Chapter X: "The Edge"

By the end of this episode, everyone is happy.

Both Goliath and Xanatos are afraid they've lost their edge. Both are convinced by the end that they've regained it. Both are at least partially deceiving themselves. [One of the little ambiguities that I love about the Xanatos tags is that one way to interpret them is that David is just full of it. He loses, but claims victory anyway.]

But David is just so lovable in this episode. You gotta love the villain who does NOT penalize his subordinate for beating him in a judo match. And he has such great audacious dialogue (kudos to Michael Reaves and Jonathan Frakes). A few approximate samples:
--"I'm the best friend you have."
--"If you're going to be picky, we won't get anywhere."
--"You're taking this much too personally."
And those were all in one scene. A scene where he's just standing out there awaiting their arrival. I mean, a guy as busy as he is... Is that confidence/arrogance or what?

And he's not afraid to get his hands dirty. Giving X the armor was essential. Up to this point, David had been only the brains. But to be a true reverse-hero, he had to be a warrior as well. Here we showed he had what it takes to mix it up. But always without being stupid. Question: How many of you knew the "red robot" was Xanatos in armor before the tag? Of course, now it seems obvious, but what about the first time you saw this ep?

And yet Elisa "Wouldn't want his karma." What goes around comes around. All that arrogance, had to receive some commeuppance. (Can anyone say Oberon?)

One thing that I thought was TOO OBVIOUS was the Steel Clan theft of the EYE OF ODIN. I would have preferred if that scene had been more ambiguous in Act One. Preferred that the audience maybe think that the Robot WAS Goliath, so that when Matt takes aim at the cliffhanger, we think he's going to shoot Goliath. The cliffhanger doesn't really play as is. Only Elisa is fooled, not the audience.

Everyone wonders why Xanatos donated the Eye to the Museum of MODERN Art. (Maybe because it had mediocre security, but adequate security cameras.) But what I want to know is whether or not Edvard Munch's "The Scream" is really at that museum?

Speaking of THE EYE, I may have mentioned that this was actually the idea of the Disney interactive video game people. We wanted to be synergistic, and I kinda liked the whole idea, so we put it into the show. It was another of our step-by-step additions to the continuity. Intro it as a minor maguffin. A dewdad for Xanatos. And build from there, with the eventual plan to actually make it Odin's eye. At some point in all this, we completely forgot that the idea came from the interactive people. We went back to see them months and months later and were reminded. Luckily the concepts hadn't gotten too far away from each other. But the design did. Unfortunately, our design wound up looking a bit Egyptian for my tastes. The Interactive design had a great Raven motif. (Oh, well.)

New characters (more or less):

A cameo by Derek.

The first mention of the Emir.

The first appearance of Travis Marshall. Michael and I worked this guy out together. He wouldn't be one of those fluff journalists. He'd be old school. He wouldn't whitewash David, just because the guy was a rich man. We always made sure to give Travis that edge. And still, I always felt we underused him. In this episode, Matt gives him a lift in Derek's chopper. Matt says, "You owe me one." Eventually, I'd like to see Matt collect on that favor in a story focusing on the two of them.

And speaking of Matt...

The first real appearance of Matt Bluestone. This guy was largely Michael Reaves' creation. (Although the "Bluestone" name was one of our earlier choices for Elisa's last name. After Chavez, Reed and Chavez, but before Maza.) At first, I admit I was dubious about him being a conspiracy nut. But it so worked. And this was the first time I ever worked with Tom Wilson. He's just so great. And so damn funny to have in the booth. (I love him in FREAKS & GEEKS.)

Matt & Elisa discuss the Illuminati, UFO's and Loch Ness. I love how dubious she is, with her inside joke: "Believe me, the world's strange enough as it is." Little does she know.

But my favorite thing about Matt is that ultimately he's a healthy influence on Elisa... "Maybe that's when you need one [a partner] the most." He's just a really good guy.

As usual, characters keep their promises. Matt vows to find out what those creatures (the gargs) are. And by God, eventually he does.

More on continuity...

Elisa's only JUST coming back to work. In cartoon terms, the fact that we waited this long after her gunshot wound, was a relative eternity. The height of cartoon realism. It doesn't seem like very long, but months passed between the original airings of DEADLY FORCE and THE EDGE.

And Chavez won't let her go back on the job without a partner. Michael conceptualized Matt -- after I mandated the creation of Elisa's partner. Cops have partners. It is one of the defining things about cops. When cop-shows show cops working solo, it always bugs me. I felt we got away with it for a bit. But it was time to make Elisa a more real cop. And that meant a partner. Not a bad guy. But someone who could potentially cause her trouble. And yet still really be her partner.

Broadway is still very solicitous toward Elisa. Taking the tv from her. It's sweet.

Random stuff:

The show is gorgeous to look at. (Thanks Roy, et al.)

I love Lexington's line when he regains consciousness: "We're still alive. How come?"

Watching the show this time, my daughter was very nervous that the Statue of Liberty would be damaged in the battle between our gargs and the Steel Clan. But when Broadway nailed one robot by impaling him with a metal claw from the other robot, Erin said, "Nice one."

Goliath is reading Dostoevsky. Are you?

Chapter VIII: "Deadly Force"

Another ramble as I review the entire series. Comments welcome.

"Deadly Force". I have to admit. I never liked the title. It always sounded too generic to me. Michael Reaves pointed out how appropriate it was, but "Temptation" had already given me a taste for one word titles. I came to prefer those, unless I was given a damn good reason not to.

The third episode of our trio tryptich. Broadway. Broadway and Goliath. Broadway, Elisa and Goliath. But this episode represents so much more.

If you were watching the series in '94 during it's original run, and you didn't already think, "Hey, this is different." Then by the end of Act One of "Deadly Force" you knew. I don't know if there's ever been a cartoon like "Deadly Force". A mainstream media production. We had had up to that point a few fairly shocking cliffhangers, a few fairly shocking events, but what equals Broadway pulling that trigger, the suddenly "empty" kitchen and Elisa lying in a pool of her own blood as we fade to black and cut to a commercial?

Where do I start? With pride, I guess. I am extremely proud of this one.

Guns. My personal stance on gun control isn't an issue. Not in this episode. This is about something that I think every even vaguely intelligent person can agree on. Guns aren't toys. Guns aren't "cool", no matter how they're depicted in the media. Guns demand respect. Elisa is at fault. Broadway's massively at fault. Because neither held enough respect for the weapon. (Now one might argue that Elisa lived -- nominally -- alone. It didn't occur to her that she needed to be more careful with her weapon. But it should have. She's a cop. She should know better.) As I write this, as I watched the episode tonight, my head is of course filled with thoughts of the six year old boy who yesterday took his uncle's gun to school and shot a six year old girl, killing her. And I don't want to sound arrogant. But I am angry. And I feel like this episode could really help people. That parents should HAVE to watch this with their kids. Required viewing. And the fact that Toon Disney won't even air it...! I'm furious. Simply furious.

Guns are the least of it. We wanted to send a message about repercussions. Real world repercussions. I wanted our series to be ABOUT repercussions. Demona and the Captain betray Wyvern. There are repercussions. You can't fix things. You can't go back and change it. That's why time travel in the Gargoyles' Universe has such STRICT laws. Without those laws, you remove the dramatic law of repercussions. The real world law that actions have repercussions. This episode was our ode to repercussions. The guns were just our means to an end.

Still, guns would be our medium and the episode is laced with them. With gun imagery. With gun language (e.g. Chavez referring to Dracon's alibi: "He's bulletproof.", etc.). I don't think the episode is too pedantic. I hope it's honest. Probably the most dishonest thing in the story was that Elisa DIDN'T die. Forgive me for that. But I couldn't let her go just then. Still, I think we gave our audience a bigger scare in this one then in most of the other episodes combined. Maybe she would die. There's a sense of scary (again real world) vulnerability in this. And we tried to make her injuries and suffering as realistic as possible. We weren't doing E.R. (or St. Elsewhere, since E.R. didn't exist back then), but we did try to make the medical stuff play true.

All this makes me proud. Proud of what's on the screen.

But there's a whole other side to the making of this show that makes me proud. For what isn't visible on screen. For teamwork. This is a story that seemed to need to be told. Most of the springboards for the 66 chapters came from me, but this one was waiting for us. My bosses Gary Krisel and Bruce Cranston were behind the story from the start. Michael Reaves wrote an amazing script, and my God the thing is beautifully made. No one balked. Not our S&P executive. Not our bosses. No one. Think about how amazing that is? We had one of our young heroes pick up a very REAL gun and shoot our female lead in her own kitchen. That's pretty intense.

And fairly rewarding. Even our publicity department saw the value in this one. They got advance copies and sent them out. We had (always had) phenomenally good reviews. But this episode brought us praise from the kind of parents groups that most action cartoon shows usually fear. People got it. They got it. Dr. Madeline Levine wrote a book called "Viewing Violence". It's a fairly sobering study of the effect of modern media on impressionable minds. Disabused me of a few notions, I'll tell you. But she praises GARGOYLES, specifically this episode, in her book. People got it. But not TOON DISNEY people, I guess. They show a huge lack of respect for everyone who worked on that show. Everyone who did or might benefit from it.

(Re: The pool of blood. When it first came back from Japan, the pool of blood was much larger. We pulled it back by calling a retake. This wasn't cowardice on anyone's part. This was us trying to get our message across. We didn't want kids goofing on the pool of blood. Interested in the pool for the pool's sake, so to speak. We wanted enough blood there to make it real. To scare everyone. But we didn't want the pool to be distracting. And also we didn't want to imply that Elisa had already bled out.)

CHARACTERS

Broadway - First and foremost, this was still designed to showcase Broadway. All our nobler aspirations wouldn't matter if you walked out of this episode still thinking of the big guy as an eating machine and nothing else. So let's start by praising Bill Faggerbakke and voice director Jamie Thomason. Bill's performance is wonderfully poignant without falling into bathos.

And man, who is the scariest gargoyle when angered? Goliath? Demona? How about a vote for old Broadway? Guilt and anger tear him apart, and no one's safe. He PALMS Glasses for God's sake. He's young but maturing fast. I only had vague notions of Angela at this time. And I sure didn't know they were destined for each other. But I can see it here. The child who's done something so bad he's afraid to go home, ultimately taking responsibility for actions too horrible for most of us to face. Amazing strength of character.

Elisa - A secondary purpose (tertiary?) was to demonstrate that Elisa was a real human being, with real connections. A real life. She has a boss (introducing Maria Chavez), an apartment (introducing the loft), a cat (introducing Cagney). And she wasn't born a twenty-something police detective. She has a family. A father (introducing Sgt. Peter Maza), a mother (introducing Diane Maza), a brother (introducing Derek Maza) and a sister who's away at college (we even get a photo peak at Beth Maza). This wasn't some cypher who existed only to facilitate things for the Gargoyles. This was a woman whose life extended beyond their reach. A woman who now lived in TWO worlds. With two sets of hospital visitors.

Elisa's ethnic/racial make-up parallels actress Salli Richardson's, who has both African American and Native American ancestry. This is where serendipidy played a roll. We'd later get stories out of her multi-racial background. And it paralleled the inter-species romance we were preparing to build slowly. Sometimes, everything just goes your way.

Goliath - He says he'll find the man who shot Elisa and "Make him Pay". We didn't have to say "kill" there. Again, because this early in the series, we could all easily believe that Goliath could kill. And in fact, when Broadway tells Goliath that he "can't" kill Dracon, Goliath's response is: "You think not?" All the gargoyles had an edge of danger. We may have lost some of that along the way. It's natural. You get to know characters, you stop feeling tense around them. But here, both Goliath and Broadway go a little berserk. And we don't know how they'll act.

And Goliath already loves Elisa. It's so clear to me. The way he touches her hair. The way he reacts to her being shot. He loves her. He doesn't know it yet. But it is SO there. That moment when Goliath tells Broadway that they should go see Elisa, and Broadway is thrilled because he thinks that means that Elisa survived. And then Goliath stops. Because he realizes he isn't sure if Elisa is still alive. It slays me.

And meanwhile, Goliath is adapting fairly fast to the modern world. He clearly got his head around the idea that Xanatos was put away for possessing "stolen property", so he leaves the busted gun in Dracon's lap to make sure Dracon goes away too. He says as much. Not bad for a medieval gargoyle.

And this whole episode is a character-fest. Besides the above mentioned Family Maza, etc. We bring back Bruno, head of Xanatos' security. This was intentional. Establishing that the commandos from episode 2 were just Xanatos' security team being given an unusual assignment.

There's Dracon (pre-stripe) with Glasses and even Pal Joey. Rocky Caroll really brought Glasses to life. I like him. And Dracon, well, I just love his old-fashioned "noive". Calling Elisa "Honey" and "Sugar". Sending Glasses off to sell guns right in front of her. He's pretty fun in this episode.

Owen is incredibly cool. You can really see the Mr. Smithers influence in this one. Times ten. He fights, he negotiates. He manipulates. He's a phenomenal proxy for Xanatos. A true trickster with a low burning flame.

We also introduced Doctor Sato. I always planned on using him more. We just never found the story. Too bad. I liked him a lot.

And we cameo Matt. Originally, Chavez's driver was going to be Morgan. But we had already started work on "The Edge". We knew Matt was coming. So we decided to preview him here. Just a nice little touch for anyone paying attention.

MISCELLANEOUS STUFF

I'd love to know a little bit more about the movie "Showdown", a black and white western that was premiering in 1994. A score by Ennio Morricone (channeled through Carl Johnson -- a guy who doesn't get enough praise for the stunning work he did on the show). And the movie seemed to be a hit. Go figure.

And what about that movie theater. The balcony is closed. But they're storing bags of pre-popped popcorn. How old was that stuff?

Finally, Owen is very specific about the 37 missing weapons. Early on, I tried to keep count. To allow Broadway to eventually account for every one of those guns. But that was one detail that got away from me.

Chapter VII: "Temptation"

[More rambles on individual episodes. As usual, I encourage you to post your responses here.]

Part two of our trio tryptich. Brooklyn looks pretty cool in this one. I have to admit, I didn't realize what a break-out star Brooklyn was back then. I mean I liked him, but I didn't yet realize how much he would really capture a huge chunk of fandom's imagination. (Of course, back then the show hadn't aired yet, so there wasn't any fandom.) But seeing this episode in hindsight, you can sure see how cool this guy was. Good-looking with the hair and the muscles and everything. Even the snout adds to the look.

And he's so sympathetic too. Yes, he gets "turned" by Demona. But he immediately realizes that what she's doing is wrong. He admits his mistake and tries to correct it. He's such a good guy. Later, of course, I'd recognize the star power and attempt to give him his own series: TIMEDANCER.

Back then, of course, I had really modeled the ensemble nature of the show on HILL STREET BLUES. Goliath was my Frank Furillo. Everyone would get their own stories, but Goliath carried the weight. So, although the tryptich was designed to deepen the characters of the trio, you can see that each episode also prominently features Goliath. THRILL: Lex & Goliath. TEMPTATION: Brooklyn & Goliath. DEADLY FORCE: Broadway & Goliath. (And later, LONG WAY TO MORNING: Hudson & Goliath.) Don't get me wrong, I don't regret this at all. I think those are all great stories, and without Goliath they would not have worked as written. But I think the design of them betrays a bit of insecurity. We weren't sure if the other characters could carry their own episodes alone. The nice thing about the tryptich (and LONG WAY) was that it proved to us what a strong ensemble of characters we had built.

Lex has some real attitude here: "You rode a horse once, does that mean you could build one from scratch."

The motorcycle is interesting. It was one of three toy driven elements we consciously put into the show. (The others were in "Her Brother's Keeper" and "Eye of the Storm".) It was a rare moment of Kenner and Disney being in semi-synch. And the toy actually looks like the motorcycle. But of course, what the hell were we going to do with a motorcycle? How could we make that an on-going element in the show. Sure Batman has a batmobile, but the garg-cycle just sounds silly. So we put it in, but Michael, Brynne, Frank and I are so subversive that we blow the thing up before the end of Act One. Kenner never said anything. I'm not sure if they ever saw the episode. (But we weren't being very good partners.) But what goes around comes around. I'll tell the flip side of this when I ramble on Keeper and Storm.

S&P required that Brooklyn wear a helmet when riding. That was fine with me, but I wanted to make an effort to make it organic. Brooklyn puts it on because it's "All part of the look." Helmets make it cooler. Thus helmets are cool. Thus kids will wear their helmets. Aren't we sneaky?

Also, Brooklyn loses yet another pair of sunglasses.

Morgan's back. But he litters. That always bugged me. Talk about setting a bad example.

And is that Margot Yale's actress sister on the television sitcom saying, "Who do you think you are... Elvis?" [Add laugh track here.]

CONTINUITY

"Kindred Spirits" - Brooklyn quotes Lex from Thrill and attempts to make the same kind of connection with the bikers that Lex attempted with the Pack. With similar results. Later, Demona refers to Lex's little adventure with the Pack. This was the moment when Michael Reaves and I decided to attempt to treat the series as episodic but sequential. The order of the episodes would matter. Yes, you should be able to enjoy any individual story... but viewing is enhanced when you see the shows in order. This was not an obvious decision. Most shows REQUIRE that episodes are airable in ANY ORDER. We had that requirement too, up to a point. But we wanted to add something more. To play with continuity. With evolving lives. This wasn't an issue in the pilot five parter. Of course, that had to air in order. And then there was Thrill. Just the first one we made after Awakening. That aired next. But we didn't think about it. But here, we had to decide. So we opted for an episodic but sequential series. (My favorite kind.) We referred to previous conversations. (Elisa's still pestering Goliath about the Xanatos-ticking clock.) And we laid pipe for future episodes, by having Demona rip a few spells out of the Grimorum. (At the time, I didn't even know what those spells were for. But I knew she had them. I knew we'd use them.) We had Demona admit she had lied about how she had survived to the present. Etc. Anyway, all this continuity would later bite us on the ass a bit. (I'll talk more about this when we get to "ENTER MACBETH", which forced us to slightly change our M.O. for season two.) But again, I have no regrets; I think it's one of the things that makes the show special.

Meanwhile, how did Demona know about the Pack & Lex? Although the pact with Xanatos clearly hasn't been broken yet (not till CITY OF STONE, obviously), she also doesn't exactly have free run of the castle. She has Brooklyn steal the book. Of course, she wants Brooklyn complicit. And it's hard to sneak around the castle, when the Gargoyles (at least think that they) are the proprieters. I just always wondered whether Demona might not have been following Lex & Goliath around throughout that entire Pack battle. Or whether, Xanatos just phoned her and told her. Obviously, the former is much more interesting.

ANIMATION

Another great looking episode that we didn't fully appreciate at the time. Lots of great little touches. I love when Demona casts her spell, and then closes the Grimorum with one last flash of magic. So cool. And, as I said, Brooklyn really looks great throughout.

But there are a couple things...

The bikers approach Brooklyn. They get very close, and he's not in shadow. But they don't notice he's a "monster" until he takes off his helmet. What?! The snout didn't give it away?! That scene continues to drive me nuts. I just hate how it was staged.

And when Elisa's lecturing Goliath she is wagging her index finger in his face. That's annoying enough. But worse, the finger seems to get longer (like Pinocchio's nose) the more she wags (or nags). It's sorta mesmerizing. In that scene, I can't see anything else.

CHARACTER

I love how Marina Sirtis' voice bristles when Brooklyn mentions Elisa to Demona. Demona/Marina forces herself to say that the Detective may be "The exception [to human evil] that proves the rule." It seems sincere, but I really hear the hatred underneath.

Elisa tries to talk Goliath into leaving again. This time, she's got an idea where he can go. (So although that seems to be a repeat of their conversation from THRILL, we actually advanced that plot too. Weren't we smart?)

[And yes, I realize that all these rambles sound incredibly arrogant and immodest. I'm sitting here praising me and my team's own work. But what can I tell you? I do really like it. And I figure you guys might still be interested in my -- totally biased -- observations.]

Anyway, I love how what Elisa's saying to a very close-minded Goliath plays right into what Brooklyn heard from Demona. Brooklyn tries to argue Elisa's point. Putting Elisa and Demona, ironically, on the same side. Kudos to Brynne and Michael. It's a great little scene. Of course it ends with Brooklyn and Goliath turning to stone mid-argument. Just like Lex & Goliath did in the previous episode. Frank came to me and warned me not to do that again. Twice in two episodes was enough. At least for a while.

I also love Goliath's lines about "half-truths that [Demona] has thoroughly embraced."

LITTLE TOUCHES

Goliath just loves saying "Joy-Ride". It seems so pleasant.

Lex's double take reactions to finding out the motorcycle was blown up.

Elisa's "Thanks, I think." reaction to Brooklyn saying that he knew that she at least was a worthwhile member of the human race. Brooklyn still isn't quite free of prejudice. A work in progress.

The DEAD BODY. I held my breath on that one. We've got a chalk outline. And a corpse in a body bag. I was sure S&P would balk. But Adrienne was great. She saw that it was important to the story. And since we didn't dwell on it or explain it, she figured little kids wouldn't get it and/or be traumatized. As you can see we had a great working relationship with S&P. I mean, a DEAD BODY! It still shocks me.

Did Demona pay that family to perform their little scene for Brooklyn? I didn't think so at the time. But now I'm suspicious.

Brooklyn has a perfectly innocent line about the Cloisters being a place like the "world we came from" or something like that. Meaning of course, the medieval time that they came from. Once this aired, I immediately start seeing e-mails claiming this as evidence that Gargoyles are from another planet. This misapprehension may be one of the reasons I so quickly got involved with fandom.

Did we cheat? Elisa solves Goliath's slave-spell problem by using the spell to unhex him. I love that little bit. But Michael Reaves and I had a long back & forth discussion where we debated whether we were cheating the audience. (I seem to recall that at different times he and I both came down on both sides of the argument.) We finally decided to go for it. And again, no regrets. I do think it worked. And we sort of both promised each other that we wouldn't pull that kind of thing again. (Airwalker, I think there's a mention of this in the City of Stone memo I sent you.)

AWAKENING: PART FIVE

More tidbits and observations...

The first appearance of the Steel Clan. It's a silly little thing, but at the time I was ridiculously pleased by the name "The Steel Clan". It just seemed so right. Cool sounding, tough. And yet original and appropriate to the series. It was one of those early moments that made me feel like I was really tapping into the Gargoyles Universe.

Also the first appearance of the Eyrie Building Lobby Security Guard. The one that Oberon will later do his Obi-wan number on. I never forget a minor character.

One reason some of the editing is different between the video version and the tv episodic version has to do with when the two separate products were due. (I'm not referring to the TV movie version that's been appearing recently. I have no idea who edited that one. Or when. Or why.) As I've mentioned before, the video version was not originally created for video. It was created for our world premiere on two big screens at the movie theater multiplex on Pleasure Island at Walt Disneyworld. That premiere was in September of 1994. But the series premiere was almost a full month later. While I was supervising the editing of the movie version, Frank was (relatively speaking) taking his time on the five episodes. In my editing bay, we didn't have the luxury of waiting for all the retakes to come back before we had to complete OUR edit and lock picture for sound design. In fact, sometimes we were editing to pencil test animation. That's animated pencils without background paintings or ink or paint. It can sometimes be very hard to read at all. But we had to make decisions based not soley on "ART" but also on what we likely thought we'd get back in time to get the two prints made for the Florida premiere. Sometimes we cut little pieces that wound up turning out fine and making it into the episode.

Generally, I think the animation in this episode is just stunning. A few examples.
--Hudson lifting Bronx off that train.
--The whole scene with Xanatos, Demona and Owen standing beside the Steel Clan robots while they are covered with sheets. Some incredible shadow work. And the character stuff is so sweet.
--Some gorgeous battle stuff with those robots.
--The castle tower blowing up, crashing and falling apart.
This and more can still take my breath away.

I love all the Demona-Goliath-Elisa triangle stuff. It's all spelled out in the confrontation when Goliath wants to go keep his appointment with Elisa, and Demona's trying to stop him. If Demona hadn't been so bloodthirsty aboard FORTRESS-1, would Goliath have even remembered his appointment with Elisa? Or would he be off cuddling with his long-lost love?

Anyway, that whole conversation is just full of delicious irony -- all working against Demona. Goliath says, "I cannot make war on an entire world," completely unaware that that's exactly what Demona wants to do. He says, "Doesn't Xanatos prove that some humans can be trusted?" But of course, Demona knows that Xanatos absolutely cannot be trusted. Every statement Goliath makes pushes Demona toward further extremism. And he isn't even trying. Finally, after Demona reminds him of the Wyvern betrayal and Massacre, he says that the ones responsible for that "have been dead for 1000 years." Now putting aside that the Captain and Hakon aren't quite as dead-dead as Goliath thinks, this has got to push Demona over the edge. Deep down she knows her own responsibility. Again Goliath is wrong, because the traitor is standing right in front of him. My hats off to Michael Reaves. What a great scene! "So be it." she says. Goliath won't know it until VOWS. But they are DONE. Right there.

Cultural Differences 101: Elisa is trying to convince Goliath not to trust Xanatos. I don't remember the exact line, but she says something with the word "three" in it. (Maybe refering to the three disks or the three Cyberbiotics installations...?) Anyway, to indicate three she holds up her index finger, her middle finger and ... her thumb. It still looks totally goofy to me. I don't know anyone who wouldn't use their ring finger with the other two, using the thumb to hold the pinky down. Does anyone know if in Japan the thumb is preferred?

When Demona's destroying FORTRESS-1, Goliath is standing around stunned. She tries to get him to leave, but he refuses. Finally, she pulls him out. What was supposed to happen was that the tilting ship was supposed to dump him out the hatch at the same time Demona was pulling. So that he was more unwilling to abandon the crew of the ship. But it never animated with the tilt going the right way.

In our original development we planned on making a lot bigger deal of all the various Xanatos Enterprises sub-divisions. You got a taste of that with PackMedia Studios and Gen-U-Tech (a.k.a. Gen-U-Tech Systems or G.U.T.S.). But we were also going to make a bigger deal of his robotics division, which was going to be called the Scarab Corporation. (Thus the scarab design that appears on the transmitter.) But Xanatos wound up being even more hands-on then I anticipated. Less Lex Luthor. More his own glorious self. So Scarab never got much of a spotlight because Xanatos handled those kinds of adventures himself and/or the robots handled things themselves (cf. Coyote in Leader of the Pack). For those of you who have been to one of the Gatherings and seen the original Gargoyles Pitch, you might recall a giant chrome cockroach climbing up the side of a building to attack Goliath. That was going to be a Scarab Corp. creation.

Isn't Xanatos just too cool:
"Let's let them play out there little drama, shall we?" He's so amused. He can't resist watching the confrontation. And for once I don't feel like it's cause he's a villain stupidly giving the hero time to turn the tables. He's sincerely entertained by the show.

"Without me you'd still be gathering moss." Nuff said.

There's another great little dialogue editing moment. Real subtle. When Demona says: "The plan was perfect." Goliath whispers "Plan?" She says something else and then he completes his thought "What Plan?" That little overlap wasn't scripted. It was another product of me having the luxury to really nurse those dialogue edits on those early scripts.

There is good and evil in all of us. Human and Gargoyle alike. Hey, Lexy, there's another major theme of the series. No one group has a monopoly on either attribute.

One thing that never quite worked for me, was the reveal of Demona's name. She makes such a big deal of it. But the name (at this point in the series) just doesn't have enough resonance for me yet. Later, sure. "Demona". We all sit up and take notice. But there. "Demona". Yeah, so? Did that moment play for you guys?

Goliath is about to toss Xanatos off the building. Elisa begs him not to. That'll make you just like Demona she says. Then Hudson pipes in and says, "She's right, lad. Is that what you want?" I intentionally instructed our voice director Jamie Thomason to direct Ed Asner to read that line with ambiguity. Hudson DOESN'T care whether Goliath tosses David or not. He simply wants Goliath to make an informed choice.

And yeah, yeah, David & Goliath. Perfect opposites.

Elisa: "Maybe, we'll catch a Giants' game."
Goliath: "Giants?"
Were any of you surprised when a Giant Oberon attacked the castle?

As usual, I encourage responses posted here, on either your original feelings when seeing the episode for the first time and/or newer more recent observations from repeat or recent viewings.