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June 14, 2019

The New Batman Adventures – “Holiday Knights”

By Joe

holiday knights Episode Number: 1 (86)

Original Air Date: September 13, 1997

Directed by: Dan Riba

Written by: Paul Dini

First Appearance: Robin (Tim Drake), Mo, Lar, Cur

After pausing for a week to discuss the 1998 film Batman & Mr. Freeze: SubZero we have now finally arrived at The New Batman Adventures era of the show. This is essentially the start of a sequel series, but it’s been retconned over the years (or just simplified) as Season 3 of Batman: The Animated Series. The Blu Ray set released in 2018 simply refers to it as such and the intro for each episode is the Season One intro from the Fox Kids era. The show largely exists thanks to two new developments since the previous series ended in 1995: the WB network, and Superman.

Warner Bros. and Fox had a nice relationship in the 1990s where WB created several shows that Fox aired as part of its Fox Kids lineup on weekday afternoons and Saturday morning. At some point, the executives at WB decided it would just make more sense for them to start their own network. On January 11, 1995 The WB was launched and alongside it came Kids’ WB. That block of programming would be occupied by cartoons primarily, most of which included characters WB owned. Gradually, as the license agreements with Fox expired the shows WB had created for that network migrated to its network.

The New Batman Adventures placed greater emphasis on Batman’s supporting cast.

The network’s flagship action cartoon was Superman, or Superman: The Animated Series. It was decided that it would make a lot of sense for Superman to simply be partnered with Batman to form an hour programming block of DC’s hottest heroes. It would make sense for the two to cross paths, and so WB commissioned a new Batman series envisioned as a sequel to BTAS. Like the second season of that show, this one would focus on Batman and a supporting cast of heroes. Dick Grayson would return, but not as Robin but rather Nightwing. In his place was a new, much younger, Robin and Batgirl would be there as well. The show would need to be updated to match the style of Superman and to also make the show cheaper to produce. “Dark Deco” was now out, in its place was a modern Gotham with cell phones and (gasp!) color TV. Oddly, Gotham would also feature a red sky apparently to heighten the darkness of the show vs the much brighter Superman. There is a reduction of shadows as well making everything lighter in appearance. Perhaps something that disappoints only me is the dropping of title cards. I loved the title cards on BTAS and I was so bummed to see they weren’t continued here. It also makes each one of these posts a little less interesting to look at.

A look at the various villains from the show, some old some new.

This new style meant character redesigns. Batman would ditch the blue of his prior costume opting for a strictly black and gray ensemble. His belt was also muted in tone and more utilitarian in appearance. Robin’s costume dropped the green and Batgirl ditched the gray as well. On the villain’s side things were a bit more extreme. We’ll mostly get to them as they show up. To highlight a few; Scarecrow received an entirely new look while Joker featured an aggressive redesign that removed the sclera of his eyes and the red of his lips. Some of these redesigns are quite interesting on their own, while some are just plain inferior to the previous look. The characters had to be simplified to reflect the shrinking budget, but some sacrifices just aren’t worth making.

Most of the creative staff was returned for the new series. Paul Dini and Bruce Timm served as executive producers alongside Alan Burnett. Dini and Timm would both contribute to multiple episodes as writer while Dan Riba returned to direct multiple episodes as well. Also returning was the majority of the voice cast from the prior series, with the only notable change being Tara Strong (then known as Tara Charendoff) as Barbara Gordon/Batgirl. A lot of new blood was also brought in, many of which would hang around the DC Animated Universe which was about to expand to include The Justice League and Teen Titans. This is basically the beginning of an expansive television universe by WB and DC which is basically the television equivalent of the current Marvel Cinematic Universe. I’m primarily only interested in Batman when it comes to DC, so don’t expect me to do this for the other shows. Hopefully no one is disappointed.

New show, new logo.

The New Batman Adventures was released on DVD as Volume 4 of Batman: The Animated Series and is included in both the DVD and Blu Ray box set of the series as Season 3. For this feature, I considered simply sticking with the BTAS title, but decided this show was different enough to change it up. I’ll include both the episode number as it relates to this series as well as how it relates to the entire series. We’re also sticking with production order as opposed to air date order. The show was ordered as one season, but aired as two seasons of 13 and 11 episodes respectively concluding in January of 1999. At some point I’ll summarize my thoughts on the whole of Batman: The Animated Series, but since we’re getting started with The New Batman Adventures I’ll say upfront that I find this series to be inferior to its predecessor. It’s less unique looking and not as well written. The new villains introduced aren’t as memorable and we also lose a little bit of Batman by switching to an ensemble format. He’s made to be more grim, apparently to heighten how different he is from his younger companions, and as such loses some of his humanity in the process. He’s overall just less interesting as a character, and the focus on the others doesn’t really make up for that. It feels like a diservice to the excellent Kevin Conroy, who simply has less to work with in regards to Batman and Bruce Wayne.

Anyways, let’s finally start talking about this first episode, shall we? First airing just over 2 years after the conclusion of BTAS, “Holiday Knights” is a pretty bizarre way to kick-off this series. For one, it’s a Christmas/New Years episode that’s presented in anthology format with three separate mini stories starring different heroes and villains. It’s based on the Batman Adventures Holiday Special released in 1995 written by Bruce Timm and Paul Dini. Oddly, WB chose to air this as the premier as well in September rather than stashing it away until closer to Christmas like Fox did with “Christmas with the Joker,” the second episode from BTAS. Also complicating things, the new Robin (Mathew Valencia) debuts here even though the second episode is the one that details how he met Batman and came to assume this persona. Clayface is also the featured villain of the middle tale, but his actual return from the events of “Mudslide” is recounted in a later episode as well. This episode almost feels non-canon as a result, and it’s just overall a weird and confusing way to bring the series back.

Ivy has apparently spent the past few years avoiding the sun.

The episode begins on December 22 and quickly reintroduces us to a pair of villains: Poison Ivy (Diane Pershing) and Harley Quinn (Arleen Sorkin). Harley largely looks the same as she did in the previous series, while Ivy has received a fairly dramatic makeover. Her hair is more stylized and her skin bone white. She displays what is basically the new female body-shape on the show: short, pointed, with an oversized head. It’s a more “toon” presentation and is less realistic compared with BTAS. I personally don’t care for it, but it is what it is.

Harley is bored and not at all excited to be stuck in a slummy motel for the holidays. She bemoans their lack of a Christmas tree, which naturally sets Ivy off as she views them as a form of genocide against trees. Ivy insists she has a plan that will brighten up their holiday and urges her friend to trust in her. We’re then taken to a gathering of the wealthy at the Vreeland estate where we get our first look at the new Bruce Wayne. He dresses all in black now with a white shirt under his suit and red “power” tie. His hair is black as well and slicked back to give him a real douchey look befitting a billionaire playboy. He’s socializing with Veronica Vreeland (Marilu Henner) who has returned to her red-haired look after a brief dabble with being a blonde and seems amused when a gaggle of women swarm Bruce. While Bruce is being pushed around by the ladies, one of them plants a kiss right on his lips. It’s Ivy, and as we learned way back in “Pretty Poison” getting a kiss from her is not something anyone should desire.

Not the women Bruce was hoping to take home.

Bruce leaves the party and as he heads for his car he’s invited into a limo by a pair of women. Bruce finds himself unable to control his own body as he’s subjected to Ivy and Harley’s whims. They then use Bruce and his fabulous wealth to go on a shopping spree. A montage plays which feels fitting for a holiday special and is set to a saxophone rendition of “The Twelve Days of Christmas.” The women seem to enjoy themselves while Bruce is helpless. As they force him to carry all of their purchases he begins to make some headway in fighting off the effects of the poison. The girls realize too late that he needs another dose, and as they approach to do so Bruce is able to back away falling into an open elevator shaft. The girls are indifferent to Bruce’s plight as they still have his credit cards and continue on with their evening. Meanwhile, the gloved hand of Batman reaches up from the depths of the elevator shaft.

The Ivy and Harley montage is probably the best part of the whole episode.

Harley and Ivy make their escape in their stolen limo being driven by another brainwashed lackey, but soon enough the cloaked outline of Batman flashes behind them. Harley warns Ivy about who’s on their tail and Ivy makes some evasive maneuvers to avoid The Dark Knight which leads them to a toy store – how fitting. Batman enters and encounters all manners of toy-related traps: wooden soldiers, giant boxing gloves, and Harley’s trusty mallet. The ladies lure Batman through their fun house leading up a tower of toys before they hastily attempt a retreat. As the duo turn to rub salt in his wounds, Batman fires his redesigned grappling hook (it makes a less satisfying hissing sound when fired and features an end that’s just a bladed Batman logo) to hook the base of a massive Christmas tree. He topples it landing right on the thieves putting a damper on their holiday, but returning to the Christmas tree gag with Harley who’s strangely comforted by its presence.

Santa Bullock, ho, ho, ho.

Our second story takes place on Christmas Eve. Barbara is shopping at Mayfield’s Department Store for a gift for her father. As she’s paying for her gift, a crying child gets her attention and the clerk remarks it’s been like that all day. Not far from the checkout station is a department store Santa being played by none other than Detective Harvey Bullock (Robert Costanzo). Apparently, Bullock isn’t the best Santa and tends to leave the kids who sit on his lap in tears. Serving alongside him as his elf is Officer Renee Montoya (Liane Schirmir) and the two are apparently on a stake-out which is why Bullock isn’t exactly into this whole Santa schtick. Bullock does at least find the Christmas spirit momentarily when a little girl sits on his lap asking to have her dad back for Christmas. Apparently, her dad is a crook Bullock just helped get put away. Not really knowing what else to do, he gives her some money. That should cheer her up.

Barbara is amused by Bullock’s turn as Kris Kringle and makes her way for the exit. Along the way she notices a child who appears to be shoplifting. The daughter of Gotham’s police commissioner can’t stand idly by as someone commits a crime, so she reaches out to grab him only she comes away with a handful of mud instead. Montoya then receives word to be on the lookout for a rabble of child thieves which fellow detectives are chasing through the store. They corner the kids, who then all merge into one being right before their very eyes.

Batgirl showing off her new attire.

It’s Clayface (Ron Perlman), and he’s not the type of bandit to go quietly. He immediately begins trashing the place forcing Barbara to duck out and re-emerge as Batgirl. She takes the fight right to Clayface knocking him through an oversized window and onto a skating rink outside causing him to smash through the ice. Santa and his elf arrive to provide backup, though their guns do little to bother Clayface. Batgirl hollers at them to stop wasting their ammo and to aim for the Santa. Bullock at first confuses her command to mean him, but above Clayface is a giant, lighted, Santa as well as strings of Christmas lights. Bullock and Montoya take aim and blast the Santa down to land on top of Clayface. The frayed wires land in the water around Clayface electrocuting him and putting a stop to his rampage. Montoya then leaves Bullock to handle the clean-up.

I don’t like this new Joker at all, but at least we still have Mark Hamill doing his voice.

Our final tale takes place on December 31 and involves The Joker (Mark Hamill). He’s sent out one of his famous broadcasts to the people of Gotham revealing his New Year’s resolution to not kill anyone in the new year. This means he needs to make up for it all tonight and send the current year out with a bang! A taping of this broadcast is being viewed by Batman and Robin in Commissioner Gordon’s office. It would seem Gordon stopped heading to the gym following the events of BTAS as he’s a lot smaller and older looking now than he was before. Gordon (Bob Hastings) informs Batman that they have a lead on Joker as a GothCorp scientist was murdered earlier in the day. The scientist specialized in sonics and had been working on a new weapon that could kill with sound. Batman deduces that Joker’s likely target will be The New Year’s Countdown in Gotham Square and it’s likely he’ll have this new weapon in hand.

Joker’s party favors.

Joker is shown at Gotham Square with some of his finest: Mo, Lar, and Cur (all voiced by Ron Perlman and obvious reference to The Three Stooges). They’re rigging the sonic bomb to a massive bell. Apparently at midnight, the bell goes up to ring in the new year and when that happens the bomb will go off. And to make things harder on Batman, Joker has some “party favors” to distribute.

Batman and Robin head for the party and realize finding Joker will be a bit harder than expected. Joker has distributed his Joker masks to all of the party-goers making it hard to find the real Joker. Batman peers through some binoculars and spots a clown in a purple suit at a piano in the middle of the gathering onstage. He’s wearing ear muffs and so are the rather large men flanking him. Figuring that’s his man, Batman and Robin head for the stage and Batman dings Joker’s head with a Batarang knocking off his ear muffs. They then turn their attention to Joker’s goons, but find they’re pretty hard to deal with. Joker ends up grabbing the upper hand by smashing a bucket full of ice and champagne over the back of Batman’s skull.

This will be a short-lived victory for Joker.

Joker grabs the bottle of champagne to celebrate and apparently die with everyone else. As Joker gloats over Batman, The Dark Knight is able to snatch the bottle of champagne and spray it all over the controls to the bell shortening out the killing device. As he does so, Joker tries to stop him and shoots at him and actually hits Batman in the right arm. As Batman lays on the ground, Joker laughs like only he can. As he does so the bell begins to fall, and it just so happens to land right on Joker who offers a well-timed “Ouch,” from beneath it to close out the scene.

We’re introduced to an annual tradition for Gordon and The Dark Knight.

With Joker’s plot foiled once again, Commissioner Gordon is shown entering a diner around 2 AM. The owner (Corey Burton) ushers everyone out and tells them he’s closing up as Gordon takes a seat at a booth. The man brings him a mug of coffee as well as a second mug and wonders aloud if Gordon’s buddy is coming. Gordon assures him he is, and Batman soon enters through a rear door. He sits down and the two indicate this is a yearly tradition of theirs. They speak only a few words before Gordon turns to request something from the kitchen to go. When he turns back he finds an empty booth and a couple of bucks left on the table to cover the tab. Remarking he’ll one day beat him to the check, Gordon collects himself and heads out into the night while Batman is seen swinging off into the red sky himself.

As I said, this is an odd way to begin the series. Three fragmented stories which lean heavily into comic relief that contain characters who will require a true introduction (or reintroduction) further down the road. It at least gets a lot of characters on-screen though giving us a peek at this new look. In general, I’m not much of a fan for how this series looks. It uses mostly straight lines in its characters and the women and children have huge heads. I mostly hate the new Joker as his face just lacks personality and is so bland and wooden to look at. The removal of his lips also just makes his mouth flaps look odder as he’s all teeth gnashing together. He looked so great in BTAS so it’s just really disappointing to see him reduced to this. This practically elderly looking Commissioner Gordon is also not a favorite of mine and Bullock looks like he’s gained about 50 pounds.

Clayface doesn’t come across looking so hot. Meanwhile, less censorship apparently extends to Montoya’s attire as well.

Not surprisingly, Clayface isn’t as well animated as he was before. He still contorts his body into weapons and other beings, but not a lot of resources are spent on the transitioning animation. He’s also far more stable looking than he was in “Mudslide” and has almost a rocky appearance compared with his old one. It should also be pointed out he was previosuly immune to elecrocution so either that was a goof by Dini or they intentionally took that immunity away from him. I don’t want to beat a dead horse, but this is just a less interesting looking show. They wanted it to be in-line with Metropolis from Superman and it wouldn’t make sense to have Gotham look like it was trapped in the 1940s and Metropolis like something from the 90s.

It’s nice to have a little Christas in June, right? Interestingly, the comic this episode is based on portrayed Harley as Jewish.

There is one advantage this show has over its predecessor and that appears to be with the level of violence on display. It’s blatantly discussed that Joker murdered someone and he has an apparent lust for carnage and mayhem that was more tip-toed around on Fox. Batman is also free to punch people while villains, and the police, are still able to wield realistic looking weapons. Warner must have desired a way to differentiate its network from Fox and upping the violence was apparently one such way.

As an episode, this is a pretty benign, disposable, piece of entertainment. And there is entertainment value for it largely as a comedic vehicle. I wish it had chosen to end on Batman and Gordon sipping coffee together rather than turn to the tired gag of Batman vanishing whenever someone turns their back on him. I think that would have been the way the old series would have ended this one with a somber, but also sweet, ending. I guess this is just one more way for this show to announce it’s here and it’s not the same one we’re used to. Since I am a bit of a Christmas cartoon junkie, I should add that as a Christmas episode this is also just all right. It doesn’t linger much on the holiday, but it also doesn’t beat anyone over the head with Christmas clichés. It’s probably a touch better than “Christmas with the Joker” actually though less memorable. I don’t think either makes a strong case to be included with annual Christmas viewings, but you could certainly do worse.

2 Comments | tags: batgirl, batman, batman the animated series, christmas cartoons, clayface, dc animated universe, dc comics, harley quinn, justice league, kevin conroy, kids wb, mark hamill, mathew valencia, poison ivy, robin, ron perlman, superman, tara strong, the joker, the new batman adventures, the wb, warner bros | posted in batman the animated series, Comics, Television

June 7, 2019

Batman & Mr. Freeze: SubZero

By Joe

Batman_&_Mr._Freeze_SubZero Original Release Date: March 17, 1998

Directed by: Boyd Kirkland

Written by: Boyd Kirkland and Randy Rogel

Animation: Dong Yang Animation Co., Koko Enterprises Co., LTD.

Running Time: 67 minutes

I feel like we can’t move onto The New Batman Adventures without first talking about Batman & Mr. Freeze: SubZero. This direct to video feature is essentially the true finale to the original run of Batman: The Animated Series. It’s existence can be owed to the fact that Warner Bros. wanted to do a tie-in film with the upcoming feature film Batman and Robin which featured Mr. Freeze as the main antagonist. This was supposed to be released alongside that, but since that film was so poorly received it was held back until March of 1998. This complicates things as by that time The New Batman Adventures was airing on Kids WB and had even aired a Mr. Freeze episode that follows the events of this story. It was released to video, which in 1998 meant VHS, and also aired on Kids WB. I could only find one release date listed online so I’m not sure when the television premiere took place (it could have been the same day), but that’s how I first saw this one.

Mr. Freeze has returned, and he brought polar bears this time.

Mr. Freeze was first introduced to the animated viewing audience via “Heart of Ice” which first aired in 1992 as part of the show’s first season. It was so successful at rebooting the previously campy Mr. Freeze into an A-tier villain that the writers were reluctant to return to the character out of fear that whatever they came up with couldn’t possibly match “Heart of Ice.” Eventually, they relented and Mr. Freeze appeared in the penultimate episode “Deep Freeze” in which he partnered with ~~Walt Disney~~ Grant Walker in an evil scheme, but eventually turned and become a reluctant hero in the end. The episode basically proved what the staff feared initially as it wasn’t nearly as good or on par with “Heart of Ice.” It’s not a bad episode, but hardly a highpoint for the series. As a result, SubZero feels like a second attempt at capturing the magic once again and perhaps the lengthened running time will help tell a worthy story.

For the film, most of the principal players from BTAS were able to return. In the director’s chair is Boyd Kirkland who directed many episodes in the series as well as the show’s other feature, Mask of the Phantasm. Kirkland also co-wrote the film with Randy Rogel, another individual who had several writing credits in the main series. The voice cast was also largely returned for this one including Kevin Conroy as Batman, Loren Lester as Robin, and Michael Ansara as Mr. Freeze. The only notable change is Mary Kay Bergman taking over the role of Barbara Gordon for Melissa Gilbert. This would be Bergman’s only performance as Gordon as she would be voiced by Tara Strong in The New Batman Adventures. The other notable absences are Bruce Timm and Paul Dini, who were credited with this new version of Freeze. They were likely busy working on Superman and The New Batman Adventures during the development of the picture. Also missing is composer Shirley Walker who was replaced by Michael McCuistion, who had previously worked on some episodes of the show. He would go on to score 3 episodes of The New Batman Adventures as well as several more for other DC animated productions. Walker would also contribute to the sequel series.

Barbara has a new voice actress, Mary Kay Bergman, and a new beau.

The film basically picks up where the series ended. Victor Fries has made a home for himself in the arctic alongside his still in stasis wife, Nora. He’s acquired a pair of polar bear companions as well as a twelve-year-old Inuit orphan named Koonak (Rahi Azizi). When an expedition by a US submarine disturbs their home and destroys the containment unit keeping Nora alive, Fries is forced to once again don his Mr. Freeze persona.

Nora cannot survive for long outside her containment unit which brings Freeze back to Gotham and in contact with an old colleague, a cryogenics expert by the name of Gregory Belson (George Dzundza). Belson just so happens to be in great financial distress as he tried to game the system with some insider trading in the futures market that didn’t pan out. He’s desperate for cash, and Freeze has access to a gold ore vein in the arctic. He needs Belson’s help to perform an operation for the only hope Nora has at survival is via an organ transplant. Unfortunately, she also has a rare blood type and no organs are available and are unlikely to become available in time, so they’ll need to harvest them from a living donor.

Once again, it’s the welfare of Nora that motivates Freeze.

That’s where Barbara Gordon comes in. She’s the unlucky one who matches Nora’s rare blood type and is also of similar build. Mr. Freeze abducts her from a club while she is on a date with her new boyfriend: Dick Grayson. It would seem Barbara got over her Bat-crush and settled on the Boy Wonder, though the film makes it seem like everyone is still keeping each other in the dark regarding alter-egos. Freeze, along with his two polar bear companions, takes Barbara to an abandoned offshore oil platform where the surgery will be performed against her will.

Most of the film involves the setup before transitioning to a focus on Batman and Robin’s detective work which will eventually force a showdown with Mr. Freeze. At a mere 67 minutes, the mystery of where Freeze took Gordon and what he wants with her isn’t lingered on for too long and there’s plenty of time saved for the climax on the oil rigging. It’s paced well and the movie moves along without feeling rushed. If anything is sacrificed, it’s the final confrontation at the end. Batman and Freeze really don’t have much of a confrontation, as circumstances force them to contend with a burning platform. It’s a similar setup to the episode “Deep Freeze” in that regard, but with smaller, more obvious, stakes.

Batman and Robin have some detective work ahead of them, but at least Robin’s gloves are now the proper shade of green.

The film in large part feels like a referendum on “Deep Freeze.” If you recall, in that episode Freeze learns his wife is still alive and then immediately agrees to help a wealthy man destroy the planet to revive her. It was a pretty outlandish setup which is why Batman was able to convince Mr. Freeze to not go along with Walker’s plan. In this film, Nora’s life is on a timer and in order to save her Freeze merely has to sacrifice one woman he doesn’t even care about. While it would have been interesting to see how he would have responded had someone been able to reason with him that Nora would never want an innocent to die so she could live, that’s never broached and it’s conceivable to think Freeze would not be swayed. He’d likely rather Nora live and despise him than for her to die. Freeze’s desperation causes him to act impulsively throughout the picture, and his relationship with Belson gives him a plausible reason to return to Gotham in an effort to save his wife knowing it will likely put him in the crosshairs of The Batman.

Belson is pretty much a slime ball.

In many ways, it’s Dr. Belson that ends up being the film’s ultimate villain. He’s described by others as a jerk and he’s essentially a criminal for engaging in insider trading. Had he been successful with his futures play he might have been caught. When Freeze first approaches him for aid the film teases he won’t go along with murder, but he’s mostly feigning his apprehension and just uses it to leverage more money out of his old colleague.

Barbara may spend most of the film kidnapped, but she never stops fighting.

Barbara Gordon’s kidnapping may be the main plot device that gets this film rolling, but she’s hardly playing the role of damsel in distress. Her kidnapping is voluntary, as she doesn’t want Mr. Freeze to harm any of the patrons of the club she’s abducted from, especially Dick. She also tries to escape her confines more than once and realizes she has a sympathetic ear in Koonak. It would have been disappointing if the woman who is Batgirl just sat around and waited for Batman and Robin to save her, but Rogel and Kirkland know what they’re doing.

The film is visually quite nice and a noticeable cut above the television series. Dong Yang Animation, which animated most of season 2 and some of season 1, did the traditional spots with Koko Enterprises doing the CG. The colors are an obvious upgrade as Robin’s costume actually features two shades of green instead of that odd blue. The scenes on the flaming oil platform are especially spectacular and it’s obvious more care was put into this project as a whole. I also really like a spot at the beginning of the film where Fries emerges from the arctic waters. His body is coated in a thin layer of ice which cracks and breaks apart as he moves. The CG is used probably more often than I would like. It’s dated, but not woefully so. It’s a touch distracting in some of the chase sequences and with the Batwing, but it looks nice at the film’s onset with Fries swimming in the arctic amongst a swarm of CG salmon. The only real disappointment I have with the look of the picture is that it’s presented in 4:3 instead of 16:9. I assume that’s the aspect ratio it was created for since it was going to be broadcast on television, and since this was before the proliferation of 16:9 television sets, there was basically no need to develop for that if it was only ever going to be viewed on a TV set.

I hope you didn’t get too attached to Koonak, because he’s not coming back.

This film is the final presentation of Batman and the other denizens of Gotham in this art style. For some characters, like Summer Gleeson (Mari Devon), this is their final appearance all together. Veronica Vreeland (Marilu Henner) also has a cameo, but as a blonde now instead of her traditional red hair. It’s also the last appearance of Nora Fries and the only appearance for Koonak. I definitely miss this art style and the change for The New Batman Adventures is what kept me from getting into that series initially. When this surfaced on television it was like going back to an old friend.

Batman & Mr. Freeze: SubZero is a worthy follow-up to “Heart of Ice.” Even with the benefit of triple the minutes, it’s still not quite as captivating as that episode and I think that’s largely due to the surprise that initial episode had going for it. This film at least takes the character of Mr. Freeze and gives him a reason to act like a villain once more. It’s surprising that Paul Dini and Bruce Timm weren’t involved, but maybe turning to the duo of Kirkland and Rogel meant the pressure of doing something worthwhile with the character was largely removed freeing them to explore him unencumbered. For both, this was their last contribution to Batman: The Animated Series and it’s a worthy note to go out on. Had this been a theatrically released venture we’d probably unfairly compare it with Mask of the Phantasm where it would come up short, but for a direct-to-video venture this is more than acceptable.

Batman & Mr. Freeze: SubZero was originally released on VHS, but has since been released on DVD and Blu-Ray. It’s also streaming, if that’s your preference. The best way to view it, for my money, is via the Batman: The Animated Series Blu-Ray set which includes this film as well as Mask of the Phantasm in one package alongside the entire television series.

Leave a comment | tags: batman, batman and robin, batman the animated series, boyd kirkland, bruce timm, kevin conroy, loren lester, mary kay bergman, michael ansara, mr. freeze, paul dini, robin, the new batman adventures, warner bros | posted in batman the animated series, Comics, Film, Television

May 31, 2019

Batman: The Animated Series – “Batgirl Returns”

By Joe

batgirl returns card Episode Number: 85

Original Air Date: November 12, 1994

Directed by: Dan Riba

Written by: Michael Reaves and Brynne Stephens

First Appearance(s): None

We have reached the end of the series. Episode 85 is the last produced episode of Batman: The Animated Series, though it aired as the 8th episode of the third season. It’s not surprising then that this wasn’t aired as the series finale since it’s missing a pretty important ingredient: Batman. Yes, that’s right. For the first time in this show Batman is going to sit on the sidelines. There have been episodes with smaller doses of Batman in the past, but none where he was absent. Bruce Wayne has a brief appearance to explain his absence, but that’s it. There is some screen time for Batman, but it’s right at the beginning and is part of a dream sequence, so technically he’s in it, but technically he’s not at the same time.

This last episode of production season two brings us another fairly major return, and it’s Batgirl. We last saw Batgirl in the two-parter “Shadow of the Bat” in which she helped to clear her father, Commissioner Gordon, of criminal charges. She’s kept quiet since as Barbara returned to her life as a college student. The ending of the episode made me wonder if Bruce and Dick knew who was under the cowl of Batgirl, and if they did, they sure don’t act like it here. In fairness, Bruce doesn’t get to react much to her presence, but Robin will. It seems hard to believe that Batman, who is pretty damn good at this sort of thing, couldn’t figure out who Batgirl is. On the other hand, we’ve seen a lot of Robin in this season and he hasn’t always looked too sharp so I am able to at least go along with him not knowing, and Bruce is under no obligation to share. I am not at all surprised we’re getting another Batgirl episode as her first appearance was well received, as far as I know. It’s just a little surprising it was reserved for the last episode in the production schedule.

It makes sense that she wouldn’t be into Robin.

The episode begins in a darkened museum. Someone has their eyes set on stealing a jade cat statue, but Batman is there to stop them. He’s soon struck with a laser of some kind, and we see it’s being fired by The Penguin! Batman is pressed up against a wall as a playing card comes flying in. In comes Joker followed by Two-Face. Given the events of past episodes, it seems odd for these three to be working together again, but when you have a common foe I guess it’s easy to look past old grudges. When all hope appears lost, help arrives. It’s Batgirl! She drives the crooks away and races over to check on Batman. He’s injured as she helps him up. He says her name, but appears too groggy to say much more. Their eyes meet as their capes billow in the wind. From afar, we see their silhouettes in the moonlight as they lean in for a kiss.

The sound of Dick calling her name wakes Barbra Gordon (Melissa Gilbert) from her dream. She’s surrounded by textbooks and homework and looking a little annoyed that her lovely dream was interrupted like that. She heads over to the window, and surprisingly Dick is right outside it. The way his shouts sounded seemed to indicate that Barbara’s dorm was not at ground level, but his head is literally less than a foot below her window. She yells to him as well, which makes me think when these lines were recorded the direction was that they were yelling to each from a much higher vantage point for Barbara, making this scene rather awkward. Dick just wants to know if Barbara is willing to take a pizza break, but she says she can’t as she needs to ace these midterms or her dad will lock her up. Dick doesn’t put up a fight and leaves her to her studying mercifully putting an end to this exchange. As she heads back for her books, the newspaper is delivered and slid under her door. The front page is covering the theft of the jade cat statue, which seems to give Barbara an idea.

Time to tango.

The university museum has been broken into by none other than Catwoman (Adrienee Barbeau). However, it appears she’s the second person to enter as the lock on the skylight was melted away. She drops inside to inspect the case where the cat statue once stood and is surprised to be met by Batgirl. Batgirl accuses Catwoman of returning to the scene of the crime, but Catwoman is quick to point out the methods utilized by the actual thief before demonstrating how she would have done it with her claws. The two exchange silly superhero banter with Batgirl insisting she tell her tale to the police (she’s so like Batman). Robin drops in to interrupt the two, and Catwoman uses the distraction to her advantage and escapes. As Robin grabs Batgirl to help him chase after Catwoman, he ignores her protests.

Batgirl is going to need some convincing.

On the rooftop, Catwoman uses a bola to entangle Robin and make her ultimate escape. Batgirl, knowing she didn’t steal the statue, lets her flee while Robin sarcastically remarks how much help she ended up being. She tries to tell him what she knows, but Robin isn’t listening. He tells her to stay out of his way and leaves. Some men…

The next day, as Barbara appears to be leaving the campus gym, she spies a cat-shaped card on a bulletin board addressed to “The Winged Mouse.” She reads it and finds an address and instructions to meet there tonight. Barbara does as she’s told, and that night Batgirl heads to the spot to find Catwoman waiting for her. Catwoman remarks she was impressed the prior night with Batgirl and proposes a team-up to find the real thief. Batgirl appears hesitant, but then naively agrees on the condition that if it turns out Catwoman is up to no good that she’ll turn herself in. Catwoman agrees, and the two shake hands forming their partnership.

At the Batcave, Robin is shown talking on the phone. He’s speaking with Bruce who is in France for an important meeting that he can’t bail on. He cautions Robin when dealing with Selina Kyle as she likes to play games. After their conversation ends, he openly remarks that he hopes Batgirl isn’t in over her head.

They’re basically the only two major female characters in this show so of course they have to team up.

Catwoman leads Batgirl to a dive bar called The Stacked Deck. Batgirl is disgusted to be there declaring it the sleaziest bar in Gotham, which is why Catwoman says they’re going to check it out. If anyone knows anything about that stolen statue, they’ll likely be in here. The two stroll in and the gathering of basically all men turn to admire the women. Catwoman narrows her focus on a guy who looks like a stereotypical scientist and begins interrogating him. This guys goes by the name of The Chemist (Scott Valentine), and Catwoman thinks he would know where the acid used in the robbery came from. He lists off a couple of possible locations in a hushed voice, one of which being the chemical plant that gave birth to The Joker, before making a run for it. The bar then erupts in violence forcing Batgirl and Catwoman to battle their way outside.

If Hugo Strange combined with Professor Farnsworth you would end up with The Chemist.

Once there, Catwoman commandeers a motorcycle (really guys, why leave your keys in the ignition at a bar where criminals frequent?) and Batgirl jumps on the back of it. The two speed away just as the cops show up. One squad car goes after them and Catwoman leads them on a chase onto a freeway that’s still under construction. Conveniently, the overpass is complete except for a six-foot gap that the bike can easily clear, but a police car cannot.

I’m legitimately surprised they were able to do this scene without helmets.

Catwoman declares she has a good idea who is behind the robbery and takes Batgirl to an old abandoned factory. Batgirl recognizes it as a building once belonging to Roland Daggett and it’s the same building where Clayface was born. Catwoman confirms this while also adding it’s the same place where a virus was developed that nearly killed her (“Cat Scratch Fever”). The two head inside and Catwoman easily locates the jade cat statue. Too easily, as soon a flood light clicks on and the two find themselves staring down the gun of Roland Daggett (Ed Asner) himself, along with some of his men.

Nice of Daggett to save his first appearance of season two for the final episode.

Apparently not willing to risk getting shot, Catwoman and Batgirl are then shown with their hands bound and Daggett’s men around them. They’re on a catwalk which is running over some imposing looking vats of green, bubbly, acid. Daggett explains his legal fees relating to his last encounter with Batman have bankrupt him. He needs money from the sale of this cat statue to start life, and business, somewhere else and stealing it provided the perfect cover since everyone in Gotham would assume Catwoman was behind it. Batgirl then notices Catwoman is keeping them talking because she’s using one of her claws to cut through her restraints. Batgirl does the same and tries to guess at the death trap awaiting them. Daggett corrects her though: there’s no trap, he’s just going to have his men shoot them. Before they can react, Robin swings in to take out some of Daggett’s goons. Catwoman then frees herself and goes after another while Batgirl is forced to fight with just her legs. Catwoman even tosses a man over the railing, but he lands on a pipe running over the acid bath, sparing himself a rather nasty end. Batgirl winds up in a precarious position when it looks like one of the crooks is going to toss her overboard, but Robin makes the save by cutting her restraints with a batarang which is enough for Batgirl. As the two congratulate each other, they realize Daggett and Catwoman are missing.

It’s a bit annoying how often Batgirl needs saving, hopefully she improves for the next series.

Daggett, with the jade cat statue in hand, is shown running across a darkened catwalk. Catwoman calls out to him, and he spins and fires at shadows not realizing the voice came from above. She uses her whip to disarm Daggett before dropping in on him. She retrieves the cat statue and while regarding it Daggett finds a metal hook lying around and tries to take her out. She easily avoids the old man and lets him tumble over the railing catching his foot in a chain. As he dangles over the acid, Catwoman seems content to let him fall as payback for the whole virus thing. Batgirl arrives and uses the classic super hero line of “You’re just as bad as him if you let him go,” and Catwoman basically laughs her off and lets go. Batgirl makes the save by grabbing the chain, but is having a hard time hauling Daggett up which allows Catwoman to flee once again. Robin then shows up and the two pull Daggett to safety.

Yeah, he’s not getting away from her.

On the rooftop, Catwoman swings from building to building with the aid of her whip, but soon finds Batgirl on her tail. Batgirl uses a bola of her own to catch the cat burglar, and the two then have a little chat. Catwoman confesses that it was always her intention to steal the statue, causing Batgirl to remind her of their deal. Catwoman proposes the two team-up, but Batgirl is sticking with the law. The police arrive on the scene and Catwoman surprisingly agrees to the terms of the deal as she lets the arriving officers place her in handcuffs. While they lead her away she tells them Batgirl is innocent, which is apparently good enough for them.

Robin with the premature celebration.

Batgirl and Robin observe as the two officers place Catwoman in their squad car. They take off while the two basically have a moment to congratulate each other again. As they watch the car speed away, it begins to swerve. Soon the doors open and both cops are tossed. They run over to help the officers, who rise to their feet and realize their guns are missing. Catwoman then yells from the car that she agreed she’d let the police take her, but she never said how far. As she takes off, Robin starts to go after her, but Batgirl grabs him by the cape insisting there will be another time. She must have been really certain there was going to be a season three!

And that’s how the series comes to an end, with Batgirl and Catwoman having a cheeky little romp through Gotham. Catwoman, due to her playful nature, is as good a villain as any for this type of story. She’s returned to her life of crime following the events of “Catwalk” (which would awkwardly air after this episode) so no explanation is needed for her ulterior motives. It’s interesting that this was the first chance for her to interact with Robin as one could see her using her feminine charms on him, but they have few interactions. The episode also serves as a curtain call for Roland Daggett, a pretty big player in season one who will never be seen again. I guess the in-universe explanation would be that since he’s no longer wealthy he couldn’t afford a good attorney to keep him out of prison this time.

Batgirl may still be new at all of this, but she’s definitely got the poses figured out.

This is another directorial effort from Dan Riba, who was given an expanded role back when Dick Sebast left the show. Unlike the directors for the past two episodes, Riba will stay on for the next iteration of Batman. Joining him will be Dong Yang Animation which will animate all of the episodes of The New Batman Adventures save for five. This isn’t their best work as some of the animation seems a bit stiff. Perhaps it’s due to animating the more slight female characters as opposed to Batman. This is the final appearance of Melissa Gilbert as Barbara Gordon/Batgirl. She’ll be replaced by Mary Kay Bergman in Batman & Mr. Freeze: SubZero and then by Tara Strong in The New Batman Adventures. This is also Dick Grayson’s last appearance as Robin in an episode of the show, though he’ll be in the upcoming movie.

As a series finale, “Batgirl Returns” is miscast, but it’s not a bad episode by any means. This is a fun, entertaining, reintroduction for Batgirl. She’s painfully naive throughout, but since she’s new at this I suppose I can overlook it. Robin and the police both overlooking Catwoman and her ability to escape are less forgivable as this episode really puts an exclamation point on how inept the Gotham PD is. And Robin, for that matter.

Even if the series finale isn’t what one would have expected, it doesn’t diminish what Batman: The Animated Series meant for children’s cartoons and Batman as a whole. It’s the show that helped re-legitimize the character for a new generation which had grown up on reruns of the 1960s show. The show arguably gave us the best Batman (Kevin Conroy), the best Joker (Mark Hamill), and absolutely the best Mr. Freeze and Two-Face. When I decided to revisit the show in this format as a celebration of the show’s 25th anniversary there was some skepticism on my part. I didn’t think the show would hold up as well as it did. I knew “Heart of Ice” and other select episodes would be great still, but I was surprised to find that most of the episodes I didn’t remember fondly I ended up having a more positive reaction to this time around. There’s still a few duds, but by and large the show is very consistent and very entertaining. It gives me hope for The New Batman Adventures as I don’t have great memories of that show so I’m hoping I’ll like it more now than I have in the past. One thing I do know though is that it isn’t as good as the original two seasons. This is still my favorite portrayal of Batman, and I doubt that will ever change.

1 Comment | tags: adrienne barbeau, batgirl, batman, catwoman, dan riba, ed asner, kevin conroy, melissa gilbert, robin, roland daggett | posted in batman the animated series, Comics, Television

May 24, 2019

Batman: The Animated Series – “Deep Freeze”

By Joe

deep freeze title Episode Number: 84

Original Air Date: November 26, 1994

Directed by: Kevin Altieri

Written by: Paul Dini and Bruce Timm

First Appearance(s): Grant Walker, Nora Fries, Bat-Mite

Thanksgiving 1994 brought fans of Batman: The Animated Series something they had been looking forward to for over two years. The penultimate episode, and final broadcast episode of Season 3, marks the return of Mr. Freeze who was last seen in “Heart of Ice” which aired September 7, 1992. That episode was so well-received that the writers didn’t really know where to go with Freeze following it. He couldn’t just become some garden variety super villain who shows up from time to time. His story was fairly complete when that episode ended: Freeze, devoid of all emotion except vengeance, set his sights on the man who wronged him. While Freeze was unable to kill Ferris Boyle, he did out him as something of a monster and it’s presumed his life was ruined as a result. He may even be in jail, which is where we last saw Freeze pining for his wife in a cell coated in ice and snow.

That ending image to “Heart of Ice” was so well done that it was essentially re-shot for the feature film Batman & Robin. It was about the only thing that film got right when it came to the character. For Freeze to return he would need a new motivation, but how do you motivate a guy who claims he has no emotion? The answer is Nora Fries. We had only seen Nora in a flashback, and she was presumed dead as a result of Boyle’s actions, but Freeze is about to find out that isn’t the case. If Freeze could bring his wife back would it restore the humanity he once felt inside? And to what lengths would he go to in order to save her? Those are the pertinent questions Paul Dini and Bruce Timm had to ask themselves before determining if it was worth pursuing. For some reason, the answer to that question is going to partly include a Walt Disney parody. Confused? Read on.

Mr. Freeze is kidnapped, and only Batman can find out by whom.

“Deep Freeze” opens in an interesting way as the camera finds a robot outside what I believe is Stonegate Penitentiary. The setting by the seas looks right and Fries is in a prison jumpsuit, though other write-ups I checked assume it’s Arkham. The robot is fairly large, somewhat boring looking, but it has no problem getting past the security measures. In a scene that feels similar to Magneto’s debut in the X-Men episode “Enter Magneto”, the robot zeroes in on a specific cell. We know it to be the cell of Victor Fries, also known as Mr. Freeze, because it’s filled with ice and snow. Inside, Fries (Michael Ansara) watches the robot approach and begins to panic. He’s actually scared, as he bangs on his cell door and calls out for help. The robot breaks through the wall and approaches, grabs him, and jams him inside its body. As this unfolds, the camera pans back to reveal the music box/statue of the ballerina Fries associated with his late wife has been shattered in the process.

At the Batcave, Batman and Robin review the security tape of Fries’ abduction. Robin is impressed with the lengths he went to escape, while Batman points out that for a man who claims to feel no emotion, he sure looks scared on film. Batman is fairly certain that this was not orchestrated by Mr. Freeze and that someone has abducted him against his will. The presence of a robot offers one lead and we’re about to pay a visit to another old friend.

A character I never expected to see in this show: Bat-Mite.

Batman and Robin arrive at the office of Karl Rossum (William Sanderson), the Blade Runner homage whom we last heard from in “His Silicon Soul.” Interestingly, Rossum’s debut came in “Heart of Steel” so this episode is a marriage of the two prior “Heart of…” episodes from this series. Anyway, when the heroes knock on the door they’re greeted by a flying, Batman inspired robot. Fans will recognize this little fellow as Bat-Mite (Pat Fraley), who in the comics is a transdimensional imp who idolizes Batman. He’s mostly comic relief, and really wouldn’t fit into the tone of this show, which is what makes his appearance suitable here as he’s a robot designed by Rossum. Batman and Robin find out Rossum now just uses his brains to make toys, if he’s given up on farming he doesn’t say, and he’s a little surprised to see the two pay him a visit. Batman shows him an image of the robot that abducted Fries and Rossum does recognize it as one of his designs, only his version was much smaller. It was designed for theme park operator Grant Walker who would use it for his attractions as a little animatronic. Rossum theorizes that Walker was able to reverse engineer the robot and build it in a larger scale.

Meet Grant Walker, who bares a strong resemblance to a real world theme park mogul.

It just so happens that Grant Walker (Daniel O’Herlihy) is putting the finishing touches on a new park: Oceania. That’s where the robot who abducted Fries has taken him. As its name implies, Oceania is located in the ocean off the coast of Gotham. It’s a floating artificial island and the robot enters it from below the water’s surface. It appears in a tube and Fries is let out. There he’s confronted by the elderly Walker, who is something of an admirer of Fries’ work. He says Fries is going to help him complete Oceania, while Fries is doubtful. Walker instructs him to get comfortable and he and the robot disappear in the tube. As they leave, someone contacts Walker to say they’ve detected a vessel approaching and Walker instructs him to deal with it in the usual fashion.

Knowing where to find Walker, Batman and Robin board the Batboat and start heading for Oceania. Oceania’s security measures detect the approaching watercraft and Walker orders it be fired upon, so this is apparently more than just some park. Batman is unable to avoid the torpedoes from Oceania, and the Batboat is destroyed in the process. Walker is informed that the watercraft has been taken care of, and he’s free to turn his attention back to his would-be business partner.

Walker knows how to make Mr. Freeze play along.

Fries is then reunited with his suit and freeze ray. Once again as Mr. Freeze, he turns to Walker and questions what is stopping him from using his weapon against him. Walker then turns on the charm. Walker believes that due to the accident Fries endured that his body’s aging process has been essentially frozen in place. In other words, he’s immortal or as close to immortal as a human can get. Walker wants to achieve the same for himself, as he’s nearing his own end and wants to see his life’s work to completion. Fries initially refuses, and even seems insulted, but then Walker reveals he has something that Fries would be very interested in: his wife Nora.

Sometime after the accident that supposedly killed Nora and turned Victor Fries into Mr. Freeze, Walker was able to acquire the body of Nora who is still suspended in a capsule. She’s there, in a liquid floating as if she’s a human snow globe. Fries is shocked to find his beloved wife is still alive, and Walker insists his team of scientists has the ability to restore her. If Fries would like to be reunited with his wife, he’ll need to help Walker get what he wants.

Batman and Robin’s infiltration does not go well.

Batman and Robin are able to eject, and continue on to Oceania. They sneak in, and end up in a town square of sorts where Walker addresses the inhabitants of Oceania from a large video screen in the sky. It’s here we get a good look at just what Oceania is. It’s basically Walker’s attempt at Utopia, which makes sense since it shares a name with a country from George Orwell’s 1984. Walker also isn’t planning on just creating a community that will live in peace and isolation, he intends to destroy everything around it. Deeming humanity too cruel to exist, he’s created a giant version of Mr. Freeze’s freeze gun and is planning on freezing all of Gotham as a start to completing his vision.

Sometimes, Batman gets real stretchy and toon-like in this one.

Naturally, this isn’t something Batman and Robin are going to allow to stand, but they’re noticed by the security robots. They’re swarmed by flying droids, and they’re unable to handle them. The two get to toss some righteousness at Walker, but their words hold little sway. The robots then take them down below where they then come face to face once again with Mr. Freeze. He gets to do the aim at the camera gag again as he fires upon the heroes.

Walker gets what he wants, as billionaires often do.

Batman and Robin get to watch from frozen restraints as Freeze prepares to do to Walker what Boyle unwittingly did to him. Walker climbs into a suit of his own and Freeze administers whatever it is that freezes a man. Walker’s skin turns pale blue, and he doesn’t die, indicating the process was a success. Walker seems quite happy to find his suit has enhanced his strength. With his job done, Freeze just wants to return to his wife as he considers his business with Walker concluded.

Mr. Freeze has to abandon his short-term goal of reviving his wife in order to save Gotham.

Batman and Robin are with Freeze as he tends to his wife, not really doing much of anything. From there, Batman is able to appeal to Freeze by referencing his wife. He reasons that should she wake up in a world of ice and snow created with the help of Freeze that she’ll resent him, even hate him. Freeze is initially dismissive, but apparently he reaches the same conclusion. He frees Batman and Robin, and decides to help them prevent Walker from carrying out his plan.

They attack Walker’s command center. There they’re forced to contend with Walker’s robotic minions once more, but this time they’re prepared and with the aid of Mr. Freeze they prove to be no match. Walker is shocked to see Freeze has betrayed him, and he’s helpless since he didn’t think to arm himself with an ice gun of his own. Freeze encases Walker in a giant ice cube and also freezes the controls to his massive ice canon. He uses the console to set the core to overload before broadcasting a message to the inhabitants of Oceania that if they value their lives they should escape. He tells Batman and Robin to do the same, but they insist he come with them. Freeze refuses, insisting his place is beside his wife.

Mr. Freeze’s solution to his problem is very much in character.

As the ice begins to engulf Oceania, Batman appeals once more to Freeze. To put an end to the discussion, Mr. Freeze uses his freeze ray on Robin, instructing Batman that he’ll need medical attention and soon. Batman is forced to abandon Freeze, who returns to his wife. The place is falling apart, but Freeze appears resigned to his fate as Batman and Robin are shown escaping in the last lifeboat. As for Grant Walker, he’s found himself in a giant ice cube and he rages as it sinks into the water where he’ll never be heard from again.

In the Batcave, Dick is still thawing out as Alfred tends to him. Dick remarks he thought he’d end up like Walker, frozen in an ice cube forever, which is an interesting point since it makes it clear the duo know how he ended up, but it sounds like they have no intention of trying to extract him. An unusual dose of cruelty from the Dynamic Duo. As he shakes away the chills, he asks Bruce if he thinks they’ll hear from Mr. Freeze again (I feel like they’ve done this before). Bruce reasons that if his condition has really made Freeze immortal then there’s a good chance they will. On cue, we cut to a block of ice floating in arctic waters. Inside, the ice is apparently hollow as we see a silhouette of Mr. Freeze kneeling before Nora’s capsule. He extends a hand towards her as the episode ends.

Not quite as good as the image of Freeze in his cell at the end of “Heart of Ice,” but still an effective and memorable way to end the episode.

Mr. Freeze’s return is certainly welcomed given how well he was portrayed in “Heart of Ice.” Using Nora as a means to motivate him is also in-character and really the most appropriate way of doing it. The only other option would be to return the villain with another revenge angle, either resuming his quest to murder Boyle or in revealing there was another person associated with the accident, which would have been the lazy way of doing things. The portrayal of Freeze here feels authentic and in-line with his prior appearance. The only issue I really had with it is likely due to time constraints. He changes on a dime when confronted by Batman. One would think he’d be so consumed with restoring Nora that he would not have acted until he knew how to achieve it. It’s possible Walker was bluffing, or that he intended her to be able to exist in a sub-arctic environment alongside her husband after his plan was completed. That isn’t really explained. Perhaps had this been a two-parter such questions could have been addressed, and maybe that’s partly why the character will return in a feature-length production shortly.

The aspect of the episode that I can’t get over resides with the Grant Walker character. He is very obviously a Walt Disney parody. A theme park operator, the cryogenic connection, and even his appearance evoke Disney. Of course, the whole cryogenics rumor regarding Disney being frozen is just an urban legend, but it was still pretty popular in the early 90s. Oceania is also an obvious reference to Disney’s original interpretation for EPCOT, his Experimental Prototype Community Of Tomorrow. Now, it’s just Epcot with the acronym having been abandoned since it’s just a theme park, but his vision for it was more ambitious. As far as we know though, he never intended to create a utopia at the expense of the rest of the world. About the only thing missing is a reference to Walker being an anti-semite or something, though Batman does remark that people like Walker are obsessed with power and think they can do whatever they want.

The Disney part of the equation doesn’t offend me as someone who is a fan of Walt Disney. It’s just too on-the-nose to be clever, and in an episode centered around the show’s greatest villain and most melodramatic character feels off. The show was so reluctant to revisit Mr. Freeze because of how well “Heart of Ice” turned out, and yet what appeared to bring about his return feels like it began as a joke.

There are lots of visual callbacks to “Heart of Ice” in this one.

Like so many of this season’s episodes, this one is animated by Dong Yang Animation. It, more than some of the others, really seems to have that “toon” quality to it that shows up from time to time. Batman and Robin’s first fight with Walker’s robots being the best example of this, along with the character of Bat-Mite. With Bat-Mite, I assume that was the desired result as he’s basically a cartoon character. Still, I like it and Oceania is an interesting locale to visit. There’s also a fun visual callback to “Heart of Ice” when Freeze first confronts Batman. He’s drawn as a background with the only animated part being his mouth and his glowing, red, eyes. The return of the Freeze theme is also welcomed as it suits the character so well.

Since this is the next to last episode of the show, it obviously contains some final appearances. Grant Walker won’t be seen again, though he was returned in the comic tie-in to the show. Mr. Freeze will return once more in this form in the Batman & Mr. Freeze movie and will then transition to not only The New Batman Adventures, but Batman Beyond as well where his immortality is really put to the test. Most surprising though is that this episode is the sort of final appearance for Batman himself. He will appear in the last episode in a dream sequence, but otherwise is not a part of the plot. The episode also marks the last onscreen appearance for Alfred, though he doesn’t speak in either of his scenes. This is the final episode directed by Kevin Altieri, who has directed 19 episodes of the show including this one. Fans of this show likely encountered him next with The Spectacular Spider-Man. He currently works on Stretch Armstrong and the Flex Fighters, but surprisingly has never returned to the DC Animated Universe.

In the end, “Deep Freeze” is a semi-satisfying return for Mr. Freeze. His character isn’t betrayed in any way, and it’s mostly a good thing that the show gave him another episode. His return was always going to be compared to “Heart of Ice” and it was likely not going to live up to it. And really, none of his following appearances will match that one. It was just the right time for him and there was no way to recreate the surprise fans felt when they actually discovered there was a way to make the character resonate in an emotional fashion. Prior to that episode, Mr. Freeze was just a joke, an old guy who made stuff cold. Under Paul Dini and Bruce Timm, with an assist from voice actor Michael Ansara, Mr. Freeze became so much more and is now probably one of the most famous villains associated with the property. That episode alone basically lead to a feature film, even if that film wasn’t very good (which wasn’t the fault of the character, but of a lot of things). I do wish this episode had gone in a different direction and didn’t lean heavily on a joke character, but ultimately it’s fine. A mid-tier episode for an upper tier villain.

1 Comment | tags: bat-mite, batman, batman and robin, bruce timm, grant walker, heart of ice, karl rossum, michael ansara, mr. freeze, paul dini, robin, walt disney | posted in batman the animated series, Comics, Television

May 17, 2019

Batman: The Animated Series – “Make ‘Em Laugh”

By Joe

make em laugh card Episode Number: 83

Original Air Date: November 5, 1994

Directed by: Boyd Kirkland

Written by: Paul Dini, Randy Rogel

First Appearance(s): The Condiment King

Episode 83 brings us the final Joker episode of Batman: The Animated Series in its original run. Not surprisingly, The Joker has done the most heavy-lifting of all the villains in this 85 episode series. As Batman’s most famous rogue, that was to be expected. What really wasn’t a given was just how consistently good Joker could be. Going into it, I would have expected Joker to be a silly villain used for comic relief as he was in the 1960s series when he was played by Cesar Romero. And there’s certainly aspects of Romero in this Joker, but the writers for this show were able to also incorporate that sinister side of Joker we’d come to see in the character throughout the 1980s. Sure, he’s never as malicious as he is in The Killing Joke or Death in the Family, but there’s an unsettling aspect to the character that comes out now and again making this version of The Joker possibly the best version.

And a lot of the credit should go to voice actor Mark Hamill. Back in the early 90s when this show was in its run, finding out the actor most famous for playing Luke Skywalker did the voice for Joker (as well as Spider-Man’s Hobgoblin) was like a revelation. Pre-internet, it was hardly common knowledge and I only knew about it via the Fox Kids newsletter. I was blown away, and sometimes I still am when I pause to consider the voice behind the role. Hamill’s Joker, despite somewhat famously being put-down by critic Gene Siskel in what was possibly the famed critic’s worst take, is what I will hear in my head now and forever whenever I read a line from the character. He’s so good at that manic, high-pitched, voice which he can pivot from to a lower, more threatening tone, on a dime. And that laugh brings it all together. Hamill’s Joker has been rightly celebrated for years now, but it’s important to remember that not enough good things can really be said of it. Mark Hamill is simply the best Joker we’ve ever had and quite likely will ever have.

Introducing The Condiment King!

For The Joker’s final starring role in this series, the episode takes an interesting turn. This one is actually a mystery. Like most mysteries in this show, the solution is easy to solve, but at least this episode tries. So many episodes will show a shadowy figure in the darkness, and if that silhouette doesn’t make it obvious, the reveal comes almost immediately after. For a character that is often referred to as a detective, Batman has little detective work to do in this show aside from looking up information in his super computer. This episode actually has a deliberate twist, and while it really didn’t fool me even as a kid, it certainly gave me pause.

“Make ‘Em Laugh” opens in a swanky restaurant. A lot of what appear to be fairly well-off folks are about to have their dinner disturbed by The Condiment King (Stuart Pankin). If you’re picturing a man in a spandex suit with twin guns that fire ketchup and mustard then good for you because that is precisely how this character looks. He adds to the persona by speaking in puns which cite other popular condiments (“How I’ve relished this meeting!”). This guy is a show invention, but he’ll actually make the jump to the comics, hence why he gets tagged in the First Appearance section in the heading.

That looks like it hurt. A lot.

Batman will soon show up to deal with this guy, who despite not possessing weapons that can actually harm people has been relatively successful at extracting cash and jewelry from the patrons. Batman takes one look at his foe and despite The Condiment King’s eagerness for a fight, Batman does not seem willing to oblige. He even does something he almost never does: he gives the guy a chance to go home and we’ll forget this all happened. The Condiment King never backs down though! Unfortunately for him, he sucks at this. As the two end up on a balcony, The Condiment King loses his balance and falls off landing back-first atop a police cruiser that just arrived. Renee Montoya (Liane Schirmer) is the responding officer and she unmasks the villain and discovers he’s popular comedian Buddy Standler.

You think we’re done with goofy villains, well here’s The Pack Rat!

At home, Batman and Robin have the television going and Standler’s agent is being interviewed by Summer Gleeson (Mari Devon). He expresses shock at what happened and doesn’t understand why his client chose to throw his career away like that. Evidently he’s not a great agent since most would at least attempt to explain the actions of their client or just offer a “no comment” instead. Robin is equally confused and remarks he and Alfred were supposed to see Standler judge a comedy competition soon.

Pack Rat, prepare to meet Batman.

The next day, Alfred is shopping at a department store called Mayfield’s. A small man in a trench coat approaches a woman and grabs her purse. He dumps the contents on the floor and apparently is only interested in the purse itself. He removes his coat and hat to reveal his own villainous attire of The Pack Rat (Grant Shaud)! He’s out to steal Gotham’s junk (though maybe the all male writing staff is unaware how expensive and valuable purses are) and he’d seem harmless if not for the fact that he’s armed with a submachine gun.

Well that didn’t go the way they wanted it to.

Alfred knows who to call, and Batman and Robin are soon on the scene. The Pack Rat is easily subdued with a rope which pins his arms at his sides. This seems effective for a moment, but he soon falls on his back which leaves the gun pointing straight ahead at the ankles of The Dynamic Duo. He starts spraying gunfire wildly forcing Batman and Robin to take cover. He eventually frees himself from his bounds and starts emptying his gun, which for some reason appears to be ejecting shotgun shells, but who cares? Batman is able to knock him into a display dislodging the gun. For the second consecutive entry, we get a Casey Jones from Teenage Mutant Ninja Turtles reference out of me as Pack Rat emerges from the collection of junk armed with a golf club. He swings wildly at Batman missing him and inadvertently hits an electrical box. The resulting shock knocks him unconscious allowing Robin to realize that their enemy is another comedian, this time Harry Loomis. Batman also finds a tiny microchip that had been stuck to the man’s neck via an adhesive and he knows who specializes in such devices.

The Mad Hatter seems to be doing well.

Batman and Robin head for Arkham to have a chat with one of its famous inmates: The Mad Hatter. They arrive at the villain’s cell and enter to find The Mad Hatter laying on his side, his back to them. They roll him over and find his face is in a frozen smile. He doesn’t respond to any of their words and Batman soon uncovers a mind control device has been planted on him as well. Someone is using his tech to go after comedians, and more detective work will be needed from our heroes.

While Batman was dealing with Pack Rat, a scene unfolded featuring another comedian: Lisa Lorraine (Andrea Martin). Her name may sound similar to that of comedian Lisa Lampanelli, but this character is clearly stylized to resemble (and talk like) Roseanne Barr. She was sitting on her couch enjoying some snacks and television when a knock at the door forced her from this cozy spot. She irritably answers the door to find a pizza boy, but she didn’t order any pizza. No matter, she’ll take it, but when the delivery man opens the box noxious gas surrounds her face. The scene makes little effort in disguising the assailant: The Joker.

Smilin’ Shecky Rimshot has little to smile about.

With their lead failing them, Batman and Robin return to the Batcave to find out from Alfred that Lorraine has been kidnapped. She and the other two comedians turned rogues were to be the judges of a comedy competition that night. They do it every year, and Robin just happened to tape last year’s edition. Alfred, knowing that time is a factor, already has the video cued up for the pair and found something interesting. Just before the judges announced last year’s winner, an unknown comic burst onto the stage in an attempt to win them over. He refers to himself as Smilin’ Shecky Rimshot, but his voice gives him away. He was thrown off stage and while being hauled away did the usual villain routine of shouting about how he was being wronged and vows revenge. If the voice didn’t give it away, Batman isolates the man’s face, removes his hat and adds some makeup to reveal this man was none other than The Joker.

Hey, guess what? It was The Joker this whole time!

With the reveal officially out-of-the-way, we’re taken to Joker who’s getting ready to take the stage at this year’s Laugh-Off event. He once again dons the persona of Smilin’ Shecky Rimshot and declares himself the winner. He then reveals his real face and goes into his routine while also releasing a bunch of laughing gas to make sure he has a friendly audience. Batman and Robin get the drop on him and bat the gas canister away. Joker then teases the debut of his new female sidekick: Mighty Mom! It’s Lisa Lorraine in a super hero costume armed with a mop and other household items. She’s under Joker’s control and gives the boys a little fight, but is eventually subdued.

Batman leaves Robin to deal with Mighty Mom while he goes after Joker who leads him to the roof of the club. Batman seems rather angry with Joker for what he did to those comedians and doesn’t understand the criminal’s desire for some trophy. Joker explains it’s not the trophy he wanted, but the title of Funniest Man in Gotham. Joker flees to a giant clown balloon and Batman goes after him. They do their little dance, and Joker produces a knife. When it seems like he might actually get Batman, Robin swings in with the save. The balloon is punctured in the process, and Joker is knocked from it with the trophy stuck on his head. Batman is able to use his grapple gun to catch Joker and they let the deflating balloon slowly bring them to ground level.

Joker does indeed make them laugh in the end.

During the slow descent, Joker’s pants fall off and as he is gently deposited in the street the balloon lands on top of him. He emerges with his pants around his ankles and the trophy still stuck on his head. The many onlookers all react with laughter as the police move in and cuff him. To add more insult to the situation, Joker isn’t even allowed to pull up his pants as he is lead to the police transport and trips. Once inside, he grabs the trophy and puts it back on his head in a bid to hide his shame, or silence the laughter. And that’s the last we’ll see of Joker until The New Batman Adventures.

So Joker doesn’t go out with a bang, but this one is all right.

As a Joker episode, “Make ‘Em Laugh” is definitely more of the comic variety and probably no one’s favorite. The slow reveal of who is behind the real criminal activity is appreciated, and the payoff is mostly satisfactory. Joker being humiliated isn’t new, but the spectacle of this particular ending is a bit more than we’re used to. Many of these season two episodes seemed to try and inject more comedic relief into the series. Either via one of Robin’s numerous jokes, or in this example some really silly villains in The Condiment King and Pack Rat. Sometimes the show has gone a little too far in really changing the tone of the show, but for the most part it’s fine and the comedy bits certainly work better with Joker episodes.

Interestingly, I found myself missing the presence of Harley Quinn here. She’s become so synonymous with The Joker that her absence is almost always felt. I’m not saying the two should be a packaged deal, but I feel like the episode could have used her. At the same time, I’m also glad it did not without at least providing a plausible explanation as to why the two would be working together again.

In terms of last appearances, this episode contains the last appearance of TV news reporter Summer Gleeson. She’ll have two non-speaking cameos in the following series, but her role as convenient TV host and sometimes plot device is over, as far as the main series is concerned. She will pop-up in a voiced role one more time for the feature Batman & Mr. Freeze: SubZero. This is also the last contribution, again aside from that feature to come, for director Boyd Kirkland. He’s directed 21 of the show’s 85 episodes plus the feature Mask of the Phantasm. He would go on to direct episodes of other popular series such as X-Men: Evolution and The Avengers: Earth’s Mightiest Heroes. Sadly, Kirkland passed away in 2011 due to complications from idiopathic pulmonary fibrosis while waiting for a lung transplant. He was 60 years old.

2 Comments | tags: batman, boyd kirkland, mari devon, mark hamill, robin, summer gleeson, the condiment king, the joker | posted in batman the animated series, Comics, Television

May 10, 2019

Batman: The Animated Series – “Lock-Up”

By Joe

Lock-Up-Title_Card Episode Number: 82

Original Air Date: November 19, 1994

Directed by: Dan Riba

Written by: Paul Dini, Marty Isenberg, Robert N. Skir

First Appearance(s): Lock-Up

Even with four episodes left, there’s still room for new villains. And in today’s episode, that new villain is Lock-Up, a villain made for the series and not taken from the comic book world. Lock-Up is essentially an extreme take on Batman, a fellow vigilante who doesn’t just stop at taking the law into his own hands, but also the punishment. He thinks Gotham is full of enablers, be it the police, media, the doctors at Arkham Asylum, and even Batman himself. And in true nut-job fashion, only Lock-Up has the answers.

Who scared The Scarecrow?

Curiously, this episode begins in almost exactly the same situation as the previous one. Batman and Robin are, once again, returning The Scarecrow (Henry Polic II) to Arkham. He’s apparently quite good at escaping, but not at avoiding capture. The difference this time is that Scarecrow is not arrogantly defiant, but rather terrified at returning to Arkham. He’s afraid of someone, and for the self-declared Master of Fear to feel terror is pretty significant. There to greet him is apparently the one he fears: Lyle Bolton (Bruce Weitz). He thanks Batman for his assistance, and assures him that Professor Crane won’t be an issue going forward now that he’s in charge. Batman seems to regard Bolton suspiciously, before taking his leave. As he and Robin leave, Robin acknowledges that Bolton is creepy, but he’s impressed with his dedication. Batman isn’t as complimentative and seems to think Bolton’s methods may be going too far.

Lyle Bolton knows how to make an entrance.

Some time later, a hearing is convened. Bruce Wayne is apparently responsible for it as he’s seated off to the side with Commissioner Gordon and Mayor Hill (Lloyd Bochner). Wayne explains that it was his company that created the position that Bolton is in and recommended him for the job and he wants to make sure everything is going smooth. Dr. Bartholomew (Richard Dysart) overhears this hearing and Harley Quinn (Arleen Sorkin) is brought in to offer testimony about Bolton’s methods. She takes one look at him and quickly says she has no problems, obviously intimidated by Bolton’s presence. Other inmates are given a chance to testify, including The Ventriloquist (George Dzundza) who has a handy new Scarface puppet, and Scarecrow. The Ventriloquist is the only one who appears ready to say something, but Scarface shuts him up. Even Scarecrow refuses to say anything bad about Bolton. Bolton, for his part, is cooperative and appears receptive to criticism, but since none is offered, Wayne has little choice but to declare he’s satisfied with the results of the hearing and proposes extending Bolton’s contract by another 18 months.

Some familiar faces are asked to provide testimony for or against Bolton.

That declaration gets the inmates talking. Harley is the first to crack and others follow suit. They claim mistreatment at the hands of Bolton, who punishes them sometimes for no reason. The likely PG nature of the show prevents them from really going into graphic detail, but the accusations cause Bolton to lose his cool. He declares they’re all scum, and suggests they should be beaten to death. Dr. Bartholomew has seen and heard enough and fires Bolton on the spot. He responds by placing the blame for Gotham’s ills on all of the enablers in his presence: the soft-hearted police, pandering doctors, and gutless bureaucrats, as he refers to them. He vows revenge on all as he’s dragged out of the room. We then cut to what appears to be Bolton’s home as he watches coverage of himself on the news which is delivered by Gotham’s favorite reporter, Summer Gleeson (Mari Devon). He then adds the liberal media to his list of enemies, completing his transformation into the drunk uncle at every family gathering.

Lyle Bolton owning the libs by smashing his own TV.

Six months pass and Bruce Wayne and Summer Gleeson are concluding a dinner together. Summer thanks Bruce for the meal and seems a bit flirtatious as Bruce walks her out. Before he can capitalize, a man with the restaurant steps outside to tell Bruce he has a phone call. He departs while Summer gets into her car, only she finds out it won’t start. She’s locked in, and an armored truck pulls up behind her and begins abducting her, car and all. A large man in a costume of black and blue with steel and chain accents emerges, and it’s clearly Bolton.

Batman meets his newest foe: Lock-Up.

Bruce sees what’s going and tries to race outside to Summer’s aid. Bolton fires some locking mechanism which prevents Bruce from operating the revolving door. He then gets a bit Get Smart and opens up his briefcase and activates a smoke bomb. As the area fills with smoke, Bruce pulls out his Batman costume and changes quicker than Clark Kent. He busts through the door (seems like it would still be pretty easy to figure out what happened there, smoke or not) and confronts Bolton, who is now calling himself Lock-Up. He’s at first happy to see Batman and tells him that he can catch the bad guys, and he’ll do the rest. Batman is not amenable to this arrangement and the two are forced to fight. Lock-Up actually gets the better of Batman, and when a police squad car comes onto the scene Lock-Up tosses his baton at it causing it to crash. When Batman checks on the nameless cop and Bullock (Robert Costanzo) in the car, Lock-Up takes off with Gleeson. Bullock, to no one’s surprise, is not amused to find another “freak in a Halloween costume” has shown up in Gotham while Batman retrieves the lock Bolton had shot onto the revolving door.

At the Bat Cave, Batman is checking out the lock and identifies it as a device created by Bolton. Apparently Lock-Up isn’t just a clever name as he’s also quite good with locks. Robin makes a joke about Bruce’s company yet again creating a super villain which Batman doesn’t seem to find amusing. He turns to his computer, old reliable, to retrieve Bolton’s last known address and instructs Robin to check it out.

Robin scopes out Bolton’s apartment, while Batman heads to Arkham. There he finds the security guard bound and gagged at his desk. Rather than free him, Batman books it down the hall to Dr. Bartholomew’s office. He finds it empty, but spots the Bat-Signal in the Gotham sky. He heads over to the police HQ, but is surprised to find it was Bullock who turned on the signal. He’s also been handcuffed to the building, and informs Batman that Lock-Up kidnapped the commissioner. Batman removes the cuffs and tells Bullock he has a pretty good idea of where Lock-Up will strike next.

Bullock is then shown in the home of Mayor Hill with some other cops. Hill thinks the security measures taken by his usual guards is sufficient, but Batman and Robin sneak in to prove he’s mistaken. They warn the mayor about Lock-Up, but before the conversation can move along gas fills the room, and soon the mayor is gone too. When Batman and Robin head for the Batmobile, they find a boot has been placed on it. It’s a wonder other villains haven’t thought of the same. It’s not a total loss though, as Lock-Up left behind a cargo locker and the serial number on it contains an important clue about his hideout.

The clue leads Batman and Robin to a decommissioned naval vessel off the coast of Stonegate Penitentiary. Sometime ago, Stonegate was remodeled and the ship was used as a temporary holding place for inmates and Bolton was the chief of security during that time. Batman and Robin infiltrate the ship, and Bolton sees them on his various monitors. He sicks traps upon them, but Batman is able to reach him while Robin is able to get to Bolton’s computer and deactivate the security measures

Lock-Up proves to be more than a match for Batman.

Bolton and Batman engage in some fisticuffs, while the ship becomes unmoored and sails right into some rocks. The hull is breeched as a result and water starts pouring in, which proves to be quite a problem for the captives locked up below deck. Robin is forced to go after them and undo their restraints while the water level rises. Up on deck, Batman and Lock-Up battle as the rain begins to fall. Once again, Lock-Up is proving to be a pretty fair match-up for Batman, and as the ship teeters Batman is knocked from the deck. It’s a long way down, but Batman manages to land on a rudder. As he gathers himself, Lock-Up drops down on-top of him. As the rudder tilts towards the whirling propellers, Batman throws mud in Lock-Up’s face to gain the upper hand. They both tumble off the rudder and disappear into the rocky waters below as Robin and the others emerge just in time to see the two fall. They stare down at the dark waters until a grappling hook comes rocketing out. Batman emerges, with an unconscious Lock-Up in-hand.

Bolton is then seen being paraded through Arkham. Apparently he’s been declared insane, and the other inmates are hooting and hollering to see him. They seem delighted, especially Scarecrow, at this turn of events, but so does Bolton. As he’s placed in his cell he sports a smile. In what feels like a nod to Rorschach from Watchmen, Bolton declares he’s not locked up with them, they’re locked up with him!

The unsatisfying conclusion to the big fight.

“Lock-Up” is a bit of an easy write for such a show. It takes the Batman premise, and just ups the intensity. Batman walks a fine line between justice and outlaw vigilante, and it’s not hard to imagine someone in his position taking things further. This sort of makes Lock-Up like Casey Jones from Teenage Mutant Ninja Turtles. It’s a simple premise, but the character of Lyle Bolton is presented well-enough that the episode turns out entertaining. He’s ruthless, and it’s nice to see someone who can actually go toe-to-toe with Batman in a fight. Though, it’s disappointing to see how that final confrontation is resolved essentially offscreen with both characters underwater. It’s not a satisfying conclusion, but maybe things were pressed for time.

In the end, Lock-Up ends up locked up. Oh, the irony!

This episode is another solid effort from Dong Yang. It’s animated well, and night scenes in the rain are also fun to look at. Bullock has this weird curl thing going on with his ears that I never noticed before, but otherwise things look rather tidy. The visual trick of Bruce covering up his transformation into Batman with the gas briefcase is more clever than effective. It’s the type of thing that probably looked good on a storyboard or in print, but in the episode itself it’s rather ridiculous. A puff of smoke goes up around Wayne and only Batman emerges? Come on!

Like a few other characters from this show, Lock-Up would make the jump to the comics. There he hasn’t had the same impact as Harley Quinn or Renee Montoya, but it’s still another feather in the cap of Paul Dini and the show. As a villain, he’s fine and this serves as a pretty entertaining filler episode. Perhaps it’s a bit disappointing to see him featured instead of having a proper Scarecrow or Penguin episode in season two, but at least it’s a solid episode so it isn’t as if those characters were ignored for a bad one. This is also his only appearance in this series and the sequel series, so hopefully you didn’t like Lock-Up too much. Not surprisingly, this is also the final appearance for Harley, Scarecrow, The Ventriloquist and Scarface. All three will return in the next series, though this is the last performance for Henry Polic II as Scarecrow. He’ll receive a drastic redesign in the new series which also included a new voice. It will be interesting to revisit that episode when the time comes as I really enjoy Polic’s work, but also really like the new Scarecrow’s look. Regardless of how the new Scarecrow is received, Polic’s contribution to the series should not go unnoticed. He will be missed.

1 Comment | tags: batman, bruce weitz, henry polic ii, lock-up, lyle bolton, mari devon, paul dini, robin, scarecrow, summer gleeson | posted in batman the animated series, Comics, Television

May 3, 2019

Batman: The Animated Series – “Harley’s Holiday”

By Joe

harleys holiday title card Episode Number: 81

Original Air Date: October 15, 1994

Directed by: Kevin Altieri

Written by: Paul Dini

First Appearance(s): General Vreeland

We’re down to the last five episodes of Batman, which means basically every episode contains a final appearance from someone in the show (and surprisingly, we still have a first appearance or two). For today’s episode, the last appearance falls to the show’s biggest star it created: Harley Quinn. It’s actually her last in-costume appearance, as she’ll have a small role in the following episode. This is the second episode in this short second season to feature Harley as a main player. We last saw her in “Harlequinade” when Batman needed her help to stop The Joker. The episode concluded with Harley wanting to kill her beloved Mr. J, before abruptly making up giving the episode a “happy” ending of sorts. This episode leaves out Joker entirely and focuses all of its attention on Harley.

Through seeing just how abusive and awful Joker is towards her, Harley has become a sympathetic figure. It’s made easier by the fact that she’s a pretty jovial person and quite charismatic. She’s the comic relief in almost every episode she’s featured and I think viewers genuinely want to like Harley Quinn even though she’s technically a bad guy. Paul Dini likely recognized this and he too probably liked the character a lot and probably had to wrestle with the idea of just making her a good guy. This episode deals with that prospect to some degree. In what has become a running theme in the show’s second season, this is another reform episode for a villain. This time it’s Harley’s shot at redemption, but it will stop short of actually turning the character, but leaves that door open a crack. It’s basically her misadventures in Gotham flying solo and is yet another peek into the character’s soul.

In this episode, Harley finds herself as a free woman.

The episode opens with Batman and Robin dropping off their latest catch at Arkham Asylum. Making his second appearance of the season is The Scarecrow (Henry Polic II), a real star in season one reduced to cameos in season two. He’s ranting and raving about being feared and demanding respect as the duo drop him off. While I feel like the character deserves better, I do admit this is a pretty humorous scene. Nearby, Harley (Arleen Sorkin) is receiving her clean bill of health from Dr. Joan Leland (Suzanne Stone) and she happily shares that news with Batman. To her surprise, Batman offers his hand as a sign of congrats, but does issue her a warning that he’ll catch her again if she doesn’t keep her nose clean. Harley asserts that she’s going on the straight and narrow and seems sincere. She takes his warning as a challenge and vows to show the world a new and better Harleen Quinzel.

She gets to it the next day in true Harley fashion. Sporting some short-shorts and roller skates, her precious hyenas pull her down the sidewalks of Gotham via a leash as she happily blows bubbles while fellow pedestrians duck for cover. Harley is confused by the terrified reactions of her fellow citizens but is otherwise unfazed by it. An advertisement for a clothing sale catches her attention causing Harley to duck into a department store, hyenas and all.

Harley happily showing off her clean bill of health.

In that very same store, Bruce Wayne is doing some shopping as well along with socialite and fellow wealthy person Veronica Vreeland (Marilu Henner). Wayne doesn’t seem to be enjoying this little game of dress-up at Vreeland’s expense, while she remains blissfully ignorant of his enjoyment, or lack thereof. Harley soon approaches and stumbles into the arms of Wayne. She pauses to admire Wayne’s chin and even covers the rest of his face with her hand indicating she’s about to stumble upon something important, but just remarks that she recognizes him to be Bruce Wayne, the boy billionaire! Bruce has little time to be relieved as Harley’s hyenas, likely recognizing his scent, start barking rather viciously at him. Harley acts confused by their reaction, and then turns her attention to the lack of wedding band on Bruce’s finger and begins flirting with him. Vreeland takes exception, and Harley backs off thinking she’s a jealous girlfriend. She then asks Vreeland if she remembers her from a past job (“I was the clown holding a gun on you!”) before displaying her sanity diploma. The two take their leave, while Harley goes to pay for her dress.

Well, that didn’t take long.

Harley heads to a checkout register, while the department store manager seems really anxious to be rid of her and her troublesome pets. Harley, happy with herself for actually paying for something, then goes to leave the store. Unfortunately, the clerk forgot to remove the security tag on her dress, and when the store alarm goes off at the door she panics. A security guard approaches in a some-what agitated manner to explain the problem, but Harley gets extremely defensive. She freaks out, swats him with a mannequin arm and makes a dash for the changing rooms all the while bemoaning her predicament, her tenuous hold on sanity apparently about to break. Outside, Bruce is helping Veronica into his car when he notices the commotion as the hyenas knock some mannequins through a store window. He runs inside to see what’s going on and is pointed towards the dressing rooms. When he gets there, he reassuringly calls to Harley that it’s just a misunderstanding and she should come out. She does, only now she’s in her Harley Quinn attire. She assaults Bruce with the same mannequin arm and runs for the exit, hyenas in tow, and commandeers Bruce’s car with Veronica inside.

Harley flees the scene as Veronica is dumped into the backseat with the hyenas. As she peels out, Detective Bullock (Robert Costanzo) nearly collides with her and instead crashes into the store. Enraged, he pulls out his siren in preparation for a pursuit, while Bruce Wayne is left flummoxed on the sidewalk.

Veronica does not enjoy riding with Harley’s babies.

At Gotham Police Headquarters, Commissioner Gordon (Bob Hastings) is receiving an undressing in his office by General Vreeland (Frank Cover), Veronica’s father. He’s irate that his daughter has been kidnapped and is convinced the police aren’t doing enough. Gordon tries reasoning with him as he reiterates what the audience knows which is that Harley fled in a moment of panic over a mistake. He fears an aggressive pursuit could just put Veronica in further danger. General Vreeland is not receptive to the argument, and in his rage he knocks over a cup of coffee on Gordon’s desk. He then gets quiet and apologizes and asks Gordon if he could have a moment to collect himself. Gordon happily obliges and leaves the general alone in his office, but Vreeland uses the time to pick up the phone and place a call to the army.

I bet fans are happy we get to check in with Boxy one more time.

Batman and Robin are on the scene and they conclude that Harley needs to head to a friendly place, possibly to skip town. They pick her up on a tracking device, and as they close in on Harley so does Bullock. His car is fine now, but it soon won’t be as he crashes into a hydrant. Harley challenges Batman to a race, while he tries to get her to stop. She’s able to shake him eventually.

As is often the case, Batman’s hypothesis is correct and Harley heads for the current hideout of Boxy Bennett (Dick Miller). Bennet is still angry with Harley after their encounter in “Harlequinade” and isn’t thrilled to see her show up at his doorstep this time. She explains the situation, and also uses the fact that Bennett is sweet on her to her advantage. Bennett agrees to help her out, but he wants Vreeland in exchange since she’s a pretty valuable hostage. Harley is unwilling to do that declaring she intends to let the woman go, but Bennett won’t budge in his demands. Batman and Robin show up when things start to look dark, and a fight breaks out. Harley eventually gets to assault Boxy with a fish(his hideout is at a wharf), but eventually he corners she and Vreeland at gunpoint. Harley is forced to summon her babies to her aid, and they take out Boxy and occupy him long enough for Harley to grab Vreeland and flee. Batman and Robin are forced to give chase in the Batmobile, while Bennett ends up in a box truck (pun intended?) to do the same.

Veronica and Harley have a little heart to heart while escaping.

It’s at this point the episode takes on a sillier tone. We already saw Bullock crash once, and he rejoins the chase and this time his car is looking rather damaged. He’ll end up crashing once more, and his car will gradually deteriorate in what feels like an obvious homage to Smokey and the Bandit. Meanwhile, as Harley and Veronica flee the two have a heart to heart. Veronica is somewhat touched to find out Harley meant what she said back there, and in a showing of good faith, tells Harley she won’t press any charges if she can get her home in one piece. Harley is positively elated to hear that and just when she thinks her luck is changing, she runs into General Vreeland.

This guy is pretty nuts.

General Vreeland confronts the two on Gotham’s most famous bridge from the confines of a tank. Even though his daughter is in the vehicle, it doesn’t stop him from firing upon it. Harley is forced to swerve and turn around, but soon finds herself with assailants from all directions: General Vreeland, Bullock, and Bennett. She somehow makes it through a four-way intersection only to come face to face with the Batmobile in an alley, forcing her to turn around. Her other pursuers come barrelling after her and end up crashing in a humorous manner. General Vreeland even runs over Harvey’s car, but not before the ladies bail. Skating through all of that without so much as a scratch is the Batmobile.

Batman and Robin hop out to survey the damage of the big crash. As they look around, Harley calls to them from above and drops Vreeland into Robin’s arms unexpectedly. General Vreeland runs over to greet his daughter. Boxy tries to flee, but Robin lassos him before he can get away. As he shouts out that he’s got nothing on him, a soaking wet Bullock grabs him by the collar and assures him he can find something.

Harley refusing to go quietly.

Batman chases after Harley onto the Gotham rooftops. As he pursues her he tries to urge her to give it up as he knows what happened to cause all of this. Harley, seemingly beyond help at this point, just rants about her terrible day. She’s convinced the world is against her and is rather down. She attacks Batman wildly, who doesn’t seem like he really wants to fight back. Harley winds up on a billboard and whips out a Joker bomb and tosses it at Batman. A comedy of errors resulting from the explosion leaves Harley dangling precipitously from another billboard. She makes a crack about going out on a joke before plummeting to her would-be demise when the structure breaks. Batman is able to make the save and use his trusty gadgets to get them both to ground level safely, but not before Harley makes a mess on his cape.

She may be back in Arkham, but at least she got her dress.

Batman and Robin then bring Harley back to Arkham, where she apparently still belongs. Harley is dismayed, but Dr. Leland is there to greet her and assures her that her stay won’t be as long this time. Vreeland isn’t pressing charges, which perks her up. Harley then turns to Batman and asks why he keeps looking out for her, even though she’s obviously a real pain in the neck for him. He responds by telling her he can sympathize with her desire for a normal life adding that he once had a bad day too. He then presents Harley with the dress she bought earlier, the one that started all of this, and she happily takes it and places a kiss of gratitude on his lips. She pauses to regard what she did, while a big smile spreads across her face. Harley tosses the dress then goes back in for a much longer, and more sensual, kiss that seems to surprise Batman quite a bit. Robin looks on with amusement, while Poison Ivy looks on from her cell like she feels betrayed. Harley then instructs Batman to call her, who then tries to play it cool with a “Don’t press your luck,” and fails miserably. The heroes depart, while Harley heads for a cell. Noticing the amused look of Poison Ivy, she sticks her chin up and responds with a “What are you looking at?”

Parting is such sweet sorrow.

“Harley’s Holiday” is a fun, at times even slapstick, story with a solid heart at its core. Even though it’s Harley’s first foray without Joker, his presence is somewhat felt in the whole notion of one bad day really messing things up as it feels like a callback to the classic Joker story The Killing Joke. For viewers, there is a frustrating component to this type of story as a character we’re rooting for keeps making destructive decisions based mostly on misunderstanding. And in the end, Harley is returned to the walls of Arkham with the rest of Gotham’s criminally insane, but there’s at least a hint at a silver lining. Plus her final exchange with Batman is a great way for the character to bow out of the series. It’s funny, and I like that Robin and Ivy’s reactions were included. It would have also been interesting to see Joker’s reaction, but I do actually prefer that he was kept out of this one all together so that Harley didn’t have her spotlight usurped for even a second. Though it is a bit odd to see Ivy in Arkham. Last time we saw her, she successfully evaded capture at the end of “House & Garden.” Apparently, she was captured offscreen once again.

The visuals of this episode are really quite fluid. It’s another Dong Yang episode and it’s one of their best. There are lots of new character models and scenery to make use of. The chase scenes are ludicrous with Bullock’s deteriorating vehicle and animated with a ton of charm. The final confrontation between Harley and Batman is also made interesting with the numerous neon billboards filling the background. Most of which are animated, so it wasn’t a simple task of just painting a new background. The glow of it at all certainly makes me think of the Joel Schumacher Batman films that would follow.

The comedy and also sweet undertone of the episode makes up for the frustrations it places on the viewer. It’s a bit of a shame that Harley’s reform did not, and will not, stick as she’s back to a life of crime in The New Batman Adventures. Which, I suppose, is for the better as it would be a shame to not have Harley Quinn opposite Batman from here on out. At the same time, it’s nice to be able to feel something for a character that began life as just a plucky henchwoman many episodes ago. Harley Quinn is quite possibly the greatest success of Batman: The Animated Series and it’s impossible to separate her from the show’s impactful legacy.

1 Comment | tags: arleen sorkin, batman, boxy bennett, harley quinn, marilu henner, poinson ivy, robin, the joker, the scarecrow, veronica vreeland | posted in batman the animated series, Comics, Television

April 26, 2019

Batman: The Animated Series – “Second Chance”

By Joe

second chance card Episode Number: 80

Original Air Date: September 17, 1994

Directed by: Boyd Kirkland

Written by: Paul Dini, Michael Reaves, Gerry Conway

First Appearance(s): None

When Two-Face debuted back in his self-titled two-parter it made a big impact on me as a child. I really had never seen something comparable to a just character getting maimed and falling into a depression. The dual personality and all of the style wrapped in the character was equally fascinating and I felt genuine sympathy for Harvey Dent. It may have even been my first experience of not knowing who to root for: the hero or the villain.

Two-Face’s introduction was almost done too well. His plight was clear, but it would be hard to sustain; perhaps even impossible. As a result, Harvey’s fiancé, Grace, never resurfaced and that hopeful ending was ignored. When Two-Face would come back to tangle with Batman he was just a conventional villain with a gimmick. It was a shame to see him brought to this, but I suppose the alternative was to either reform him or place him in therapy for the remainder of the series.

Harvey’s getting some work done.

“Second Chance” is the first episode since “Two-Face” to really tackle the villain from the same angle he was originally approached from. Harvey is getting a second chance at being Harvey Dent. When the episode begins he’s being brought, by the police, to a hospital for a procedure to try and repair the damage done to his face in that accident from season one. Batman and Robin are there to watch over the proceedings and to also introduce a flashback to Dent’s accident, in case anyone forgot.

As the procedure begins, a surgeon who reminds me of Leslie Thompkins, but is actually Dr. Nora Crest (Linda Gray), speaks enthusiastically to Harvey as she administers the anesthesia for surgery. Dent (Richard Moll) is lucid and shares the detail that Bruce Wayne is paying for the surgery. He refers to him as Good Old Bruce and shares a story of their earlier days hitting the Half Moon Club before passing out. Batman and Robin watch from a conveniently place skylight as masked thugs break in. They open fire on the surgical team and make it clear they’re here for Dent. One of the thugs remarks he’s not to be roughed up, as the boss wants to handle that task himself, as they haul him out.

Batman tries to fire his grapple-gun through the skylight, but it bounces off the glass harmlessly. He and Robin then head to cut the crooks off before they can escape. They evade Batman and Robin and manage to get Dent out of the hospital. They pile into two vehicles: a sedan and a truck. The vehicles flee in opposite directions, and Batman and Robin are forced to split up. Robin tails the sedan, while Batman goes after the truck via the Batcycle. Robin tries to stop the sedan, but they give him the shake. Meanwhile, Batman gets nearly flattened by a tanker-truck on his bike, but manages to keep his target in sight. The crooks exit the freeway and nearly lose Batman who misses the turn. Rather than give up, Batman launches his bike off the overpass and crashes down on top of the truck. When he looks inside, he finds only two of the crooks and no Harvey.

Batman and Robin fail once again.

Batman and Robin regroup and Batman theorizes there are two individuals who have a vendetta against Two-Face: Rupert Thorne and The Penguin. Robin apologizes for losing his target, and really he kind of needs to at this point as he’s been pretty ineffective the last few episodes. Batman says, some-what curtly, “I’m sure you did your best,” and Robin takes offense. He says he’ll check in on Thorne, while Batman apologizes saying this one is personal and hard on him. Robin leaves the Batmobile while Batman presumably heads for The Penguin.

Robin is shown on the roof of Thorne’s home. He watches through a skylight (I seriously can’t stress this enough: criminals of Gotham, get rid of all of the skylights) and pulls out a glass cutter and goes to work. As he does so a gun is placed between his shoulder blades and he’s ordered to get up by Frankie (Matt Landers), one of Thorne’s men. Robin says nothing and stuffs the glass cutter in his glove as he stands with his arms up. The sentry takes him inside to show him to his boss. Rupert Thorne (John Vernon) seems amused by Robin’s presence as he heats up a fire poker in his fireplace, in case he needs it. Robin is tied to a chair and he tells him that Harvey Dent was kidnapped. Thorne laughs off the thought that he would have done it, while admitting there’s no love lost between the two. He then orders his men to do to Robin what he planned to do to Dent and the two men haul him away.

Robin’s going for a swim.

Thorne’s men take Robin to a bridge. In the trunk of the car, Robin works at cutting his restraints with the glass cutter but doesn’t finish the job. As the two men haul him out, Frankie goes on and on about how he used to fish here, but now can’t, because of the pollution. Ever after they toss Robin off of the bridge he continues sharing his thoughts on the environmental tragedy. As Robin falls, he’s able to break free of the rope on his hands and fires a grapple-gun to the top of the bridge. He then swings in striking our environmentally cautious goon as he was sitting down in the car and the force pushes both men out the driver’s side knocking them unconscious.

The Penguin seems to be enjoying his incarceration.

At Stonegate Penitentiary, Batman is able to find The Penguin’s (Paul Williams) cell. Inside the stout villain has a pigeon coop and is tending to his flock. Batman stands on a ledge outside the window and questions The Penguin about the events from earlier in the evening. We as viewers know about Thorne and Dent’s relationship, but not of Penguin and Two-Face’s. Apparently Two-Face stole something out from under The Penguin’s nose recently, and while it did anger him, The Penguin insists he would never pull such an act of revenge against a fellow rogue – honor among thieves. He then tosses a bird in Batman’s face and soon all of the pigeons start harassing him causing him to lose his footing. Penguin tries to get the attention of a patrolling guard outside, but by the time a light is shone in his direction Batman is gone.

Batman and Robin then return to the scene of the crime as their only leads proved fruitless. They sport some nifty goggles that make them look like Cyclops from the X-Men as they examine the room in infrared. Batman finds footprints from the assailants and masonry dust within them. This is enough of a lead. He announces he knows who took Dent, but also that he needs to do this alone. As he leaves, Robin gives him a pretty nasty look behind his back like most teenagers would.

The true kidnapper revealed.

Batman then shows up at a demolition site. It’s a rather large building called the Half-Moon Club, the same club from Dent’s story about he and Wayne from earlier, and way up by the top is where he finds the man who kidnapped Harvey Dent: Two-Face. Dent’s Two-Face persona would never allow the procedure to go through and Batman seems embarrassed he didn’t realize it sooner. Two-Face’s men then capture Batman, and as they chain him to a wrecking ball Two-Face explains that he could never let Dent destroy him and that he needed to teach him some respect. He also explains he has dynamite rigged to the wrecking-ball he just tied Batman to and that Batman’s fate is now tied to his coin. Two-Face flips his signature item and Batman demands he let it hit the ground so he can see the result. Two-Face obliges, but is shocked to see the coin land on its edge. He flips it again and the same phenomena repeats. Two-Face starts to panic, while his men seem to decide on their own this is silly and open fire on Batman. They fail to hit Batman, as they always do, but manage to damage the bomb and electricity starts arcing from it.

Batman gets out of his restraints and swings down to take out the thugs leaving only Two-Face who is chasing his rolling coin around. He ends up out on a steel beam and as the coin rolls off the edge so too does Two-Face. He manages to grab the coin, while Batman gets ahold of him. Batman confesses he switched out Two-Face’s coin with a gimmicked one that will alway land on its edge. He needs Two-Face to drop the coin (apparently that suit has no pockets) and give him his other hand so he can help him up. With Batman distracted, the other thugs prepare to take him out, meanwhile the dynamite is getting ready to blow as the electricity from the detonator gets nearer and nearer to the actual explosives. Robin swings in to take out the thugs before they can shoot Batman from behind and deposits them in an elevator shaft.

Two-Face feels betrayed by his coin.

With that danger averted, there’s still the matter of the dynamite and Two-Face’s precarious position. Two-Face reluctantly lets the coin fall, and as he reaches for Batman he pauses and shouts, “Never!” He takes a swing at him instead causing Batman to lose his grip on Two-Face’s other hand. He jumps off the building after him and as he catches up to him he fires his grapple-gun as the dynamite explodes.

We’re then taken to Arkham Asylum. Two-Face, having survived the fall, is being led back into the facility in shackles. As he heads in, Bruce Wayne approaches. Dent looks at him, the shadows hiding his bad side, and remarks how Bruce has never given up on him. Bruce just smiles and places a hand reassuringly on Dent’s shoulder before the police lead him inside. Dick is there too and remarks that Harvey is lucky to have someone looking out for him. Bruce places an arm around Dick and says he’s lucky he’s always got Dick to be there for him.

A sweet ending to go out on.

“Second Chance” adds to the tragedy that is Harvey Dent and Two-Face. It’s perhaps melodramatic, but it is satisfying and the ending is rather sweet. As a viewer, it’s frustrating to see Dent blow his second chance, but his condition is something that can’t be cured so easily. The status quo is maintained by the episode’s end, but it was still a compelling ride getting there. It also fooled me when I first saw it, as I didn’t figure out who was behind the kidnapping and when it was revealed I was actually quite sad. I do wonder if it would have done the same had I been older. Harvey telling his story about the Half Moon Club before going under on the operating table certainly feels like foreshadowing as this show never mentions such a detail without it meaning something. Plus it’s called the Half Moon Club which fits the Two-Face gimmick. This is also another episode where a rift between Batman and Robin is teased. That will pay-off in the sequel series, though it’s mostly brushed aside by the end of this episode.

“Second Chance” is just a really good episode. I don’t even have any criticisms to offer other than the usual which is to say the villains can’t shoot. There’s some especially bad shooting in this one, though at least with the scene in the hospital it’s plausible the kidnappers didn’t want to kill any doctors. The Penguin is shoe-horned into this one, but it’s not something I mind. It’s nice to hear from him since he’s been missing in action throughout season two. This was actually, quietly, the last appearance of the Danny DeVito-like design for the villain. Next time we see him he’ll have his classic appearance restored. This is also the final appearance of Rupert Thorne. He won’t show up in The New Batman Adventures, but he gets an encore of sorts in Mystery of the Batwoman. Given the role he played in this series, it’s surprising that this is it for him.

Where does Two-Face go from here? It would seem back to being an everyday villain. He’ll show up again, so this isn’t the last we’ll see of him, but it is the last in the original series. His redesign will actually be one of the least extreme, which is a good thing since his look for this show is pretty damn great. He’s been one of the show’s best villains though, and this is the follow-up to his debut the character deserved. It may have taken longer than expected, but the show delivered like it almost always does.

1 Comment | tags: batman, dc comics, harvey dent, john vernon, paul dini, paul williams, richard moll, robin, rupert thorne, the penguin, two-face | posted in batman the animated series, Comics, Television

April 19, 2019

Batman: The Animated Series – “Riddler’s Reform”

By Joe

riddlers reform card Episode Number: 79

Original Air Date: September 24, 1994

Directed by: Dan Riba

Written by: Alan Burnett, Paul Dini, Randy Rogel

First Appearance(s): None

We’re coming to the end of Batman: The Animated Series so just about every episode from here on out will feature a final appearance of a specific rogue. In today’s case, there’s even more finality than there will be for others. The Riddler (John Glover) is considered a notoriously difficult character to write. His “super power” is he’s really, really, smart and also quite clever. It’s not easy to just come up with riddles or puzzles to fill an episode worthy of The Riddler. As a result, his appearances have been few despite his popularity as a villain largely owing to the 1960s series and the performance of the late Frank Gorshin. Nonetheless, three starring episodes isn’t too bad, but the real sense of finality comes from this essentially being it for The Riddler. Most of the villains featured in this show will return in The New Batman Adventures with new schemes, new motivations, and new costumes. The Riddler will return, and with a new costume too, but he won’t receive an episode to call his own as he’s basically reduced to a cameo and brief, supporting, role.

Give that this episode is, more or less, his encore hopefully it’s a good one. It has an interesting premise right in the title as The Riddler looks to establish a life for himself outside of crime. We’ve seen both Catwoman and The Penguin attempt the same and eventually slip-up and fall back into their old villainous ways. Is there any reason to think The Riddler will be any different? Probably not. Last we saw him he was antagonizing Commissioner Gordon and Batman with a virtual reality device. At the episode’s conclusion he became trapped inside the VR world with Batman offering an ominous commentary on the situation that would lead the audience to believe he may be trapped there forever. If you were hoping to find out what happened, well you’ll be disappointed. Similar to how The Joker appeared to die in “The Laughing Fish” only to resurface later as fine as can be, we don’t know how Riddler got here. Maybe Batman was just wrong and they unplugged the console and he was fine. Or maybe he found his own way out. Your guess is as good as mine.

Riddler and his new buddy Baxter who owns a toy company.

This one opens at a nondescript warehouse. Before we get to the action, we get a shot of some newspapers being unloaded featuring a cover story about the release of The Riddler from Arkham. We’re then taken to the warehouse where some typical looking goon-types are carrying a large red box emblazoned with a purple question mark. They’re taking directions from The Riddler on where to place it. After setting it down, they get paid a visit by Batman and Robin who come swooping in to kick ass and ask questions later – literally. Riddler takes a seat on the box and seems amused by their presence. He’s evasive when Batman asks him what’s inside the box and when it looks like he’s about to get punchy they’re interrupted by a nicely dressed old man.

His name is Charles Baxter (Peter Mark Richman) and his name is either a direct call-back to the Baxter Box puzzle from an earlier Riddler appearance or a coincidence. He’s not a puzzle-creator, as we’ll learn, so if it’s a reference it would seem it’s merely for fun. Baxter demands to know what’s going on, and after Robin fills him in on who The Riddler is, he tells him he’s well aware. The Riddler is his new business partner. He purchased the rights to the character’s likeness and intends to use him to market Nygma’s toys. The box then springs open unveiling a toy display kiosk and Riddler even tosses one to Robin referring to him as a kid, which you know he takes well. Baxter orders them to leave, and the two head into the building leaving Batman and Robin to tuck their tails between their legs.

At Wayne Manor, Dick is having a tough time with the puzzle Riddler gave him while Bruce is reading the paper. The television is on in the background and a story about The Penguin is running before leading to another story about a robbery. Some ancient relics were stolen, and this gets Bruce’s attention. When Riddler explained to them the night before his desire to be on the straight and narrow he made references to ancient history and Batman thinks he was referring to the items stolen. A commercial featuring The Riddler then comes on hawking the new toys. He ends the commercial by displaying a number on a chalkboard and then flips it around to reveal a map. It’s a part of some contest, but Bruce isn’t buying it. He pulls out a map and uses the number as a coordinate which leads him to the First National Bank.

Riddler enjoying the perks of being a celebrity.

Batman and Robin stake-out the bank that night, but nothing is doing. Robin begins to wonder if maybe he is reformed, but Batman remembers Riddler flipping the chalkboard over in the commercial, thus flipping the number. He looks at the number which he wrote down on a scrap of paper and turns it around. Before it read “31753701” but when reversed it looks like “10 LESLIE” which Batman determines is an address. They head there to find a large building with a jewelry store in it and sure enough there are crooks inside. They infiltrate the store and take on the bad dudes, but when a large cabinet falls over on Robin the crooks escape. Robin urges Batman to go on without him as his ankle or knee appears injured thus ending his contribution to the episode.

The woman who really seems to get Nygma’s attention.

In a nearby high-rise, Riddler is getting ready for a party. He shows off a nifty little two-way radio that will be going to market soon and begins schmoozing with Baxter and the party-goers. Baxter is having a dreadful time with Nygma’s toy puzzle, but Nygma demonstrates it’s easy if you’re a genius. This earns him lots of laughter and even the attention of a fetching brunette in a blue dress (Patricia Alice Albrecht). When Riddler first lays eyes on her a cartoonish “boing” sound like a spring is heard. Yeah, the universal sound for a boner in a comedy setting. Riddler just popped a boner. Another female joins her and he’s very much enjoying their attention until a butler comes by to inform him he has a phone call. Riddler takes it in another room, but not before admiring himself in mirror. No one is on the line, but Batman is in the room. He mocks him a bit for his vanity, but Riddler quickly gains the upper hand in their conversation. He also activates his two-way radio, which one of them women had asked him to demonstrate. Since she’s holding the other one, all of the party-goers then overhear Batman threatening The Riddler. He doesn’t mind though, and opens the wall with a switch to introduce his guests to the one and only Batman. Batman, to his credit, doesn’t seem flustered by the display and tells Riddler he’ll get him eventually before taking his leave.

Look who crashed the party.

While Batman’s confidence remains intact, Riddler’s is not. He’s now convinced that Batman will indeed catch him. He has no desire to return to Arkham, so there’s really only one solution: he must kill Batman.

Sad Riddler is losing confidence in himself.

In order to set a trap, Riddler relies on yet another commercial to get Batman’s attention. This time the clues lead Batman to the Gotham Toy Fair. Batman heads for the local convention center and finds a rather large Riddler Box. The sides fall away, nearly crushing Batman, to reveal an equally large television inside. Riddler comes onto it, and he tells Batman farewell. It would seem the games are over, and rather than present Batman with a riddle, metal shades are dropped over all of the exits while Riddler reveals a bomb is about to go off that will kill Batman. Batman frantically searches for a way out, but the bomb detonates as Riddler said it would.

At some point Riddler had inflatable versions of himself made that could fire guns. Neat.

Back at his penthouse, Edward Nygma is burning his Riddler outfit. With Batman out-of-the-way, he has no need for it. No one to play with, and he vows now is the time to really reform his act. He doesn’t get to enjoy the satisfaction of victory for very long as Batman appears inside the room with him. Nygma is shocked to see Batman and absolutely perplexed at the thought of him escaping. He wants to know so bad that he’s willing to cut a deal. In exchange for the knowledge of how Batman escaped he’ll tell him where all of the stolen goods are hidden. Batman agrees, and Nygma explains his crime. Batman then produces Nygma’s own two-way radio and speaks into it “You get everything?” Commissioner Gordon is then heard on the other end confirming that he did. As Nygma is taken away he’s screaming at Batman to tell him how he escaped his trap, but Batman just smiles.

A couple of quick cameos of two famous rogues.

At Wayne Manor the next morning, Bruce and Dick are seated at the table and Dick asks just how he did escape. Bruce explains he couldn’t, but there was a safe on display and he climbed into it. It was strong enough to protect him from the explosion, though Bruce doesn’t say how he got out of it. Maybe it had a safety release on the inside. Dick says he never would have thought of that, and Bruce suggests The Riddler would not have either. We then cut to Arkham where several familiar faces are shown in their cells covering their ears as Nygma can be heard screaming from his own cell demanding to know how Batman escaped. It’s not going to be fun being locked-up with him for the foreseeable future.

Poor Eddie. It’s unlikely Batman will ever take pity on him enough to tell him how he escaped his death trap.

“Riddler’s Reform” is a fun little episode for The Riddler. It’s not particularly clever, but it’s interesting to see how Riddler’s mind operates. He literally can’t help himself when it comes to Batman and is compelled to commit crimes and leave behind clues just to see if Batman is smart enough to figure them out. There’s some situational humor, and seeing Batman with egg on his face to start things is an interesting look for our hero. It’s rare that he’s wrong. Of course, he wasn’t wrong in his hunch that Nygma was up to no good, it just took him a little while to prove it. The erection joke was a surprise, and it’s a greater surprise that it made it into the episode. It’s a low brow joke so it’s not really funny on its own, but amusing given the setting. The ending is perhaps a bit embellished I would think a man of Nygma’s intellect would figure out how Batman did it as he seems like the type who would have a near photographic memory. Maybe I’m giving him too much credit thought.

This is yet another episode animated by Dong Yang Animation Co., LTD. and it looks rather good. There’s some rainy sequences that look great and also some fun, shadowy shots of Batman. Riddler is animated in an amusing fashion as well as he’s quite expressive in costume when receiving female attention and I am just plain fond of his costume in this series. It’s too bad this is the last we’ll see of it as he’ll have a more classic look next we see him with a green unitard.

This is a good episode for Riddler to go out on. It was, after all, the rubber match or tie-breaker for these two. In Riddler’s first appearance he escaped capture while Batman emerged victorious in the second. With Batman foiling him here, and basically driving him even more insane, he earns a convincing win over the cerebral villain. I wish we got another starring episode out of the character, but I’m happy the writers never did a bad Riddler episode for the sake of doing another.

1 Comment | tags: batman, dc comics, john glover, paul dini, robin, the riddler | posted in batman the animated series, Comics, Television

April 12, 2019

Batman: The Animated Series – “Showdown”

By Joe

Episode Number: 78

Original Air Date: September 12, 1995

Directed by: Kevin Altieri

Written by: Kevin Altieri, Paul Dini, Bruce Timm, Joe R. Lansdale

First Appearance(s): Jonah Hex, Arkady Duvall

We’re in an odd string of episodes, with perhaps this being the oddest, structurally speaking. It’s probably the episode to feature the least amount of screen-time for Batman up to this point, and there’s a good reason for that. Also, look at that “Written by” line – that’s a lot of cooks in the kitchen for one episode. The last name, Joe R. Lansdale, is credited with handling the teleplay so the other names handled the story – and they’re pretty big names. Kevin Altieri, Bruce Timm, and Paul Dini are the three most commonly credited with really bringing this series to life. Altieri has mostly handled directing duties and Timm producing with Dini leading the writers. It’s possible this episode was envisioned as a back-door pilot, but nonetheless, the list of writers gives this episode an aura of importance before it even begins.

For a lot of viewers, this was likely their introduction to Jonah Hex.

Most of all though, this episode is remembered as The Jonah Hex episode. Most of the episode occurs as a flashback to a time where Batman didn’t exist but there was Jonah Hex (William McKinney), a disfigured bounty hunter of the old west. Created by John Albano and Tony DeZuniga, Hex first appeared as an ad in Batman #237 in 1971 before officially debuting in the pages of All-Star Western #10 the following year. He mostly remained in the pages of Western themed comics before being catapulted into the future to appear in a post-apocalyptic kind of setting in the pages of Hex which was cancelled in 1987. He would eventually resurface on DC’s indie-inspired label Vertigo in the 90s. After limited runs in 93, 95, and 99 he vanished once more but received a new line of comics in 2005 which ran for 70 issues before ending in 2011. All-Star Western then got revived and lasted until 2014. There was also the film in 2010 starring Josh Brolin that was a huge flop. This episode, airing in 1995, came during his revival period. I would guess the writers liked the character and wanted to do a treatment of him, and since he debuted in an issue of Batman, it probably felt appropriate. The problem though is figuring out how to connect a modern-day hero in Batman with a bounty hunter from the 1800s. It just so happens though that Batman has an enemy who can provide a link since he lived through the era himself: Ra’s al Ghul.

The episode opens at a rather unusual setting: a retirement home. Ninja-like infiltrators are on the scene and they bare a resemblance to some old friends, The League of Shadows. What could they possibly want at a retirement home? All in due time. Batman and Robin show up and do battle with the men they encounter, but they’re after bigger fish, namely the leader of the group: Ra’s al Ghul. He’s there as well, and is shown entering a long hallway that ends with an old man in a chair. Ra’s has apparently come for this man, and given his long life, there could be any number of reasons why. When Batman and Robin get to the same room they find an empty chair where the old man sat and a cassette tape (how dated). They don’t know what Ra’s could have wanted at the facility, but they take the tape and leave.

For our younger readers, this is what’s known as a cassette tape deck.

Once in the Batmobile, the two examine some flight schedules and find one labeled Lazarus. It would seem Ra’s wants to be found. While they head to the airport, they decide to listen to the tape Ra’s left behind. When Robin presses play, the cabin of the Batmobile is filled with the voice of their enemy, it would seem he has a little story to share with them.

The role of the barmaid is played by actress Elizabeth Montgomery in her final role originally airing four months after her passing.

Back in 1883 when the Transcontinental Railroad was nearing completion is where our story takes place. Out in the old west in a town called Devil’s Hole, an old man in a gray duster strolls into a bar. He’s got a pretty nasty looking disfigurement and it causes the barmaid (Elizabeth Montgomery, in her final role before her death) to recoil when she approaches him. He wants some water, but also information. He’s a bounty hunter looking for a fellow by the name of Arkady Duvall. The barmaid knows, and hates him, and she brushes aside the coins the bounty hunter tosses on the table and offers to help him for free. It would seem Duvall beat on some of her girls in the past and has been driven out-of-town, hence why she’d like to see the bastard get what’s coming to him. A sheriff (William Bryant) then barges in and confronts the bounty hunter. It’s then we learn his name, Jonah Hex, and it would seem he has a reputation for bringing his bounties in dead. The sheriff is mostly there to intimidate, as he says he’s got nothing on Hex, who in turn embarrasses the sheriff by pointing out his fly is down.

That night, the barmaid leads Hex away from the town to a rock formation with strange light pouring from it. Duvall apparently has no home in town and isn’t staying at any of the inns. He’s the soft type, so she rules out him sleeping on the ground under the stars with the real cowboys and figures there’s something more to these strange lights. Hex thanks her for taking him out there, and she thanks him with a kiss and a wish of good luck before taking her leave.

I wonder when he gave up on that monocle.

Hex investigates the formation and finds a cave, the inside of which is ludicrously massive. And it needs to be, because a group of laborers are building a massive dual-balloon zeppelin. And this isn’t some Good Year blimp, it’s coated in steel panels and looks to be heavily armed with canons and turrets. Near the sight, a moustached man in an expensive suit is whipping one of the workers. He’s soon stopped and accosted by a man in a top hat, and we know this man to be Ra’s al Ghul. Besides the funny attire, he looks more or less the same and even has that silly facial hair. He is angry at the man for beating on his workers and will not stand for it, and we learn the other man is Hex’s target, Arkady Duvall (Malcolm McDowell). Duvall falls in line with his boss, but not happily. Ra’s also fills us in on what is going on. The massive airship has been christened The Phoenix, and he intends to use it to smash the Transcontinental Railroad before taking it to Washington, D.C. where he’ll force the current President (Chester A. Arthur, if you’re curious) to surrender to him and make himself Master of America! The man is a dreamer.

Ra’s does not seem to be a big fan of Arkady Duvall. It’s a wonder he just doesn’t hand him over to Hex and get on his way.

As Hex watches the scene unfold, a noise behind him alerts him to the presence of some of Ra’s al Ghul’s men. He spins and fires his revolver, but the men are in large steel suits (kind of like old diver suits) and his bullets ricochet harmlessly away. They grab him and take him to Duvall, who immediately thinks he’s a government spy. Hex informs him he’s a bounty hunter, and that he’s come for him and him alone. He doesn’t really care about the railroad, or anything else going on here. Duvall doesn’t believe him and orders the men to drop him in a melted vat of lead. They chain him up and begin to lower him headfirst, but Duvall has the men pause before the ends of Hex’s hair touches the boiling metal to get some more taunts in. Ra’s shows up and is again outraged to see the measures Duvall has taken in addressing the problem. He orders Hex be taken down and placed in a holding cell for interrogation, and turns to Duvall to tell him he is no longer allowed to make decisions for himself.

While Ra’s and the others prepare to depart, Hex is thrown in a cell. It doesn’t take him long to devise an escape plan, and he tricks the guards into thinking he’s already escaped which in turn causes them to enter the cell allowing him to exit for real. And he does so just in time, as the mountain they’re occupying opens up (it’s pretty absurd, even by this show’s standards) and The Phoenix begins its departure. Hex is able to grab onto a rope ladder draping off The Phoenix as it leaves and the few men who notice are unable to shoot him down.

That’s some rather intimidating fire power for 1883.

As Hex makes his way aboard The Phoenix, a local governor (voiced by current Vermont Senator and longtime Batman fan Patrick Leahy) is dedicating the railroad by driving in the last spike. The Phoenix comes into view and fires upon the town from a massive, rotating, turret. The locomotive is destroyed, among other things, and The Phoenix then turns broadside to unload a huge volley of cannonballs at the town itself. The local militia shows up, but their pitiful rifles don’t appear to bother The Phoenix one bit. A gunner on the airship unleashes another one of its many weapons, a crank-powered gatling gun, just adding to the lop-sided nature of this skirmish.

Hex shows up and takes out the gunner. He makes his way into the innards of the ships where the canons are manned and finds a stash of spherical, black, cartoon-styled bombs. He lights one and rolls it toward the men, who rather than try to get rid of it, all run like Hell. The place goes up, since it’s full of bombs and gun powder, but somehow doesn’t destroy the ship and everyone onboard in the process.

He’s pretty slick with that knife.

Hex then heads higher while some more men foolishly shoot at him. An officer (Michael Bell) orders them to cease-fire since they’re aiming right at the hydrogen filled balloons. Hex reaches a bridge, where more men come after him though this time they’re brandishing knives and swords. He’s able to illude them and eventually he comes face to face with Duvall. Duvall is surprised to see Hex aboard The Phoenix, but will be happy to force his exit. Armed with a sword, he approaches Hex, who rather than fight kicks a canon so that it points straight up and fires it right into one of the zeppelin balloons. It blasts right through it and the ship immediately begins to lose altitude.

Duvall is incensed and asks what Hex is up to. He explains he just doesn’t like them and will enjoy thwarting their scheme. Duvall then informs him he has no chance of beating him since he’s an expert fencer and Hex is only armed with a bowie knife. Undaunted, Hex welcomes the attack, though he soon retreats.

As those two fight, Ra’s al Ghul is ready to concede defeat. He launches himself from The Phoenix in a glider, but before he does he orders the others to evacuate. When the person he gives the order to asks about Duvall, he tells him to leave him to his fate.

Hex eventually gets his man.

Hex and Duvall continue their fight, and it’s moved to another part of the ship where a bunch of piping has been erected. An errant swing of the sword causes Duvall to strike the pipe and steam blasts him in the face as a result. The momentary distraction gives Hex enough of an opening to disarm him and as The Phoenix crashes into the mountains they’re able to jump off onto a nearby rocky outcropping. Once on the ground, the now unarmed Duvall begs for his life and Hex tells him he’s not going to kill him. He gives him a shove and then finds his hat on the ground, which he had lost while fleeing the men on the airship so this is quite a special hat. He remarks that he’s getting too old for this, as Ra’s al Ghul’s story comes to an end.

Robin is left puzzled with why Ra’s shared that story with them, while Batman claims he knows why (I call bullshit). They soon arrive at an airport runway and Ra’s is there with his loyal attendant Ubu and an old man in a wheelchair. Ra’s turns to face Batman as the duo approaches. It’s then revealed the old man is Duvall himself, and when Robin questions how he could possibly still be alive, it’s revealed that Duvall came into contact with a Lazarus Pit as a young man for he is the son of Ra’s al Ghul. Ra’s explains he recognized that Duvall was too cruel to take over for him as his true heir. Following his capture by Jonah Hex, he was sentenced to 50 years hard time. He surprised everyone by surviving the sentence, and Ra’s lost track of him until now. Telling Batman he still has a few good years left in him, he promises they can cross swords another time, but for now he just wants to take his boy home. Batman snaps his cape across his shoulders and turns around leaving Ra’s to do as he wishes.

Ra’s and his very old long lost son.

I touched upon this during the write-up of “Avatar,” the most recent appearance of Ra’s al Ghul, in that this is an odd final note for the character to go out on. Batman and Ra’s al Ghul were setup as enemies destined to confront each other for decades to come, but “Avatar” failed to capitalize on the excitement of “The Demon’s Quest” while this episode really doesn’t attempt to address it. Ignoring that short-coming, it’s still an interesting episode with a fun twist of an ending. This show reserves almost all of its twists for Ra’s, which is a bit amusing, and I like the Duvall twist at the end. It’s also interesting to see Batman acquiesce to Ra’s al Ghul’s request as we’ve seen him be rather inflexible at times in the past.

The portions of the episode set in the past confused me as a kid. I think I turned this one on for the first time having missed the beginning, because I remember being really confused. I could tell it was an episode of Batman given the style, and then the presence of Ra’s al Ghul, but for some reason I wasn’t able to let myself get absorbed into the story. As a result, I never looked forward to revisiting it when the show first hit DVD, and I still didn’t for this viewing. Now though, I just see it as a change of pace. It’s fun to see a new setting, and the character of Jonah Hex, while feeling like a cliché of classic characters, is entertaining enough. Some of the stuff that happens in the flashback is pretty ridiculous, but in an Indiana Jones kind of way. And it’s fine for Batman to step aside once in a while to let someone else soak up the spotlight. It’s not the last time he’ll do so.

“Showdown” is what I would consider a fun episode. Lots of action with the bonus of actually containing some interesting character development. It’s shortcomings are almost entirely due to the surrounding episodes featuring Ra’s al Ghul which seemed to promise something bigger, which the show never delivered. If Batman had one final showdown of his own with the villain before the series ended then it wouldn’t matter at all. On its own, it’s a good episode that’s a nice showcase for Jonah Hex at a time when he was far from being a household name.

1 Comment | tags: all-star western, arkady duvall, batman, bruce timm, david warner, elizabeth montgomery, joe r lansdale, john albano, jonah hex, kevin altieri, malcolm mcdowell, patrick leahy, paul dini, ra's al ghul, tony dezuniga, william mckinney | posted in batman the animated series, Comics, Television

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