Congratulations, Monique!

Went to a wedding today.

My good friend Monique Beatty married Tim Eldred.

Monique, as some of you may know, was my assistant and a script coordinator during the Gargoyles years. She was literally invaluable to me then, keeping my schedule (known then as "Greg's Nefarious Plan to Take Over the World") and keeping me on track. Among other things, she offered tremendous moral support. She's now a Line Producer at Nick. Tim is a story board and comic book artist.

They are both, great, great people. And I am so happy for them.

It was also nice to see Deirdra, Shan and Kevin at the wedding.

Hudson's nearly renamed...

More old memos from the original development file...

At one point a Disney Executive came to me and asked me to rename Hudson as a personal favor. She had just had a son, whom she had named Hudson, and was concerned for reasons I can no longer clearly remember.

I wanted to be nice, but this was very problematic for us. Hudson's being named for the river was the way into the New York names for the whole clan. I couldn't see an easy way to make the change.

But in the spirit of being a team-player, we tried to give it a shot.

The following is a hand-written note in my files of possible names. The ones marked with an "x" were actually crossed out by me.

[Castle Logo] Walt Disney Television

Gregory David Weisman

FIRE - x
LONG - x
CONEY - x
SHERIDAN - x
COLUMBIA - x
HARLEM
ROCKEFELLER
MADISON - x
LAGUARDIA - x
SHEA - x
YANKEE - x
TRIBECA - x
SOHO
JERSEY
BATTERY - x
WASHINGTON - x
LINCOLN - x
VERRAZANO NARROWS - x
ROOSEVELT
EMPIRE - x
CHELSEA - x
GRAMMERCY - x
WALL ST. - x
BROAD ST. - x
BOWERY
NOHO - x
HOUSTON - x
BLEEKER - x

After jotting those down, I composed a memo for my boss to see if he wanted to make the change. He didn't have (or at any rate didn't use) e-mail back then. So traditionally, I would send the memo to myself. Print it out and then leave a hard copy with his assistant.

[4] From: Greg Weisman 9/13/93 12:44PM (616 bytes : 28 ln)

To: Greg Weisman, Paul Lacy
Subject: Hudson Names

------------------------------- Message Contents -----------------
Gary, here are some possible alternatives to the name Hudson:

Rockefeller
Roosevelt
Bowery
Harlem

SECOND CHOICES:
Madison
Soho
Jersey
LaGuardia
Shea
Yankee
Tribeca
Battery
Washington
Lincoln
Sheridan
Greenwich
Coney
Grammercy

He returned the same memo to me stamped from his office with the following little note:

RECEIVED BY
SEP 13 1993
GARY KRISEL'S OFFICE

Greg

WHY
1) Would "Hudson" pick his own name?
Keep this for the teens

GK

Having received that note, I then had to go into his office and remind him about the whole naming schema. The fact that we had names for the 'teens' and that the reason we were considering changing Hudson's name was because of the request of this one executive. Gary then considered all this and decided to stay the course. I apologized to the executive but told her we wouldn't be making a change. I felt bad -- a bit. But I also felt sure that we had chosen the correct names.

Another design memo...

We got more designs from WDAJ. Here's our response back to them...

To: Motoyoshi Tokunaga 8-26-93

From: Greg Weisman 818-754-7436

Re: GARGOYLES DESIGN WORK

Dear Mr. Tokunaga,

This is in response to the designs sent in your fax dated August 21st. (We've looked over the originals you sent as well.) Although we have substantial notes, I want to emphasize that we're learning more with each submission. Things that did not occur to us initially are now becoming clearer. For reference purposes, I'm going to refer to the page numbers of the fax. In the future, you might want to number every drawing on every page for easier reference.

PAGE 3
Seeing the four Gargoyles together raised a number of interesting problems. Goliath seems to have lost some of the upper body bulk that made him so imposing. And Broadway seems to be on an equal level with Goliath. We need to make Goliath more special and unique. And although the trio of Brooklyn, Lexington and Broadway must each be unique from each other, we'd like to see the three of them as a natural grouping. As it stands now, Goliath, Broadway and Brooklyn all seem of a piece, with Lexington as the odd man out.

I might propose the following possible solutions:
--Let's give greater stature to Goliath relative to the other three, particularly Broadway.
--Let's make Goliath the only one of the four who tends to stand erect like a man. If Broadway and Brooklyn existed in a crouch as Lex does, we could cheat all three of them larger and still leave Goliath with greater stature.
--We already have two unique wing constructions (Goliath's and Lexington's), but we could stand to create a third type. Leaving either Brooklyn or Broadway as is, if we gave the other a third style of wing, then when we looked at the trio of younger gargoyles as a unit, each of them would have a unique wing-type and Lexington wouldn't seem like such the odd man out.
--If I haven't mentioned it before, we think of Goliath as being in his late twenties (in Gargoyle years). We think of the trio as being between 17 and 19 years old (in Gargoyle years). Keeping them youthful should also help in making them into a visible unit and still distinguish them from Goliath. Broadway, in particular is looking a bit too old.

PAGES 4 and 5
We'd like to make Goliath more imposing in size. Perhaps by slightly reducing the size of his head relative to his shoulders and chest. Bulking up his upper body.

We're also divided over here on the issue of the tail. Some of us feel it adds an inhuman element to help make Goliath cool and different. Others, just feel it's another thing that'll need to be animated.

Love the way the wings drape on page 5.

PAGE 6
One of Gary Krisel's concerns is that the face have depth. He doesn't want it to look like a mask connected to Goliath's thick neck. I'm not sure I see that problem in these drawings, but it's something to watch out for.

Another important point is Goliath's attitude and expression. He is highly intelligent. Noble. Gary was also concerned that some of the expressions here (and on page 4) made him look a bit like a thug.

A third concern is whether or not we might still have too much pencil mileage in the facial design to animate effectively.

PAGE 7
I love the top two head shots. Goliath looks terrific surprised. And I think the trick with the pupils vanishing in anger is very effective with all the characters. I also like Goliath amused in the lower right corner. But I'm not sure about the lower left shot. I'm not clear what emotion is being expressed. Something about the teeth and maybe the eyes is unappealing. I apologize for not being able to pin down my problem further. Maybe we should reserve his jagged teeth for extreme expressions? I don't know.

PAGE 8
Both poses, particularly the kneeling shot, are wonderful. In the first pose, however, I think we should be cheating his wing-span much, much larger.

Page 9
Great.

Page 10
I like his slimmer "teen" build, but perhaps Brooklyn should "stand" in more of a crouch. Not simply bad posture, but keeping at least three limbs on the ground.

PAGE 11
Again, Brooklyn needs to remain 18 or 19 years old. Particularly in the lower left and right corners he seems much older than that. We also probably need a greater range of expressions. Remember, he is the irrepressible leader of the trio. Out to find adventure. Are his horns too far apart? As opposed to being slicked back like his cool young hair, are the horns scooping up, giving him a more demonic look than necessary? Have we created a mouth that inhibits expression too much? You can see, we have more questions than answers, still.

PAGE 12
I think Lexington works as a basically horizontal character, but we don't want to make him too diminutive relative to the others...stretch him out in poses. Remember that his middle set of limbs function as arms as well as legs.

His wing design may be more complicated than necessary. We may not need the rib construction coming out of his back. For him, it may be enough that he has this wing like webbing between his two upper sets of limbs. Perhaps it's more elastic than draping.

Again, we need to keep him young. Lex is highly curious about the modern world around him. Everything interests him and fills him with wonder. He's more naive and innocent than the others. These qualities should help compensate for his slightly more demonic look.

PAGE 13
My favorite shot is the third from the left on the bottom row. And as usual, the angry glowing eye "battle" version works great. The upper right shot is cute. And I like the surprised version in the second from the left on the bottom row. But we're not getting the sense of wonder or excitement from him in the upper left and upper middle. And I don't really care for the sinister shot of him in the lower left corner. He's not angry or primed for battle (we know this cause his eyes aren't glowing), so I can't figure out what would give him that kind of nasty, almost hungry expression out of a battle context. Again, it may be that using jagged teeth outside of battle mode makes them too demonic. Another question: do his cheekbones need to be so prominent?

PAGES 14
Body-wise, Broadway looks pretty good outside of a context of scale with the others. We like his gut, his sumo-like quality. But like Brooklyn and Lex, he should be a croucher. Like the center on an American football team. And we may want to scale him down; he doesn't necessarily need to be that tall or broad relative to Goliath.

Our biggest concern is that he looks way too old. Mostly in the face, but when scaled with Goliath, as on page 3, in the body as well.

PAGE 15
Again, in all these shots, he looks too old. In some ways, he looks too much like Goliath. He should be a nineteen year old party animal. He just likes to have a great time. Always laughing. The only shot that really works for us here is glowing eyes shot in the lower left corner. In battle, it's appropriate to have the jaw distended and grotesque. In the others, we might try to give him more youth by making his head shape more horizontal than vertical. Less cheekbones, maybe. Rounder, perhaps? I'm not sure.

That's it for now. Looking forward to seeing your next pass.

Thanks. Greg.

cc: Bruce Cranston, Barbara Ferro, Eddy Houchins, Lenora Hume, Gary Krisel, Paul Lacy, Tom Ruzicka, Dave Schwartz.

More correspondence with Tokyo...

Another old memo from my development files. It's pretty self-explanatory.

To: Motoyoshi Tokunaga 8-4-93

From: Greg Weisman 818-754-7436

Re: GARGOYLES DESIGN WORK

Dear Mr. Tokunaga,

Just a quick note to let you know we all looked at the Clayface episode of Batman that you sent us. We thought it was terrific. If you are confident you can animate to this level, I'm confident we have a great show in the works.

Greg.

cc: Bruce Cranston, Barbara Ferro, Lenora Hume, Gary Krisel, Paul Lacy, Tom Ruzicka, Dave Schwartz.

Another memo to Japan...

Here's a follow-up memo on the character designs to the one I just sent praising "Designer E". Mr. Tokunaga sent us a note asking for feedback on the other five designers who had made an attempt on the Trio and Goliath....

To: Motoyoshi Tokunaga 7-26-93

From: Greg Weisman 818-754-7436

Re: GARGOYLES DESIGN WORK

Dear Mr. Tokunaga,

Per your request, a quick note on Designs A-D and F, with a reminder that just because the designs didn't suit our purposes, doesn't mean they weren't worthwhile attempts.

Designer A has the action feel of the show, but to be honest, the designs on Goliath, Brooklyn and Lexington were too unappealing. Although the characters are monsters, they need to be heroic monsters. It's a tightrope we're walking, and this group didn't seem redeemable. Broadway was more appealing, but a little goofy looking, and he seemed to be scaled too large.

Designer B was too cartoony on Lexington, Broadway and even Brooklyn. We're looking for more of an action feel. Goliath, particularly in B-7 and B-8, seemed too human. Like a man wearing a mask. Not unique enough. B-10 was a nice pose, though.

Designer C was just too cartoony. And the trio of smaller gargoyles looked more like aliens from another planet than medieval stone creatures.

Designer D's Goliath was an interesting interpretation. D-1, D-2 and D-3 were all nice poses that gave us the feel we were looking for. But in D-3, Goliath seemed too reminiscient of the Beast from Disney's Beauty and the Beast; and we're already a bit too close to that concept for comfort. We don't want to emphasize the similarities further than necessary. And though it seems like a minor point, we all really didn't like his chicken feet. And again, the gargoyle trio seemed too cartoony.

Designer F obviously stuck the closest to our original designs. Even closer than Designer E, whose work we liked. They seem to be simplified tracings, without the wings. I'm not sure how to describe my response, but the magic just seemed to be out of the drawings. The characters seemed unappealing, unexpressive and flat. Everything that E wasn't.

The "GOLIATH SPECIAL by Hashimoto" didn't grab us. Again he seemed like a normal man, an older man, with pointy ears and big hair.

Hope all the above is helpful.

Greg.

cc: Bruce Cranston, Barbara Ferro, Lenora Hume, Gary Krisel, Paul Lacy, Tom Ruzicka, Dave Schwartz.

Chapter XXXVII: "Shadows of the Past"

Time to ramble....

This chapter (episode) was brought to you by:

Director: Kazuo Terada
Story Editor: Michael Reaves
Story: Michael Reaves
Teleplay: Michael Reaves & Brynne Chandler Reaves

Plus the usual suspects, including Frank and me.

The title is one of Michael's. I had the impulse to shorten it to "Shadows", but I didn't.

THE WORLD TOUR

As the recap ended and Tom shouted out: "Avalon doesn't take you where you want to go. Avalon sends you where you need to be!" My seven-year-old daughter Erin said, "Uh, oh."

"Uh, oh," indeed.

And so we begin Tier Four in earnest. Our quartet of travelers weren't headed straight home. Of course you couldn't know at that time just how long they'd be gone. And frankly when we started writing, neither did we.

It wasn't just the quantity of episodes (23 counting the Avalon three-parter, Kingdom, Pendragon, The Green and Future Tense) that we'd spend before everyone was reunited in Gathering One. It was the reruns in between.

What was supposed to be a five week trip became a five month trip. And so, for many of the fans it became interminable.

Why all the reruns? Well, the schedule finally just caught up with us. When Gargoyles was picked up for a second season by Buena Vista, I was asked how many we could reasonably produce for the fall quarter (between September & December of 1995) without interruption.

I told them that we were prepared to do six more. That was all the scripts that had been ordered (Leader, Legion, Metamorphosis, Lighthouse, Beholder, Vows). But I said we could do 13. We had done 13 the first season with a ten month sliding schedule. Now we had just under twelve months so we could certainly do 13 again.

I was asked what's the most we could do. I said, well if we start right now we can do 18.

Not 52? They asked.

52? Are you nuts? (Well, I didn't say that exactly.) I said we'll never get 52 done for the fall quarter. We'll wind up with a lot of repeats. You (Buena Vista) will not be happy with all those repeats.

They were disappointed. So disappointed, that instead of ordering 18, they only ordered six. (If we can't have 52, then forget it. [Okay, they didn't exactly say that either, but that seemed like the basic attitude.])

So we get to work to do six. Two weeks pass. Buena Vista comes back and says. No, do 13.

We respond with, uh, okay. Of course we've lost two weeks, so it'll be a bit harder, but we can do it.

Two weeks pass. They come back and say, "No, do 18."

We grumble a bit, because now we've lost a month of prep time when we could have been building crews, etc. But okay, I said we could do 18. We'll manage.

Two weeks pass. They come back and say, "Do 52."

Now we balk. We warned you we couldn't do 52 in twelve months. Now you want us to do it in 10? It took us ten to do 13.

Do 52.

And so we did. We built multiple crews. Our staff increased exponentially. We expanded to four writing teams from one. We expanded from one pre-production team (in Japan -- waves at Roy) to three and a half (one in Japan) and two and a half here in L.A.

And we worked like little demons to bring you 52 for the fall quarter. But it was never going to happen.

We wound up doing pretty good. I don't have my old calendar in front of me, and I can't remember exactly how many we managed to air in the fall, but it was considerably more than the 18 that I thought we could do.

But it wasn't 52. And so we had reruns. And reruns. And reruns. And most of those reruns came in the middle of the World Tour. And thus... yes... it seemed to go on forever.

Whoops. Sorry.

Of course, other people didn't care for it for other reasons. They felt it got away from the series strengths of the gargs in Manhattan. Obviously, it left behind four of our characters, and I'll admit that I underestimated the trio's popularity a bit.

But I felt it was important. The World Tour gave our series breadth and hope. It expanded the Gargoyles Universe, added many new characters and in particular added at least four other clans of gargoyles.

And I think some of the stories really kicked ass.

So I apologize for nothing. NOTHING, do you hear me, nothing!!!!!!

Except for that outburst. Sorry about that outburst.

WYVERN, SCOTLAND

Anyway, our first stop was no place new. Goliath immediately recognizes the ocean cliffside as "home, my home."

Even before Hakon and the Captain start to drive him crazy, his dialogue is laced with nostalgia.

He's so into being back in Scotland, that when he climbs the hill, he doesn't even take Elisa with him. Elisa goes with Angela. Which is no big deal. But usually, G's more of a gentleman than that. Particularly with Elisa.

TIDBIT

Angela: "It was always summer on Avalon."

Just wanted to give a sense of things on the fair island. Seemed to fit the legends as well.

TOKYO, JAPAN

I can't say enough good things about the animation in this episode. It's just gorgeous. The work of Disney's studio in Tokyo. WOW! Production AND Pre-Production was done there. All sorts of little touches, like Elisa slipping briefly and regaining her footing. And GREAT, GREAT character animation. Great lighting as the characters enter the tunnels. STELLAR effects animation in the megalith chamber. Just wow gorgeous stuff.

And boy, did we fight over this episode. [Roy, I'd love to get your perspective on this.]

When we got the storyboard from Japan, Frank and I each found something that just drove us nuts.

For Frank, it was the Wyvern cliff. The castle was gone, of course, as Xanatos had taken it away. But the cliff seemed to otherwise remain in tact. Frank was adamant that a chunk of the cliff had clearly been taken away and was part of the Eyrie Building. You could see it on that design. So obviously, we needed a crater of sorts to exist back at Wyvern.

When Frank pointed it out to me, I agreed with him. It didn't bother me as much as it bothered him, but I agreed.

What bothered me was Elisa's parka. In the storyboard, Elisa was wearing a parka with a hood. Of course, she looked great in it. And it kept her warm and safe and dry. But there was of course, no way and no place where she could have acquired that parka. (The Avalon Eddie Bauer, maybe?) So I insisted the parka had to go.

Frank agreed with me after I pointed it out. It didn't bother him as much as it bothered me, but he agreed.

So we gave Japan both these notes. And to our surprise, they balked. They felt that the only changes we were allowed to make to their boards were S&P changes.

We couldn't believe it. Finally, they relented. But on the cliffside ONLY. They felt that was a fair compromise. Since that had been Frank's BIG note, he was appeased. But obviously, I was not. All sorts of people came to me asking me to back down.

But I wouldn't. And I can honestly say it was for you guys that I refused. I knew even then that OUR FANS paid attention. That we couldn't get away with Elisa suddenly having a warm coat from no where.

So I put my foot down, and Elisa stayed cold and wet.

And our Tokyo Studio had another reason to be annoyed with me.

I regret the tension, certainly. But I still think I did the right thing, so I apologize for NOTHING, DO YOU HEAR ME? NOTHING!!!!

Except for that outburst, I apologize for that outburst.

GASLIGHT

A great movie. A husband tries to convince his wife that she's going insane. It's now a staple of melodrama everywhere. And we used it too.

So the ghosts of Hakon and the Captain try to gaslight Goliath.

We tried to gaslight the audience a bit too. Tried to let them think for a bit that Goliath might just be losing it. Post-Traumatic Stress Disorder, maybe.

You can hear it in Goliath's voice. How he's lost in the past. Angela tells him that he did the right thing all those years ago by saving the Princess.

His only response: "Still, I wanted revenge." I love Keith David's reading of that line.

But we also wanted to play fair, so we dropped a hint: when Goliath hears Demona's voice, Bronx howls. He senses something. Always trust Bronx.

Bronx has a pretty important supporting role in this, btw.

THE AXE OF HAKON

When Goliath and friends first enter the caves, Goliath picks up an old Viking axe. Hakon's Axe. The one he uses in "Vendettas".

Should have been a mace by the way. Should have been the same mace you can see in the opening titles EVERY episode. The one that Hakon used to smash the gargoyles at Wyvern.

Shoulda been. My fault.

Okay, for that -- I apologize. I screwed up. Dang.

THE STREET PIZZA TRADITION

a.k.a.

A CLASSIC MICHAEL REAVES' ELISA LINE:

"This place is creepier than the morgue at midnight."

Michael was great at giving Elisa this tough contemporary feel without taking us out of the moment.

Another good one: "Old wounds bleed as bright as new ones sometimes."

GETTING TO KNOW ANGELA

When Goliath pretends that he's NOT freaking out and having hallucinations, Angela can tell he's lying.

I love Brigitte's read there. She sounds SO SHOCKED: "He's not telling the truth."

You can tell she was raised in a world where there was little cause for lying.

COOL CLIFFHANGER

Goliath attacking Elisa and Angela, thinking they are Hakon and the Captain.

Very dramatic. And again, we don't know yet, objectively that he isn't just going nuts.

What did you guys all think at this point? Did you suspect the truth?

Anyway, Bronx saves the day.

And Goliath runs off. He also has a nice stumble here. Again, parka aside, much amazing attention to detail and character in all this animation. Stunning.

STAR TREK INFLUENCE

No, I'm not talking about the voice cast.

Finally, we objectively reveal that Goliath is being influenced. We see two floating entities hovering over the scene. He doesn't see them, so they're not part of his dementia. Ergo (I don't have much opportunity to use the term ergo you know), ergo, they must be what is causing this.

Of course, they look like energy beings right out of Star Trek.

We also see Demona, Othello and Desdemona.

More of us playing fair. Sure they're identifiable. But of course, they (plus Iago) would be the souls LEAST likely to be haunting Wyvern and Goliath.

SALLI RICHARDSON

Yeah, Keith was the star. And we're always going on about Jeff's versatility. But we really were blessed with an amazing cast right down the line.

Salli does Elisa SO DARN WELL. It's the little things really.

Like when Angela explains about the fissure and how Goliath could die in it. Elisa says, "Swell." Just, "Swell." In one word, she says everything that needs to be said. It's hard. Try it sometime.

SPEAKING OF FISSURES

Bronx saves Goliath (temporarily) from falling by chomping down on his arm. Always thought that was cool. Would have liked to have drawn some blood, but we knew we'd never get away with that.

And the fissure itself is way cool. I love Goliath's fall.

And Elisa's determination, as she starts to climb down feet first. And I love the contrast, as Angela and Bronx, by virtue of their claws, climb down head first.

THE TURN

Some fans have felt, I know, that the Captain's change of heart at the end comes suddenly. That may be so. It's hard in a mere 22 minutes to achieve these arcs and turns. But as usual, we tried to drop subtle hints that he wasn't fully on board with Hakon.

Hakon is enjoying tormenting Goliath.

The Captain says: "Make an end to it." Hinting at his ambivalence. Torturing Goliath doesn't give him pleasure.

And while we're praising voice actors, how about a toast to the late Ed Gilbert, voice of the Captain of the Guard. Wonderful work here. Evil. Tortured. Redeemed.

Ed, wherever you are... THANKS!

THE FATAL FLAW IN YOUR PLAN

Demona. The Captain must have assumed that Demona died in the massacre. He and Hakon figured that her appearance would be the coup de grace. That Goliath's will would just dissolve when faced with her ghost.

They were almost right. But of course, G is no idiot. A bit slow sometimes, but not stupid. Demona's ghost shouldn't be here. Cuz the dame ain't dead.

[By the way, the idea to have her fist morph into a mace was mine. Just a little post-storyboard tidbit that I suggested amid bitching about the parka. They must have liked the idea because that wasn't one I insisted on, but they did it anyway. When push came to shove, everyone -- on both sides of the ocean -- was just VERY dedicated to making the show better.] [See. It's a mace because that's the weapon that we associate with the Massacre. Hakon's axe should have been a mace. How did I miss that?]

Anyway, Goliath figures out the truth and, hey, we've awakened the sleeping giant. He trashes the phony Demona. And we think he's going to smash all the others.

But something even more chilling happens. They all begin to dissolve around him. It still gives me the creeps. Very cool animation AND music and effects. (Props to the gang at Advantage Audio too.)

HOW

Or rather how come we don't have ghosts hanging around ALL the time. I didn't want this episode to open a spectral floodgate, where any character that was killed or had died in the past was available to haunt us.

So the Captain offers two possible explanations: Hate and Magic. Both present in ample supply. Plus Guilt. His guilt. Unfinished business.

THE DANCE

Again, very cool effects on the Megalith's here. But the idea emerges from an old (if not very original) idea I've had since I was a teen. The notion that Stone Dances, that Megalith Circles were like Medieval Mystic Dynamos. Circles of power. That build and generate.

Really came to life here.

I love Hakon's line: "I can feel it. I can feel again." I love that transition halfway through the line between where he can feel that the process is working and when he realizes the simple fact that he can feel things again.

But again, watch the Captain feel his own hand. You can see the ambivalence there. Particularly when Goliath becomes the Ghost and Hakon is beating on him. Cap doesn't participate in this.

And Goliath helps him remember what he has forgotten. The Captain doesn't HATE Goliath. His problem is that G's presence has reinforced his own guilt.

But here's an opportunity to redeem himself: "I can't let this happen again!"

He pushes Hakon back.

Hakon: "You've crossed the lines of power, you fool."

You can almost here the Ghostbusters say, "Don't cross the streams."

RESOLUTION

So Cap hated himself, not G.

G forgives. He forgave the Magus last episode. Now he forgives the Captain. Shows that he's a pretty decent guy.

You think if Hakon made an effort? Nah.

Anyway, I like G's line: "One enemy. And one friend."

And then a positively angelic Captain returns briefly to say goodbye and thanks. I also like the "shackles of hate and guilt" line. And the way he calls Goliath, "Old Friend".

Elisa thinks she's in for a long story.

G: "Centuries long."

And as the sun rises, and Elisa -- as usual -- leans against her stone beau for a nap....

Hakon: "Don't leave me here alone!! Not without anyone to hate!!"

Many people think I should have left him there forever. But evil doesn't rest in peace in my opinion. When left alone it tends to get out of control.

Besides I already had this fun idea. What if Wolf was Hakon's descendant?

Anyway, that's my ramble. Where's yours?

Chapter XXXV: "Avalon, Part Two"

Time to Ramble...

"PART TWO"
Director: Dennis Woodyard
Writer: Lydia Marano
Story Editor: Brynne Chandler Reaves

I guess you guys were used to longer multi-parters from us, so you probably didn't think this was the last part when you saw Part Two come up after the title. I tried something different at the end though. Instead of writing "To be continued" I had them put down "To be concluded". It seemed (at least in my head) to increase tension to know that the next part would be the last.

I've been told by people that out of context, this episode is incomprehensible. I hope it's not quite that bad, but I will say that unlike the rest of our eps, I felt that multi-parter eps don't quite need to stand alone in the same way.

Still with all the time travel stuff, it's very complex. I remember Lydia having to come into my office after her first draft and needing me to diagram the time travel for her. The loop that the Archmage takes. I love it. But I guess it's not that easy to follow.

Anyway, this ep was designed to be the second part of a tryptich. This is the one where we focus on our villains and bring them all up to date, just as in part one, we focused on our heroes. All gearing to a MAJOR BATTLE coming in Part Three.

THE EGGS

Picking up where Part One left off, Elisa looks at Angela, Gabriel and Boudicca and says: "These are the eggs?" I love her tone there.

Guardian: "Sorry, I always call them that." It was a cheat to buy us, at least with some percentage of our audience, the shock value of expecting eggs and finding fully grown gargs and beasts instead. Still, I believe that a guy like Tom, dubbed "Guardian of the Eggs" would continue to use that term to refer to his kids, even after they are grown.

Goliath is initially shocked that the gargs have names. Angela says the standard human response: "How else would we tell each other apart?" This was done intentionally to both cover the issue of non-garg naming (which I still think is neat, but which is often a massive pain) and to indicate that these are gargs raised by humans.

BEACH FIGHT

So I'm in my office one day, after the script to "Avalon, Part Two" has gone final. And Supervising Producer Frank Paur and Producer/Director Dennis Woodyard come in. Frank hates the script. Dennis is calmer, but he seems to clearly agree with Frank, more or less.

I'm annoyed because it's VERY late in the game for them to be giving me these kind of notes. Things get heated between me and Frank.

I yell something like: "Well, what do you want me to do?!!!"

And he yells something like: "We need some action! Like a fight on the Beach with the Archmage!!"

And I start to object for about a second. Then I go, "Oh, yeah. A fight on the beach with the Archmage. That'd be cool. Would that fix it?"

"Uh. Yeah."

And that was it. Our fights were always like that. We always only wanted to make it better. He'd get worked up, but the solution wound up being simple and when push came to shove (we never actually pushed and shoved by the way) we agreed on nearly everything.

It was also good to have Dennis' calming influence. Frank and I would go momentarily nutty and Dennis would always maintain.

So anyway, after the fact we added the memorable fight on the beach. Now I can't imagine the episode without it. It forced us to trim down some the Archmages travels (cause we were already long) but it definitely improved the episode.

I think, not sure, but I think I wrote that fight because it came so late in the game. It's also possible, I might have taken it back to Brynne and/or Lydia to write. I really don't remember anymore.

Either way, there are some great lines:

Goliath: "Don't be too insulted!" I love how he goes nuts here. We really get a reminder of his warrior-ness.

Archmage: "Don't crow too loudly, after all, what have you accomplished: you beat up a beach." You beat up a beach. That's one of my favorite lines in the whole series.

Archmage: "At dawn you all will die. Get used to it!"

Tom: "Let's get out of here before the very air attacks us!"

The fight itself is pretty cool too. I like how Bronx and Boudicca immediately team up. I like the symbolic nature of the Archmage growing wings, turning to stone and then shattering. I think that was a board-artist's addition. I don't remember seeing that in the script. (And I'm too lazy to stand up and check right now.)

At the end of the fight, my five year old son Benny asked: "Why can't they glide to the castle?" I had to explain the flight rules.

ANGELA & GABRIEL

Elisa slides up to Goliath: "Angela sort of looks like Demona, except her coloring is different. Exactly whose daughter is she?" Again, I love Salli's reading here. That need to know. The jealousy. The feeling for Goliath -- who dodges the question by saying that all children belong to the clan.

But of course Elisa knows. Knows something that I believe never occured to her before. Sure, she knew that Goliath and Demona had been mates, lovers. But she didn't let her mind traverse to the next logical step. Parents. Together. Goliath and Demona.

And of course, the audience knows it too, I hope. It was never meant to be a secret to anyone but Angela who her biological parents are. These lines also served to point that out.

On the other hand, we didn't make a big deal of Gabe's bio-parentage. But I wanted it to be semi-clear that his folks were Othello and Desdemona (Coldstone and Coldfire). Anyone get that at first viewing?

REUNIONS

Everyone returns to Oberon's Palace. There are many injured and Gabe is apologetic. As Leader, he feels responsible. But there was 'never any need to hone our combat skills' before this.

Tom & Katharine are reunited. Elisa, the cop, picks up on the human dynamics, the relationships, immediately. She sees the Magus' reaction to their reunion.

I also really like the exchange between the Princess and Goliath.

K: "This is more than I could have hoped for."
G: "What you've done for the eggs is more than I could have dreamed of"

SLEEPING KING

We kept dropping hints. He's mentioned by the Magus, but the conversation moves quickly on.

Later, the Weird Sisters mentioned him. The Archmage is surprised to hear he's not a myth, causing Seline to say her famous: "All things are true." line. The Archmages promise to kill the king later.

And Elisa brings the guy up at the end. This policy was me trying to play fair and make his awakening in Part Three not seem artificial. But also not to allow the guy to distract from the matter at hand.

Of course, most of THIS crowd must have known the s-king was a ref to KING ARTHUR. Particularly when the Hollow Hill ref was thrown in too. But did anyone not know on first viewing?

LOOSE ENDS

This was an episode for tying up Loose Ends in a big way. Solving some mysteries.

Why did the Weird Sisters do what they did? (At least objectively.)

Why were Demona and Macbeth working together in "High Noon"? (Elisa: "They hate each other." Guardian: "I saw no sign of that.")

And how did the Archmage survive?

Tom unwittingly hints at the truth when he says that the Archmage seemed to be able to be in two places at once.

Now let's reveal...

WEIRD SISTERS

Wow! Did we get negative feedback from fans when we played the Sisters as villains here. Of course, I always had it in my head that the Sisters had three aspects. Grace, Vengeance and Fate. Sometimes one aspect is ascendent, but there is always a touch of all three in anything they do. But after the Sisters' Fateful appearances in "City of Stone", many fans rebelled at the notion that the objective reason they did all those things was for simple petty vengeance here in "Avalon". Oh, well.

[When Benny saw the Sisters for the first time, he said "Weird Sisters" with an interesting tone of awe. They're his favorites. But he didn't comment on them being bad guys here.]

The sisters have some nice lines...

L: "What is time to an immortal."
Phoebe: "This is true." (in ref to what cannot be broken can be bent).

ARCHMAGESES

Okay, this was just fun for me. In many ways the origin of much of this was the flat out talent of David Warner. He brought such life to the underwritten (and clichéd) part of the Archmage in "Long Way to Morning" that I just knew I'd have to bring him back. Many of the events of "Vows", "City of Stone", "High Noon" etc. were all geared toward bringing him back as a real THREAT!!

Yet with all this, I didn't want to forget the character's roots. We tried to set a balance between his clichés and his new power.

Think about it. The Archmage+ (as we called him in the script), had only been plussed for about a day. Still he's full of arrogance. His power hasn't raised him above that hybris nor above the thirst for vengeance nor above gloating or above impatience. That's his flaw, but also the fun, I think.

And of course, David. Wow.

Praise for Salli Richardson as Elisa. For Kath Soucie as Princess Katharine and all three Weird Sisters. For Frank Welker as Bronx and Boudicca.

But this Archmage stuff here is a tour de force, I think. David just went through, playing both characters. Both versions of himself. Keep in mind, he hadn't been privy to all that the writers had planned. He had come in for his small parts in both "Long Way" and "Vows". Now suddenly, he's this guy(s). Amazing.

"Do you know what to do?"
"I should. I watched you do it."

"Show some dignity."

"I could put you back where I found you."
"No, no." (I love that no, no. So tiny and fearful.)

"Not where. When."

"If you don't know, don't guess."

"The book must remain in play."

"Try to keep up."

"We're not doing her any favors."

"The rules that cannot be broken can surely be bent."

"Nine hundred and seventy-five YEARS??!!"

"I hadn't thought that far in advance."

"What am I supposed to do, eat it?!"

"Now I understand."

"As it did. As it must. As it always will!"

All great fun.

FLAWS

All these episodes were being produced simultaneously. All in various stages of production. So inconsistencies were bound to happen.

The Egg boats are messed up here. Demona's model in her flashback. Etc.

And storywise, what's the deal with Macbeth? I can see why the Archmage wants to include his former apprentice Demona in his plans. He felt betrayed by her, and is glad not to be doing her any favors by enslaving her.

But Macbeth?

Okay, it's not a true flaw. Macbeth is included because the 'plan of the Archmage' -- birthed whole from the timestream without the Archmage ever actually coming up with it independently (though he takes credit) -- included Macbeth.

It is the provence of Luna, not Seline, at work.

But still, I'd have liked to have been able to figure out some connection between the Archmage and Macbeth so that he wouldn't question the boy's inclusion. Thankfully, the Archmage+ is so arrogant, he takes credit and thus never questions. It occurs to me now, that I could have made a connection between Mac and his ancestors, all related to Katharine and Malcolm. Oh, well.

CAPTIONS

These became fun for me. Adding Captions indicating place and time is one of the very last steps in production. So I'm in there for the "On-Line" with Jeff Arthur, our post-production supervisor, and I'm just indulging...

Sure we start with...

"Scotland, 984 A.D."

But pretty soon we're at "YESTERDAY" and "SIX HOURS AGO" and "ONE MINUTE AGO" and finally "NOW".

It still makes me smile.

POWERING UP

So the Archmage gets the eye. Power. But he's still an idiot. He needs wisdom. He eats the book, which I always thought was really creepy and cool. Now he understands. Now we truly have two Archmage+es. But they can't coexist forever. Aside from how complicated that would be to choreograph, and aside from the fact that the timestream needs the younger of the two to fulfill his role....

They also couldn't coexist because both are too arrogant.

So we repeat the scene of departure to close the circle and tack on: "Finally. I thought he'd never leave."

BATTLE FLASHBACK

We get to see a new clan awake from stone. I hoped that was fun.

Ophelia appears (pre-injury). She looked way cool. For all those people who thought that Gabe and Angie were a couple, take a look at the way Gabe is holding Ophelia and looking at her after she's injured.

LAYING PIPE

In addition to the Sleeping King, we were also laying pipe for our whole fourth tier WORLD TOUR. Tom says: "Avalon dropped me in your laps." He credits Avalon with sending him to Goliath.

The Magus declares that he is without magic and useless. Katharine rebels at that: "Don't say it, and don't think it!" She loves him. Just not the way he wanted her to love him.

Bronx and Boudicca want to go with Goliath.

Elisa asks about the Sleeping King...

And Goliath, Angela and Gabriel take off on a stealth attack.

And we immediately see that the Archmage knows they're coming.

Uh oh.

As the Archmage says... "[We've layed all the damn pipe we could possibly need and more], Now the fun really begins!"

To be concluded...

And that's my ramble. Where's yours?

Chapter XXXIV: "Avalon, Part One"

There's no memo, outline or script for this one on my computer, so we'll head right into my ramble on...

"AVALON, PART ONE"
DIRECTOR: Dennis Woodyard.
WRITER: Lydia Marano.
STORY EDITOR: Brynne Chandler Reaves.

THE RECAP

...is all over the place. So much was coming together in this three-parter. The Weird Sisters, the eggs, the Archmage, Tom, Princess Katharine, the Magus, Macbeth, Demona. This was our most ambitious story yet. Which given episodes like "The Mirror" or "Vows" and multi-parters like "Awakening" and "City of Stone" was saying something.

Of course "Avalon" was never designed to be the cohesive single story movie that "City of Stone" was. It was designed as a tryptych. Part one would bring our heroes up to date. Part two would bring our villains up to date. Part three would pit them against each other.

"Avalon I" also represented the first episode in our fourth tier. The three-parter was what we called a 'tentpole'. We knew we couldn't air it until all the Tier 3 episodes had aired. And we knew we couldn't air any other Tier 4 episodes until this three-parter had aired. Despite the fact that "The Price" aired out of order, generally our Tentpole/Tier system worked very well. Out of 66 episodes that I worked on only two: "The Price" and "Kingdom" aired out of order, hopefully with minimal damage to the continuity.

THE TITLE

The title was one of mine. But initially I wasn't sure that we were going to call the island Avalon. Now, it's mind-boggling to me, but I actually had my assistant Monique Beatty (who's now a producer in her own right) research Brigadoon to find out if that name was created only for the musical, or if it was something pulled from legends. I was thinking of Avalon, but looking for something from a Scotish tradition as opposed to British. Fortunately, Brigadoon was created for the musical. So we were 'stuck' with Avalon. Which made including King Arthur a natural.

Many series don't reveal that an episode is going to be a multi-parter until you get to the 'To Be Continued' line at the closer. "Avalon, Part One" could have just been titled "Avalon". The conventional wisdom is that people are reluctant to commit the time to a multi-parter in advance. That it is better to hook them on the story before revealing that they HAVE to come back to see the end. I always felt that was cheating. What is your reaction to seeing "Part One" attached to a title?

OPENING

Another cool shot of our gargs waking up. Always nice to reiterate that at the start of our bigger stories.

Bronx gets left behind. Of course, this often happens. It was one of the things that the World Tour would set about correcting in a BIG way. But we made his getting left behind a bit more obvious here. Usually, he just doesn't go. This time they won't take him and he's sad. We were laying pipe.

My 5-year-old son Benny asked where Hudson and the Trio were going. I had to think about it. "On Patrol, I guess."

OLD FRIENDS

Then the GUARDIAN shows up. I love his cool, Goliath-inspired armor. My 7-year-old daughter Erin immediately demanded to know who he was. I wouldn't tell her. (I'm so mean.) Did any of you guess?

Of course he immediately encounters BRENDAN & MARGOT. (What would one of our multi-parters be without him?)

Then comes the three gang-bangers from "AWAKENING, PART THREE". As usual, Keith David does the voice for one of them -- making it distinctive from both Goliath and MORGAN, who's about to come in and speak. The problem is we got a touch confused. In Awakening, Keith voices the bald white guy. Here he does the same voice, but it's assigned to the black guy. Hard to say which is wrong, except by virtue of which came first. It annoys me though.

Morgan's fun in this. I really like him. No one but Simon DelMonte will get this, and I don't know if he even reads these rambles, but Morgan kind of reminds me of Jeff Goslin, a character that Cary Bates and I created in Captain Atom.

Anyway, I like how Morgan talks Guardian down. And I like how the sword is much heavier than he thought it was going to be. His cop buddies tease him, but he maintains his sense of wonder and goodness when talking about the Guardian to Elisa.

That's kind of a cool scene. First off he describes Guardian's armor: "Real armor. King Arthur stuff." Anyone think this was a clue to what was coming in the next episode? Even with the Avalon title? Then he tells her the guy's looking for Gargoyles. Elisa of course discourages her fellow officers from taking Garg reports seriously. Everyone who's seen one must be a nut-case. These guys should form 'a club'. Then she finds out that this Guardian was asking for Goliath by name. BOOM.

BELVEDERE CASTLE

Site of our last encounter with Demona and Macbeth. Another clue.

Once Elisa got a look at the Guardian's armor, she must have thought -- yeah, there's a Goliath connection here all right.

Goliath shows with Bronx, who gets to come along and come along and come along for once. Bronx always seemed underutilized to us. We knew we couldn't bring the whole clan along. (Too many characters and no poignancy.) But Bronx was an easy addition. Of course, Bronx is also useful as a kind of living personality test. If Bronx likes you, it's a damn good sign. Bronx likes Tom. Does he remember him? What scents do you figure the Guardian carried back from Avalon. Anyway, Bronx engenders immediate trust in the Guardian for Goliath.

I love this scene. Guardian gives everyone so little time to catch up. He talks about the Archmage, reveals that he's Tom and talks about 'the eggs' being in danger. *That was a fun idea. Keep you guys thinking in terms of eggs for twenty minutes and reveal that it's just a pet name for the Avalon Clan.*

Benny asked: "What kind of Eggs?"
Erin: "Gargoyle Eggs."
Benny: "I didn't know Gargoyles hatch out of eggs." [Well, keep in mind it's been a year since he saw the first thirty episodes. And he's too young to remember the first time he saw the ones we're watching now.]

Then there's the skiff. Elisa: "Where'd that boat come from? ... To where? The other side of the lake? ... Wait for me!"

This all sounds fishy to her. Nothing makes sense. I wanted to get a clear shot in there of the pond in Central Park so that you could see objectively that it doesn't go anywhere. But I never quite managed that. I wanted you guys to be confused. Or at any rate to have a million questions. But like Elisa, no matter how suspicious, I figured you'd want to go along for the ride.

FLASHBACK

Mary, Katharine, the Magus and young Tom are all reintroduced. It's very clear that the first three have all learned their lesson from Awakening. They've all really become better people. Tom, of course, didn't need to learn that lesson. But he does learn to be a hero. He officially becomes the Guardian. It begins, I believe, as just a nice gesture on the part of the Princess. Later, of course, it'll become the truth. Then there's the long journey. I like the montage there. Hardship. We never had the time to show enough of the hardship of tenth century life.

Our gang heads into Edinburgh. Constantine's followers are all over the place. They all seem to look like Disney storyboard artists for some reason. ;)

VOICES

There's some stellar voice work in this ep. Morgan Shepard as King Kenneth II. Sheena Easton making her Garg Premiere as Finella. Ian Buchanan as Constantine. (I've already mentioned Keith's versatility.)

But as usual, real props must be handed out to Jeff Bennnett and Kath Soucie.

Jeff plays Brooklyn, the Magus and Maol Chalvim. (No Bruno or Owen or Vinnie in this ep, I'm afraid.)

Kath plays Katharine, Mary and all three Weird Sisters.

They're amazing.

SOAP OPERA

Benny saw Finella and said: "That's one of the witches."

A year ago, Tom was his favorite character. Now Tom barely registered. And he really is fascinated with the Weird Sisters. Anyway, I corrected him, but I was glad that they were appearing later.

Ian Buchanan, once of General Hospital, is playing a cad here. We have to very quickly set up a lot of politics, sexual and otherwise. This story was as historical as we could make it based on the available research, the fact that we had to fit in a few fictional characters and eggs, and screen time compression.

Believe it or not, we also had another character originally that we cut early on because it was just getting too damn complicated. Katharine and Maol Chalvim's cousin: the future King Kenneth III. The father of Bodhe. Yep. That Bodhe. The father of Gruoch.

Kenneth III winds up being made High King of Scotland after Constantine is killed. To get a sense of their relationship, at least as I see it, you might want to check out "Once upon a time there were three brothers..."

(Or to give you a hint, ten years after the events depicted here, King Kenneth III would be murdered by Maol Chalvim's operatives during a civil war. Maol Chalvim was also known as Malcolm Forranach, the Destroyer. We used the Maol Chalvim version of his name so as not to confuse him with Katharine's father Prince Malcolm. Just as in City of Stone we emphasized Malcolm Canmore's Canmore name for the same reason.)

Anyway, Maol Chalvim seems intense but right on the money here. He's even kind of heroic when he and the Magus bring Tom back to Katharine's apartment, and he begs Katharine to go. Kind of heroic. He still leaves her. We were trying very hard to balance out his minor role here with his future roll as the grandfather of and major influence on Duncan. (Of course, he's also Macbeth's grandfather, as well.)

After Katharine tells Maol to go, there's a weird cut of him just standing there smiling. We needed some kind of transition before he took off running, and I guess that was the best we could do. But it's still awkward as hell.

THE MURDER

But I'm getting ahead of myself.

We establish early on that Katharine doesn't think much of Constantine. You wouldn't know it from Awakening, but obvioulsy she's learned to be a decent judge of character.

Kenneth isn't quite so sharp. Everyone can see that he's a fool for Finella. And he doesn't recognize Constantine's threat (despite the fact that Constantine's father was a bitter enemy and) despite the fact that his son flat out tells him to beware. My thinking was that the crown had kept bouncing back and forth between different branches of the royal family. Kenneth had hoped that by taking Constantine in, instead of banishing him, he'd be able to be a positive influence on the boy. A nice idea perhaps, but maybe Kenneth was too innattentive to pull it off. And Maol probably was too covetous to really be a brother to young Con.

Anyway, Constantine tricks Finella and kills the king. We hear Finella sobbing, just to prove that she was neither in on it nor that she would approve of it. (Though one wonders what her reaction would have been down the road if Constantine hadn't spurned her in favor of Katharine. Would she have adjusted to the crime? Or did Constantine become an unredeemable villain in her eyes immediately? I hate to say it, but I tend to think it's the former. Actually, I don't hate to say it. She's more interesting to write that way.)

Erin asked: "He killed King Arthur? Why?"

That's a tough question. So first I had to explain that it was King Kenneth, not King Arthur. Then my wife Beth helped out by explaining that Constantine wanted to be king.

We come back from the act and we see that Constantine was ready for the takeover. The Banners are immediately changed in a scene clearly inspired by the Ian McKellan (spelling?) movie version of Shakespeare's Richard III. (A version I heartily recommend, by the way.)

We also continue to set up the Magus' own tragedy. He loves Katharine. Has loved her since before Awakening. That feeling is shown to deepen here when she is once again in danger. And when Constantine tries to coerce her into marrying him. (The astute Mary and Tom have to hold him back.) Here, we sense that maybe Katharine might some day return that love. That's what I wanted you all to think anyway. Did you?

Constantine takes his crown. Originally we wanted to stage this with the Stone of Destiny as we did with Macbeth. But again, I think we just had too many sets.

Michaelmas. I just like that word.

Constantine is fairly astute himself: "You have 36 very good reasons to obey." We kept reiterating the number of eggs for what was coming later.

THE ESCAPE

The Magus disguises broken pots as eggs and vice-versa. But it always seemed to me that the kitchen staff at Edinburgh sure broke a lot of pots. I mean a LOT!

I like the lines: "Taking the wee bairns for a walk?" and "I don't think I like Gargoyle eggs." Very menacing.

Princess K burns her wedding dress. She feels she cannot leave because C will follow her to "the ends of the Earth." So the Magus responds: "Then I will take you beyond them." Again. Very romantic moment between them.

Finella joins the troop. The WOMAN SCORNED. She's really fun now. Dangerous. I always laugh when Constantine drinks the brew and collapses so abruptly.

Erin: "The Weird Sisters". My kids are just fascinated with this trio. I wonder if they still will be by the end of this three-parter or if like many fans, they will be disappointed?

They get turned into owls. But the Magus worries about giving up the source of his power. K doesn't care about that.

And Finella and Mary agree to take the book. I love these two. I think they'd make a totally kick-ass team. I doubt it would be commercial enough, but I'd love to do a spin-off show just with these two women. At any rate, there was the plan to include them as recurring characters in TimeDancer.

Tom has to leave his mother and his childhood behind. Now his role as the Guardian is a way for Katharine to make him accept the loss. It is the start of their relationship, though neither knows it. I watch this now, and I can't help thinking of the Anakin & Padma relationship and where that's destined to go.

AVALON

Back to the present. We see the impressive shores of Avalon. Very cool painting.

Bronx reacts. Guardian: "He's found the eggs..." And the music swells and two gargs and a garg beast appear on the cliff.

Now is that a cliff-hanger or what? What was your reaction?

Erin and Benny wanted "to see ther rest!" I told them they'd have to wait a week and we got a lot of protesting. Just what I was hoping for.

Anyway, that's my ramble. Where's yours?

Chapter XXXIII: "The Price"

Ramble, ramble, ramble...

The other night my family and I sat down to watch "The Price"...

Director: Dennis Woodyard.
Writer & Story Editor: Michael Reaves
Based on Comic Book Material by Lee Nordling

RECAP
It seems like I was starting to learn my lesson about not giving too much away in the "Previously on Gargoyles" section. This one is really all about Hudson, and issues of old age and mortality. I think it tends to hint that maybe, just maybe, we were thinking of killing him off. Anyone else think that perhaps we might?

There's some really great, really good looking character work in this animation. Pretty stuff.

There's a great moment where Hudson banks off an office building. Very cool.

Also, I like it on those rare occasions when we do weather in New York. Snow here. Or rain. Usually, it's all left standard for the same reason Elisa usually wears the same clothes. It's cheaper.

As the story opens, we're again trying to set Hudson up for possible termination, at least in the minds of the audience. He says, "Not a bad life all things considered..." which is usually an invitation for something really horrible to happen.

TIER STUFF

This is the last episode of our third tier. I had always hoped it would air last, since what happens at the end to Owen's hand would make interchanging very difficult. But on the first go-round it was ready long before a couple of other eps in the tier. So it aired early. (Particularly before Owen's appearance in "The Cage".) I tried to correct that for later runs. Sometimes with success. Sometimes not.

Anyway, because I couldn't be sure it would air in the right order, you can see that we hedged our bets a bit. Goliath doesn't understand how Macbeth escaped the Weird Sisters. He's not referring to events in "High Noon" which he could not have known about and which I could not guarantee would air before "Price". He's referring to events in "City of Stone, Part IV".

*At the moment he brought them up, my daughter Erin just happened to be coloring a picture of the Sisters drawn by artist David Wong (I think that's his name) who was selling them in the Dealer's Room at the Gathering 2001 in L.A. Erin was very excited by the kismet of the moment.*

Did you guys register Mac's limited dialogue? It would be tough in the first fight by itself. He does have four lines. And GARGOYLES was never a show to go in for extensive quipping during battles. So four lines may have seemed like enough.

And did you register the "Magic Sparkly Powder" when it first hit Hudson?

This ep is fun because there are so many layers of deceit going on.

Note that at this early stage, Goliath doesn't intend to kill Macbeth. He aims for the Sky-sled's control panel and hits it. The fact that the sled goes down is an unfortunate and unavoidable result. And Goliath clearly feels at least a little guilty. Hudson doesn't mind though. He thinks Goliath's action was perfectly reasonable.

I don't suppose anyone thought Mac was really dead? I wasn't really even trying to trick you into that one. Between the immortality info that you (but not the Gargoyles) knew from City of Stone and the early timing of the death in the episode, I figured nobody would be fooled. And I didn't want anyone fooled. Because that wasn't what I wanted to fool you guys about. I didn't want you to figure out that Macbeth was a robot. So I intentionally did not show the body, on the assumption that most everyone knows that if you don't see the body, the victim probably isn't dead. That way when Mac came back, you'd all be thinking, "Hah, Immortal!" instead of "Hah, Robot!"

BTW, everyone always asks how Hudson can believe Mac is dead and then later acknowledge Mac & Demona's immortality to Xanatos. But Hudson was thinking of immortality in the sense of living on without aging, ala the Norse Gods. Not in the sense that Mac was somehow immune to all injury and death ala the Greek Gods. Clear?

Lucky for Xanatos that all the Gargs seem to have favorite poses. (Cheaper that way, don't you know.) Of course it also helps that since they all wake up and go to sleep at the same time, they rarely get a good look at each other's poses. Makes statue prep easier, huh?

Anyway, when Hudson didn't wake up, did everyone buy the magic powder/he's not waking up scenario? Had anyone seen Lee Nordling's Disney Digest comic story that inspired this gimmick. I've never met Lee, but he came up with the idea of replacing a sleeping garg with his statue. He used Goliath, not Hudson. But it was the same basic principle. I gave the idea to Michael (just that notion) and he ran with it to create this entirely different story? Did anyone see Lee's story and still not get it?

I can't remember why we wound up cutting Banquo & Fleance. Guess we were saving money or time at some stage. So Mac's mansion works on auto-pilot, I guess. Though those cannons still aren't too effective against gargs. And who else would attack?

Back to Brooklyn and Broadway guarding "Hudson". We wanted to keep the focus on Hudson, which is tough, since he's not moving. Brooklyn's worried about the reality of being able to find a cure. Again, we're expressing his leadership tendencies without confirming them since we couldn't guarantee that "Upgrade" would air first.

Then, finally at the end of the act, we reveal the real Hudson. My kids got very excited. Erin said: "The stone guy's not the real him." And Benny chimed in with: "That's the real one!" What were you thinking at this moment?

I even had the odd notion last night that we could have gone the direction of Hudson's "prison" being all in his mind. That the statue was him, and that he couldn't wake up until he escaped this mental/dream prison. Obviously, not the way we went. But it's a cool story idea. Anyone think THAT?

So then we come back from commercial and reveal Xanatos who claims he wants Hudson's skin. The line is said in such a way that we and Hudson are geared to think the worst. Which sets up the fun.

Hudson: "You'll have the devil's own time getting it."

Xanatos: "Gee, that wasn't as hard as you made it sound."

Ah, STONE skin. For the Cauldron of Life. I'm pretty sure the Cauldron was Michael's idea.

Everything has a price. Xanatos just doesn't get that yet.

But Hudson has X's number. They're exchanges throughout this episode are a lot of fun. Like a flip on the Goliath/Renard exchanges in "Outfoxed". But better done, frankly. Less preachy.

These exchanges may have been the inspiration for Hudson and Xanatos killing each other in "Future Tense". Owen's watching and subconsciously realizes that in some way, Hudson and Xanatos make better natural adversaries than Goliath and Xanatos. Maybe.

Hudson: "Growing old terrifies you doesn't it?
Xanatos: "Nothing terrifies me, because nothing's beyond my ability to change." (Who else can lie and tell the truth in the same sentence with this much charm. I'm so proud of this boy.)
X: "What about you? Still wasting your nights in front of the television?" (An only semi-dated reference to both Hudson's origins as the comedic gargoyle Ralph and to the way we occasionally still relegated him to clock tower duty in order to have fewer characters to deal with.)

Note that Xanatos plans on giving Fox immortality as well. He knows he loves her at this point. Wouldn't leave her out.

He doesn't mention Owen though, and in general doesn't treat Owen with his usual respect. Goads him a bit. (Macbeth has already died for me once.) Or rather teases him. He probably figures that Owen can take it. But I think it gets to Owen a bit. Xanatos wasn't expecting Owen to test the Cauldron for him. Owen felt the need to prove something. As he says: "Service is its own reward."

Lots of people watched this episode and e-mailed me that X was a big jerk for treating Owen this way. Particularly at the end of the episode when Xanatos seems completely unfazed by Owen's stone hand. Of course in our minds, this was all a very subtle clue to Owen's true identity. Xanatos and Owen both know that this condition is only as permanent as the Puck chooses to make it.

"Over-sized chamber pot." Heh.

X loves them zingers. He nails Hudson with that "the hardest part was finding a replica for your sword."

I like Goliath's desperation in the scene with him and Elisa. "We need a sorceress. We need Demona. You are a detective."

She doesn't know how to find Demona though.

Meanwhile Mac's back, still using only those same four lines. Anyone catch on here? Or wonder why Mac was working for Xanatos again?

Broadway now knows the expression is "Sitting Ducks" not "Sitting Dorks" as he said it in "Enter Macbeth". A little inside joke.

Okay. Very little.

Erin sees Hudson pick up the stone skin and asks what it is.

Sunrise. At the end of Act Two, Elisa has an oddly timed slow reaction to events, that I wish we had found a way to trim a bit.

Benny was worried: "He's gonna break into pieces and never be alive again."

Erin was a bit more tv-savvy: "He's not going to break into pieces. Or this would be the last [episode]."

I didn't really think anyone would think we were actually going to kill BW here. I think the interest is to wonder over the commercial break exactly how the hell we're going to get out of this.

Beth asked: "How'd Elisa know to shoot at that box? Who came up with that? She clearly didn't like it."

Michael Reaves put in this bit about BW turning to stone in mid-air. And I cut it. That's right. Cut it. I thought that it was too big a deal to fit into this story or at any rate that we could never make the rescue convincing. But ultimately I put it right back in. Michael was right. We needed it here. Everyone worked very hard to make Elisa's save as real as possible. The carpet sign established in advance. The multiple shots it takes her just to hit the rope twice. And Brooklyn and Goliath's exchange:

Brook: "It's a miracle!"
Gol: "A miracle named Elisa."

We're acknowledging how unlikely this is and hoping you'll just share it with us.

I still don't know. It's fun. But I'm not sure we really pulled it off in a convincing way. What did you all think?

"Jalapeña, you're still alive!" Another tier risk. Since I couldn't be sure this would air after "Protection".

X: "Hudson, your bath is ready."

This is another cool exchange. The Price metaphor really comes through here.

The title, I think, was one of mine. Inspired by the Arthur Miller play and the Jim Starlin Graphic Novel of the same name.

Back at the Macbeth battle, here he is again. By this time, the robot thing may be more obvious. Same four lines. We still tried to preserve suspense. Since he's presumably working for Xanatos to distract the Gargs that may explain his behaviour. Anyone who thought he was the real Macbeth right until the moment G gutted him?

Elisa is out of bullets. At the time, I thought that made realistic sense. Always hated guns that seemed to have unlimited bullets. Now it just feels like she was dumb for not reloading.

But one other thing strikes me -- in today's environment, we probably wouldn't have been allowed to let Elisa use a realistic gun at all.

Boom. The Hudson statue is blown to bits. By this time you all knew it wasn't Hudson, but we were hoping that for a split second, the image itself would be shocking enough to make you forget. Just for a second.

I think it worked. Ben needed to reassure himself: "That's okay. It's not the real Hudson." I don't think he would have even bothered to say that, if for a split-second he hadn't thought it was.

Of course, Goliath, who had been on the verge of putting two and two together just before this attack, goes positively medieval on us. Before he aimed for Mac's sky-sled. Now he wants "Gargoyle Justice". He's trying to kill Macbeth. It's just lucky that (a) it was a robot and (b) we had a very understanding S&P executive.

I think the robot's death scene is pretty cool. We had John Rhys-Davies come in just to record five lines. The four that we reprinted over and over and one more 'winding-down' take on "You'll have to do better than that!" It's very cool. With the eye popping out and everything. Nice stuff.

One thing I remember discussing with Michael was the rescue of Hudson. Originally, I think he had Goliath and the boys figure it out and have them show up to get H. But I felt strongly that Hudson had to rescue himself. Prove to all concerned that his age was not the liability that X thought.

This is fun.

And I love that Hudson won't destroy the Cauldron.

Like Xanatos, we think that H is "just full of surprises." But it shouldn't be much of a surprise. I think that was right in character for Hudson.

And I love his parting shot: "What will be your legacy, Xanatos?"

Frakes and Asner were both just amazing in this episode.

X: "Let him go. He's earned it." Of course, that's right in character for X too. No revenge. No jumping up and down and whining.

And hey, now Owen's arm can live as long as the mountain stones.

"How literal-minded." I think that line was one of mine. Not sure. It would probably have helped if I had read those two drafts of the script I posted yesterday. But I didn't have time.

So there's my ramble. Where's yours?

Grad Thesis semi-Answers

I got the following e-mail from Gore the other day. I don't usually encourage going around the system this way. But the guy seemed to be under deadline pressure, so I cut him some slack and moved him to the head of the line. I'd ask that others not abuse the process. Thanks.

Subject:
[Fwd: Graduate Student needs Greg's Help]
Date:
Thu, 14 Mar 2002 20:21:44 -0500

Just forwarding something that was sent to me.

-[Gorebash]

-------- Original Message --------
Subject: Graduate Student needs Greg's Help
Date: Sun, 10 Mar 2002 14:21:57 -0500

Dear Mr. Weisman,

My name is John Diego Hernandez. I am a full time graduate student in public relations at Rowan Univeristy in Glassboro, New Jersey. My research topic for my thesis is "toys and cartoons" and how the two fields relate to one another when it comes to development of both toy lines and animated serials. As part of my thesis research I am required to survey individuals who pertain to my investigative studies. As creator of an animated television serial, your knowledgeable expertise would be an invaluable
wealth of information that would remain in my thesis throughout perpetuity.

The survey consists of 12 short questions posted below. It will only take 20 minutes of your time - no longer. If you can find some time from your busy schedule, I would be most indebted. You do not have to answer all the questions if you choose not to. If you wish to remain anonymous, I will not put your name or personal data in my thesis.

Thank you for your time,

John Diego Hernandez

1. Do toys affect what cartoons you make?

Yes. The profit margins on children's programming are so slim these days (largely because of misguided government regulation coupled -- ironically -- with the deregulation that has allowed entertainment companies to vertically integrate) that potential money from consumer products (including but not limited to toys) has become a greater factor than when I started in the business in 1989. Toy companies can help fund programming -- for better and for worse -- that might not otherwise get made. And even original properties benefit if there are multiple forces (e.g. a toy line) that maintain incentives to keep a show alive.

2. Do you choose what toys are made?

Never.

3. How significant is a hit animated show to sales of toys?

It can be very significant, in that an animated series can virtually act as a 30 minute daily commercial for the toy -- a commercial that establishes play patterns and allows the audience to invest in both characters and the property as a whole.

4. How many cartoons a year are related to toy lines?

I have no idea.

5. Must the toy manufacturer pay royalties to cartoon producers?

Depends on the origin of the property.

6. Does a successful cartoon guarantee a hit toy line?

No. Some shows are not considered 'toyetic'.

7. Does a successful toy line guarantee a hit cartoon?

Never. But it doesn't hurt.

8. When your company is in search of a new animated serial, where do they look first - current toy lines or creative innovators?

There's no one place. (And that either/or you just gave me is ridiculously simplistic. Implicitly biased even. There are plenty of creative innovators working at toy companies, for example. And there are more than just two places where you might look for inspiration or series springboards.)

9. Approximately how much do cartoon producers allocate to the funding of toy lines?

Doesn't work that way. Toys help fund cartoons (in simplistic terms) not the other way around.

10. Which usually comes first - the toy line or the cartoon?

Again, there's no one rule. In certain countries, like England, if a toy line exists already then you CAN'T air the property at all. But here in the U.S. it can go either way. Though often the cartoon will appear first to help promote the toy line.

11. May I attribute your responses? Yes / No

Yes.

12. If yes, please list name and/or title and company name:

Greg Weisman
Freelance Writer/Producer

LIFE IN THE REAL WORLD

This is something I wrote YEARS ago. But I don't think it's here in ASK GREG, or if it is, it's only in the old archives. Vash dug it up recently, and I thought I'd reprint it here, verbatim, I've added a few notes in [brackets]:

Life in the real world.

I know I've said this stuff before. Please read this carefully. I have a real fear that this might sound defeatist or condescending, but you can't possibly succeed in "saving" the show if you don't come to terms with these hard truths. I don't know what you've been told by other people. But I do know a few things about today's animation market. I've told you before that I did not believe that Gerry Leybourne was single-handedly responsible for not renewing the show. Dean Valentine is also not single-handedly responsible. Neither is Eisner. If the fans insist on looking for a VILLAIN to blame, they stand no chance. [Neither Leybourne or Valentine are at Disney anymore.] You say you're looking for a straight answer. But really you've been given and have ignored straight answers and what you are looking for is for simple answers. There are none. Here are some (but not all) of the many factors that have probably played into the non-renewal:

1) Quantity. A normal syndication package for any children's show is 65 episodes. If you don't make it up to 65 then you are considered something of a failure. If you make 65, then you have created a show that can have ongoing library use. That's a success. Anything above 65 is gravy and NO SHOW makes more than 65 episodes without significant financial incentive. They made 78 gargoyles (including Chronicles). The financial incentive for the last 13 was that ABC needed a boys action show with some "Marquee" attached to help fill out it's Saturday Morning line-up. You'll notice that no new episodes were made for syndication. There was no financial incentive in syndication. So they didn't make any more for syndication. [These days a syndication package can be as few as 39.]

2) Ratings. The ratings for Goliath Chronicles are, or so I'm told, lousy. Forget about the why for a moment, and just absorb this fact. If the ratings are lousy, we've just lost the financial incentive to make any more beyond the 13. On that level, Goliath Chronicles objectively failed. Gargoyles did a bit better in its day, but it never broke out and knocked down the competition. Aladdin did better business for Disney. And they're not making any more new Aladdin tv episodes either.

3) Shelf space. The Disney Afternoon, as we know it, is dead. The rise of FOX, the WB and UPN ate up almost all of the existing independent stations that aired the Disney Afternoon or (in lieu of the full two hour block) the individual shows that made up The Afternoon. We've known this was coming for awhile. Existing contracts kept the Afternoon alive through the end of this season. But after that it is gone in it's present form. Now, as I understand it, Disney has made a deal with Kelloggs to do a reduced version of the Afternoon. I think it's supposed to be an hour and a half long, with one new show and two library shows. The new show for next season is 101 Dalmations. For fall of 98, it's supposed to be HERCULES. There isn't room for new Gargoyles in syndication. ABC has similar problems. As a broadcast network, they've committed to air 3 hours of FCC/Kid friendly programming per week. That means 3 hours of their morning have to be reserved for that kind of programming, because unlike Fox, they don't have any other place in their schedule to air this FCC stuff. That only leaves them with about one and a half hours to fill their morning. They have an existing commitment to the Bugs Bunny cartoons that they air for an hour. That leaves them with one half hour slot to fill. Given Goliath Chronicles ratings, it just doesn't make sense to fill that one slot with a show that's failing, when you can take a chance on something new that might succeed.

4) Resources. The fans seem to regard Disney as this Giant that can do whatever it wants, and that's true up to a point. But Disney TV Animation has limited resources. There are only so many talented animators and storyboard artists out there. There's only so much money they can spend without profits to justify the expense. From Disney's point of view, Gargoyles had its shot. You and I may quibble about how that shot was handled. Whether it could have been handled better. I think everyone would acknowledge that mistakes were made. But not intentionally. EVERYONE at Disney wanted the show to be a huge success. IT WAS NOT. I wish I could tell you different. Creatively, I'm very proud of the show. We touched a substantial group of people. But an even more substantial group preferred POWER RANGERS on a consistent basis. They cleaned our clock. Disney has to decide how to allocate limited resources. If Gargoyles had 78 shots to be a hit, and didn't quite make it, you can see why they might think it's time to allocate their resources to something else.

5) Quality. Resources came into play with Goliath Chronicles. The decision was reached to allocate priority resources to shows and home videos that they believed had a better chance to break out. That's why Chronicles looks the way it does. In my opinion, the show is inferior to the original on almost every level. This doesn't mean that a lot of good people didn't work their butts off to make it as good as it could be. But limited resources result in limited success. The resource issue was the major reason why I walked away. I regret it now. The animation has been weak, but I should not have passed up the opportunity to tell twelve more of my stories. But that's spilled milk. Eric Lewald was under the gun from the moment he came on board the show. There wasn't adequate time to make the show at its previous quality level. There wasn't even adequate time for Eric to become as familiar with the show as I'm sure he would have liked to. I tried to help. I was paid to consult. But...

6) Time. Along with limited resources, the main reason Chronicles isn't up there is Time. The show didn't get a go ahead until late november '95. I began "The Journey" in December. Eric didn't really come aboard until January '96, as I recall. Look at where we are now. It's late February [1997]. Do you really want to see the GARGOYLES episode that would result if it started from scratch now and had to air in September [1997]? I WOULD NOT.

7) Expectations. I do believe that Disney in general views the show as a disappointment. They had tremendous high hopes for it. They rushed 52 episodes into production for it's second year despite my warning that they'd have to air a lot of reruns in between new episodes. The reruns, the weaker stations we were on and many other factors, including series content resulted in a solid but decidedly unspectacular performance. I do believe that the high expectations that many at Disney had for the show, led to greater disappointment in its real failure to break out and its perceived failure in general. That disappointment doesn't make a lot of people feel inclined to make more.

8) Strategy. O.k., I'm not at Disney anymore, so I'm not privy to their strategy meetings, but from outside observation, it doesn't seem like Gargoyles fits in their overall strategy plans. Maybe it never truly did. Now we can be mad about this. We can even try to change it. But first and foremost, we should be glad they made the show at all. Next we should realize that if it doesn't fit their plans, they aren't going to be too inclined to change them IN THE SHORT TERM.

9) Management. (The one I suppose you've been waiting for if you still insist on playing the blame game.) There has been a lot of management shake ups at Disney. Jeffrey Katzenberg, Rich Frank, Gary Krisel and Bruce Cranston all left. So did I. We were all supporters of the show. But Eisner didn't leave and he was a supporter too. I haven't talked to him recently. I don't know what he thinks about the show. Maybe he's disappointed. Maybe he's not. Maybe for him it's just the resource issue. Gotta take a shot with something new. Maybe he's not involved in this decision in a significant way. No way to know. But I wouldn't be so quick to label him a villain. It doesn't hurt to let him know that you love the show, but it can't help to blame him for its demise.

I don't know Gerry at all. I've never met her. I'm also a little vague on her responsibilities at Disney, thought I've heard she's responsible for scheduling ABC's Saturday morning. But before you blame her, or even guess at what she personally feels about the show, reread all the above, particularly the section on shelf space, strategy and ratings. Now she may not like the show. I have no idea. Neither do you. If she doesn't care for the show, I'd personally be curious to know what she bases her dislike on. Goliath Chronicles? Gargoyles? Both? Whatever, she's entitled to her opinion.

I've met Dean. I've heard that Gargoyles isn't his thing. I've heard that he believes that it may not be Disney's thing either. But I don't know any of that. And again, Dean's personal view of the show is, positive OR negative, way down on the list of reasons not to make more. See above.

Buena Vista. Mort Marcus ran Buena Vista at the time I left Disney. I have no idea if he's still there. Mort was a big early supporter of the show. He was also very disappointed when it didn't perform up to expectations. Buena Vista is taking its next shots with Dalmations and Hercules. But even if the Afternoon had survived, there wouldn't be any new episodes of Gargoyles in syndication. Look at the Disney Afternoon's history. A new show premieres with new episodes. Over the next few years, the reruns move down through the Afternoon. That's cause they couldn't afford the MILLIONS of Dollars that it would take to make new episodes for early time slots that don't deliver very many kids. If there aren't any (or many) butts sitting in front of the t.v. then advertisers don't want their products advertised there, in which case they don't pay much for commercials. So networks won't pay much for the shows, so the shows operate at HUGE budget deficits. Gargoyles operated at a huge deficit. Ultimately, I'm sure it will make an overall profit for the company. It may have already. But let's not pretend this was the LION KING.

Other divisions. Some did better than others. But no one is clamoring for more gargoyles product, so none of the other divisions are clamoring for more shows.

SO WHAT DO WE DO?

We begin by admitting, at least to ourselves, that in the short term, we lost the battle.

Then we go on and try to win the war.

We have one big chance and a general small chance. Both are long shots.

The Big Chance is the Touchstone Live Action Feature. If this ever gets made and if it succeeds, then there will be renewed interest in the show.

The general chance is that television is cyclical. He-Man rules until DuckTales comes along. Rescue Rangers rule until Batman comes along. Soft and quirky is big now. But times change. And Gargoyles has a marquee. (It's a trifle damaged, but it's real.) There's a chance it could come back.

The best thing we can do is keep the flame burning. Keep executives, particularly if there's any executive turnover, informed that there is a fan base for the property. Write letters to Buena Vista, to Eisner, to ABC, to Disney TV Animation, to Touchstone. Write letters to local stations, asking them to air reruns. Write letters to the Disney Channel for the same thing. If the reruns are airing in the U.S., we have a much better chance of someday making new episodes. Keep these letters respectful. Don't try to assign blame. My god, what difference does that make. If I thought it would help I'd take 100% of the blame myself. I certainly deserve some of it. Just let people know that you loved the show. Praise it's virtues. Show "Deadly Force", "Lighthouse..." and "The Green" at grade schools. Make the GATHERING a yearly event. Increase it's budget and scope on a slow and steady basis until it becomes an important event. (Don't try to get too big too fast. If you go bust early on, you won't get a second chance.) Keep the fan base excited about the show. (This to me is the main virtue to the whole fanfic thing, which I have many mixed feelings about. If it keeps the fans interested, great.) Don't let the fans marginalize themselves with hostility or esoterica. If they get territorial they keep new fans out. No new fans. No new episodes. Prove to Disney that you are part of that great consumer demographic that they are hunting for. BUY STUFF. Buy all the stuff you can find. Prove that the show can still make money for the company. Buy all the videos off the shelf. Then write Disney's home video division and have them make more. More copies of existing tapes and more episodes on tape. Show those taped episodes to new fans. Particularly young fans. Adults and college kids are great too, but if kids don't like the show, we are doomed. Try to convince Disney records to release Carl's music on C.D. Buy animation cells from authorized Disney dealers. Talk it up.

As for the petition, hell, make copies. Send it a lot of places. Buena Vista for sure. Don't worry about whether or not it's read cover to cover by the president of the division (Mort Marcus, I think). It'll make an impression. But I don't see why you shouldn't send it to Gerry too. Send it to Dean Valentine at Disney T.V. Animation. Send it to Barry Blumberg (at the same place). Have someone in every market send it to their local ABC affiliate. Gerry isn't giving you bad advice there. If the local stations want the show, they'll make their voices heard at the network. (But remember, you need locals to send it to local stations. A petition postmarked Newark won't be taken very seriously in Cleveland.) Send it anywhere you think it might help. But you might want to read it over first. If it's full of hostile and antagonistic attacks, then we've marginalized the petition. Also try to make sure that there's no doubling up. If people signed the petition twice and Disney figures that out, then they'll figure the entire document is compromised, and they'll freely ignore it. If it's a rational statement from real existing fans than I promise you it'll make a positive impression.

But I don't want to kid you. We are probably past the point of no return, at least for this coming fall [1997]. I appreciate that you refuse to give up, and I'm not telling you to. But if you want to save yourself some heartbreak, I think you might want to start focusing on the long term instead of the short term. Even if we could change everyone's minds overnight, we've all but run out of time to put new episodes of any quality on the air by September. I don't like saying that, but I figure it doesn't help anyone to beat around the bush.

Now let me say in advance that most of this won't work. Sorry. The odds are against us. I take some consolation in knowing I was involved with 66 episodes that I can be proud of. I told the stories I wanted to tell. Not nearly all of them, but many. I ended it with Hunter's Moon and Journey, in a way that gave us some small closure but left it open in case I get another shot. A shot I'm longing for. All this offers some consolation. I hope you and the other fans feel the same. It's something to hold onto through what's bound to be a LOT OF REJECTION. There are no guarantees that we'll ever get the show back on the air in any form. But what I've written above is the most practical plan I can think of. If I can help in any way, let me know.

Otherwise, Good Luck. You are going to need it.

GREG