Blaise writes...

AVALON PART TWO

Ah, the Archmage's ep. David Warner is another actor whose name and/or voice instantly catch my attention. He really does fantastic work in any of his roles (his turn as The Lobe on FREAKAZOID! always makes me smile), and this episode is no exception.
But I'm getting a little ahead of myself.
When Angela showed up, I can't quite remember what my exact thoughts were. I think I may have been pleasantly surprised that here was a *good* female gargoyle, who was also *alive*. I'm pretty sure that within the first few seconds of seeing her, I recognized her coloring pattern, and determined who she was. I thought it neat that she was named Angela (the opposite of Demona, and fitting, I thought, with the mindsets of her human parents). Gabriel's parentage took a bit longer for me. I think, some weeks later, I was trying to envision Gabriel in my head and Coldstone's face kept popping up (or was it the other way around?). Anyway, at that moment, I pretty much recieved a lightning bolt to the brain and realized Gaberiel's lineage.
The beach fight. I thought it was very well done (and am a little surprised that it wasn't in there originally), with the Archmage making good use of the material. I enjoyed the lines, too (especially Tom's idea that the air might attack them). In fact, when I showed this episode to my mother, she got a great kick out of "You beat up a beach." Just the way David Warner says it is great, too.
I had never picked up on Elisa's jelousy over the idea that Goliath and Demona were actually parents. It's a nice touch, a great character bit, and I wish I was more aware of it the first time.
Seeing Katharine and The Magus as older was a neat thing for me. I liked their new designs. And Kath Soucie and Jeff Bennett did good work aging their voices (although when old Magus speaks for the first time, Jeff Bennett seems to sound slightly different than he does for the rest of the three-parter).
I liked Goliath's reaction to seeing "laser burns." I don't know why, exactly. It just struck me.
I got the Archmage's Time Loop right off the bat. I liked it a lot--to me it was (at the time) a different approach to the whole "time travel" business. This sort of "you do what you always did" thing was touched on in VOWS, but here it's really exploited for all its worth. And I think it works well.
Now back to David Warner. I still find it hard to believe that he did both versions of the Archmage during the same session. He's able to invest each with particular mannerisms and yet keep the idea that they're basically the same guy. His line readings are great, too. You've already mentioned most of them, Greg, but the "No, no," and "Nine-hundred and seventy-five YEARS??!!" bear repeating.
The Archmage's plan was also pretty cool to watch. The picture of the happenings in Demona and Macbeth's life began to be completed, and (as cliched as he may have been) the Archmage took on a somewhat more majestic tone with the revelation that he had orchestrated so much (with a little help from the timestream/Luna--man, that girl can be subtle). I would have loved to have seen the rest of his planned time stops in there, but what we got was still pretty good.
As for the Weird Sisters...I think I was more disappointed than angry when I saw their "Fury" aspect dominant in these eps. It seemed to diminish their majesty and mystique when they revealed how much "vengence" had motivated them to do. (Hmmm, actually that could be another "lesson against vengence" there, Greg--it diminishes the respect one has in the eyes of others...or something like that, I guess).
BTW, in later airings, older Demona's model was fixed some. At least her hair's red, now.
The Archmage's intial attack on the palace was well choreographed (funny thing--even with the gargoyles as flesh, if he kept up like he did, he would have won; pity he didn't think about that). One thing that really struck me during the battle was Ophelia (of course, until ILL MET BY MOONLIGHT, I just knew her as "that female gargoyle with the triceratops plate"). Her design was that striking, probably because of her unique forehead. I think I was one of the ones who kind of thought there might have been something going on between Angela and Gabriel (they had always been seen together up until now, and, like I said, expectations of "animated relationships" kind of led me down that path). Even then, I had always found the scene with Gabriel and Ophelia here one that gave me pause. I really wish enough screentime remained to get a sort of stronger "nod" to the fact that THEY were the item (and for the rest of the Archmage+'s travels--they made his plan seem even bigger, and gave a better explanation of his knowledge of Goliath's being alive). But, "what you gonna do?"
The "caption countdown" was something I don't think I noticed, at least not consiously (sp?), the first time around. But it was pretty neat.
We return, finally, to "NOW" and the good guys as they start to come up with a plan. I liked the little moment between the Magus and Katharine after M has his bout of self-pity and K tries to snap him out of it. One wonders if they've had this conversation before. Goliath takes Angela and Gabriel with him for a strike on the Archmage, and suggests to Elisa that she come up with a contingency plan (I'm not sure, but I think my mother may have said, "Smart Goliath."). I like the look on Elisa's face here--the phrase "in case this doesn't work," is never really good, but it has the potential to be very bad.
Then she asks about "the Sleeping King" (and I *know* my mother said, "OOoo, smart Elisa!"). Now, I will admit my ignorance and say that at the time I watched this, my knowledge of Arthurian Legend encompassed only the Disney movie "The Sword in the Stone," a few episodes of the Family Channel's "Prince Valiant," and various pop-culture references. As such, I had no idea about Arthur's connection with Avalon, and in fact had never even heard of Avalon before this (I just liked the sound of the name). So the revelation of who "the Sleeping King" was turned out to be quite a nice surprise for me. (As for my mother...I'm pretty sure she knew who they were talking about--she had read ONCE AND FUTURE KING).
And then the Archmage sees his would-be attackers, and laughs...and quickly vanishes for "To be concluded." I liked that phrase here, actually. It begged the question of how they were going to get out of this mess in so little time.
A cool episode, it served as the centerpiece of the "triptych" (sp?) quite well.

Todd Jensen writes...

My ramble on "Avalon Part Two".

I really liked this episode (and never had any confusion with the time loop, since I've done similar things in my own fiction, conceived years before "Gargoyles" ever came out; indeed, a certain time loop that I've planned in the book that I'm currently writing - although I can't say anything more about it than that - fits beautifully the part where the Archmages say to each other "You're sure you know what to do?" "Of course. I've watched you do it.")

The introduction of Angela and Gabriel's names (alongside the whole "gargoyles being given names" process that you referred to) illustrates nicely just how Princess Katharine and the Magus's attitudes towards gargoyles have changed since "Awakening Part One". Now, they're naming gargoyles after angels rather than villainous giants. (Although, regarding Boudicca's name, as we agreed earlier, they couldn't have been too familiar with the original Boudicca's career when they named the gargoyle beast.)

I picked up easily enough on Angela's parentage (especially because of that article that I mentioned in the "Double Jeopardy" ramble); I never even suspected that Gabriel might be Othello and Desdemona's biological offspring until I discovered Gargoyles fandom on the Internet, though.

I definitely guessed from the start who the Sleeping King was (of course, from the moment that Avalon got into the story, I was hoping that Arthur would show up - and was mentally jumping up and down in excitement when Elisa actually asked about him at the end of Part Two). It's interesting to note that, judging from the Archmage's response, even by the late 10th century in the Gargoyles Universe, Arthur had faded into the mists of legend (of course, the same thing must have been true of him in the real world, judging from what I've read about early mentions of him in medieval writings predating Geoffrey of Monmouth).

About the Weird Sisters: I was more bothered over the Grace vs. Vengeance conflict than the Fate vs. Vengeance one, for my part. I was having a very difficult time reconciling their desire for blood and vengeance with all their talk in "City of Stone" about every life being precious and vengeance being wrong. (It actually made them seem worse than the Archmage, in fact; he, at least, was introduced in the series as a villain from the start, while the Sisters started off appearing to be benevolent. Truth to tell, my response to their behavior in "Avalon" was probably not too different from how Lexington felt in "The Thrill of the Hunt" when he discovered that the Pack weren't quite so heroic as they'd seemed to be).

I agree with you on David Warner's voice; it's great. Definitely justified bringing the Archmage back. (I'm actually reminded of an episode of "Batman Beyond" that I once saw. In it, Bruce Wayne had a reunion with Talia, only to discover that she'd been "taken over" by Reis el-Ghul following his final defeat by Batman (off-stage, some years previous), who'd somehow transferred his consciousness into her body. During the latter part of the episode - after the truth was revealed - Talia spoke in Reis's voice, done by David Warner as per "Batman: TAS". Although I knew that that was scientifically impossible - a mere mind-transplant couldn't have altered her voice - I didn't protest because David Warner did such a great job that he simply had to be in that episode. Leaving him out of the voice actor roster for the story would have been unthinkable.)

And I agree with you that, despite all his power, the Archmage ultimately comes across as not all that bright. (My favorite part is where he has to admit that, although he's spent all that time seeking to unite all three magical objects into one big Triad of Power, he hasn't even decided what he's going to do with it. And he even has to be nudged by his future self into picking the obvious goal for a cliched villain: Taking Over the World.) I LOL when you mentioned that the real reason why the two Archmages can't work together for long was because of their utter arrogance.

The scene where he becomes the "enhanced Archmage", as I call him, was very effective - and the bit where he eats the Grimorum definitely jolted me. It'd been around from the very start of the series, and so it shook me up a bit to see it go. (I know that the book's real end is in Part Three, but for me, the bit where the Archmage eats it is where it exits the series). And I also really liked the "caption countdown". It gave a feel of approaching ominousness and tension.

I'm eagerly awaiting your Part Three ramble now.

Ed writes...

Although I don't really have time to rewatch and ramble to most of the episodes as you do them (at least, not right now), I wanted to respond to one of the questions you posed in your "AVALON PART ONE" ramble.

With regard to denoting 'parts' on continued episodes, I'm massively in favour of it. The conventional wisdom you mention, for me at least, is completely wrong: "part one" tells me that there's something worth watching, or at least more likely to be worth watching, particularly as it's such a rare thing in cartoons, and many television programmes.

Although they were titled separately as I recall, I loved the multi-part stories that Disney did for 'Ducktales' with Gizmoduck and Bubba. I love continuity, and particularly given that the last 'Gargoyles' multi-part outing was 'CITY OF STONE'... well, it was a good move to mark the 'part one' at the beginning.

Ray Kremer writes...

The funny thing about the first time I saw the Avalon trilogy is that I knew next to nothing about Arthurian legend. The name Avalon meant nothing to me and that the "sleeping king" was Arthur came as quite a surprise. And then maybe a month later my high school enlgish class began doing Arthurian legend. When we got to his death a big light went on in my head as everything finally connected. I even asked the teacher if the island of Avalon had any other special significance, half expecting her to say it was the kingdom of Oberon and the fairies.

Heh. That reminds me. Earlier that year we read MacBeth, and since City of Stone had already been on I didn't enjoy the play one bit. Mac as the villian just seemed wrong. Even so, it was the voice of John Rhys-Davies in my head as I read. That classroom had a big poster on one wall displaying the family tree of British royalty through the centuries, and as you might expect I went looking and indeed found MacBeth, Gruoch, Luoch, Gillecomgain, Duncan, and Canmore back in 11th century Scotland.

Blondewookiee writes...

Well I don't really have a question my sister MaryMack has been here a couple of times and says that you were making references to how many licks does it takes to get to the center of a tootsieroll pop, well I know. The number is 1478 approx.

Blaise writes...

AVALON PART ONE

I liked having the "Part 1" addendum to the title. It whetted (sp?) my appetite for a longer and more involved story than usual. Plus, the "To be continued" at the end didn't piss me off nearly so much since I knew it was coming and had mentally prepared for it.
There's so much cool stuff in this episode, I hardly know where to begin. Well, I might as well start at the beginning.
The clan goes out on patrol, minus Bronx, as per usual, and Goliath--a bit of a surprise that. But then, the big G does seem like the type to want to finish book when he gets to the good part. I wonder what exactly it was he was reading (and how miffed was he when it turned out it would be months before he could get back to it?).
Bronx's saddness at not going with the others helped to underline this particular instance. You know, I guess it says something that I never realized how often Bronx was left behind. Well, this time pooch is getting exposure.
The Guardian. I knew it had to be Tom for the same reason I knew Brooklyn was going to be Second-in-Command--Disney Adventures (an article this time, as oppossed to a comic). The article also said that the show would feature gargoyles native to other parts of the world, including (fanfare, please) Avalon! So I had some idea of what to expect there as well. But I will say that Tom the Guardian's entrance was quite impressive. I love his armor, and the way he refers to the lead ruffian as "sirrah."
Laws of TV and movies at work: within about two seconds of the breaking of the store window, the police show up. Two patrol cars, and 2-3 cops on foot (including Morgan). Talk about being in the right place at the right time.
Morgan's interaction with the Guardian is great. Tom's initial accusation of them being lawless undercut by Morgan's identifying himself, and Tom's rather knightly way of submitting to the law. A nice dignified bit until Morgan drops the sword.
Morgan talks to Elisa, and I like the way he describes the Guardian as "differnt, good somehow." Morgan definitely has a rather insightful and perceptive quality to him.
I didn't pick up on the meeting by Belvedere castle as a clue of any kind, unfortunately. Nor did I believe that when Tom was referring to the "eggs" he meant it in the literal sense of the term (after all, gargoyle eggs hatch after ten years (this was in the article, too) so they must have grown at least a little bit).
Let me just finish with the article now--the revelation that gargoyles existed in other parts of the world really excited me. Now the characters were no longer "the last of their kind," so this was something of a new approach in a series for me (I hadn't gotten to see that much of the GUMMI BEARS). This turning upside down of what my expectations had been at the beginning of the series was really fun.
Back to the show, the Guardian eventually mentions the Archmage. This was a complete and total surprise to me. He was dead! How could he come back like this? If I hadn't been hooked already (and I was) this would have clinched it.
The flashback starts. It's interesting to contrast Tom's traveling in the back of the cart with the eggs here to Demona's memory of him sitting up front (aah, it's probably just two different animation studios/storyboards, but I like the idea of a POV prism). Tom's solemnity (sp?) about his vow is rather touching in its way.
I liked the little scene with Tom and the Magus pushing the cart through the rain. They were becoming friends as well, it seems.
First impressions at the dinner: The King was a nice enough gentleman (voiced by Morgan Shepard), while Constantine's brief appearance here was not enough for me to form any opinions about him yet. Finella aroused some distrust in me for some reason...maybe her hollowed cheeks (that's how they looked to me), or the hint of insincerity in her voice when she spoke to the king, OR the scowl she gave when Constantine proposed the toast to Katharine. Anyway, next to her there was Maol Chalvim--who definitely looked more than a little sinister to me. This might have something to do with his sour expression, hollowed face, stylized eyebrows and Xanatosian beard. Suffice to say, their turning out to be "good guys" in this episode surprised me a bit (but the knowledge that Maol Chalvim would kill his cousin and take the throne did not surprise me at all).
I liked that people (at least Maol Chalvim) tended to look askance at Katharine's care for the gargoyle eggs. And Maol Chalvim already suspected Constantine's treachery ("they can smell their own" sort of thing I guess). I liked Constantine's scowl after Maol's thinly veiled insult.
Details. You just gotta love details. The Magus is writing in the Grimorum (the story of his cursing the gargoyles, perhaps?) and stops to look up when Constantine enters. Then he remains in the background while the future-usurper talks with Katharine. He senses the same thing Finella does (not that Constantine does much to hide it).
I love how when Finella mentions the King's proposal of marriage to her, Constantine seems somewhat incredulous that she has not accepted. A telling bit of character that.
Then Constantine murders Kenneth (who saw that coming? *countless hands raise into the air*). I liked how Finella turned out to be a more sympathetic figure here, through her devestation at this turn of events. And Tom (details--the tears down his cheeks) sees it all. I know kids had to grow up more quickly then, but MAN! Seeing that has got to affect a kid, no matter what era.
Scenes of the usurpation occur, and of course show what a jerk Constantine is. Maol Chalvim kills a guard (off-screen, but it doesn't take a genius to figure out what happened), and tries to get Katharine to flee. You're right, Greg, he is rather heroic here actually. I didn't see any smile though, after Katharine tells him to go for the last time. His face registers more a shocked expression. It's still an awkward transistion (especially because you only see it for half a second), but better than a smile.
Constantine tries to force Katharine into marriage, and it's only Mary and Tom that keep the Magus from rushing him (details again, yay!) while Finella runs away in, what seemed to me, a rather embarrassed fasion (one wonders if she, *ahem* gave more to Constantine than that one kiss).
About this scene, where Constantine is crowned, I find a contrast between this and Macbeth's back in CITY OF STONE. When Macbeth did it, I really believed that he meant those words. With Constantine, it seemed more of a PR thing. That could be just because we already knew what those characters were like before they took the oath, but I also think that Ian Buchanan just does good voice work here (and throughout the episode).
RE: The amount of broken crockery. Maybe Tom went and broke it for the plan to work. Or, hey, maybe Constantine and his boys are just a rowdy lot who like to break things (now THAT would be ironic). I like how the "magical glow" begins and ends with the eggs and their dopplegangers.
I loved the romantic moment between the Magus and Katharine in the next scene where he promises to take her beyond the ends of the earth. I did expect them to wind up together. Actually, I kind of expected it from AWAKENING PART 5--his anger there seemed very much like that of a man who lost his love.
Finella shows up and offers her help in the matter. I like her admission that she does it "more to hurt Constantine." True to the character, and a nice moment in an animated series.
Then the Magus tells us the "spiked-cider" plan. Actually, the Magus really gets to shine as a hero in this episode. He comes up with the plan to get the eggs to safety, and then, once Finella is brought in, comes up with the method to get Katharine out of the castle. Throughout all this, he has planned to take them all to Avalon, and when the Weird Sisters block their path, he is able to defeat them, not just with magic, but by skillfully weilding the steering pole as well. And then, for love, he gives up his magic book. It really isn't surprising that a fair number of fans really like this guy. Once he got past that "bigot" problem, he could be quite dashing and romantic (then again, since some folks take the same view of Brooklyn, maybe it's got something to do with Jeff Bennett).
I liked how Finella offered to take the book. This was a surprisingly noble gesture on her part. And not one that I expected. And then Mary offers to stay with her. I love her line, "One woman alone could get into trouble. TWO women can cause plenty of it." Mary is an interesting character. Like Katharine, once she got past the "bigot" problem she was quite a good judge of character. Also quite daring in her own right. I hadn't even noticed Kath Soucie voiced Mary until...I want to say the credits, but when Mary said "I'll stay with Finella" I half-thought that came from Katharine (leaving me very confused), until Mary's image popped up on the screen again. So that was how I figured they were both voiced by the same woman. Still, excellent work otherwise. Kind of sad that Mary and Tom had to separate, but then too, boys tended to become men much earlier in those days.
Back in the present, the Guardian spells out the time difference (fair enough) and Goliath asks about the Archmage, mentioning how that cad died before Tom was even born (a nod to continuity I was grateful for). Then we get to Avalon, and get our first glimpse of the new clan. I think I only recognized that we had a female, a male, and a beast, before Goliath's surprised face filled the screen. And excellent little cliffhanger that left me eager for the next episode as well.

Entity writes...

AVALON, PART ONE

I agree with Todd that, in principle, I like that you identified the multi-parters as such. Looking back, it feels more honest and manageable that way. But I gotta admit, upon the FIRST viewing, the labeling always made "Part One" stick out. Once you knew it was a multi-parter, you set yourself up for something big, so it was less fluid. For instance, in "Avolon, Part One," I knew it was a multi-parter, so when they arrive at the shore of Avalon and glimpse the "eggs" I don't blow soda out of my nose, but rather say, "Oh, so they're finally getting around to tieing up that loose-end about the Wyvern eggs. Cool." For me, at least, the honesty of telling the viewer ahead of time that it is going to be a multi-parter "spoiled" me, so that I expected something big, rather than getting it rewarded to me.

Todd Jensen writes...

My thoughts on "Avalon Part One".

First off, a little about the eggs. I honestly hadn't expected to see anything further with the eggs at this point. The reason was that I'd always assumed that the eggs were indeed all gone, as Xanatos had claimed in "Awakening Part Two", even after we found out what he was really like, for this simple reason: the thousand years between the Wyvern Massacre and the Awakening. Since I didn't think it likely that gargoyles live naturally for a thousand years, my assumption always was that the eggs had hatched long ago and that the gargoyles that had hatched from them had grown up, lived out their lives, and died long before as well. I hadn't taken into account the possibility of a place where time moved slower.

(Of course, thinking over it some more, I should have expected the eggs to return, simply because, if they weren't going to, their inclusion to date would have been almost pointless. After all, they'd had no real impact on the storyline in "Awakening" - the mere fact that the video version was able to edit them out is proof enough of that - so that would have to mean that something further with them would have to be done, or else why include them in "Awakening" at all?)

Regarding your multi-parter comments: I also prefer it when the first episode of a multi-parter clearly labels itself as "Part One". That way, I'm already prepared for the "To Be Continued" part. So I'm glad that you always labeled the multi-parters as such.

I was a bit amused to notice the Brigadoon alternative to Avalon, in light of the fact that you did manage to use Brigadoon as the Avalon-substitute in your "Gargoyles meet Captain Atom" story. And, yep, I was definitely looking out for King Arthur to show up at some point in this story, given that the thing that Avalon is most famous for is being his resting-place. (More about that in my ramble on Part Two when it comes).

Needless to say, I enjoyed the flashback. More 10th century Scotland! And more real Scottish history! In some ways, it was even more fun than the Macbeth backstory in "City of Stone"; after all, I already knew about the historical Macbeth before "Gargoyles" ever came out, but I'd never heard of Kenneth II and Constantine III before. After seeing this episode, I eagerly looked up everything on them that I could at the local library (although I wasn't able to find much, thanks to the scanty records for this part of Scottish history).

Constantine definitely struck me as shrewd when he provided a very convincing "innocent reason" for the secret meeting in the drying-house (the argument that it would be better for Kenneth's dignity to have Finella turn down his suit in private, rather than before his entire court). I thought he made a good antagonist here, even if for only one episode.

(I haven't seen the McKellen "Richard III" movie, by the way, but I do have a book that McKellen wrote about the making of it, including the screenplay, which I found fascinating reading.)

I also liked the mention of Michaelmas, which added to the medieval flavor of the story. (It's things like this that make me regret the fact that you never got to make the "Dark Ages" spin-off. Of course, I suppose that an animated series set entirely in 10th century Scotland wouldn't be all that commercially viable, more's the pity.)

I'm looking forward to your rambles on Part Two and Part Three, as well.

Blaise writes...

THE PRICE

I really like this ep. I liked it when I first saw it and I still like it now.
It's nice to have Hudson in the spotlight again, and Xanatos' quest for immortality is expanded upon while, just for good measure, we get a greater glimpse into Owen's character. Yeesh! Quite a lot stuffed into this ep.
I didn't begin to guess that "Macbeth" wasn't the real deal until the second time he appeared. His "Trophies" line, though not in character for the old Scottish noble, as Todd pointed out, seemed to me like it could have just been something of a joke. But when he showed up the second time, and repeated a line he had said before, in the exact same way, I began to figure out he/it was a robot. I did love how it "died"--Goliath punching his arm straight through its gut, and then the eye-pop, as the voice runs down, followed by a final explosion! I loved it.
When "Hudson" didn't wake up along with the other gargoyles, I was completely convinced that we were seeing the real Hudson under another magic spell. I had not read the Disney Adventures comic by Mr. Nordling, and consequently suspected nothing. At the end of Act I, I did indeed see Hudson's appearance in the cage as taking place within his mind. It wasn't until Act II had begun, and I saw the strange floor underneath the cage (not to mention the appearance of Xanatos and Owen), that I realized here was the real Hudson, and the one the other's were looking after was a decoy.
Hudson and Xanatos did have some great interaction here. I don't know about them being better adversaries than Goliath and (David) Xanatos, but there is something there. I think Hudson can figure out what really scares Xanatos because he himself is already there (the possibility that he was the last survivor of his generation even before the massacre leads to a certain viewpoint on the inevitability of death). Also, they throw their own quips and insults back and forth quite a bit.
Then too, there's Hudson's attitude towards Xanatos' plans. When X takes the stone skin, Hudson just asks "So, are ya through with me?" This is interesting because Goliath's most probable reaction, IMHO, would be to ask what game Xanatos was playing now. And at the end, Goliath would have probably destroyed the cauldron to keep Xanatos from any power it might bestow (and possibly just to spite X as well). Hudson, however, doesn't see any point to destroying the cauldron, and just wants to go home. He even shares a profound thought with Xanatos. And Xanatos, for his part, let's Hudson go in a rather honorable fashion. As I said, I don't know if they're "better natural adversaries" than Goliath and David, but Hudson and X do have an undeniable dynamic here.
Somehow, I knew that Goliath would suggest trying to seek out Demona at some point. I mean, she is the only sorceress they know of. I liked how that was worked in--a last resort sort-of thing.
Broadway's turning to stone in mid-air was something I had been waiting for. Well, not Broadway specifically, but one of the gargoyles, of course--it had to happen sooner or later. I kind of figured the box on the crane had something in it to save BW from shattering, but personally, I would have preferred "Extra Comfy-Soft Mattresses" (sp?) to the rolled up Persian rugs. Eh, minor quibble.
I didn't much care that the Hudson statue was blown up because I already knew about Hudson's being alive. I did, however, like the way the various reactions were portrayed. Goliath's rage was awesome. One of his most chilling moments in the series.
The "semi-Wind Ceremony" for Hudson, was nicely done, and nicely undercut by the old codger himself. I also liked his little remark about the head. On that track, I always enjoyed the way Hudson escaped from Xanatos and all ("Swordless maybe, helpless NEVER!"--too cool).
Although I thought Owen was cool, this episode was the one that really impressed me in regards to his character. I was completely stupefied when Owen just went up and dunked his arm into the Cauldron, resulting in it turning to stone. He had been permanently changed. Another one of the cool things about GARGOYLES: changes occur and cannot be reversed. I silently applauded the episode for daring to do this with one of its characters.
Of course, this aired out of order in my area, and although I missed THE CAGE, I saw DOUBLE JEOPARDY after this and noted that Owen's left hand was still flesh. Although I considered this a possible oversight, maybe somewhere at the back of my mind I realized that this just aired early, so I didn't mind too much.
OTHER NOTES: Lot's of fun lines and exchanges here. All those already mentioned, as well as the following between Brooklyn and Lexington:
LEX: "The city sure is different when it snows."
BROOK: "Yeah. It's colder."
I still laugh at that.
When Macbeth's guns were manned by Banquo and Fleance, the old man's mansion got pretty shot up in the ensuing fight. This time however, run by a computer, the mansion did not seem to sustain a single hit. Still, the cannons did shoot each other, so...nevermind.
I don't think I even realized that Brooklyn had said the word "Jalapena" until after I had watched PROTECTION (which had aired after this) and this one a second time. The first time around, I guess I just ignored it because I couldn't really understand it.
When "Macbeth" dies the first time, and Goliath says "I had no choice," Hudson calmly brushes the incident (and some of the dust) off. I like this sort of reasonableness about Hudson. He shows he's defintely more of the "old soldier," the 10th century warrior even, than the younger gargoyles in the clan. Incidentally, I never thought Hudson was going to die in this episode. That might have been me being tv-savvy...or just in denial.
And I thought the animation was spectacular (though the shadows in the beginning did make it look almost as though Goliath had a moustache (sp?).
At any rate, a wonderful episode.

Todd Jensen writes...

My own ramble on "The Price".

You mentioned in the course of your ramble a number of misconceptions that first-time viewers of this one could have had; I'll confess that, the first time that I saw "The Price", I fell victim to all of them!

1. I thought at first that Hudson might actually die in this episode, between the name of it and Goliath's line in the "Previously on Gargoyles" section about how Hudson had years ahead of him to live. I was relieved to see that Hudson doesn't actually pay the price (although Owen does, in a different sense, but I'll get to that later).

2. I thought at first that Macbeth really had turned Hudson to stone (and, when you stop to think it over, it probably wasn't too difficult to dupe the audience into believing it, thanks to the fact that we already knew that it was possible to trap a gargoyle in his stone sleep, with the Magus in "Awakening").

3. Since I knew that only Demona could kill Macbeth, I wasn't surprised at all by the fact that Macbeth "returned from the grave", to battle the clan again, and thought that he'd survived because it was Goliath who "slew" him rather than Demona.

4. And when I first saw Hudson in the cage, I thought that it was a metaphor for the spell imprisoning him. Even after Xanatos and Owen showed up, I initially thought that they were just "metaphors", like Xanatos being the shape of the Xanatos Program in "Legion". But I soon understood otherwise.

I did get suspicious about "Macbeth" in this episode, though, not so much from the "only a few lines", as from the fact that he appeared to be acting out-of-character here. I found it hard to believe that Macbeth really would go gargoyle-hunting just for the sake of a few trophies; that motivation was more appropriate to, say, the Pack. I could buy the notion of Macbeth going after the gargoyles again, but for a cause much bigger than just something to have stuffed and mounted. (Especially since, after "City of Stone", I'd become quite fond of him). So the "robot revelation" worked for me.

I also get a kick out of the scene where Xanatos acquired a bit of Hudson's stone skin. Just one of those moments that makes it so hard not to have a sneaking admiration for the man. "There, that wasn't so hard now, was it?"

This is the episode where we learn about Xanatos's desire for immortality, but it occurs to me that we also get a hint of it in "City of Stone", where Demona dupes Xanatos into thinking that the effect of her spell is to steal one minute of life from everybody who watches it, which she can use to augment their life-spans.

I very much enjoyed the interplay between Hudson, Xanatos, and Owen (I honestly hadn't thought that "The Price" helped lead to Puck's use of Xanatos and Hudson slaying each other in "Future Tense" prior to your ramble, I must admit), which certainly had some fine moments there. Like many viewers, I particularly found interesting the fact that Hudson wasn't interested in destroying the Cauldron of Life, but just in regaining his freedom. And also how Xanatos lets him escape from the castle on the grounds of "he's earned it".

Of course, the biggie here is Owen getting his hand turned to stone. That was one bit that definitely got my attention, because of the permanent change to a major character. (Interestingly enough, I didn't pay that much attention to the characters' response to the stone hand, maybe because I was too busy dealing with the mere physical change to pay attention to the fact that Owen was just staring at it. In fact, it wasn't until "The Gathering Part One" that I started to really suspect the truth about Owen, but that's another story.) Still, you've got to admit that it beats being turned into an anthropomorphic aardvark. :)