My kids had a midsummer night's dream...

Last night there was an outdoor production of Shakespeare's "A Midsummer Night's Dream" at the Los Angeles County Museum of Art. We were told it was a very kid friendly production and it was free, so we figured it wouldn't hurt to take the kids. If they got antsy, we could always leave.

As most of you know, I have two kids: Erin (age 5) and Ben (age 3). I asked them if they wanted to see a show with Puck in it. (The only Puck they know is the one from Gargoyles.) They were very enthusiastic about wanting to go. I tried to tell them the story of the play. But it's fairly complex when compressed, and I wasn't sure if they'd gotten it.

There was supposed to be a pre-show at 6:30pm, so we got there in time for that. But there was no pre-show. Instead the show started at 7pm. Since they had already been sitting for a half hour I was sure the kids wouldn't make it through the whole play.

But, man, they loved it! Erin was riveted throughout. Benny had a couple of moments when he was more interested in the stars that had begun to appear as it got darker. He also started to sing to himself a couple times. But he never fell asleep, never got drowsy. Never ran around. Or got noisy or anything. Both of them sat on the grass and watched the show, laughing and applauding until it was over an hour and forty-five minutes later. (Obviously the play was trimmed a bit, but all the language was Shakespeare.) They loved the costumes, the magic, the comedy. When Titania ran through the audience and approached them, they were both beaming.

After the show, they ran up to introduce themselves to all the actors. They gave BIG hugs to Titania. It was pretty amazing.

And for me it represents the first step in introducing them to Shakespeare. We're not exactly there yet. But I've been missing a lot of Shakespeare Festivals since the kids were born, and soon I'll be able to take them along.

Chapter XVII: "A Lighthouse in the Sea of Time"

Written by Brynne Chandler Reaves & Lydia C. Marano
Story Edited by Michael Reaves

Well, I watched "Lighthouse" again last night with my family. First thing I noticed was the bad "Previously" recap. This is all my fault. The recap features Macbeth, because I wanted to make sure the audience knew who he was. But that blows out the first act surprise reveal that he's behind it all. Up to that point in the story, you'd be thinking Xanatos. But because of the dopey recap, you know it MUST be Mac. Later in the season, after I got hammered over these recaps by the folks on the Disney Afternoon e-Mailing list, I learned never to put anything into the recap that wasn't revealed in the first five minutes of the show to follow. But here's a perfect example of me screwing up my own mystery.

We introduce archeologists Lydia Duane and Arthur Morwood-Smythe. Dr. Duane was named after writers Lydia Marano and Diane Duane. Professor Morwood-Smythe was named after writers Arthur Byron Cover and Peter Morwood. Arthur is Lydia's husband. Peter is Diane's husband. I don't know anyone named Smythe.

Macbeth episodes, at least up to this point, seem to be cursed with mediocre animation. (Of course, everything's relative. Mediocre on Gargs was still better than most series got. But relative to our expectations, this ep is pretty weak.) I bet Elisa would have really looked cute in that red baseball hat if the animation had been even slightly better.

I don't know how clear it is in the prologue. The idea there, was that the wind was blowing through the lyre. The haunting sound drew the archeologists further into the cave. They read the warning which indicates that the seeker of knowledge has nothing to fear, the destroyer everything. They are supposed to hesitate, look at each other, decide that they are seekers not destroyers and then open the chest. Merlin's clearly put a safety spell of some kind on the chest. An image of the old man appears and basically checks to confirm whether the archeologists are in fact seekers or destroyers. Satisfied, the spell disipates. But you can imagine what would have happened if a Hakon type had stumbled in.

Anyway, it never felt like all that came across. Did it?

Brooklyn (re: Broadway): "Ignorance is bliss." In High School, I had a classmate named Howard Bliss. We had chemistry together with Mr. Miller. Mr. Miller once asked the class a question that we all should have known. No one knew the answer, and our own idiocy generated laughter among Miller's students. He just shook his head and said: "Ignorance is bliss." He forgot that he had a student named Bliss. It generated more laughter. I don't know why I told you that. But it's what I thought about when Brooklyn read that line.

There's a semi-heavy-handed "Read More About It" feel to the clock tower conversation regarding Merlin. Goliath practically quotes those public service announcements, saying there are many books about him in the library. I don't mind. I had wanted to cite a few actual books -- like Mary Stewart's THE CRYSTAL CAVE -- but our legal department wouldn't give us clearance for that. Very short-sighted.

A connection is made between Merlin and the Magus. This was not an accident, as at that time, I had planned to have the Magus journey with Arthur on his Pendragon quests to find Excalibur and Merlin. I later changed my mind. But the Magus does at least play a Merlin-esque roll in the Avalon three parter.

I always wonder who was playing in "Celebrity Hockey" that night.

Macbeth's standard Electro-Magnetic weapon was my idea. I didn't design it exactly, but I did make crude little drawings of something that looked vaguely like a staple gun, with two electrodes that generated the charge. I was always proud of that weapon. It was uniquely Macbeth's (and Banquo and Fleances'). Set him apart from all the concussion, laser and particle beam weapons we used elsewhere. (I did the same kind of thing on the Quarymen's hammers.)

It's fun to listen to B.J. Ward voice both sides of the confrontation between Fleance and Duane.

Banquo's model sheet showed him squinting out of one eye. Some episodes, not so much this one, but some took that to mean he only had one eye. So he walks around looking like Popeye for the entire episode. (His big lantern jaw helps accentuate that.) There are a couple of Popeye moments in this ep. But more in his next appearance I think.

It was my idea to just have Mac's mansion rebuilt without explanation. I don't exactly regret it, but it's kinda cheap. We burned it way down. He has it rebuilt. It makes sense. But we usually dealt with consequences more than that.

When he rebuilds it, he installs those cannons. They were supposed to be giant-sized versions of the hand-held E-M guns. But they don't come off that way. Instead they fire at the gargoyles. And mostly seem to destroy the various turrets of Macbeth's own place. Ugghh.

As in "Leader" we get another scene of Goliath and friends confronting Owen at the castle. Looking for Xanatos, when in fact Xanatos isn't the threat. It made sense in both episodes. And it's always nice to showcase Owen a bit. But after two of those in four episodes, I wasn't gonna do that again. (At least not until KINGDOM.)

I love the "Macbeth Theme" that Carl Johnson created for the villain, which is featured at the end of ACT ONE.

Macbeth opens the "second scroll" and starts to read Merlin's seal. This caused tons of fan confusion, as he read "Sealed by my own [i.e. Merlin's] hand". No one seemed to get that he was reading that. They thought Mac was saying that he [i.e. Macbeth] had sealed the scroll. Of course that notion renders the whole thing confusing as hell. But it never occured to us that anyone would take it that way.

We also introduce Jeffrey Robbins and Gilly in this episode. Gilly is of course short for Gilgamesh, one of the legendary characters that Robbins once wrote about. It's just a bit odd, because Gilly is a female.

Robbins is a very cool character. Wish we had had the opportunity to use him more.

I like how when Robbins and Hudson are introducing themselves, Robbins gives his first and last name. Hudson says, I'm Hudson, "like the river". An echo of how he got the name. And a reminder that names aren't natural to him. Even if they are addictive.

John Rhys-Davies is just fantastic as Macbeth. I love his speech to Broadway. It accomplishes everything we needed it too. That line about the "human heart" by the way is a reference to the Arthur/Lance/Gwen triangle.

I also love his line: "I'm Old, but not THAT Old." This was a little hint to what we'd reveal in CITY OF STONE. Sure Macbeth's from the eleventh century, but not the fifth or sixth. It's like someone saying to someone my age, "So what did you do during World War II?"

Lennox Macduff. That was a cool touch. Also a hint as to how Macbeth feels about Shakespeare.

I like the Phone Book scene too. Hudson says "Hmm. Magic Book." Robbins replies: "Aren't they all." Great stuff.

By the way, as Robbins goes through the phone book, scanning names, he passes "Macduff, Cameron". One of my college roommates was Cameron Douglas, who was really interested in his Scotish heritage. That was a mini-tribute to him.

My daughter Erin reacts to the fact that Macbeth threatens to use Merlin's spells on Broadway. She points out that Macbeth had promised to let Broadway go after he had the scrolls. She's surprised he hasn't kept his word. My wife at that point reminds Erin that Macbeth is the villain. Erin gets that. But you can tell it isn't quite sitting right with her.

Later when Macbeth DOES let everyone go without a struggle, Erin is clearly not sure what to make of him.

And on one level, that's exactly as we wanted it. Macbeth is a troubled guy -- a hero who's devolved into a villain. A suicidal villain on top of that, though we hadn't revealed that yet. But he is a villain. Later, it's debatable, but here he's taken to being an ends-justify-the-means kinda guy. And even his ends are hazy at best.

I love Broadway's "precious magic" speech. It's so wierd hearing poetry from the big galoot. But that's so Broadway. The soul of a poet. Bill Faggerbakke was a huge help.

And I love Robbins "They are lighthouses in the dark sea of time..." speech. I love that it's not exactly the title. Brynne and Lydia did fine work on this one.

I wonder what happened to that lyre?

Chapter XVI: "Legion"

Story Editor: Michael Reaves
Written by Marty Isenberg & Robert N. Skir

I just watched "Legion" again. Time to Ramble.

From the memo I posted earlier this week, you'll see that the never used on screen names of Othello, Desdemona and Iago were my idea. But I've always wondered if that's the case. The outline that Marty and Bob wrote immediately prior to that memo had all the Othello elements very, very present in the story. All they didn't do was NAME the characters. I always wondered whether they and/or Michael had the Othello story specifically in mind, consciously or un-, and I just capitalized on it.

The Goldencup Bakery Building, which semi-secretly houses a defense department hi-tech research and development installation is modeled after the Silver Cup Bakery Building -- which actually exists in Brooklyn (as I recall). That Building was trashed in the original HIGHLANDER movie in the final battle between Connor and the Kragen (who was played by a pretty damned horrific Clancy Brown). Small world.

I was always worried that the whole Othello, Desdemona, Iago, Cassio (whoops, I mean Goliath) backstory was a bit vague in this episode. Did anyone have problems getting it?

I don't think I'd like to be one of those Goldencup Guards. Coldstone punches one of them out. That's gotta hoit. He just seems fairly unstoppable in that Xanatos-program controlled sequence. I like how that plays.

Matt says to Elisa: "You never let me drive." My wife's reaction: "Was that in homage to me?" My wife, you see, almost always drives when we're together. She gets carsick when anyone else drives. And I don't much care.

Speaking of Matt, we've got that line about him spending six months reading RECAP manuals to justify why a normal detective would be in charge of RECAP in the first place. Just trying to avoid either adding a superfluous character and/or making the situation seem artificial.

Another appearance of the Scarab Corp. Logo, even though Scarab is never mentioned by name. Oh, well...

Coldstone flees the Goldencup. Goliath and Lex pursue, and Coldstone attacks them. Then he immediately stops, when he sees it's Goliath. The problem I always had with that scene is that the lighting made it obvious that it was Goliath from moment one. (Not just to us, but to Coldstone.) If Goliath had been in shadows, it would have played better.

Minutes later Lex asks Goliath if it's wise to take Coldstone into their home: "He hasn't always been your friend." This was, theoretically, a reference not simply to the most recent attack, nor even only to the events of "Reawakening", but also a reference to the pre-Massacre backstory of the actually non-existent love triangle (or square or pentagram if you include Demona) that caused Goliath and Othello to fight way back when. Lex remembers those days too. Othello was always a bit of a hot-head.

I love Goliath's response: "Without trust there can be no clan." And I love that this is part of a Lex/Goliath exchange. It fits in perfectly with the message they taught each other in "Thrill of the Hunt". Gotta take some chances on occasion. Or else you'll always be alone. It's an anti-Demona mentality. Or rather a mentality that is strikingly un-Demona-esque.

From the moment Coldstone premiered in "Reawakening" I knew (that if we survived to a second season) we'd discover that he was created from three Gargoyles. Tried to work that conceptually into the design more, but we never quite achieved it. So basically that becomes something that the audience has to take on trust.

Which brings me to the title "Legion". It's a one-word title which usually is a tip-off that it's one of mine. I know it's a biblical reference. Some possessed guy with a demon/devil inside who goes by the name "Legion". But that's not actually where I got it. When I was a kid, I saw this tv movie based on Mary Shelley's FRANKENSTEIN. It starred Michael Sarazan or Chris Sarandon. (I always used to mix those two guys up.) It was trying to present a more realistic believable version of the Frankenstein story. I was pretty young. And I don't remember too much about it. I do remember that I was supposed to be asleep -- past my bedtime in the days before my parents gave up and I began going to bed long after they were asleep. But instead of being asleep, I was watching it, in the dark, with the volume turned as far down as possible, me sitting right by the set, so I could flip it off if I heard my parents' door opening. (This was long before remote controls were common.) Anyway, the one scene that I really remember is a scene where they put the Monster under hypnosis. The voices of all the people who "donated" body parts begin to speak. And one of them quotes the "Legion" thing from the bible. But I didn't know that. That is I didn't know back then that he was quoting anyone or anything. It just seemed like a very powerful, poetic and humanly true statement. So it wasn't until college that I read that passage in the bible and realized where it was from. Can anyone cite the actual quote? I can't remember where exactly it's from, and I don't feel like searching right now.

Anyway, all this is relevant because Coldstone was ALWAYS our Frankenstein character from the "IT'S ALIVE!" moment to the "Legion" stuff here.

Coldstone calls Hudson "Mentor". That's a "name" I've been long considering for Hudson's "designation" in the DARK AGES prequel spin-off.

Coldstone shoots Goliath at point blank range. Goliath gets up unharmed. A far cry from what happened to G in "Long Way to Morning." Now in the outline and script, it says that Coldstone uses his "concussion cannon" as opposed to his laser cannon. But nothing in the as-aired episode makes that distinction. And so it just looks irresponsible to me. Like suddenly we're saying violence has no repercussions. Did that bother anyone else?

I love the dark comedy of Coldstone going bonkers at Ellis Island. Fighting with himself. I think Michael Dorn did a terrific job playing all four aspects of CS's personality. Which of you figured out what when? I'd like to know.

The Trio has the Recap visor. Now all they have to do is find Goliath, Hudson and Coldstone. How will they do that? "Three guesses?" A very elegant way to explain how in a huge city, they're able to locate three gargoyles.

Kenner's Coldstone toy is a lot of fun. With it's window into Coldstone's soul. And the spinner that allows any of the four personas to take over at random.

Xanatos doesn't even appear until the VERY END of Act Two. And it's not even really Xanatos, just a program designed by him. Normally, I'd say that wasn't playing fair. But I feel like his presence was obvious all-along. (And did David personally design that program. Or did he just put his stamp on it, management-style?)

There's a moment when Goliath, thrilled to see his rookery sister again, hugs Desdemona. She is immediately annoyed, because she knows that hug is prone to misinterpretation. It's a nice little touch in the animation.

I always wondered what if anything Demona thought about that ancient conflict way back when. Was Iago playing her as well? Trying to make her jealous of Desdemona? I think maybe he did try. But wouldn't it be cool if she didn't credit it for a second. If she just knew intuitively that Desdemona didn't present any threat at all to her relationship with G? Because, I feel the opposite is true. That Demona knew intuitively that Elisa DID present a threat. Say what you want for Demona, but her subconscious knows her man.

I love that moment where BOTH Iago and Xanatos are whispering in Othello's ears. Poor slob never stood a chance.

We've got a nice little Xanatos tag in this one too. Certainly not a doozy as in "Leader" or "Metamorphosis", but it's got a nice little kick to it, I think. And that's THREE episodes in a row. X had been busy.

And then I love the last beat back at the clock tower. Goliath has confiscated Coldstone's body, to keep it safe and "among friends" should he/she ever wake up again. I wanted to keep it in the corner from that point until "High Noon". Always present and visible. We didn't for two reasons. First, we figured it would be a bit confusing. The Batcave can get away with the giant penny and other souvenirs from Batman's cases, because there ARE multiple souvenirs. But just having one immobile gargoyle in the background, as cool and creepy as that is, would be horribly distracting for any audience member who missed this one particular episode. And second, we had our tier system. What if "Legion" wasn't ready as scheduled. We couldn't have Coldstone sitting around the clock tower in later episodes that we'd be forced to air first. Talk about disconcerting. So we invented a back room. Where Coldstone, the Grimorum, the Gate and eventually the eye could be stored.

Comments welcome, as usual...