Tag Archives: disney+

Dec. 25 – The Simpsons – “‘Tis the Fifteenth Season”

Original air date December 14, 2003.

Well folks, we did it! We made it to another Christmas! These things come faster and faster each year which makes something like an online advent calendar helpful as it attempts to keep the season from going by even faster. It’s cliché, but the years go by even faster the older you get and if you have kids it seems worse. It’s great to stop, breathe, and just try to take it all in for I know if I’m fortunate enough to live to be an old man I’ll probably look back on my life and think it went by in a flash.

That’s the sort of melancholy vibes Christmas brings about for me, but it’s important to remember this is a day of fun. Of revelry! I try to save a good one for each December 25th, or at least a weird one (I did go with Samurai Pizza Cats one year), and this year I felt like turning the day over to America’s real first family: The Simpsons.

Homer is going full Grinch in this one. Well, sort of.

The Simpsons has been featured here before. Many times too. The show has staked its claim to Halloween via the Treehouse of Horror anthology series, but it was Christmas that marked the show’s debut. For years the show avoided the topic as how could anyone hope to top the show’s debut episode? Eventually, that fear subsided and the show started cranking them out. Not quite annually, but there’s certainly plenty at this point. And today’s episode comes from the show’s fifteenth season and is appropriately titled “‘Tis the Fifteenth Season.” At the time, it felt like quite the achievement to be on the air so long that it was celebrated, or at least marked, in the very title of the episode. Now, it almost seems quaint. Fifteen seasons isn’t even half the show’s current total. Will The Simpsons ever end? When I was a mopey teen angry the show wasn’t as funny as I remembered it being I would have said it needs to die, but now I’m just curious to see how long it can go. There’s a comfort in knowing that every fall a new season of The Simpsons debuts. It probably won’t go on forever, but that doesn’t mean it can’t try.

In almost any other episode, I would have liked this couch gag, but this is not the holiday couch gag I’m looking for.

The first episode aired of The Simpsons, “Simpsons Roasting on an Open Fire,” was pretty much a Homer (Dan Castellaneta) story. He was denied a Christmas bonus and Marge (Julie Kavner) spent all of the family’s extra money on getting a tattoo removed off of Bart (Nancy Cartwright). Rather than come clean, Homer takes a part time job as a mall Santa to earn extra money in hopes of providing his family with the kind of gifts he felt they deserved. Or rather, the type of gifts that would make him feel like a successful provider. Following that episode, Homer would take a back seat in future holiday outings. We had episodes centered around Bart, Lisa, and even Marge while Homer was like a sidecar. The kids need his help in the waning moments of “Grift of the Magi” to steal some toys, he and Flanders have a B plot in “Skinner’s Sense of Snow,” and that’s kind of it. In today’s episode, Homer is very much the focal point as he must learn the spirit of giving, then learn to reject materialism, then…become the Grinch? This one ends in a place one wouldn’t have predicted at the start, so let’s jump into it and see how we get there.

How is it that Itchy and Scratchy are able to exist in this space?

This holiday episode of The Simpsons begins with the standard, abbreviated, opening where we just jump right to Marge almost running Homer over in the driveway. The couch gag isn’t even holiday themed, it’s anime, which is a surprise. We’re not off to a good start here. The episode proper then begins not with Christmas, but Thanksgiving. The family is watching a Channel 6 holiday broadcast featuring Krusty (Castellaneta), Sideshow Mel (Castellaneta), Mr. Teeny, and a large woman dressed as a ballerina. Am I supposed to know who she is? Kent Brockman is appearing via cardboard cutout which Krusty informs us he’s contractually allowed to do because he’s in rehab. Again. Oh, and Itchy and Scratchy are present too which is really confusing. Are they someone in costume? Are they animation and we can’t tell because the whole show is animated? Anyway, Krusty informs the viewers for every dollar spent on Krusty merchandise he’ll be nice to a sick kid. And that hookers with a cold count as sick kids. Never change, Krusty.

Homer no like sweater.

It’s now time for Christmas decorating, and set to “It’s the Most Wonderful Time of the Year,” we see Homer and the kids putting up the decorations. Bart and Lisa (Yeardley Smith) twirl some string lights like a lasso and fling them on the bushes outside. Homer tries to do the same with a tree and inadvertently kills two birds in the process which he slyly covers with snow and walks off. Inside, the stockings are being hung with care one by one until we get to Grandpa (Castellaneta) who hangs an IV bag instead. Marge is shown putting the family dog, Santa’s Little Helper, in a festive sweater which he predictably hates. We pan over to Snowball II who is already in a sweater and doing her best to get it off. The camera continues it’s pan to find Homer also in a sweater and also desperately trying to remove it with his teeth like an animal. Never change, Homer.

Looks like someone forgot Lenny’s present.

We now are taken to the Springfield Nuclear Power Plant where it’s apparently already time to exchange Secret Santa gifts. Carl (Hank Azaria) is Homer’s Secret Santa and he has quite the present for the big guy: a new DVD player and the first season of Magnum P.I. Homer is quite happy with this extravagant offering (come on Carl, there had to have been a limit you blew by), but there’s a problem. No one has a present for Lenny (No, not Lenny!) and that’s because Homer is his Secret Santa. Realizing he forgot, Homer runs offscreen and we get to hear him battle with a vending machine. Lenny (Harry Shearer) can tell what’s going on and a scowl crosses his face before Homer returns with his gift: a roll of Certs. Homer seems pleased with himself, but Lenny doesn’t hold back and tells him that his gift flat-out stinks. Carl piles on too telling Homer he’s the most selfish man he knows (then why did you go all out on Homer’s gift, Carl?). Homer appears offended and tries to defend himself by saying Mr. Burns is the most selfish man around. He starts to bad mouth him, and Skinner, only for Burns to sidle up behind him without him knowing.

I’m surprised this hasn’t been utilized for a current plot.

Burns (Shearer) hears the insults, but laughs startling Homer. He declares that Homer’s very obvious description of him describes “Cathy in personnel” to a tee. Who is this mystery woman? No time for that, for Burns is here to hand out Christmas bonuses. This feels familiar. The bonus this year? A five dollar voucher to the plant cafeteria which no one is happy with. I guess it’s better than the series premiere when they got nothing? Burns has something special for Bart though, I guess because he knows Homer has a son? They’ve obviously crossed paths many a time, but I don’t get the sense that he’s giving Bart a gift because of any of that. The gift is, as Burns puts it, a confectioner’s card of a current baseball player. The way he phrases it he clearly doesn’t place any value on this card, but it’s a Joe DiMaggio card and a pretty famous one in card collecting circles at that. Not that Homer is aware. Burns refers to DiMaggio as a rookie for the New York Nine and when Homer says the name in disbelief (likely because he knows that Joe DiMaggio has long since passed his rookie days) Burns confirms it’s him and adds, “It seems they’re now letting ethnics into the big leagues.” He then turns away from Homer and is surprised to see Cathy (Tress MacNeille), from personnel! She looks exactly like Burns and he asks her how things in personnel are she has a one word response for him: Excellent.

Oh no! He must deftly lick it off!

Homer may not know how valuable the card is, but he knows it’s worth something so he takes it to the only place in town he’d logically go: The Android’s Dungeon. Homer finds Comic Book Guy (Azaria) eating some nachos from his usual perch atop his stool and asks if he can get any money for the card? Comic Book Guy takes one look at it and nearly has a heart attack as he turns up his cash register and empties its contents onto the counter. He greedily snatches the card from Homer, but then immediately begins to fret because he got nacho cheese on it. He reasons the only solution is to deftly lick it off, which he does. Homer just grabs his armful of cash and walks off remarking “Freak,” under his breath. We don’t know how much Homer just got, but probably not a substantial amount? Most stores only keep so much money on-hand, though I suppose a business that buys and sells might have more than usual. Either way, he probably didn’t get full value since that’s a card worth tens of thousands of dollars, but at least he’s happy.

Jesus was a prune? I guess I’ve learned something today.

We return to 742 Evergreen Terrace to find the rest of the family seated in front of the TV. A common past time for the Simpson family. They’re watching the 1986 “classic” Christmas with the California Prunes. Obviously, this is a parody of the 1987 sorta classic A Claymation Christmas which featured the California Raisins, a special I probably should have covered by now, but just have not. This could almost barely be considered a parody as we get to see some of this special which features claymation characters that look almost exactly like the California Raisins. There’s a soulful rendition of “Oh Holy Night” being played (and possibly sung by Karl Wiedergott since he’s listed in the credits, but not assigned a role), but with words adjusted to better fit prunes like “We are the fruit that your grandmother eats.” It’s also a nativity scene so if you ever wanted to see what Jesus would look like as a prune, well now you have. I think this is actually really close to the actual segment it’s parodying so if this seems ridiculous, there’s a more sincere version out there. Lisa declares it offensive to Christians and prunes. You know what it’s not offensive to? Animation fans, because this segment looks way too good to just be a quick gag on an episode of The Simpsons.

Comic Book Guy sure keeps a lot of cash in his register.

Homer then comes bursting into the room with his hands and pockets overflowing with cash. He declares they’re going shopping at the Springfield Heights Promenade. Marge jumps up with excitement declaring “That’s the rich people’s mall! Let’s shop till we droop!” Lisa corrects her to say it’s drop, but Marge just scolds her with “That’s a very violent image, Lisa.” Burl Ives then whisks us into Springfield Heights with his version of “Silver and Gold.” The tagline for this place is “Our prices discriminate because we can’t.” It’s basically a fancy outdoor marketplace. I’m not sure if it’s based on anything specific, but it has a similar vibe to Boston’s Quincy Market and there’s a hint a little ways in that might give that away. For a sight gag, we get an Abercrombie and Rich store and there’s a cart that will put your image on a Rembrandt. Moe is clearly pictured on such a painting. Seems almost too tacky for this place, but if it is anything like Quincy Market then it’s also a tourist trap and tourists buy all kinds of stupid stuff.

Cameos of Christmases Past.

Homer is handing out wads of cash to everyone in the family to go buy Christmas presents with. And when they’re done, he also promises to get a glorious Christmas tree for the home. In fact, he declares it will be so large that its absence from the forest will cause mudslides and flooding. Everyone cheers this except Lisa. That’s some nice attention to detail. We cut to Bart and Lisa shopping together and Lisa has stumbled upon a toy store called The Prodigy Barn. Very quickly there’s a cameo of the rich happiest kid in the world and his mom from “Marge Be Not Proud,” though his hair is now blond instead of brown. Inside, Bart is playing a video game console clearly modeled after the original PlayStation as he’s blasting state capitols on a map of the United States. He soon realizes that this game is trying to teach him stuff and reacts angrily tossing the controller at the screen and declaring “That’ll teach you to teach me!”

This may be more of a gift for Marge.

We jump to Marge shopping at Victor’s Secret, an obvious pun on Victoria’s Secret, where she’s looking to buy a present for her beloved Homie. She’s picked out some very large underwear that’s sort of tiger striped, but she needs the clerk to help her figure out if it’s the right size for Homer. Make that two clerks as they both easily fit into the underwear and Marge is delighted that it’s the right size. They (Castellaneta) then offer to gift wrap it for her and in order to do so they have to fold it like a flag. They stuff it into a tiny box and hand it over to Marge warning her to stand back when she opens it.

This episode is from before everything had Wi-Fi capabilities. I bet that astrolabe was obsolete in less than five years.

Outside of a store called Things Unnecessary, Homer is rummaging through his bag of goods with a contented look on his face. We then find out he’s bought the family all key rings. Cheap, stupid, key rings. He drops his gifts though when he catches a window display for a talking astrolabe. He immediately goes inside where a clerk with a British accent shows it to him. He wants to make it a gift for himself and notes how it is so unnecessary. The clerk (Shearer) laughs and remarks that he has excellent taste then lists the features which include a pad of paper and pen for writing upside down. Homer is pretty much sold, but then he looks at the price tag: 500 bucks. If he buys this he won’t have anything left for a tree. The astrolabe (I think it’s Azaria, but it’s not listed in the credits on IMDB) then announces that today is the birthday of comedian Margaret Cho, which makes this December 5th. We can also see the current coordinates for the location of this device which online sleuths discovered long ago point to Boston, hence my Quincy Market theory. “That’s the birthday I’m always forgetting, I must have it!” And with that, Homer has bought an extremely unnecessary and extremely expensive gift for himself.

What is it with sitcoms and their Christmas suicide jokes? I feel like I should apologize for how many there have been this year.

We cut to the car and the family is on the road. Bart asks if they can get their big tree now and Homer laughs nervously and confirms that they can as he also inspects the cash he has left which totals 2 bucks. He still insists that they’ll get a tree from the finest lot in town as he proceeds to lead the family to a rather unsavory part of town. Lisa is the first one to remark that she doesn’t like this neighborhood, but Homer just tells her to lock her door and avoid eye contact while he turns on the radio. It’s a version of the song “Convoy,” which was part of the plot of “Radio Bart” way back when, only now it’s “Christmas Convoy.” It’s our soundtrack to the sights which includes Gil preparing to hang himself with Christmas lights, some hobos roasting pigeons over a flaming drum, and a bloody snowman with an axe in its head.

Well, sufficient is certainly one way to describe it.

Homer pulls into a pretty sad looking tree lot and buys the best tree 2 bucks will get you, which is pretty brown and lacking in fullness. Homer presents it to the family as a great tree, but Marge points out that it looks a little dry. Homer tries to insist it just needs a little love, but when he rubs it the tree bursts into flames. I’m betting Homer thinks the tree will magically transform when decorated into a glorious one, like it did for Charlie Brown. We cut to the house and the partially burned tree is up. Homer remarks, “Isn’t it sufficient?” and pats it again once again causing the tree to go up in flames. He’s ready with a fire extinguisher and quickly puts it out, but Bart is left to wonder why they couldn’t afford a good tree? Marge asks Homer if there’s something he’s not telling them and right on cue we hear the astrolabe announce that it’s 6:31 PM in Montreal.

A man sobs alone with his astrolabe at Christmas time. Is there a sadder sight?

Marge rightly asks where that voice came from, but Homer tries to play it off as Maggie finally talking. She finds the astrolabe all wrapped up with a tag on it that says “To: Me, From: Santa.” Marge exchanges the gift for Maggie, who Homer was holding, and confronts him on the fact that he wasted their money on an extravagant gift for himself. Homer tries to reason with her that there’s a trickle down theory at play here: If he’s happy then he’s less abusive to the rest of the family. I should try that the next time I buy an expensive action figure. Lisa is the one to inform him that this time he was just plain selfish as sad music plays and the family leaves Homer with his toy. The astrolabe then announces “I am not returnable,” causing Homer to start sobbing. It then announces it will begin testing its smoke alarm for the next three hours which causes Homer to sob louder and announce, “This is sadder than Tuesdays with Morrie.”

Marge has opted for pettiness and I for one support her.

Where do Homer and Marge often settle their disputes? In bed, of course, as we find Homer trying to defend his selfish act. He tries to suggest that she is in fact selfish too for choosing to get her haircut at Supercuts instead of Regular Cuts, the joke being Supercuts is a pretty cheap place to get a haircut. And whoever does Marge’s hair deserves a lot. Marge is obviously not taking the bait and just points out to Homer that Christmas is the time to think of others, but he only cares about himself. He denies this accusation pointing out that he cared what they thought when they found out. She informs him that he can sleep on the couch tonight, but Homer just wants her to yell at him now and get it over with. Marge refuses instead opting to parcel out her anger over the next few days and weeks so she can jab at him when he seems most content. Homer can only groan as he grabs his pillow and flees.

This doesn’t seem like much of a punishment for Homer.

Homer has decided to stay up late watching Christmas specials with his selfish purchase. He’s also opted to unwrap it early as well and even declares that he doesn’t need Marge since he has the astrolabe. It responds to him by telling him that Columbia’s chief export is coffee. On television is The Year Santa Got Lost starring Jimmy Stewart (Castellaneta) as the voice of the mailman. It looks like another claymation piece and the characters all resemble toys from Rudolph the Red Nosed Reindeer, except for the mailman who just looks like a mailman. I guess he’s a nod to Special Delivery from Santa Claus is Comin’ to Town. It’s a very boring story that Jimmy is telling and Homer taps out insisting that Jimmy Stewart as a puppet is just wrong. On the next channel is Mr. Mcgrew’s Christmas Carol, a parody of Mr. Magoo. It’s sort of like the California Prunes from earlier in that this parody is so similar to the thing it’s parodying that it’s almost indistinguishable. Upon stumbling on this, Homer declares he loves that blind, senile, old man! He’s then interrupted by his father knocking on a window in his bathrobe claiming he can’t find his way back to the nursing home. Homer shouts at him, “I heard you the first five times!” then throws his shoe at the window. A bunch of snow falls off the roof and poor Grandpa is buried.

Oh that Magoo McGrew, that’s not a woman, you silly, old man!

We get to see some of McGrew (Castellaneta) which looks a lot like the actual Mr. Magoo’s Christmas Carol, the very first animated Christmas special made for television. I’ve never covered it because it’s, well, terribly boring. We get to watch McGrew mistake a potbelly stove for a pregnant woman which somehow leads to him sticking his head into a roaring fire. Homer laughs for, once again, old McGrew has mistaken something for something. As the special moves along, Homer comes to realize that McGrew is just like him. Well, except for the rich part. When it gets to the climactic scene at the cemetary, Homer is on the floor in front of the TV begging the ghost to spare McGrew and to take Tiny Tim instead! The ghost gestures to the headstone which reads Ebenezer McGrew. Homer then sees it as reading” Homer Simpson – Unloved by All. He cries out “Unloved by Al? No!” then the ghost gestures again and he reads it correctly and yells even louder.

Marge wanted to see more of this Star Trek Christmas Carol and I think I’m with her.

The next morning, Homer is still in the midst of a fretful sleep moaning on the couch “I’ll be good.” Lisa wakes him up with some concern in her voice and Homer just asks her what day is it? She tells him it’s Saturday, December 6h and Homer jumps up saying “Good! There’s still four more days till Christmas!” No one bothers to correct him. We next find the family at breakfast where Homer is talking about the amazing cartoon he watched the night before. He describes it and Lisa has to point out that what he watched was A Christmas Carol by Charles Dickens and that it’s been around for 160 years. Bart points out that television has been mining that thing for decades and he is certainly not wrong. What’s sort of implausible here is that someone who watches as much TV as Homer would be unfamiliar with it. Bart gets to prove his point by turning on the TV (there sure has been a lot of the family watching TV so far in this one) to reveal an Urkel parody and a Star Trek one. Marge thinks the Star Trek one looks pretty good. Homer then announces that TV and nightmares have joined forces to convince him to be a less selfish man. He vows to become the least selfish man in town and Marge reminds him that he’s made this promise before. Homer points out that this time he’s sober…ish. That’s a bit alarming since it’s only breakfast.

It really is the perfect gift for someone always getting stuff in his eye.

Time to see Homer put his words to action. We find Flanders (Shearer) and his two boys, Rod (Pamela Hayden) and Todd (Cartwright), taking some boxes of old clothes and lima beans to an area frequented by the homeless, only Homer beat them to the punch. He gave them his old clothes and we get to see a whole bunch of unhoused men dressed like Homer. One comes over to remark that these new pants smell worse than his old ones, but Homer just says “You’re welcome.” To the Nuclear Power Plant where Homer owes Lenny a present. A real present. Homer presents Lenny with a photo cube that’s full of pictures of them (and Carl) which Lenny seems to appreciate. And there’s another surprise, Homer filed down all of the corners so it won’t hurt if it comes into contact with Lenny’s frequently injured eye. He demonstrates by jabbing Lenny in the eye and he smiles uncomfortably and announces it only stings a little.

Marge has been waiting fifteen seasons for this.

Back at the house, the family is finishing up dinner when Homer goes to eat the last porkchop, catches himself, and then walks the platter over to Marge. He offers her the last porkchop and Marge is so overcome with emotion she doesn’t know what to do. Homer has never offered her the last porkchop and she happily accepts. She is super emotional about it as she’s basically sobbing while she eats it remarking that his thoughtfulness tastes so good and that tears are the sweetest sauce. She’s not even bothering to use utensils, just her hands, and all the rest of the family can do is stare at her. Homer also adds that she’s starting to creep him out.

I feel like we’ve been here before.

We then cut to the family at church where Ned and Homer are in charge of the collection plates, though they’re really more like baskets on poles. Homer gets to Burns who just deposits a coin into the basket so Homer jabs at him. He drops another coin in, but Homer is still not satisfied so he keeps jabbing him in the face. Burns finally relents by emptying his entire wallet into the basket, including his credit cards and eventually the wallet itself. He then angrily suggests that Homer take his blood too and pricks his finger, but only dust comes out which Burns acknowledges by saying “Yes, I’m old.” Ned happily empties his basket into a sack held by the Reverend Lovejoy (Shearer) who is only too happy to inform Ned that this week he came in a distant second to Homer who has a rather impressive haul. Homer announces he’s not looking for glory, he’s just trying to buy that stairway to Heaven Jesus sang about. When Ned corrects him that it was actually Led Zeppelin who sang that song, he just scoffs and tells him to get back to his bong, hippy! He and the reverend then smugly walk off leaving Ned to stew in anger. His kids come over and Todd asks him if he’s jealous of Homer with some shock in his voice. Ned confesses that he is a little jealous. To try and cheer him up, Rod confesses he’s jealous of girls because they get to wear dresses and Ned angrily responds with “One problem at a time, boy.” This was the era where Ned Flanders became a more bigoted Christian. I know some people don’t like this turn for Ned, but when a show is on for as long as The Simpsons characters are going to change with the times.

Homer: a man of many talents. Or maybe just this one?

We return, yet again, to the Simpson master bedroom only now things are far less frosty. Marge is delighted in Homer’s transformation and he has come to view being unselfish as a natural high like hiking or paint thinner. And he’s not done! Homer then unveils to Marge his latest gift to the town: an ice skating rink in the Simpson backyard. How he built that without Marge’s knowledge is not specified. Similarly, how could he, the man who couldn’t afford a Christmas tree, manage to buy all of the materials needed for a rink? I should stop asking questions. It’s a hit though as numerous people are skating on it. Comic Book Guy demonstrates he’s pretty nimble for a man of his generous waist even though his leap results in a fall. A fall that splits his pants. With a declaration of “Activate cloaking device,” he ties his coat around his waist, only for that to rip too. Overcome with depression, he chooses to engage candy bar sadly.

Nelson is showing off and giving Flanders the business here. What a guy.

Ned is shown making his way to the Springfield Men’s Mission singing “Here comes sandwiches,” to the tune of “Here Comes Santa Claus.” He has a plate of cheese on bread for the homeless who dwell here, but because this is Season 15 Ned we have to get a little peak in his head as he refers to this as Boozy Bum Lane. In other words, this is the Ned who partakes in charity not because it’s right or just a nice thing to do, but because he just wants to get into Heaven. He’s shocked to find the place empty, so shocked he even spells out the H word (no, not that one). And he soon realizes that everyone is at Homer’s where they can rent skates for free (how did he come into possession of all these skates? Shut up, Joe, just go with it) no matter how gross and black their feet may be. Ned is frustrated and dismayed to hear Gil (Castellaneta) refer to Homer as the nicest guy in town. Nelson (Cartwright) is also there to deliver his customary “Ha! Ha!” and add a dash of “Your position has been usurped!” He also makes a couple more passes to rub it in even laughing “You’re sad at Christmas!” While he does he demonstrates some really fine tandem skating with Sherri or Terri. Sometimes a guy surprises you.

Great sight gag, I approve!

After an act break, we return to the TV! Man, this episode has a lot of old Simpsons tropes between the bedroom scenes and the plot-advancing television spots. It’s the nightly news with Kent Brockman (Shearer) delivering a breaking news report on the nicest guy in town: Homer Simpson. He has to deliver it in his Brockman way though by first shocking and horrifying the viewer with the announcement that Santa Claus is dead! This gets a scream out of Bart and Lisa who are, strangely, the only ones watching the news in the house. Bart didn’t seem to believe in Santa way back in the first episode, but I guess he’s had a change of heart? Or maybe it’s just a part of him he can’t let go? This was all a clever setup by Brockman to declare that Santa might as well be dead, because Homer Simpson has stolen his spotlight. They then show a photo of Homer strangling Bart in front of Marge and Lisa, but it’s been digitally altered to replace Bart with an image of a bouquet of flowers.

Ned, you’re starting to freak me out a little bit.

Next door, Ned is practically steaming watching this report. He starts tugging on his moustache and assuring himself “Pain is the cleanser,” in an attempt to banish his jealous thoughts. Mel Gibson would approve. A ring of the doorbell gets him off the couch and it’s a pregnant woman (Hayden) who needs help with her car. An overzealous Ned offers to jump the car, rotate the tires, and even fold the map she’s holding. This just turns her off and, calling Ned a creep, the woman says she was looking for Homer Simpson. That is apparently the last straw as Ned vows to show the whole town that he’s nicer than Homer. That he can be the nicest man who ever lived! He then looks at a picture of Jesus on the wall and tells him he said nicest man, not man-god, and to keep his pants on. I don’t think Jesus wore pants, Ned. Hah!

Skinner and his mother asking the important questions here.

To make good on his boast, Ned has decided to go door-to-door dressed as Santa Claus handing out presents to everyone in town. His first stop is the Skinner residence where Seymour (Shearer) is flabbergasted by Ned’s mission. Agnes (MacNeille) barks at him, “What’s your angle, pervert?” and Ned is actually honest by answering “Giving in this world, living in the next!” In other words, he just wants to get into Heaven. When Skinner asks how he can possibly afford this on a widower’s salary, Ned informs him he rented out his house to a fraternity. We cut back to Ned’s home and there are Greek letters (Sigma, Chi, Sigma? I’m not up on frat business) above the door and a keg goes flying through the front window. We hear an agitated Rod also shouting “Stay out of our medicine cabinet!”

That’s quite an imagination you’ve got there, Homer.

Homer takes note of Flanders’ good deeds and scoffs at them. We see he’s already been to the Simpson house and gifted Bart a Krusty-branded version of Operation. We hear the toy groan when Bart “tweezes my wang.” I feel like they’re usually more subtle than that? Homer, apparently taking Ned’s bait, wants to outdo him and thinks the best way is to buy everyone a car. Lisa, ever the voice of reason, is there to tell her father that he doesn’t need to outdo Mr. Flanders and to remind him to remember the theme of the season. Homer seems to think it’s despair and Lisa goes on to share her feelings on the matter of gifts as a Buddhist. She thinks people would be better off without presents, which gets Homer thinking. We see a car, a Christmas sweater, and then an image of Budai (smiling fat dude often mistaken for Buddha), and they all combine into an image of Budai (Azaria) driving. He offers Homer some sage advice, “[…]attachment to material goods kills the soul.” Then, for some reason, Budai gets pulled over by the cops in Homer’s imagination and vows to never return to jail. Homer is satisfied now and decides he needs to take away everyone’s presents! He then thanks, Buddha which brings back his brain cloud to show Budai getting arrested and threatening the cops that they’re in trouble if he ever gets out.

Look at Santa’s Little Helper! He’s cuter than Bradford II!

And now it’s time for an extended Grinch parody! Homer, with assistance from Santa’s Little Helper, is going to go house to house stealing all the presents under the tree in town on Christmas Eve. And as he does so, he’s going to sing about to the tune of “You’re a Mean One, Mr. Grinch” which goes something like this: You’re a hero, Homer Jay. You’re as crafty as a skunk. They’ll thank you in the morning for stealing Flanders’ junk, Homer Jay! You’re a double-bacon genius burger, and just a little drunk!” As he does, we see clips of him walking like the Grinch, slithering like the Grinch, cutting down stockings like the drink, and chloroforming a toddler like the Grinch. Wait! That’s all Homer and not a good look for the big guy.

This sort of thing didn’t work out all that well for the Grinch, but maybe it will for Homer.

At dawn, Homer is seen driving the family station wagon into the center of town with a massive sack of stuff tied to the roof. He hops out of the car and douses the bag in gasoline before hopping onto the ground to put a hand to his ear. There he waits to listen to the thanks coming from the folks of Springfield. It’s a rather clever inverse of the Grinch. He wanted to hear sadness and anger over his stealing Christmas, but heard singing instead. Homer wants to hear the singing, but he just hears anger. First from Lenny, then Dolph (MacNeille), and then we start to jump around. Snake (Azaria) is shown shocked and saddened by the fact that he’s been robbed at Christmas and reflects, “Man, so this is how it feels.” In a season of Simpsons repeating Family Guy gags, I feel like I have to point out that Family Guy did a very similar joke where an inmate stabs himself to see how it feels. We then jump to a rather sad scene at Nelson’s house. He wonders if his dad came back in the night to steal their presents while his mom (MacNeille) just gruffly says “I wouldn’t put it past him.” She references the night he left and Nelson gets defensive insisting he just went to the store and when he gets back he’s going to wave those Pop Tarts right in her face! Poor, delusional, Nelson.

Definitely not a gracious mob.

Homer then pulls back a little disappointment in hearing anger, but he points out happily that a mob is approaching shaking its fists in anger! The show decides to let Cookie Kwan (MacNeille) and Drederick Tatum (Azaria) get some lines in before the mob begins pummeling a confused Homer with snowballs. Even the Simpson family joins in on the beating. And who comes to Homer’s aid? Why, it’s Ned Flanders, of course. He stands protectively between Homer and the mob to tell them what Homer did was wrong, but that maybe he was also wrong to give everyone those gifts? Ned gets bombarded with snowballs for suggesting such and knocked to the ground.

Well, I hope this hurts less than a football to the groin, Hans.

Now, it’s Homer’s turn to rise to Ned’s defense. He shouts out for everyone to wait and look to the sky for there is the Christmas they need. And in the sky high above Springfield is a brilliant, shining, star. Everyone is transfixed with Selma (Kavner) even declaring it a miracle. We cut abruptly to find out that it isn’t a star, but a flare fired by Hans Moleman (Castellaneta) who appears to have gone off the road and is stuck chest-deep in the snow. It’s his last flare too, but don’t worry, for rescue dogs have come to his aid! Oh, actually those are wolves and the McGrew-like Moleman is blind and confused and sure to die.

Homer’s big speech is a thing of beauty. Bravo to writer, Michael Price, who penned this one.

Back in the center of town, Ned is finishing up reading from the Bible, the same passage old Linus referenced in A Charlie Brown Christmas. Before he can finish though, Mayor Quimby (Castellaneta) buts in to say that Ned can’t pray on city property. Homer takes it from there, “Let’s just say that on this day, a million years ago, a dude was born who most of us think was magic, but others don’t, and that’s cool. But we’re probably right. Amen.” The crowd returns with an “Amen” as well, and I just love that summation by Homer. It sums up that Christian smugness so prevalent in American society since that’s the majority opinion.

He’s such a good boy!

Homer then decides, with Ned’s help, to return all the gifts! As the two toss gifts to the mob, we get the expected animation of Santa’s Little Helper doing his Max impression as well. To sneak in an extra joke, we also get to see Professor Frink (Azaria) open his present and find it’s a brassiere (his choice of words), but in the spirit of Christmas, decides to make pretend that he has boobs. Bart is shown sharing his sentiments that this is a great Christmas and that not even Moe’s (Azaria) annual suicide attempt can bring him down. We then cut to Moe on top of City Hall threatening to jump and no one taking him seriously. Moe vows to jump and that they’ll all be sorry, but then laughs and confesses he’s not going to do it, but slips and falls anyway.

And as for Moe…who did NOT die!

No one was paying attention to old Moe for they were busy launching into a rendition of “Hark! The Herald Angels Sing,” because we need to tie this back to Peanuts one more time. Moe actually gets to deliver the “Peace on Earth and mercy mild,” line so we see he’s not dead, just really, really, hurt. As the crowd sings, we cut back to the wrapped astrolabe on the roof of Homer’s car. We hear it say that today is the birth of Jesus, and also the birthday for singer Barbara Mandrell. Snake then steals it for good measure, a nice way to bring the whole story back around to the beginning. We fade out on the crowd singing. Merry Christmas!

I like that they got the astrolabe into the end somehow.

As far as Simpsons Christmas episode go, that is one of the most joke-heavy ones they’ve done. There are tons of one-liners and just silly moments for the sake of comedy. Yeah, there are plenty of holes one can go poking through it, especially if past episodes are brought up. I’m always a little surprised when this turns into a “Homer Loves Flanders” redux in the second half thus leading into the Grinch parody. It’s quite a ride considering where we started. There’s really no B plot as the plot of the episode just moves from one stage to the next. I like that about it and it is reminiscent of “Grift of the Magi,” another Christmas episode that just moved from one situation to the next. The difference there is that one morphed into a Christmas episode where as this one was pretty much committed the whole way through.

The stop-motion segments are great and really help to give the episode a “special” sort of feel.

As I mentioned during the write-up, there are a ton of moments where TV is used to advance the plot. I’m pretty much okay with it though as there was some great comedy to be found there. The Christmas special parodies were all well done, even if some played it mostly straight. The extra surprise of stop-motion utilized was pretty damn cool too and shout out to Chiodo Brothers Productions, Inc. for producing those segments. Some of the jokes could be described as easy or layups, but I found they worked. And try to keep in perspective that some of this stuff was still pretty novel back in 2003. Now, a Grinch parody feels a bit more played-out, though I’m struggling to think of many Magoo parodies so The Simpsons was and is still ahead of the curve there.

“‘Tis the Fifteenth Season” may honestly be the funniest Christmas episode of The Simpsons. That doesn’t mean it’s the best, but there’s a solid amount of laughs to be found. Some don’t like the portrayal of “Jerk Ass” Homer like we see in the first act and I also know folks who don’t like what Flanders morphed into in the 2000s. Such opinions are valid, but for me, it works. This is funny television. It’s not trying to make much of a statement, just lampoon Christmas specials. There isn’t really a cynical message either so if you don’t care for those types of Christmas specials then I don’t think this one qualifies. It’s just a bunch of stuff that happened at Christmas.

Merry Christmas from me and the Simpsons.

And that’s it for the 2024 edition of The Christmas Spot! If it’s the last time I do this 25 specials in 25 days thing then I feel like I went out with a pretty solid selection of Christmas episodes. There was some good, even some great, and some stinkers, but those are fun to read and write about. It was a lot though as I finish writing this one on December 23rd, possibly the latest I’ve taken to finish one of these. That’s partly why I feel like I need to take a step back because it’s become harder and harder to find the time (and material) to keep this up. Whether you read one or 25 of these things this year, thank you, and I hope you had some fun. Merry Christmas, Happy Hanukah, joyous Wednesday, and good luck in the new year!

That’s a wrap on Christmas 2024, but if you must have more here’s what we had to say on this day last Christmas and beyond:

Dec. 25 – Prep & Landing

We have reached another Christmas Day! It’s a great time to celebrate and enjoy the moment for tomorrow we mourn the passing of the season. It’s the great come-down every year. For this holiday, I am once again returning to my list of the best of the best when it comes to Christmas specials. This…

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Dec. 25 – Rudolph the Red-Nosed Reindeer

Welcome to Christmas Day 2022! We made it another year and another long year is ahead of us until we make it back, but right now, it’s time to celebrate! And in keeping with the theme of this year’s countdown, we are once again looking at another much beloved Christmas special on this day. Before…

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Dec. 25 – Mickey’s Christmas Carol

We made it! Another year in the books, and another Christmas has come. Indulge in it. Bask in it, for it only comes once a year, and not to get too dramatic, but you never know how many you’re going to get. And we’re ending this year’s edition of The Christmas Spot with another throwback…

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Star Wars – The Acolyte

The Acolyte (2024, Disney)

It’s fine.

Looking to read some more Star Wars reviews?

Star Wars: The Vintage Collection Boba Fett (Vintage Comic Art)

I’ve been collecting action figures in some capacity for my whole life, and it occurred to me now that I’ve never owned the Fett man. That’s Boba Fett, who is one of the most iconic characters from Star Wars and also pretty noteworthy in the world of action figures. I am not the place for…

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Star Wars The Black Series Mandalorian Warrior (Holiday Edition)

We’re getting to Christmas coverage at The Nostalgia Spot one day early this year with this look at one of the latest in the Holiday Collection from Hasbro’s Star Wars line of action figures referred to as The Black Series. I have previously looked at a figure from the very popular streaming show The Mandalorian…

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Star Wars: The Vintage Collection Dark Trooper

I’m back with another Star Wars action figure review! Actually, I don’t do these very often. This is only the third such review out of me because I usually don’t collect Star Wars. Sure, I think the franchise is fine and I did collect figures as a kid, but it’s not something I’m drawn to…

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X-Men ’97 – “Tolerance is Extinction – Part 3”

Written by Beau DeMayo and Anthony Sellitti.

Today, X-Men ’97 dropped the curtain on its first season and what a way to bring it to an end. Last week’s episode was a roller coaster of emotions for me. I couldn’t go into much detail of my review of “Tolerance is Extinction – Part 2” without wading into spoiler territory, so allow me to indulge myself before we get to this week’s episode. When one thinks of childhood trauma baked into media, the death of Bambi’s mom is probably the most often cited. If you’re an 80’s kid it might be the death of Optimus Prime in the first Transformers movie or the death of Littlefoot’s mother in The Land Before Time. The 90s kid has Mufasa while the comic book readers like me have X-Men #25. No one truly died in that issue, but it’s the infamous issue where Magneto decides he’s had enough of Wolverine and uses his magnetic powers to rip the metal off of his bones and force it through his pores and open wounds. It’s all anyone wanted to talk about concerning X-Men when it happened and it changed the character of Wolverine in a big way. Like basically all things in comics, Wolverine eventually regained his awesome adamantium skeleton, but it took a surprising amount of years for that to happen.

They did it. I can’t believe they did it.

Despite being one of the most singular, powerful, moments in X-Men history, that confrontation with Magneto has really just been confined to the page. The original X-Men animated series had just kicked-off its second season when it happened, but never touched it during the rest of its run. I remember feeling anxious during the Asteroid M episodes, “Sanctuary,” out of fear it might happen, but Wolverine escaped that arc unscathed. I remember my friend jumping in his seat when we saw the first X-Men movie in theaters when Magneto lifts Wolverine up on the train and asks “Does that remarkable metal run all through your body?” He thought, and I too, that Magneto might give a tug in that moment and I certainly thought it could be him laying the groundwork for a future confrontation that never arrived. Other animated efforts and movies that followed never did go to that well, but in its ninth episode X-Men ’97 did.

For a brief moment I thought we may be jumping straight to the mind wipe Xavier inflicted upon Magneto in response to his attack on Wolverine.

When Magneto emerged from Bastion’s imprisonment in the eighth episode and used his magnetic powers to attack the whole planet’s electrical grid is when I first felt X-Men #25 was on the table. It was similar to his attack to open that issue on the planet’s satellite defense system which knocked out power all across the globe. Even though much of the events of last week’s episode were mirroring the events of New X-Men from 2001, there was always the possibility of multiple plotlines converging. As I said in my review of last week’s episode, that “Greatest Hits” approach the original series and this one is able to take is part of what makes it so successful. When it was Wolverine who was tabbed to deliver the opening, “Previously…on X-Men,” line I pretty much knew what we were in for. It became even more obvious when Rogue basically assumed the role of Colossus from the Fatal Attractions plotline X-Men #25 is a part of by joining Magneto (along with Roberto) midway through the episode. It made it hard to enjoy all of the fan-service leading up to the final act with the return of the old costumes, the Hulk cameo, or Cyclops’ return dig at the film costumes as I was expecting the worst for old Wolverine. And even during the episode, my X-Men animated Wolverine figure decided to take a shelf dive. I’d love to say it was during that scene, but I don’t remember because I was engrossed in the show and only after it was over did I check to see who fell. He knew.

Wolverine’s claws covered in blood – something we never could see in the original series.

The final scene of the episode was done exceptionally well, though it still left a glimmer of hope that Wolverine would not be subjected to his worst injury to date. When he removes Magneto’s helmet to allow Xavier a chance to attack him with his telepathic powers, the imagery was evocative of Xavier’s answer to Magneto’s brutal assault on Logan from X-Men #25. For a brief moment, I thought he might be spared. Then Cyclops blasted his mentor, not because he was turning on him or anything, but because Gold Team had not yet taken down Bastion and they couldn’t risk Xavier, through Magneto, re-activating the Prime Sentinels.

“Been in a lot of wars, bub – the brave always die first.” A great callback to Magneto’s line from the season finale of the original show’s first season, “The Final Decision.”

That’s when Wolverine struck. In actually more graphic fashion compared with the comic from which the story was taken, we get to see a flash of his claws and then the ends protrude through Magneto’s torso. At that moment, I could only watch with both dread and awe since there was no going back now. The attack was brief. We got just a quick shot of each character’s reaction, friend and foe alike, at Wolverine’s attack. It was like all of the participants in the melee up to that point were just made aware that violence has consequences, like a bunch of kids play-fighting in the yard until someone gets really hurt. The final image of Wolverine in mid-air with the adamantium oozing out of his body was a near 1:1 recreation of Andy Kubert’s artwork. It was chilling and a hell of a way to end an episode of television. I was riding an exercise bike on my first viewing and I wish I had thought to check my heartrate readings on my fitness app when it was all said and done. I was covered in sweat, more than usual after a workout, and that same pit in my stomach I felt as a 9 year old in 1993 had returned.

The plot with Wolverine made me completely forget that we may have witnessed the death of Jean. Again.

The moment was so captivating that it practically erased everything that came before it. I had to watch it again to be reminded of the fact that Morph and Beast had been defeated and were at the mercy of Bastion last we saw them. Sinister had taken control over Cable like he did his mother before him unleashing his telekinetic powers on Jean. She was able to make psychic contact with Cyclops, and through her, he saw what was going down just long enough for her to tell him she loved him before Cable’s blast engulfed her. And at Asteroid M, Magneto is likely mortally wounded or damn close to it while Xavier had Magneto’s helmet basically crushed around his skull neutralizing his psychic powers. This concept is new to the show as when the original aired the idea that Magneto’s helmet was designed to protect him from Xavier had not been invented yet. You can even see in the show’s fourth episode Xavier attack him with the helmet on, but I don’t mind it being a new wrinkle for this show as basically every version of the X-Men has done the same.

We open on a flashback we’ve heard about before.

As a kid, I don’t know how many times I read X-Men #25 and its follow-up, Wolverine #75, so I had a good idea what was going to happen in this season finale (in case you forgot, that’s what we’re here to talk about today) in space. I was less certain about the Bastion plot, but I had some ideas. Given the nature of how the last episode ended, there isn’t much I can say about the plot of this one that doesn’t spoil something, but I’m sure I can find something to talk about. The “Previously…” line is delivered by Magneto and our opening credits contain few surprises. More Dark Phoenix, more Apocalypse, but also a new scene of Magneto and Xavier unleashing their powers for the first time in front of each other on some terrorists from “Enter Magneto.”

Wolverine will not be doing much this episode.

And we’re shown that flashback because that is essentially where the episode begins. A young Xavier and Magneto having some drinks in a bar in a war torn country chatting about the potential for mutants. The war setting is even established by the opening chords of the famous song by The Byrds “Turn! Turn! Turn!” which I thought we all agreed we were done with? That and Credence Clearwater Revival. It’s at least brief which probably saved Disney a few bucks. Outside of the flashback, the episode is going to pick-up right where we left off with Wolverine in bad shape and the Earth heading for catastrophe. The only one who can heal the Earth’s magnetic field is Magneto and he needs some convincing.

Gold Team! This is no time for a nap!

At ground level, we last saw Bastion essentially victorious. And he will be ready for his victory lap that villains are so fond of, but as is often the case, the celebration is premature. Again, I’m not here to spoil anything, but I don’t think it’s a spoiler to say that the X-Men will need to deal with this guy. If last episode was more of the Magneto conflict, then this one is definitely more on Bastion. He is pretty set on eradicating mutants, and once that is done, he intends to rule over humanity since they can’t exactly be trusted either. And if he can’t do either, well, let’s just say that’s something he won’t respond to very well. And if that weren’t enough, the world super powers are left mulling what to do about the Magneto Protocols. Should the grid get restored, not only will the Prime Sentinels be reactivated, but President Kelly will have access to the missile defense system crafted especially for targeting Asteroid M.

Okay, perverts, happy now?!

The X-Men had split into Blue and Gold teams last episode, but it’s going to take all able-bodied X-Men to stop Bastion. A large portion of the episode is devoted to the battle that you knew was going to happen and, as has been the case with this show, it’s quite satisfying and spectacular. The action direction continues to be a strong point and the animation staff is up to task. Since we’re dealing with a finale here, there is an effort to give everyone some time to shine, provided they were able to stand at the conclusion of the last episode. The episode also pays more than lip-service to actual character growth and this is the episode that is able to cash in on the smaller moments (and some big ones) that we saw throughout this first season.

Sunspot has been allowed to cut loose these past few episodes which has been fun to see.

Where this episode did stumble a bit for me is that it’s basically a small portion of fallout from the previous episode, then a whole bunch of action, and then setup for next season. It’s become routine in the streaming age for shows to be serialized and include a lot of cliffhangers and X-Men ’97 is no different. I received some Game of Thrones vibes from the show when watching this one as the penultimate episode was where a lot of the spectacle was while this one felt a bit more like clean-up followed by setup. They left no room for the characters to really respond to what happened last week. It’s mentioned only in passing and we see Wolverine’s banged up body a few times, but we get almost nothing from the characters. How is Jubilee processing this? She and Wolverine were tight. Is anyone mad at him for pushing Magneto as far as he did by getting all stabby on him? Again, we don’t know and the way the episode ends makes it seem like it’s a thing we’re just not going to address at all and that feels like a real missed opportunity for a show that loves the soapy drama.

At least Morph seems to care.

Like last week, expect to be tickled by several cameos. Some are repeat cameos, but many are all new. Sure, it can feel like stunt-casting or something akin to it, but considering the plot in this episode has worldwide ramifications it makes sense to get a look around the globe. It’s certainly interesting and makes me wonder if X-Men ’97 will turn into a launching pad for an animated universe set in the 90s. Nostalgia for the period will likely never be hotter than it is now so it wouldn’t be Marvel and Disney’s worst idea. As long as my X-Men show doesn’t become overrun by non-mutant superheroes I’m all for it. Even if I personally have little interest in revisiting the other 90s Marvel cartoons.

I love everything about this shot.

I may seem a little down on this episode, but that’s only because the prior two were so strong. This is indeed a good episode, and it’s a long one at that, and DeMayo and Sellitti do some great stuff with their dialogue. There are certain characters they write so well and it’s on display in this episode. There’s also more callback lines to the original series and its woven in effectively and with purpose. There’s some heavy stuff intermingled with the action concerning Xavier and Magneto and this episode is one of the first pieces of X-Men media that really convinces the audience that Xavier and Magneto care deeply for each other. They’re not just paying lip-service to the “old friend” label they like to toss around so casually.

This episode concludes what has inarguably been a successful first season for X-Men ’97. The second season is in production so the wait should not be as long as it was from announcement to premiere. I suspect we will hear more at San Diego Comic Con this summer. Series creator and showrunner Beau DeMayo was heavily involved in the second season and it can be assumed much of his vision will make it to air. Following that, we’ll be heading into some unchartered waters with the show. Disney and DeMayo have remained tight-lipped on why he was let go from the series just before the premiere which is unfortunate because it would be nice to know if fans should be advocating for Disney to reverse that decision. If he was fired because of an OnlyFans account or creative differences, then that was probably a stupid decision given how well this show has turned out (and for the record, the OnlyFans thing would be stupid if the show sucked too). If he was fired over workplace misconduct or something (and full disclosure – I have no idea why he was let go and I’m just tossing out examples) then all right, that’s not someone I’d want to go to bat for. This stuff has a way of getting out so it’s more probable than not we’ll know in time, but for now, I’m extremely satisfied with how X-Men ’97 turned out. I’m also extremely bummed about not having a new episode to look forward to next week. This is going to be an intolerable wait.

Previously…on X-Men ’97:

X-Men ’97 – “Tolerance is Extinction – Part 2”

Magneto was right. That was the realization many characters seemed to share at the end of last week’s episode of X-Men ’97. As we roll into the penultimate episode of the show’s first season, a lot is on the line and the show is drawing inspiration from several different sources related to the X-Men over…

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X-Men ’97 – “Tolerance is Extinction – Part 1”

Ever since the episode list was released for X-Men ’97 I’ve been looking forward to what reads like an epic, three-part, season finale. In truth, given that X-Men ’97 is a serialized show you could basically call every episode “X-Men ’97 Season 1 Part 1” and so on, but the titles do add a dramatic…

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X-Men ’97 – “Bright Eyes”

When we last saw our beloved X-Men, their world had just been destroyed. An idyllic place set to the soundtrack of the very on-the-nose choice of “Happy Nation” by Ace of Base in Genosha was laid to waste. Mutants of all backgrounds were slaughtered including our beloved Gambit and less beloved Magneto. In the aftermath…

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X-Men ’97 – “Tolerance is Extinction – Part 2”

Written by Anthony Sellitti.

Magneto was right.

That was the realization many characters seemed to share at the end of last week’s episode of X-Men ’97. As we roll into the penultimate episode of the show’s first season, a lot is on the line and the show is drawing inspiration from several different sources related to the X-Men over the course of decades. We’ve seen costume changes for both Storm and Jubilee, one to her original look harkening back to the ’70s while the other jumped forward to a slightly more modern interpretation. We’ve been seeing scenes of the Dark Phoenix Saga play out in the opening credits much of this season while Bastion, an enemy associated with the new millennium, has been the puppet master for much of the show, though only recently outed.

Have we witnessed the death of a dream and the realization of another?

And then we had the conclusion of last week’s episode. The still alive and well Charles Xavier was outed to the world by Bastion through the media while the world would be reintroduced to another thought dead individual – Magneto. Valerie Cooper, heralded as the show’s center by showrunner Beau DeMayo before the season began, made the choice to free Magneto from Bastion’s clutches. We don’t know what Bastion had planned for the Master of Magnetism or if some of those plans may have already begun, but we do know that once freed Magneto immediately turned to a familiar refrain – revenge. Traveling to one of the Earth’s poles, Magneto unleashed a massive EMP through his magnetic powers which were likely amplified by the Earth’s own magnetic field. This both saved the mutants and quite possibly doomed humanity as the power grid was effectively neutralized. Wolverine called it a declaration of war.

A “blink and you’ll miss it” moment from the opening title is the insertion of Prime Sentinels in the middle of the Xavier and Magneto confrontation.

And this is what made the original series and now this one so effective. It’s a melting pot of different eras of the team and their stories distilled into one. I’d call it a greatest hits, but some misses still managed to slip in (looking at you Cody and the Not Brood) and X-Men ’97 hasn’t been immune from that. It’s a great approach and whoever at Disney or Marvel is put in charge of bringing the X-Men back to cinema really should go back and watch the original series and this one. Not because they’re perfect, mind you, but because they had the right approach. And whomever does so can see what worked and what didn’t or what stories could have been expanded upon or resonated in a different way. Just maybe don’t do Phoenix. I know it’s a classic, but everybody does it. Or if you’re going to do it, make sure to bring something new to the table (or maybe don’t just jump right to the Dark Phoenix Saga).

Look who came back.

That’s another a discussion for another day, today is all about “Tolerance is Extinction – Part Two.” The opening “Previously…on X-Men” responsibilities are turned over to everyone’s favorite Canadian Wolverine and the credits feature the return of Storm in her classic threads. We’re still checking out the Dark Phoenix Saga, Asteroid M, and Cable facing down Apocalypse as clips from the old show as clues to what is to come. When the episode begins, we’re reintroduced to Charles Xavier, better known as Professor X, as he wakes up in what remains of his bedroom. The mansion has been destroyed (really, no one should be trying to sleep in it) for the second time this season and at least the third overall (not counting the time Rogue put a hole in every floor of the thing including the roof). Xavier has to deal with not just the fallout of what Magneto has done, but the fallout for leaving the school in his care. Elsewhere, Bastion is seen collecting his mother’s deactivated body as the EMP deactivated all of the Prime Sentinels. This allowed both Roberto and Jubilee to escape, and they’re quickly rescued by the duo of Storm and Forge from a gang of angry humans.

It’s quite a mess Charlie returned home to.

Reckoning needs to happen between Xavier and his pupils. There’s a nice conversation between he, Scott, and Jean over his decision to leave the school to Magneto where Xavier’s intentions are well illustrated. Still, this isn’t a happy reunion as Cyclops wasn’t the only one displeased with the professor’s decision and they’re certainly not happy he wasn’t there when the world went to hell. There isn’t much time for all of that though as Magneto returns and he brought his asteroid with him. There’s no more words to be shared between he and his old friend. Magneto has made his choice and he is only there to offer an invitation to any who wish to join him on Asteroid M. Some will leave, most will stay, and for the first time the show will separate the members into Blue and Gold teams, though the membership of each doesn’t really align with such from the books aside from the leaders being Cyclops and Storm.

Not the happy homecoming Charles may have been looking forward to.

And why do we need two teams? Because in order to save the world, or at least prevent a full blown war, the X-Men must take down Bastion and restore the damage done to the Earth’s magnetic field through Magneto. That means one team seeks out Bastion while the other heads into space to confront Magneto. The tricky part might not be defeating either one or convincing Magneto to undo what he has already done, it’s that both teams need to be successful, but at different times. If the Blue Team succeeds before the Gold Team neutralizes Bastion then they very well may restore all of the Prime Sentinels to a functional state which would probably doom the Gold Team. Unfortunately for the Gold Team, Bastion is revealed to be what the show refers to as a technopath, meaning he can communicate with machinery like his Sentinels. He is likely unaffected by what Magneto has wrought so both teams are in for a fight.

Magneto has an offer to make to his X-Men and it’s an offer he’s made before.

And fights are what we get! One aspect of X-Men ’97 that has not been as strong as that of the original series is how the original was able to spotlight basically every member of the team. The show didn’t do it in every episode, that would have been foolish, but found a way throughout and especially so in the show’s second season. What X-Men ’97 has done instead is give characters their own moments typically in action scenes. And this week it’s Jean’s turn to kick some ass while Morph gets to unleash another cameo. We also get to see Mr. Sinister in action (I hope you didn’t forget about him) which is a lot of fun for those who grew up with the ’92 series. Perhaps those watching didn’t even realize it at the time, but that show’s animation budget just wasn’t what it needed to be for a complicated character design like Sinister. As a result, he basically just stood in fairly neutral positions. He couldn’t turn or do anything dynamic, but in X-Men ’97 he is unburdened by such constraints and it’s pretty cool to see in action.

I don’t like to spoil the easter egg moments from this show, but this time I’m making an exception: Raise your hand if you had that Wolverine motorcycle as a kid!

Another major change for X-Men ’97 where the original is concerned is that it’s not afraid to change the status quo nor is it afraid to “go there.” The X-Men can’t expect to come out of every confrontation unscathed and this penultimate episode ends on a pretty major development. This is one of those episodes where I’m a tad jealous of the bingers who are just waiting patiently for the whole season to be available to them. Instead, we have to wait until next week to see how this all sorts itself out. That melting pot I referred to keeps us folks who know these stories from the comics slightly in the dark. We know how they all end, but the show is setting up for these stories to just smash in to each other. The results could be largely the same, or radically different. And that’s the beauty of it.

Previously…on X-Men ’97:

X-Men ’97 – “Tolerance is Extinction – Part 1”

Ever since the episode list was released for X-Men ’97 I’ve been looking forward to what reads like an epic, three-part, season finale. In truth, given that X-Men ’97 is a serialized show you could basically call every episode “X-Men ’97 Season 1 Part 1” and so on, but the titles do add a dramatic…

Keep reading

X-Men ’97 – “Bright Eyes”

When we last saw our beloved X-Men, their world had just been destroyed. An idyllic place set to the soundtrack of the very on-the-nose choice of “Happy Nation” by Ace of Base in Genosha was laid to waste. Mutants of all backgrounds were slaughtered including our beloved Gambit and less beloved Magneto. In the aftermath…

Keep reading

X-Men ’97 – “Lifedeath – Part 2”

Last week’s episode of X-Men ’97 ended in spectacular and heartbreaking fashion. If you were hoping to experience the fallout of that one, you’re going to be disappointed by this week’s episode. Like the week before which saw an episode end with Forge and Storm in a precarious situation, this week’s episode is willing to…

Keep reading

X-Men ’97 – “Tolerance is Extinction – Part 1”

Written by Beau DeMayo and Anthony Sellitti

Ever since the episode list was released for X-Men ’97 I’ve been looking forward to what reads like an epic, three-part, season finale. In truth, given that X-Men ’97 is a serialized show you could basically call every episode “X-Men ’97 Season 1 Part 1″ and so on, but the titles do add a dramatic element. Pretty much all of the episodes have been linked and the only two that feel even a little stand-alone were the two containing parts of the Lifedeath arc. Otherwise, X-Men ’97 has pretty much stuck to its central conflict of humanity and mutants and the violence that can lead to. Violence like what we saw in the fifth episode, “Remember It,” which has proven to be the catalyst for what’s to come.

Look who is back in the opening title.

The “Previously…” intro is delivered this week by Cyclops once again, so apparently Wolverine, Morph, and others had their turn skipped. Returning to the character lineup this week is Professor X. I guess knowing he’s alive and likely on his way back to Earth is reason enough to add him in. Nothing really new in the opening credits to speak of when it comes to the scenes. The inserted scenes are the recreated Danger Room scenes from the original show’s intro plus a quick look at Magneto orbiting Asteroid M from the “Sanctuary” arc and a return of Cable vs Apocalypse (he’s got to be coming at some point, right?). This also reminds me that showrunner Beau DeMayo shared a list of recommended episodes of the original series for viewers to brush up on before embarking on this three-part finale. Those episodes include: One Man’s Worth (Parts 1 and 2), Sanctuary (Parts 1 and 2), Descent, and Graduation Day. I’m pretty well-versed in all of those episodes, but I never need much of an excuse to go back and watch episodes of the original series, especially good ones like the ones above.

Cable and the X-Men must work together to find Bastion.

Last week’s episode ended with a lot of reveals, some more shocking than others. Rogue had been searching across the planet and trying to figure out what “OZT” referred to. Well, now we know and it’s Operation Zero Tolerance. And the one leading that is called Bastion (Theo James), a mutant-sentinel hybrid. It was actually revealed by DeMayo that Bastion has been lurking this whole season and has brief cameos in other episodes. The only one I saw on first viewing was in the fifth episode, but I do plan on going back to search for more (if it’s not spoiled for me ahead of time). At the end of “Bright Eyes,” it was revealed that Trask was converted into one of these hybrids and he packs a hell of a punch since he felled Rogue in one blow. Old pal Cable resurfaced to put him down and in the process Jean mind-zapped him to discover that he is Nathan Summers from the future (a detail she seemingly forgot after doing the same in the “Time Fugitives” arc from the original series – that’s probably why it wasn’t on the recommended viewing) and he’s tangled with these things before. We also learned another detail about the attack on Genosha and it’s the one reveal I mentioned I felt the show had given away and it’s that Magneto lives. We got to see the Master of Magnetism strapped in a barber’s chair and collared as Bastion shaved his face to the sounds of “Flying Purple People Eater.” He seemingly has plans for Magneto and he needs him to look his best.

Bastion takes smug to another level. Also, I’m sure there are some cameos bathed in pink on those monitors some of which are revealed later.

Another reveal for the characters, but not the viewer, was Bastion revealing to Sinister that Xavier lives. He was able to get footage of Xavier’s introduction as emperor to the Shi’ar people via a satellite or some nonsense. Either way, it’s a catalyst for stirring anti-mutant sentiment as Bastion has released that footage to the globe via the United Nations. The news paired with the assassination of Henry Gyrich (by Bastion in last week’s episode) is not well-received by humanity as the conclusion many seem to be drawing is that the X-Men faked Xavier’s death to gain sympathy for mutants. Never mind that the last the world heard from Xavier was a recording that he’s fine (which was Morph) so I have no idea how his death was faked. Did no one demand to examine his corpse? A man was presumably tried for murder over it or at least detained.

I’m loving the addition of Nightcrawler to the team as he serves as a moral anchor for the group.

Early in this episode, Cable explains what’s going on and all he knows about Bastion and his new Prime Sentinel creations. Perhaps the most important detail, and likely the question all would be asking if it wasn’t explained, is that Cable has tried in vain multiple times to stop the attack on Genosha, but every time he gets pulled out as we saw in “Remember It.” The poor guy has likely witnessed the murder of his mother more than once. He’s taking a new approach now as he gained some intel on where Bastion may have been operating from. He, Cyclops, and Jean are dispatched to check it out while the rest hang back.

Two people the world assumed were dead are very much alive.

Elsewhere, Bastion has Magneto chained to a wall on a giant “X” evoking memories of a famous Uncanny X-Men cover featuring Wolverine. And it’s here in his base we learn the fate of another – Valerie Cooper. It seems she survived and has some connection to Bastion. She is here to give Bastion a soundboard, someone to explain his plans to, and react in a manner similar to the audience. At the mansion, Beast is busy examining the remains of Bolivar Trask while Nightcrawler keeps vigil over an unconscious Rogue. Jubilee is also still hanging out with Roberto’s family and isn’t really enjoying herself since Roberto’s mother, Nina (Christine Uhebe), is far more concerned with making sure no one knows her son is a mutant rather than helping out in a meaningful way. As someone who has maintained a life of privilege, she sees no reason for involvement in human-mutant conflicts outside of sending some money Genosha’s way and doesn’t understand why the status quo should ever change.

In true X-Men ’97 fashion, all of this build-up is for an action-packed third act. The X-Men can’t go looking for a guy like Bastion without getting into some fights and viewers will be treated to some fun. There’s fan-service to be had in these battles and if you’re someone who has been waiting for Wolverine to do something ever since he and Gambit’s team-up move back in the first episode then you’ll be happy with what unfolds.

There has been some great action in this series, but this sequence from Wolverine’s perspective as he impales a robot and Nightcrawler teleports them is amazing.

This first part of the season’s finale is mostly as expected. It needs to lay the ground work for what’s to come and there’s plenty of exposition to be found in order to get there. We’re fed breadcrumbs when it comes to the X-Men’s adversary and we’re likely to learn even more over the coming episodes. The show has done a tremendous job of not losing sight of its central conflict and the racist undertones that conflict contains. Bastion is a great example of this as he highlights how portions of humanity has felt left behind. It echoes real world racist manifestos like The Great Replacement Theory only in this world there’s actually a touch of truth to it as Bastion explains how a mutant-powered human can do things a normal person can’t which could actually cut into job opportunities. Mostly, Bastion is like any other figurehead preying on ignorance and fear who sees racist tropes as a path to power. Racists typically do not function on logic and reason so having even a kernel of truth to his replacement theory makes it all the more powerful.

Storm a couple of episodes ago plus Jubilee here has me wondering if we’ll be phasing out the Jim Lee looks for the characters.

The episode does end with a “bang” moment that is sure to leave viewers eager for more. We’re adapting an era of the X-books I’m not as intimately familiar with as other eras and it’s nice not knowing where this is headed. It’s unlikely the adaptation will be direct anyway, but I’m doubtful this will all be wrapped up in a neat little package in two weeks since a second season is in production already. And that’s fine, give me all the X-Men ’97 you can, Disney!

Previously…on X-Men ’97:

X-Men ’97 – “Bright Eyes”

When we last saw our beloved X-Men, their world had just been destroyed. An idyllic place set to the soundtrack of the very on-the-nose choice of “Happy Nation” by Ace of Base in Genosha was laid to waste. Mutants of all backgrounds were slaughtered including our beloved Gambit and less beloved Magneto. In the aftermath…

Keep reading

X-Men ’97 – “Lifedeath – Part 2”

Last week’s episode of X-Men ’97 ended in spectacular and heartbreaking fashion. If you were hoping to experience the fallout of that one, you’re going to be disappointed by this week’s episode. Like the week before which saw an episode end with Forge and Storm in a precarious situation, this week’s episode is willing to…

Keep reading

X-Men ’97 – “Remember It”

Last week’s episode of X-Men ’97 saw the show take a breather with a fairly low stakes plot involving Jubilee and Roberto getting sucked into a video game. The last 7 or 8 minutes of the episode concluded with a more serious tone as Storm and Forge found themselves at odds in the wildlands of…

Keep reading

X-Men ’97 – “Bright Eyes”

Written by Charley Feldman and JB Ballard.

When we last saw our beloved X-Men, their world had just been destroyed. An idyllic place set to the soundtrack of the very on-the-nose choice of “Happy Nation” by Ace of Base in Genosha was laid to waste. Mutants of all backgrounds were slaughtered including our beloved Gambit and less beloved Magneto. In the aftermath of the episode’s airing, series creator Beau DeMayo took to social media to explain his reasoning for writing such a destructive story. In his view, the first four episodes were the nostalgia episodes. Things weren’t perfect, but a lot of what the X-Men had fought for in the original series had come to pass. Genosha was now their place where they belonged. It was a safe haven, but it was all so fragile.

DeMayo likened the attack on Genosha to both September 11th and the Pulse nightclub shooting. As a gay man himself, DeMayo designed much of the atmosphere of Genosha to mimic that of a gay club. Both are places where individuals who may normally feel pressured to hide who they really are can be themselves. And who they are is what also makes them a target. The world is not a safe place and we’re reminded of that constantly. In that, the world these characters inhabit is not unlike our own.

Rogue gets to do some ass kicking in this one.

This week’s episode doesn’t just have the events of “Remember It” to dwell on, but also those of last week’s episode, “Lifedeath – Part 2.” In that one, Storm regained her powers and also seemingly rediscovered some classic threads while Xavier had a vision of what transpired on Earth and was compelled to give up his life with the woman he loves. And in the closing moments, we saw who orchestrated the attack on Genosha. Mr. Sinister, with an assist from the DNA of Bolivar Trask, has seemingly assumed the role of catalyst for what could be a war between humans and mutants. It’s not surprising that a man who literally named himself Sinister is the one behind such a thing, but what does it mean for the character? Did he find another way to synthesize his perfect mutant from the DNA of Scott Summers and Jean Grey and is now ready to unleash his creation upon the world? Or is he acting on behalf of another? Perhaps someone who has always desired to bring about the apocalypse itself?

The opening “Previously…” for “Bright Eyes” is delivered by Rogue. In the scenes to follow, we mostly bare witness to what took place in episode 5 with the only piece from last week’s episode being Xavier’s voice over as he received his vision of what transpired. The opening title appears to be completely unchanged from last week. Storm has not been added back in and Nightcrawler gets to go two weeks in a row in a prominent spot. When the episode does begin, it gets right to the aftermath we have been waiting for. It’s Gambit’s funeral, and in attendance aren’t just X-Men, but Gambit’s former allies and would-be wife from the Thieves Guild. They’re just window dressing and it falls on Nightcrawler to lead the service since he’s a man of the cloth. It’s an understandably somber scene, but once absence garners much attention.

Perhaps Nightcrawler’s role will be like a team chaplain going forward?

Rogue, apparently not yet willing to deal with her grief, is on a one woman mission to find the man she believes is responsible for the loss of Gambit and so many others on Genosha: Bolivar Trask. Her mission will take her all over the globe and include in some interesting cameos from the greater Marvel Universe. She’ll eventually be forced to deal with her grief, but there’s a lot of anger in the woman and it’s fun to see Lenore Zann get to play Rogue in a different manner from what we’re used to. Elsewhere, the X-Men have decided their place is on Genosha helping out with the clean-up. Scott and Jean are still in a bad place, but this isn’t an episode with much room for the soapy drama we’re used to. Sunspot is also left to ponder if keeping the fact that he’s a mutant a secret the right way to go about things. After all, what if he was on Genosha that day and his parents found out he’s a mutant by IDing his corpse?

Eventually, anger gives way to sorrow when confronted by a great loss.

The last act of the episode is what pushes the narrative forward. We’ll learn more about how the attack on Genosha came about and the show is clearly setting the stage for the three-part finale that’s to follow. The X-Men will have a new enemy, and if there is a theme to this enemy it’s probably escalation which has been building since the start of the season. Whenever humanity scores a win over bigotry, be it in the real world or a fantasy like this one, the bigots always fine a new way to attach the marginalized. When the Emancipation Proclamation was put in place, the country went to war to actually free those from the bondages of slavery. When the war ended, Jim Crow surfaced followed by segregation, Tulsa, the Voting Rights Act, etc. Victory is often temporary, and the X-Men learned that the hard way. The end of the episode contains a pair of reveals as well. One we, the audience, were already in on and another we technically weren’t, but the show basically telegraphed. As such, I don’t think the final scene lands with the impact the show may have wanted, but people are sure to remember the song for the scene, at least. If you thought Ace of Base was an interesting pull, just wait until you hear this one.

“Bright Eyes” is another slow episode, one that is clearly building towards something. The show is clearly setting up for something spectacular, and now we get to see if it can stick the landing. I’m a bit sad there are only three episodes of X-Men ’97 left before the first season comes to a close, but I am very excited to see how it ends.

Previously…on X-Men ’97:

X-Men ’97 – “Lifedeath – Part 2”

Last week’s episode of X-Men ’97 ended in spectacular and heartbreaking fashion. If you were hoping to experience the fallout of that one, you’re going to be disappointed by this week’s episode. Like the week before which saw an episode end with Forge and Storm in a precarious situation, this week’s episode is willing to…

Keep reading

X-Men ’97 – “Remember It”

Last week’s episode of X-Men ’97 saw the show take a breather with a fairly low stakes plot involving Jubilee and Roberto getting sucked into a video game. The last 7 or 8 minutes of the episode concluded with a more serious tone as Storm and Forge found themselves at odds in the wildlands of…

Keep reading

X-Men ’97 – “Motendo/Lifedeath Part 1”

X-Men ’97 continues on into it’s fourth episode with a bit of a change-up. The first three episodes were rather weighty dealing with the fallout of Xavier’s death, Storm losing her powers, and the whole clone situation of the third episode. And that third episode did reveal a few cracks in the foundation of the…

Keep reading

X-Men ’97 – “Remember It”

Last week’s episode of X-Men ’97 saw the show take a breather with a fairly low stakes plot involving Jubilee and Roberto getting sucked into a video game. The last 7 or 8 minutes of the episode concluded with a more serious tone as Storm and Forge found themselves at odds in the wildlands of Texas. It ended with a shocking visual and if you wanted immediate closure on that thread you’re going to be left wanting by this week’s episode, “Remember It.” I don’t think that will bother many because “Remember It” is the most impactful episode of the season so far and has a lot of people already declaring it the best episode yet.

The phrase “Remember It” is a callback to a particularly bad ass line delivered by not one, but two, characters from the original series. Interestingly, those two characters now have a real world link as the former voice actor of Gambit, Chris Potter, is now the voice of Cable who makes his X-Men ’97 debut this week, albeit in a brief manner.

It’s a bit hard to tell, but I think this week’s “Previously,” is delivered by AJ LoCascio, otherwise known as the current voice of Gambit. The opening title features a lot of clips that we’ve seen before as someone really wants the Dark Phoenix plot to be at the forefront it would seem. Newly added is a recreation of Cable’s encounter with Apocalypse from the “Beyond Good and Evil” arc and it’s nice to see that Apocalypse still has his unique to the show color combo of blue and purple.

It seems Madelyn has found a new purpose.

“Remember It” features an A and a B plot in a more traditional manner as the episode isn’t split like last week’s. At the mansion, reporter Trish Tilby (Donna Jay Fulks) is on-hand to interview the X-Men for television to give them a chance to humanize themselves in front of the world. At least, she’s interviewing the few willing to go on camera which seems to be limited to Beast, Cyclops, and Jubilee. Elsewhere, Jean is still trying to sort out her memories while Wolverine is ducking the cameras and checking up on her. Magneto, Gambit, and Rogue are enroute to Genosha as they’ve been invited by the new council there for unknown reasons.

That trio will land to discover that Genosha is a pretty happening place. Mutants parade out in the open in a Mardi Gras like atmosphere of music and dance. Gambit takes notice of the incredibly high prices at street vendors and seems to be the only one who thinks maybe not everything is as it seems. Magneto is expected to meet with the council of Genosha while Rogue and Gambit get to do some sightseeing with an old friend. Returning from X-Men is voice actor Adrian Hough reprising his role as Nightcrawler. The fuzzy, blue, elf is a much happier and high spirited character now that he’s in a place that accepts him. He’s eager to reconnect with Rogue and Gambit and happy to be their escort on this day. Also in attendance on Genosha is Madelyn Pryor, aka the clone of Jean. She has accepted a position on the council and is Magneto’s introduction to the rest.

Everybody is happy about the return of Nightcrawler!

And that council is comprised of a lot of old faces, some more welcomed than others: Sebastian Shaw (Todd Haberkorn), Emma Frost (Martha Marion), Moira McTaggert (Marion), Callisto (Courtenay Taylor), and Banshee (David Errigo Jr.). Valerie Cooper is also present, but not a part of the council, and if she was she would object to what Magneto has been summoned here for. They wish to make him chancellor of Genosha by reason that since Xavier entrusted him with the X-Men, they can entrust him with Genosha. Magneto requires little convincing, but has one requirement for accepting the position: that Rogue be his queen.

There aren’t many people on this council I’d call trustworthy.

This puts the love triangle at the forefront that’s been percolating a bit since the second episode between Rogue, Gambit, and Magneto. If you have been waiting for some resolution there, as well as more info on just what happened between Rogue and Magneto before the events of the original series, your questions will at last be answered. At the mansion, we will similarly see Cyclops and Jean start to address their own issues as a couple, as well as the fact that Cyclops had to bid his newborn son farewell. It gets heavy at times and certainly adds to the soap opera nature of the show (Nightcrawler even has a quip about that), but it’s what we’re here for.

There’s a lot of good character detail in those moments, but what everyone is going to talk about where it concerns “Remember It” is really just the last seven minutes or so. I do not want to spoil anything, but there is an attack on Genosha and it leads to a spectacular action sequence. X-Men ’97 has firmly established that it knows how to stage flashy and creative action pieces with its cast. If you’re someone who has been waiting for Gambit to do something in this show, you’ll enjoy this section as he gets to go into full bad ass mode in a way that we’ve never seen. The original show had far more restraint when it came to the powers of basically everyone on the X-Men, but X-Men ’97 is breaking those chains. And it’s not just action on display as there are some very emotional moments captured in the chaos and you may need to keep some tissues handy for this one.

How does he do that? With style!

“Remember It” is a spectacle and an episode that is getting a lot of just praise. It’s a pivotal episode as well, and once you’ve watched it I would advise you to check out the Twitter handle of series creator Beau DeMayo as he has shared a lot of thoughts on this one. It’s an episode that will stay with you, especially those who grew up on the original series, and it’s one I needed to let gestate a little longer than the last few before sharing my thoughts. There is an undeniable heaviness to the episode, though there are some light elements and fun portions. Genosha is a setting designed for cameos and there’s plenty of that to be found. There’s even a really well choreographed dance scene too, but virtually all of that is overshadowed by the final act. This is one we’ll be talking about for a long time and is a prime example of why the weekly release schedule is so much more rewarding than the drop even if the wait for next week is going to be excruciating.

Previously…on X-Men ’97:

X-Men ’97 – “Motendo/Lifedeath Part 1”

X-Men ’97 continues on into it’s fourth episode with a bit of a change-up. The first three episodes were rather weighty dealing with the fallout of Xavier’s death, Storm losing her powers, and the whole clone situation of the third episode. And that third episode did reveal a few cracks in the foundation of the…

Keep reading

X-Men ’97 – “Fire Made Flesh”

Well, that was a long wait! After the two episode premiere of X-Men ’97 on March 20th I was ready for that third episode. The week long wait felt both excruciating and exhilarating. It’s been a long time since we’ve had an X-Men show to get excited about, or really an X-Men anything, and it’s…

Keep reading

X-Men ’97 – “Mutant Liberation Begins”

The first episode of X-Men ’97 left me grinning from ear to ear and eager to see what would happen next. I’m happy to say, the show’s second episode left me feeling very much the same. “Mutant Liberation Begins” starts off right where the previous episode ended. Magneto, has revealed that it was the wishes…

Keep reading

X-Men ’97 – “Motendo/Lifedeath Part 1”

X-Men ’97 continues on into it’s fourth episode with a bit of a change-up. The first three episodes were rather weighty dealing with the fallout of Xavier’s death, Storm losing her powers, and the whole clone situation of the third episode. And that third episode did reveal a few cracks in the foundation of the show. While I still enjoyed the episode and ultimately gave it a positive review, it did feel rushed and there were some character actions and moments that were head-scratching. Cyclops refuses to abandon his child, so he walks out on his child? The clone Jean realizes what she is and decides to go make a new life for herself and pulls the name Madelyn Pryor out of thin air with no explanation? A bit bizarre.

A new scene added to the intro includes an Iceman cameo, the best X-Man.

That third episode tried to condense a fairly lengthy story from the comics into a single episode and the results were clumsy. This week’s episode is actually inserting two plots into one episode. As evidenced by the title, this episode is like two small episodes. Back in the original series, the second season did end most of its episodes with a little glimpse at a parallel story involving Magneto and Xavier, but those would occupy a minute or two of the episode runtime. This week’s isn’t quite 50:50, but the first sequence, “Motendo,” takes us to about the 18 minute mark while “Lifedeath – Part One” occupies the final 10 minutes or so. It’s also an episode that’s going to dial back the soap opera elements a bit in favor of fan service fun.

That takes me back.

The episode begins with Jubilee giving the “Previously…” line. The opening title has also dropped Bishop’s card since he went back to the future at the end of last week’s episode while the new images thrown in include shots of Mojo, the Inner Circle, and X-Factor. “Motendo” takes place on the 18th birthday of Jubilee. She would like to spend part of the day at the arcade with her fellow X-Men, but apparently headmaster Magneto has other plans. This leaves her upset, and once again, her boy Roberto is just hanging out at the mansion. He’s only somewhat sympathetic to her plight as he thinks video games are for dorks. Jubilee is defensive and insists they play something and it just so happens a mysterious console is present in her room. It looks like a bootleg Sega Genesis and the game pack inside it looks a lot like the first X-Men video game released for the console only with Apocalypse added to the background. Jubilee thinks it’s a gift from one of her teammates and sees no harm in playing it, but once turned on she and Roberto find themselves pulled into a digital world.

The video game visuals are a ton of fun.

As the title of the episode alludes, this is the work of Mojo (David Errigo Jr.). It would seem he’s swapped television for video games and he’s decided to make Jubilee the star of his game. The visuals from here on out will switch from the usual to something pixelized. It’s very reminiscent of the classic Konami arcade game and it’s pretty fun seeing how Jubilee might have looked had she been included. The two have to figure out a way out, but they’ll get help from a mysterious woman seemingly trapped in the game who is basically another bit of fan service for those who loved the original animated series. It’s a very low stakes sort of plot, but it does further Jubilee and Roberto’s relationship so it’s not as if the show is completely spinning its wheels. It does contain a message for Jubilee that she can’t avoid growing up and just live in the past, a somewhat bold declaration for a series relying on a great deal of nostalgia for success.

There’s definitely a lot going on down in Texas.

The last chunk of the episode takes us back to Texas where Storm and Forge (Gil Birmingham) are working on a way to restore her powers. We got a little taste of this pairing at the end of the third episode and if anyone is going to be able to whip up a device to cure Storm of what ails her it’s going to be Forge. It’s a bit clumsy given the time constraints placed upon it. Why is Forge in Texas? What happened to X-Factor? We see an image of the team so the show isn’t ignoring it and I guess it’s something we’ll learn in time. There is some drama inserted into this plot as Forge harbors a secret, and while it does feel a little rushed, I was relieved that this plot wasn’t as rushed as I thought it might be. There are some more horror elements at play with this story, and following some of the visuals in last week’s episode, it makes me wonder if our writers (Beau DeMayo and Charley Feldman, who was also a co-writer on last week’s episode) have an affinity for that genre.

Forge is hard at work at trying to restore Storm’s powers.

“Lifedeath” is the part of the episode meant to further the main, overarching, plot of the season and it also ends on a cliffhanger. It’s probably a confusing one for most, though this is yet another plot pulled right from the comics. It’s a plot I have not interacted with in decades so my memory is hazy on the subject which I see as a good thing for my viewing of the show. There’s not a ton to chew on this week, but I do wish to point out how Alison Sealy-Smith has established herself as the best of the returning cast from the old show. Not because her voice has been less touched by age, but just in her performance. She really gets her role. I used to find her Storm a bit wooden, but there’s a lot more depth to her this time around. It’s amazing what a better script can do for a character.

I guess the fate of X-Factor will have to wait for another day.

“Motendo/Lifedeath – Part One” is a solid piece of X-Men entertainment. When all is said and done on this first season I doubt many will be citing it as their favorite episode of the bunch. Some may feel the video game inspired visuals marked a high point on their own, but a large chunk of the episode is more disposable than others. It’s a classic come down episode, one where we get to reset a little bit before the show dives headlong into its next arc (or not, as the next episode is titled “Remember It” and the one following that is “Lifedeath – Part Two”). There was no Cyclops or Jean in this one so no fall-out at all from the third episode for them was explored, but since they weren’t present it’s not like everything went back to status quo. I’m guessing that’s being saved for either next week or later on as the final, parting, shot we had of those two was pretty heavy. The show will get back to them eventually, for now, enjoy this kind of goofy throw-back to classic video games and wonder what the future holds for Forge and Storm.

Previously…on X-Men ’97:

X-Men ’97 – “To Me, My X-Men”

It used to be that when a show got cancelled that was it. It simply ceased to exist as a new product. If there were enough episodes it could last in syndication on both broadcast and cable for a good while, but rarely was it accessible to the point where a fan could have the…

Keep reading

X-Men ’97 – “Mutant Liberation Begins”

The first episode of X-Men ’97 left me grinning from ear to ear and eager to see what would happen next. I’m happy to say, the show’s second episode left me feeling very much the same. “Mutant Liberation Begins” starts off right where the previous episode ended. Magneto, has revealed that it was the wishes…

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X-Men ’97 – “Fire Made Flesh”

Well, that was a long wait! After the two episode premiere of X-Men ’97 on March 20th I was ready for that third episode. The week long wait felt both excruciating and exhilarating. It’s been a long time since we’ve had an X-Men show to get excited about, or really an X-Men anything, and it’s…

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X-Men ’97 – “Fire Made Flesh”

Well, that was a long wait! After the two episode premiere of X-Men ’97 on March 20th I was ready for that third episode. The week long wait felt both excruciating and exhilarating. It’s been a long time since we’ve had an X-Men show to get excited about, or really an X-Men anything, and it’s been a lot of fun to see the early reception the new show has received over the past week. And it doesn’t hurt that the second episode, like the first, ended on a pretty major cliffhanger.

“Mutant Liberation Begins” was an episode that thrust Magneto into the spotlight. What are his goals now that he’s been handed the keys to the mansion? Turns out, he seems to want to give this whole unity thing a try, but humanity is making it difficult. He orchestrated a trip to Genosha for The Morlocks (and asked in doing so why Xavier and the X-Men never did this to begin with to which I agree) and submitted himself for judgement before the United Nations. There, Magneto’s politics were on full display and the show pulled no punches in highlighting who the enemy is, in both the real world and the fantasy one occupied by the characters of this show. It also proved costly for Storm was wounded by the F.O.H. aligned enemy, X-Cutioner, and rendered powerless. This lead to her departure at the conclusion of the episode in an emotionally charged scene, but the sadness wasn’t allowed to linger long for knocking at the door was a mysterious woman in some distress. Oh, and she looks exactly like Jean Grey.

Episode 2 ended on quite the cliffhanger.

Fans of the comics, or those who have just read up on X-Men lore, know a bit of where this should be going. And the show hasn’t hid the fact that Madelyne Pryor, The Goblin Queen, is to play a role in the show this season. Just how it will unravel remains a mystery. Who is the real Jean? Where did this other one come from? And what of the baby born to Scott and Jean in the previous episode? Many questions, and I’m sure all will be answered eventually, but they can’t all be tidied up in just one episode, though “Fire Made Flesh” is sure going to try.

Seeing what gets swapped into and out of the opening title is going to be fun.

The opening title has been updated to, sadly, remove Storm (aside from the group shots). We are treated to multiple cuts of recreated scenes from The Dark Phoenix Saga, and some were present last week, and I’m guessing this swappable scenes approach is going to come in and out in a way to spotlight what’s to follow. And it’s actually Jean (Jennifer Hale) who gets to deliver the “Previously, on X-Men…” line. Last week it was Magneto, who will get a turn next week?

This episode does find time to address why Bishop is present with the team, though don’t expect any real details on how he ended up here.

The episode begins right where the previous one left off. There are two Jeans, and only of them can be real. To my surprise, that question is answered almost immediately. I try to refrain from spoilers as much as possible, and if you couldn’t tell based on my introductory paragraphs, I’ll use the following week’s episode review to kind of react to the prior episode in a more spoiler fashion. In other words, make sure you’re up-to-date before reading one of these reviews, but you should be okay to read the current week’s before actually watching it, if you so desire. Anyway, I will refrain from outing who the Goblin Queen is, but obviously she has to be one of the two Jeans and she is not going to take kindly to finding out she isn’t the real Jean.

We knew the Goblin Queen was coming and she does not disappoint.

The act structure of the episode is basically as follows. The first part deals with the aftermath of the previous episode while the second act is The Mansion vs the X-Men. The Goblin Queen uses her powers to distort reality and force the X-Men to see their greatest fears, or just demons. For Morph, they’re going to see Mr. Sinister and a returning Roberto gets taunted by images of his mother, who doesn’t know he’s a mutant and he suspects will not take that news well. The rest are treated to their own version of Dante’s Inferno and it’s a visual delight. Rarely do the X-Men get to go full horror, and we get to see more creative team-up maneuvers from characters here as the action continues to be a highlight of the show.

There are some horror elements present in this one which is pretty unique for X-Men.

The third act is all about the X-Men vs the Goblin Queen, and the fun part of that battle is seeing her telekinetic powers fully unleashed in a showdown with Magneto. I had concerns that adding Magneto to the regular roster might throw things off. He is, after all, an extremely powerful mutant and there aren’t a lot of foes who pose a true threat to him. Goblin Queen is one such foe though and the battle is brief, but pretty damn cool. The fourth act is the resolution and we do get some setup for the episode to come. It’s not the cliffhanger either of the first two episodes were, but for comic readers it’s definitely enough.

Poor Morph just can’t escape this guy.

X-Men ’97 is credited to Beau DeMayo as the writer, but it’s pretty clear that this show is going to owe a whole lot to the writers who came before him. In particular, this is Chris Claremont’s story on the screen and he, along with many other writers, gets an acknowledgement in the credits. Does that mean he actually gets paid for the series? I don’t know. All of those guys were under work-for-hire agreements and it’s been a longstanding issue in the comics industry. I know Disney has made it a point to pay these guys something for their stories and characters when it comes to the MCU, but it’s probably not as much as they deserve considering how big some of those movies are. Also of note to me through these first three episodes is how the opening theme is credited to Haim Saban and Shuki Levy. I’m guessing that’s another mostly work-for-hire issue as it’s pretty well known that composer Ron Wasserman (working off a baseline provided by Ron Cannon) came up with the intro theme. It’s chronicled really well in the book “Previously…on X-Men: The Making of an Animated Series” by Eric Lewald which I strongly recommend to all fans of the shows, both old and new. I don’t point the writer thing out as a way to diminish DeMayo’s contribution to the show, but merely as an acknowledgement that a lot of great writers have contributed to this show so far.

“Fire Made Flesh” is another good episode of television. I think episode two is still the champion, but that’s no slight on this third episode. I think my only criticisms up to this point concerned some of Rogue’s dialogue, but a new criticism is forming in that the show is moving at a very brisk pace. The plot of this episode could have been stretched across multiple ones. I don’t know if we had enough time with the current status quo of the series before getting to this one. The resolution would have been able to land with more impact if we did. One of the last scenes occurring outside the mansion between Jean and her newborn son should have hit harder, but we’ve been with these characters for too short of a time. We’ll see how the fallout is addressed as there is a lot of emotions to sort out and the lasting image we have of Scott and Jean does at least acknowledge that. I just worry that in adapting something that has so rich a history, DeMayo is trying to hit on too much too fast. Perhaps the next episode will calm my fears somewhat. I do think it’s something we won’t truly have a grasp of until the first season is in the books, but so far, the ride is fun and exhilarating and after the wait for this one I’m kind of glad we get a less suspenseful ending this week to hang onto.

For more reviews of X-Men ’97, or my write-up on the book I recommended, check out the below:

Previously on X-Men: The Making of an Animated Series

A lot of cartoons made an impact on me as a child. My first love was The Real Ghostbusters. Its goofy cast of characters and excitement were plenty of fun and there were interesting toys to supplement the series with, which was pretty much the goal of all cartoons in the 80s. The Teenage Mutant…

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X-Men ’97 – “To Me, My X-Men”

It used to be that when a show got cancelled that was it. It simply ceased to exist as a new product. If there were enough episodes it could last in syndication on both broadcast and cable for a good while, but rarely was it accessible to the point where a fan could have the…

Keep reading

X-Men ’97 – “Mutant Liberation Begins”

The first episode of X-Men ’97 left me grinning from ear to ear and eager to see what would happen next. I’m happy to say, the show’s second episode left me feeling very much the same. “Mutant Liberation Begins” starts off right where the previous episode ended. Magneto, has revealed that it was the wishes…

Keep reading

X-Men ’97 – “Mutant Liberation Begins”

The first episode of X-Men ’97 left me grinning from ear to ear and eager to see what would happen next. I’m happy to say, the show’s second episode left me feeling very much the same. “Mutant Liberation Begins” starts off right where the previous episode ended. Magneto, has revealed that it was the wishes of Charles Xavier that all of his assets be turned over to his longtime friend and often adversary. Magneto now leads the X-Men, and everyone is worried about where his loyalties truly lay.

The episode begins with a familiar refrain: Previously, on X-Men. Before, it was usually delivered by Norm Spencer, the voice of Cyclops. For the second episode it’s delivered by Matthew Waterson, the voice of Magneto. The opening credits are also updated to feature Magneto first reflecting his new status (and new, big M costume) as headmaster of the institute. This was a plot foretold by the official trailer for the show so it comes as no surprise. It’s also a plot from the comics as is another plot from this episode: the trial of Magneto. In addition to his new presence, there are also new shots included in the intro that mostly replace the classic shots we’re used to seeing. These new ones are recreations of scenes from the original series so it would appear that the opening title will be a little different for every episode which is kind of fun.

Magneto has been welcomed to the opening title.

This episode has to confront the issue of how the X-Men will exist with Magneto in charge and how humanity will respond. Magneto is essentially branded a terrorist by most of the world governments, which is why his reveal as being affiliated with the X-Men leads to a confrontation with Valerie Cooper and the federal government. Perhaps to the surprise of everyone present, Magneto surrenders as he views this as the clearest path to gaining the trust of the team. He does make it clear that he does not share Xavier’s world view that peace between mutants and humans can be achieved, but for the sake of his departed friend, it would appear that he’s at least going to try while also doing things his way.

Magneto will be forced to answer for his crimes before the United Nations.

Much of the episode takes place before a United Nations council set to judge Magneto. It also introduces a new villain: X-Cutioner. Pronounced by the character as “Executioner,” the character is voiced by Lawrence Bayne who is known to fans of the original X-Men cartoon as the voice of Cable. Cable will appear at some point in this show, but with a different voice actor. That choice was justified by series creator Beau DeMayo as being a necessity so that they could cast Cable as someone who sounds closer to Cyclops, something the original series likely didn’t take into consideration. Even with that, I was disappointed at the news as Bayne’s Cable was one of my favorite performances in the old show. He’s fine as X-Cutioner who is an enemy allied with the Friends of Humanity packing some serious fire power, but I’m sure I’ll miss him as Cable whenever that character debuts.

X-Cutioner may be just some guy, but he packs a lot of firepower.

The episode does include a B plot which would be unusual for the original show, but may be a sign of things to come. It’s also a humor-based B plot which would also be unusual and concerns Wolverine and Jean. Everyone except them has gone to the UN to watch Magneto’s trial unfold, so naturally this is the time when Jean goes into labor. It’s up to Wolverine to get her to a hospital and he seems far more unnerved doing that than facing down Apocalypse. It’s not something that chews up a ton of screen time and it was kind of nice to see the show willing to embrace a bit more humor. It also leads to some important character moments like what happens when an extremely powerful mutant shows up in labor at a hospital? And how does Wolverine feel about the woman he loves having a baby with another man? It gives us a great moment between Wolverine and Morph too that elaborates on their friendship, something we were told was a thing in the original series, but really didn’t get to see much of.

There is a history between these two and Magneto seems especially interested in rekindling that.

And speaking of everyone’s favorite love triangle from the original show, we’re apparently about to be served up another. When the writers were handed the keys to the mutant kingdom with that first show, it was a group unfamiliar with the X-Men that had existed in print for decades prior. As a result, they seemed to view the show as a new beginning. Some of that would be retconned in later series when it was acknowledged that the team had existed for awhile prior to the events of the show and more of that is being addressed here with Rogue and Magneto. It would appear their prior relationship before Rogue joined the team is now canon and it’s likely going to lead to some uncomfortable moments between they and Gambit. It just wouldn’t be X-Men without a little soap opera drama. I will say, one of my few criticisms of this episode takes place during these Rogue and Magneto scenes, but not because of the character development, but because of Rogue’s forced dialogue. It would seem writer Beau DeMayo could not get her line about looking as nervous as a long-tailed cat in a room full of rocking chairs out his head because Rogue has a lot of cat puns in this one scene. And they’re not very good. Perhaps the show can add an actual southern, female, writer to the staff just for Rogue lines going forward.

I love the little character moments like this one between Morph and Wolverine. I hope for many more.

For a show that stylizes itself as a superhero action drama, an episode about dry court proceedings would have been dreadfully boring. That’s why “Mutant Liberation Begins” includes more wonderful action set pieces and also contains some pretty earth-shattering shakeups to the team. Like the first episode, this is still a show building towards bigger plots and laying the groundwork for how the series will go. It’s at times uncomfortable, but also exciting and I definitely want to see more. The episode also ends on another shocking reveal. Fans of the comics likely have ideas on where this development will lead, but I also wouldn’t expect a 1:1 recreation of any comic book plots. There will likely be some wrinkles thrown in and a change or two or three. As far as plots that could have been sourced from the books, I think it’s one of the top ones and it’s a plot that I’m glad the original series saved for this show because the more lax standards and practices should allow X-Men ’97 to do it justice.

One thing that’s definitely different from the previous show, X-Men ’97 is not afraid to shake-up the active roster.

Episode two of X-Men ’97 is more of the same, which is great. It’s going to be a long wait each week if all of the episodes are structured like the first two. Never mind the wait we’ll be in for when the season ends. I plan to review every episode of this inaugural season, though I don’t know how quickly I’ll be able to post reviews. It could be a Friday thing each week if I can find the time, or maybe it makes more sense to have a Mutant Monday on this blog? I guess we’ll see, but I’m definitely looking forward to taking this journey with all of my fellow X-Men fans around the globe.

Check out the other X-Men coverage we have here:

X-Men ’97 – “To Me, My X-Men”

It used to be that when a show got cancelled that was it. It simply ceased to exist as a new product. If there were enough episodes it could last in syndication on both broadcast and cable for a good while, but rarely was it accessible to the point where a fan could have the…

Keep reading

Marvel Legends X-Men ’97 Jean Grey

If you are reading this the day it goes live then Happy X-Men ’97 Day! Today is the day the long-awaited sequel series to X-Men debuts on Disney+. Rather than fast-track a review of the first two episodes to this blog, I decided instead to do what I most often do: review an action figure!…

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Wolverine and the X-Men

It might seem amusing to folks younger than me who grew up on Marvel’s Avengers, but back in the first decade of the new millennium there wasn’t a hotter team of superheroes than the X-Men. The X-Men had been around since the 60s, but really took off as a comic book property in the 80s.…

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