few shots where Batman has a hook nose when shown from the side, and I always disliked hook-nosed Batman.

“His Silicon Soul” is overall a really fun and engaging episode of the show and it’s a good one to take a break on. It’s now post Thanksgiving and The Nostalgia Spot will soon morph into The Christmas Spot. In some sense it feels like poor timing since we only have three episodes left of season one. It also kind of stinks because our re-entry episode following Christmas is going to be one of the worst episodes of the season so far. I don’t control time though. If you come to this blog just to read about Batman: The Animated Series then I hope you don’t mind the three-week break in programming here. And hopefully you return on December 28 for our next episode. Until then, I encourage you to indulge in the Christmas programming as the next 25 days will feature a new post about a holiday-inspired episode of television, or something similar, and I promise to even fit a super hero story or two in there.

1 Comment | tags: batman, batman beyond, blade runner, dc comics, do androids dream of electric sheep?, duplicant batman, h.a.r.d.a.c., karl rossum, philip k. dick, robot batman, william sanderson | posted in batman the animated series, Comics, Television

November 23, 2018

Chinese Democracy Revisited

By Joe

After a lenghty development process, Chinese Democracy was released on November 23, 2008.

Quite possibly the most interesting and fascinating rock album released in my lifetime is Chinese Democracy by Guns N’ Roses, released ten years ago today. This was an album of mythic proportions. It was in some state of genesis for parts of 15 years and I think come the mid-2000s most probably assumed it was musical vaporware and would never see the light of day.

To comprehend the magnitude of Chinese Democracy you need to take a trip back to 1991. That year, Guns N’ Roses released its true sophomore effort and follow-up to the debut Appetite for Destruction with the double-album Use Your Illusion. The band was on-top of the rock world thanks to the success of Appetite. It combined good tunes with big personalities, none bigger than frontman Axl Rose. The band invited controversy, or at least Axl did, and was pretty upfront about its destructive lifestyle. The title of their first album wasn’t something that just sounded cool, it was basically their lifestyle. As a result, record company Geffen was quite fearful that the band would crash and burn before they could milk it for all it was worth. This is all detailed quite well in Watch You Bleed, the unauthorised biography of the band by Stephen Davis. Geffen would repeatedly try to get the band into the studio, and fast-tracked the follow-up EP Lies in 1988 just to keep the cash flowing. Use Your Illusion would basically turn into Axl’s vanity project, wanting to do something bigger than Appetite. His affinity for Elton John was front and center in the many long ballads contained on those two albums and the accompanying music videos were lavish and expensive. The albums were a major commercial success, even if they were quite inferior to what came before.

Following the release of Use Your Illusion, the band would embark on a massive, global tour where apparently things deteriorated between Axl and his band mates with some claiming Axl forced them all to sign over the rights to the band to him before a gig in Rio (a claim Axl denies). Members were dropping, but the most recognizable personalities of Rose and guitarist Slash were still holding things together, albeit barely. Following the heavy touring, the band would work on and release a covers album in 1993, The Spaghetti Incident?. It wasn’t particularly good, though few cover albums are, but still managed to sell over 6 million copies. Things would further fall apart following the recording of another cover, this one of “Sympathy for the Devil” for the Interview With a Vampire soundtrack. Axl supposedly mixed it behind the band’s back and Slash was disgusted with how it turned out (I personally find it kind of interesting), but he still soldiered on but eventually left the band in 1996. Bassist Duff McKagan would eventually follow Slash out the door in 1997. At the time he stated the band had studios rented for the better part of three years and yet no songs to show for it.

In the early 90s, Guns N’ Roses was on top of the rock world.

By 1998, the band was practically unrecognizable. Axl Rose was the only member left from the early days, and keyboardist Dizzy Reed was the only other holdover from the Use Your Illusion albums. It was at this point the band seemed to get serious about writing and recording new music and Geffen even offered the band a bonus of a million dollars if it could complete the record by 1999. That obviously didn’t happen, but by then one song was unveiled along with the eventual album’s title. That song, “Oh My God” was included on the End of Days soundtrack and was not met with much enthusiasm. It was basically an industrial rock song and few nice things were said of it. This was also the era in which Rose really started talking up the album claiming he had enough material for a whole trilogy of albums. He even played some demo versions of songs for Rolling Stone and there was some momentum for the album, and yet nothing would come for many years.

The band’s first unveiling with this new lineup ended up as a surprise appearance at the 2002 MTV Video Music Awards. Despite a warm reception, the band kind of floundered through a brief set that included renditions of classics “Welcome to the Jungle” and “Paradise City” sandwiched around a new song, “Madagascar.” Rose particularly sounded awful, unable to really unleash his screech and compensating by just singing comically high. Still, the band suggested the album was close with guitarist Robin Finck even throwing out a date of Summer 2003, but that obviously didn’t happen.

The band’s surprise appearance during the 2002 VMAs may have done more harm than good.

Guns N’ Roses, possibly in need of a cash infusion, returned to touring in late 2002. This likely stalled production on Chinese Democracy, but not enough to justify missing that release window by five years. During the touring, fans did get to hear early versions of songs that would make the album, but the reception wasn’t warm. Leaks would follow over the ensuing years, some resulting in legal action by Geffen and the band, and the New York Times would report in 2005 that production costs had now topped 13 million dollars, an incredible sum for an album that still was years away.

Eventually, the album would see the light of day. On November 23, 2008, Chinese Democracy was unleashed. It’s hard to say what the level of enthusiasm was at that point. Because the costs for Geffen were so astronomical, the label went to great lengths to try to make as much of its money back as possible. It negotiated exclusive deals for songs with movie studios and video game makers. “If The World” would run during the closing credits of Body of Lies while “Shackler’s Revenge” was included with Rock Band 2. Best Buy secured an exclusive agreement to sell the album in its stores, including CD versions and an LP. The title track was debuted on Opie and Anthony’s show before being distributed to other radio stations while “Better” was released as a promo single as well. To drum up enthusiasm for the record, fans could stream it for free three days before release. Perhaps most infamously, was the Dr. Pepper promotion. Early that year, Dr. Pepper openly promised free cans of its signature soda if the album was released in 2008. The roll-out of coupons for individuals looking to take advantage of the promotion was botched, with Dr. Pepper’s website becoming overloaded. The band even threatened a lawsuit over the whole thing and accused Dr. Pepper of tarnishing the album’s release leading to lower than expected sales. Rose would later claim he had nothing to do with the threat of litigation and considered it a non-issue.

Buckethead was probably the band’s most famous member outside of Rose during the interim period between albums, though by the time it was released Buckethead had left the band.

When Chinese Democracy was finally in the hands of fans curious to hear it, it came packaged with a rather thick booklet. So many cooks were in the kitchen here, many no longer even with the band. Of them, the most famous was likely guitarist Buckethead who didn’t hang around long enough to see release. Twelve separate musicians received credits in the personnel department with five additional guest musicians credited (most famously, Sebastian Bach who performed backing vocals on “Sorry”). The 14 track album ran for over 70 minutes, and it’s almost impossible to know how old some of the tracks are. It’s a rather fascinating album for this reason, and perhaps one day Rose will open up about the production process and be able to provide track lists for each year recording was ongoing. It certainly would make for an interesting documentary.

As for the album itself, while the initial sales may have disappointed (it debuted at number 3 on the Billboard 200) it has since been certified platinum. Critics seemed largely complimentary of the release, even if it was tempered somewhat. Perhaps the biggest proponents of the album were Axl’s former band mates with almost all of them offering a positive assessment of the record.

Chinese Democracy’s release cost Dr. Pepper a few bucks and maybe some PR damage as well.

In revisiting the album I still largely hold the same opinion now as I did back in 2008. It’s both a satisfying and disappointing release. The disappointment comes in that this isn’t some over-the-top sound, nor is it a giant dumpster fire. I think some people were hoping for a disaster, and what they got is a pretty decent record, though not one anyone is likely to proclaim as an all-time great. What I do find really interesting about the album is that its best moments are what many people disliked about Use Your Illusion. This is an Axl Rose record and Axl Rose likes ballads, so there’s no shortage here. The last three songs are long, slow, pieces and are also among the best moments for the record. When it tries to be hard and heavy, it has its greatest stumbles. The title track is a fairly straight-forward rock track, satisfying, though not spectacular. “Shackler’s Revenge” and “Better” follow a similar path, though to not as great an effect.

The album stumbles following its first ballad, the quite competent and satisfying “Street of Dreams.” “If the World” goes for a bit of a jam sound and it sounds way over-produced. It’s more an idea than a fully realized song. The next two, “There Was a Time” and “Catcher in the Rye,” are fine, but sound way too similar to each other. It’s puzzling to see them placed back to back. “Catcher in the Rye” also goes for a melancholy sound that feels stale and a touch corny. It’s not helped by the subject matter of the song, which feels like well-trod territory. “Scraped” is where the album bottoms out, a noisy, directionless song with Rose’s worst vocal performance. “Riad N’ the Bedouins” feels like the unofficial beginning of the album’s second act. It’s a rocker that’s delivered with true ferocity. It’s probably the heaviest song on the album and it contains some classic Rose gusto with lines like, “I don’t give a fuck ’bout them ’cause I am cra-zay!” What momentum the album finds with the song though is wasted on “Sorry,” just a snoozefest of a track. “I.R.S” is more a mid-tempo rocker, and it’s fine. Axl’s vocals are probably as close to classic Axl as you’re going to hear on this one. The trio of ballads that round things out follow. “Madagascar” is another over-produced mess, though it debuts a new “voice” for Rose in which he goes with a weathered, low, sound. The song is interwoven with clips of Martin Luther King Jr’s “I Have a Dream” speech as well as the same soundbite from Cool Hand Luke that was previously used at the beginning of “Civil War.” “This I love” is a gentle ballad with a great melody and vocal performance by Rose, while “Prostitute” is similar, but it has a bigger end.

Fellow rocker Sebastian Bach was a source of news on the album leading up to its release. He also guested on the track “Sorry.”

Despite my dislike for some songs on this one, I do still find it compelling enough to listen to the album the whole way through. It is not and never will be my favorite GNR album, but I’m torn on if I like this more than I do the individual Use Your Illusion albums. Those two were a mess stuffed full of filler material. I think if I were to cut Use Your Illusion down to a single album, it would be better than Chinese Democracy, but it is a fun discussion. Appetite for Destruction will likely always be the band’s best album and one that really defines its sound. It’s not just the best album in the band’s discography, it’s one of the ten best rock albums of all time. No one, even back in 1991, expected the band to top it only to supplement it with more worthwhile content.

After years of saying it would never happen, Slash and Axl finally reconciled and re-joined the band, along with McKagan, in 2016.

Following Chinese Democracy, Guns N’ Roses has been quiet on the new release front. Rose did claim around 2014 that more material was on the way, but it’s been rather quiet. The band put out a remastered version of Appetite for Destruction instead, and former band mates Slash and Duff are back with Rose. Supposedly, there are dozens of unfinished songs leftover from the Chinese Democracy sessions so it’s possible that some day Geffen will put them out looking to just make a little money off of them, if they can. If GNR is to remain a nostalgic act I suppose few will mind, though longtime fans are probably curious to hear what a new album with Slash and McKagan back in the fold would sound like. Regardless of how the album ultimately turned out, Chinese Democracy will always be remembered as the white whale of rock albums. The incredibly long and dramatic production time was perhaps more fun to follow than the album was to listen to. There’s a part of me that wished it continued, though I know that’s a retroactive feeling as at the time I was more than ready for the whole thing to have an end. I think ten years later the album is still worth a look and how much you enjoy it largely depends on your expectations. If you’re looking for another Appetite or even another Use Your Illusion, you’ll be let down. If you just want a textured rock record with a modern sound, then I think there’s something to like here.

Leave a comment | tags: axl rose, buckethead, chinese democracy, duff mckagan, geffen, guns n' roses, slash | posted in Music

November 23, 2018

Batman: The Animated Series – “The Demon’s Quest – Part II”

By Joe

demons quest 2 Episode Number: 61

Original Air Date: May 4, 1993

Directed by: Kevin Altieri

Written by: Dennis O’Neil and Len Wein

First Appearance(s): None

One thing I appreciated about Batman: The Animated Series as a kid was that it was a week day afternoon show, so when these two-parters aired I had to wait only a day for the conclusion. With X-Men or Spider-Man, it was usually a week which is a long time for a 10-year-old. “The Demon’s Quest – Part II” picks up right where the first part left off and it has a lot to reveal. We know Ra’s al Ghul is a bad guy with some righteous qualities, but we don’t know just how bad he is since at the end of the last episode he looked ready to kill his own daughter. Batman had just saved him by plunging him into a Lazarus Pit which contains a green liquid that has apparently sustained Ra’s al Ghul for some 600 years. Batman had also just denied Ra’s al Ghul’s request to become his heir, because he’s apparently a sexist individual and will only pass on whatever it is he has to give to another male as opposed to his daughter. Doing that was considered a great insult by al Ghul, and forced him to declare they are now enemies. Well, Batman, you just brought one of your enemies back to life and he looks to be in superhuman physical condition now, what’s your next move?

Watch that left hand, dad.

As the episode begins, Ra’s al Ghul (David Warner) is ready to toss Talia (Helen Slater) into the Lazarus Pit from which he had just emerged. Ubu (Manu Tupou) informs Batman that the pit can restore a dying man to life, but it will destroy someone so young as Talia. Batman is able to grapple Ra’s causing him to drop Talia onto the ground. She immediately approaches her father once more and slaps him across the face, which causes him to finally cease with the creepy laughter. His senses are soon restored, and Talia explains that each time he emerges from the Lazarus Pit he is momentarily insane and cannot be blamed for his actions. Batman and Robin look like they’re done with all of this, but Ra’s still repeats his offer to the detective and he once more refuses.

Once again, Batman has decided to make an enemy of Ra’s al Ghul, and Ra’s decides to destroy the mountain base they are currently in. Talia tries to talk him out of it, but he reasons that they have plenty of other locations and their desert base will do just fine. He activates a switch in the rock and bids Batman and Robin farewell as a steel door closes sealing the two in with the Lazarus Pit. Batman and Robin, amidst explosions and falling rocks, jump from the cliff they’re on to grab ahold of the rope affixed to the gurney system they used previously for Ra’s. Spying an opening in the ceiling of the chamber, they climb up and out and emerge in the snowy Himalayas once more. To add a dash of drama, the ground upon which they tread is collapsing into the pit they just escaped and the two jump off the side of the mountain towards the camera positioned below, a shot most will recognize as it will soon be featured in the opening credits for the show.

I bet they wish they had some of Adam West’s trusty Bat-thermal underwear.

Trapped in the mountains and clearly not dressed for the arctic-like conditions, it would seem things are looking bad for our crime fighters. Batman picks Robin’s brain about his time in captivity, and he mentions he kept hearing the word “Orpheus” repeated by the men guarding him. As the two chat, the camera zooms out to reveal a Wayne Enterprises building at the base of the mountain. How convenient.

Inside an office, Bruce Wayne and Dick Grayson are more conventionally dressed and searching a database, or the internet, for clues relating to the word Orpheus. Bruce recognizes the name from legend and also discovers it was recently adopted as the name of a satellite launched into orbit over the Sahara Desert. Bingo.

Batman’s disguise doesn’t look like it would work very well.

Robin and Batman apparently commandeer a Wayne airplane and Robin positions them over the Sahara for Batman to eject. He’s going solo from here on out. Once he touches down in the chilly, night-time, desert, he spies a caravan of camels with some armed men aboard them. They’re riding single-file, which makes it quite easy for Batman to get the drop on the rear rider and take his place. In what is a rather amusing visual, Batman just puts the man’s clothes on over his costume and apparently no one notices the mask under the mask. He also apparently is so against guns that he doesn’t even carry the mercenary’s weapon to make his disguise look as authentic as possible.

They arrive at the base of Ra’s al Ghul, and old friend Ubu is there to command them inside. Batman, grabbing a bed roll for some reason, walks off away from everyone else which does not miss the eye of Ubu. He gives chase, but once he rounds the corner after him he sees only the lime green bed roll on the ground. Batman is then shown sneaking around, but soon Ubu ambushes him. The two fight, and when it looks like Batman is about to gain the upper hand more of the mercenaries show up and they all take him down. Ra’s al Ghul then appears and orders them to stop. He wants to know who this foolish, or brave, individual is that has infiltrated his stronghold and he’s not at all surprised to find it’s Batman. Proving that he might be smarter than most villains, Ra’s has them remove Batman’s belt and anything else that might aid his escape which means they get to rip his shirt off.

Two guys who love capes.

Ra’s al Ghul may have been smart enough to partly defang his foe, but not smart enough to kill him or keep his mouth shut. Batman claims Ra’s has nothing to lose by telling him what he’s planning on doing, and Ra’s agrees (idiot). He reveals that the Lazarus Pit is a naturally occurring thing on the planet and that many of them are scattered across the globe, which explains why he didn’t mind losing the one in the Himalayas. He’s had his global agents work to position bombs above each one, and when the Orpheus satellite is in position this evening, a signal will go out to all of those bombs causing them to fall into the pits. The resulting explosions will cause the pits to erupt and spread their goo all over the world. He even has a number for the lives lost, totaling over 2.5 billion (which I assume would have been about half of the world’s population in 1993).

Batman declares Ra’s is insane, but he disagrees saying this cleansing is needed to restore the Earth to her former glory. He had initially planned on this cleansing taking place over generations, with his heir taking up his work, but since Batman denied him he’s just going to accomplish his goal in one fell swoop. He wants Batman to witness his triumph, so he has him taken away. Before the guards can lead him away, Talia requests a moment and gives him one, long, lingering, kiss.

They’re going to settle this like men.

Once locked up, Batman finds he’s been chained to the wall of his cell and his two guards demonstrate almost immediately that they’re going to underestimate him. Batman reveals a lock pick was slipped into his mouth by Talia, presumably, and quickly frees himself and effortlessly dispatches his captors. Once free, he’s able to move about the base undetected causing mischief before eventually detonating most of the weapons stored on site. The many explosions attract a lot of attention and also leads to another confrontation with old friend Ubu. Batman is able to beat him rather easily, once again, which just leaves the old man.

Ra’s is clearly a misogynist, but he’s not above using eye-liner.

Ra’s al Ghul declares they must do battle to settle this, and because his opponent is bare-chested I guess he decided he needed to do the same. The two sword fight, because this is a classy fight, and neither appears to have the upper hand over the other. As Batman ascends some stairs to the Lazarus Pit located there, he realizes he’s running out of time if he wants to stop Ra’s al Ghul’s master plan. He hurls his sword and it zips past the head of al Ghul, a narrow miss? Nope, Batman was aiming for the satellite uplink dish below and scores a direct hit thwarting the operation. Enraged, Ra’s attacks the now unarmed Batman. Batman avoids the would-be fatal blow causing Ra’s to fall into the Lazarus Pit. Batman looks down to find Ra’s has saved himself by jamming his sword into the side-wall. Batman extends a hand, we’ve seen this before, and beckons Ra’s to do the same. For a moment, Ra’s looks like he’s going to comply, but then you can tell pride prevents him from ultimately accepting the aid of Batman. Declaring that Batman is the victor here, and expressing a desire to join with the planet he so loves (he’s like a demented Captain Planet), Ra’s lets go of the sword and plunges into the Lazarus Pit below.

Talia is said to see her “beloved” go.

Out in the Sahara, Talia accompanies Batman to Robin who is waiting by the airplane. She explains to Batman that she shares her father’s ideals, but does not agree with his means. When she asks if she is now to become his prisoner, Batman simply pulls her in close for a romantic smooch as the sun rises in the distance. Surprisingly, Robin has nothing snarky to say about this as Batman boards the airplane, leaving Talia behind. Once in the sky, Robin asks if they’ve finally seen the last of Ra’s al Ghul, as if he’s some villain they’ve been tangling with for years. Batman remarks it looks that way, which seems rather naive of him. And indeed it is, as we’re taken back to the edge of the Lazarus Pit to see a hand emerge from below and grab the edge as laughter rings out.

The money shot.

After a more procedural Part I, Part II of “The Demon’s Quest” is largely action-oriented. We get some stealth Batman action and even a sword fight amidst the backdrop of Armageddon. I suppose the stakes have never been higher in an episode before, not that the outcome is ever seriously in doubt. Ra’s al Ghul proves to be both smart and dumb as he seemingly has a backup plan for everything, but makes the villain mistake of letting the hero in on his plan while he still has time to stop it. He was willing to kill Batman at the episode’s start, but for some reason was not when they met up later. It moves quickly though and the action looks great. The outcome is satisfying enough too, with Ra’s defeated, but not dead. Talia is still out there and her father likely knows she played a role in orchestrating Batman’s escape so we’re left to wonder how their relationship will play out.

If you’re the nit-picking sort though, then you can probably get after this episode a bit. Batman and Robin’s frequent escapes are almost routine, and they’re lack of alarm at being stranded in the frozen mountains was odd, until Wayne Enterprises showed up. A total deus ex machina is that one, and the episode even ignores how the two gained access. Did they sneak in and steal some clothes? Can Bruce Wayne just go to any building with his name on it and demand an airplane? Batman also didn’t do anything about the bombs planted around the world, wouldn’t Ra’s have a simple manual override function on each one? He could radio his cohorts to all release the bomb at a certain time, the satellite really isn’t necessary.

Ra’s showing us his Shredder impersonation.

Like with Part I, Part II is animated by TMS and the results are pretty great. Curiously, there is a disconnect in visual style between the end of Part I and the beginning of Part II, implying the studio had two different teams work on it rather than treat it like one long episode. They must have been working on both episode simultaneously. They did maintain continuity with Robin missing his belt and Batman having claw marks on his shirt from his battle with the panther. Talia seems toned down though in terms of her sex appeal, but Batman gets to make up for it. Proving that TMS is all about keeping things equal, shirtless Batman is jacked and there’s a funny looking sequence where he’s knocked on his back and his pecs are gigantic. Ra’s is also rather proud of his physique, and rightly so.

Ra’s al Ghul, and Talia as well, feel like pretty big villains from this show. Interestingly, this is their penultimate appearance as foes for Batman. They will both show up in the season two episode “Avatar,” and Ra’s has one final appearance in the flashback episode “Showdown” which does not feature Batman. After that, they’re all done. Perhaps the writing staff just felt Ra’s was a special attraction and a villain they feared would be diminished if he showed up too much. After the conclusion of this one, he certainly needed at least one follow-up and they delivered there, but it’s really surprising he never showed up in The New Batman Adventures. Both do make an appearance in Batman Beyond and in sister series Superman: The Animated Series. I’ll save my final thoughts on the characters for “Avatar,” but it does surprise me how infrequently the two were actually used given their presence over the series as a whole. As a true debut though, this was good and it did capitalize on the mystique of the character created in “Off Balance.” A rare example of a long-form story in this series being executed and also paying off.

1 Comment | tags: batman, batman beyond, david warner, dc comics, dennis o'neil, helen slater, len wein, ra's al ghul, robin, superman, talia | posted in batman the animated series, Comics, Television

November 18, 2018

Happy 90th Birthday, Mickey Mouse!

By Joe

Don’t be fooled, we’re not reviewing this release here, but it’s probably good!

Did you hear? The legendary Mickey Mouse turns 90 on this day owing his debut to Steamboat Willie, which premiered November 18, 1928. Now, nothing momentous seems to occur these days without a dash of controversy. Most fans of Disney and Mickey are well aware that his first cartoon was actually Plane Crazy from earlier that year, but Disney considers Steamboat Willie his true debut since it was the first with synchronized sound and was the first widely distributed. If that’s the criteria Disney wants to use then so be it. It doesn’t really matter since either way Mickey Mouse has endured for 90 years. In that time he’s been a cinema darling, television host, and brand mascot for the massive Walt Disney Company and he’s quite possibly the most recognized fictional character around the globe. If he’s not, then the list of competitors is rather small.

Over the years the Disney company has celebrated Mickey in various ways, some small and some not so small. He’s always been front and center at the various parks, and yet he is still awaiting his first actual ride (with one in production). Walt Disney famously remarked that it all started with a mouse referring to Mickey’s star power in the early days, though he’s only had one theatrically released cartoon since 1995. He did eventually make the jump to television, but his appearances there are most relegated to the younger crowd as opposed to a general audience. This isn’t to say that Disney has mistreated their mascot at times, but to someone like myself who adores hand-drawn animation it does disappoint me that Disney doesn’t celebrate the earlier work of Mickey as much as it could.

Disney has found some “creative” ways to celebrate its mascot this year.

For Mickey’s 90th, that has been partially rectified. Disney recently released the Blu-ray Celebrating Mickey which is a collection of 13 cartoons that reach all the way back to 1928 and as far forward as 2013. As tempted as I am to check out some Mickey cartoons in high-definition, I did not pick up this set since I already own all of these cartoons elsewhere. I’m still happy to see Disney put out such a package, but cutting it down to 13 feels like such a tease.

In celebration of Mickey, I’m going to list out some cartoons I think are worth checking out. I’ll do one for every decade of Mickey’s life, while also trying to pick a cartoon from each decade (not every decade contains a new Mickey cartoon) to highlight. Almost all of these cartoons can be found on one of the Walt Disney Treasures collections, with the only exception being the cartoons released after 1995. And to make this a companion piece to Disney’s Celebrating Mickey release, I’ll refrain from doubling-up on any cartoon released on that collection (which does include some of my favorites like Mickey’s Trailer and Brave Little Tailor).

Watch black and white Mickey get terrified!

The 1920s – The Haunted House (December 2, 1929)

Just sneaking into the 20’s is this one, The Haunted House, which features Mickey in (you guessed it!) a haunted house. Animated by Ub Iwerks, The Haunted House contains lots of flashy, spooky, imagery and great sound design. Mickey mostly plays the role of scared victim while an eerie shadowy figure chases him and forces him to play the organ. Don’t worry though, as Mickey does eventually escape, but I like that there isn’t a twist to the ending. The house appears to be legitimately haunted.

Hell is mostly cats (I say this as a cat dad).

The 1930s – Pluto’s Judgement Day (August 31, 1935)

The 30s is probably Mickey’s best decade and it’s loaded with good stuff. Pluto’s Judgement Day is one of Mickey’s earliest color cartoons and it centers around Pluto who dreams about going to Hell. It’s ruled by cats and the whole thing is brought on by Pluto feeling guilty about being mean to a kitten and the whole thing is really surreal. It has a cute ending so we don’t feel too bad for old Pluto.

Not the sort of predicament one wants to be found in.

Moose Hunters (February 20, 1937)

To make up for no Mickey cartoons in the 60s, we’re doing another from the 30s. Moose Hunters co-stars Donald Duck and Goofy as the trio try to hunt a moose. They’re terrible at it and get into all kinds of mischief, including Donald and Goofy disguising themselves as a female moose and attracting the affection of a bull moose. It’s all good slapstick, and for some reason hapless hunters make for good comedy characters.

Donald mostly steals the show here, as he often would.

The 1940s – Symphony Hour (March 20, 1942)

Some consider this the unofficial sequel to The Band Concert, Mickey’s colorized debut. This one is a full ensemble piece as Mickey leads a symphony to impress Pete, who is referred to as Mr. Macaroni in the cartoon. Everything is a disaster though, and Donald has to blow a gasket while Macaroni howls with delight at the misfortune of the band. He turns angry though as the show gets worse, though he comes around when the show ends with applause.

Pluto’s nose as a speed bag is a pretty good gag.

Squatter’s Rights (June 7, 1946)

No Mickey cartoons in the 70s either, so here’s another 40s toon. Squatter’s Rights was Mickey’s first cartoon in several years, and includes some lines or sounds recorded by Jimmy MacDonald, the second official voice of Mickey Mouse. It also includes Chip and Dale, who are woken by Mickey who returns to his hunting camp to find the chipmunks sleeping in his stove. Or rather, Pluto is the one to make the discovery which begins a bunch shenanigans in which Pluto keeps getting blamed for Chip and Dale’s mischief. It includes a bit of a dark spot with a gun, and it’s also somewhat notable since Chip and Dale end up winning the encounter.

The seal is adorable. While he didn’t feature in any other Mickey shorts, he has appeared in the preschool show Mickey Mouse Clubhouse where he’s named Salty.

Mickey and the Seal (December 3, 1948)

Mickey’s only cartoon in the 80s is Mickey’s Christmas Carol, a fantastic long-form short that you’ve probably heard about (or seen me rave about in the past). Rather than revisit a short I’ve blogged about more than once, here’s another favorite from the 40s. Mickey and the Seal is quite possibly Mickey’s cutest cartoon. It’s similar to a Chip and Dale cartoon, but instead of the chipmunk duo we have a seal who Pluto is well aware of, but Mickey is oblivious to. There’s a great sequence where Mickey and the seal bathe together and if you aren’t completely charmed by the happy little seal pup then you have a heart of stone.

Oh yeah, there’s the good stuff.

The 1950s – Pluto’s Christmas Tree (November 21, 1952)

All right, I have talked about this one before and more than once, but Mickey only had four cartoons in the 1950s and two of them are on that new Blu-ray. Plus, this one is so super charming and worth watching even when it isn’t Christmas time. It is derivative of Donald Duck’s Toy Tinkers, but it once again pairs up Pluto with the duo of Chip and Dale and it just works so well.

Feral Mickey too scary for the masses?

The 1990s – Runaway Brain (August 11, 1995)

Some claim this is the Mickey cartoon Disney doesn’t want you to see. I’ve always been skeptical of such, but it is further reinforced by the fact that Disney scrubs this bad boy from YouTube frequently, leaving some alone that are of poor quality, while it mostly leaves the other cartoons alone. That could just be because it’s a more modern cartoon and Disney therefore feels it has more value than cartoons that are 60 years old. Whatever the case, this one is a lot of fun and it’s so 90s in style which is great since it’s the only true Mickey Mouse short from that decade. Mickey starts off the short playing video games, for crying out loud! Kelsey Grammer voices Dr. Frankenollie, and it features Mickey swapping bodies with a monstrous Pete (who features a peg-leg!) therefore leading to the character fans refer to as Feral Mickey. It makes Mickey scary, so perhaps that’s why Disney doesn’t promote this one any longer.

Order restored at the end. Note the life of Donald.

The New Millennium! – New Shoes (April 14, 2018)

So Mickey Mouse has only had one theatrically released cartoon since 1995’s Runaway Brain, and that was Get A Horse which was paired with Frozen and is on the Celebrating Mickey Blu-ray. Rather than spotlight that again, how about we go with the television/web series of Mickey cartoons that began in 2013? This series is great, and it’s a more manic, Looney Tunes/Spongebob take on Mickey and the gang that I absolutely love. Yeah, it’s not traditionally animated, but what is these days? New Shoes is one of my recent favorites from this series and it features Donald and Goofy as well. The trio swap bodies with hilarious results (Mickey becomes Goofy, Goofy becomes Donald, and Donald becomes Mickey). It’s particularly amusing to see how horrible Donald’s life is, as experienced by Goofy (who while getting beaten he sings the old Donald Duck song) while Mickey exhausts himself by trying to take advantage of Goofy’s monstrous height to help people. Donald just mostly enjoys being loved and celebrated as Mickey for a change. Just a great, funny, smart cartoon.

Well, that’s that. As I mentioned, you can find those shorts on the Walt Disney Treasures collection and some can be found elsewhere (Pluto’s Christmas Tree has been re-released numerous times as part of Christmas collections) while New Shoes is free to watch on YouTube. And a lot of those shorts can also unofficially be found there as well, though Runaway Brain might give you some trouble tracking down a good version, but it’s there as well in some form. They’re all wonderful examples of the star power, charisma, and charm of Mickey Mouse. He’s been around for 90 years now and isn’t likely going anywhere. At this rate, it’s all but guaranteed he’ll outlive us all! Now Disney, how about a restored collection of all of Mickey’s classic shorts in HD? Don’t make us wait for him to turn 100!

Leave a comment | tags: celebrating mickey, chris diamantopoulos, classic cartoons, happy birthday mickey mouse, jimmy macdonald, mickey mouse, mickey mouse 90th birthday, walt disney, wayne allwine | posted in Film, Television

Recent Activity
Categories
Categories
Vital Signs
- 684,304 hits
Search
Email Subscription

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Email Address:

Join 305 other subscribers

The Nostalgia Spot

Author Archives: Joe

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Recent Activity

Categories

Vital Signs

Search

Email Subscription