Greg responds...

[Questions numbered to make life easier. As usual, no other editing.]

1. Hi? Uh, hi back to you.
2. The development team? None. Well, me. Keep in mind, the team that developed the show was largely not the same team who produced the first two seasons. The unsung (read largely uncredited) people who worked on the development of the series included the following:
Greg Weisman - Director of Series Development (Greg went on to be Supervising Producer of GARGOYLES.)
Bob Kline and Dave Schwartz - Development Art Directors (Bob later became a Producer/Director of GARGOYLES in its second season.)
Paul Felix and Greg Guler - Development Artists (Greg became lead character designer for GARGOYLES in its second season.)
Fred Schaeffer, Paul Lacy, Kat Fair, Cindy Chupack, Ellen Gurney - Development Associates.
(I hope I'm not leaving anyone out; we had a lot of development
associates at Disney, and I'm not 100% sure if any of the others worked
on GARGOYLES specifically.)
Also Gary Krisel and Bruce Cranston - my bosses, who were very involved in
developing the show.
And Tad Stones - who provided some important conceptual advice.
After the show was developed and sold, we began assembling a production team for the first season, most of which was pre-produced and produced in Japan.
I was still a development executive at the time. I asked to be switched over to Producer, but my bosses wanted me to prove that I could do the job while I simultaneously held down my Executive slot. So that's what I did.
We went through a couple of writers who didn't work out, and then Michael Reaves was brought aboard as writer and story editor.
In Japan, Kazuo Terada, Saburo Hashimoto and Takamitsu Kawamura were brought on as directors. Kazuyoshi Takeuchi was our lead character designer. And that's just the tip of the iceberg in terms of Japanese talent that worked on the show. (But I don't want this answer to turn into me just rewriting 66 episodes worth of credits down here.)
Back in L.A., Frank Paur was hired as our producer. Jamie Thomason was brought on as voice director. Laura Perrotta was our production coordinator. Dave Witting was our production assistant. Denise Byrne was our script coordinator. And Carl Johnson was our composer. Again, a lot of other people were involved, but that was the basic team for the first thirteen episodes.
Some of you may have noticed that I don't have a credit on the episodic television version of "Awakening". That's because, I was still officially an executive, and Disney executive's don't receive credit. The decision to allow me to officially move over from Executive to Producer came after the pre-production of the first season was completed. In fact, it came during post-production. As a matter of fairness, it was decided that any work that I had done as an executive would still not be credited. Frank Paur posted the five part "Awakening" by himself, while I posted the "Movie Version" for our Disneyworld Premiere. So I was credited as co-producer on the "movie" (which later became the home video) and on the other 8 episodes of the first season. Co-producer because I hadn't participated in pre-production except as an executive. I received no credit on any of the five parts of the television mini-series "Awakening" because my pre-production contributions were as an executive and
my post-production contributions were minimal, because I was busy on the "movie".
The second season was a whole other story. We did 52 episodes and the crew expanded geometrically. Most (though not all) of our pre-production was brought back to the U.S. We added Bob Kline and Dennis Woodyard as Producer/Directors. Lisa Salamone was brought on as Associate Producer.
(Laura Perrotta left Disney around this time.) Tom Pniewski was added as another Production Assistant. Greg Guler became our lead character designer. Butch Lukic, Patrick Archibald, Doug Murphy and others were brought aboard to storyboard and design, etc.
I officially shared producer credit (later supervising producer credit) with Frank. Michael remained a story editor and Brynne Chandler Reaves, Cary Bates and Gary Sperling were added as additional story editors. Lydia Marano became a regular writer on the series. My assistant Monique Beatty made the move with me and joined the Gargoyles team as a script coordinator.
Since I was no longer an executive, new executives were assigned to oversee the show. Jay Fukuto was director of current programming. Initially, he had Ellen Gurney watching the show. Later, my former development associate Kim Christianson took over. Adrienne Bello was the S&P executive from day one.
Again, refer to episode credits for a fuller listing of people.
GOLIATH CHRONICLES was a whole different animal. I wrote and story edited one episode only. Jamie Thomason remained the voice director. Denise stayed on as script coordinator. Tom Pniewski was promoted to Production Coordinator or Manager (sorry, Tom, I get those credits mixed up). Cary Bates wrote a couple episodes. Lydia wrote one. Another of our writers, Adam Gilad wrote one. Jay and Kim were still overseeing the scripts, but otherwise Pre-Production and Post- Production were moved to Nelvana in Canada. A new Supervising Producer, Scott Thomson was brought in. A new story editor, Eric Lewald, was brought in. Officially, I was a consultant, but I had my consultant credit removed, because I felt I hadn't been consulted enough
to earn that credit. I believe Frank Paur may have consulted a bit as well, but I'm not sure. For the most part, it was a complete turnover in creative personnel. I've always thought that hurt the show.
But there were also other problems that I've gone into before, (and this "answer" has gone on long enough). I should say, however, that Goliath Chronicles is probably still an above average cartoon show. Any problems with it are probably relative.
3. When Gary Sperling and I were working on the episode "Turf" we realized that we needed to know who, if anyone, Angela would wind up with. We talked about it. In some ways, Brooklyn did seem like the obvious choice, but it soon became clear that he was the wrong choice. It had to be Broadway.
Nothing else made sense. There are some subtle clues in "Turf". For example, Broadway never refers to Angela as Angie in that episode, despite the fact that he had been the first one to call her that in "The Gathering, Part Two". By "Turf" he had already realized she didn't care for the nickname. Lex and Brooklyn didn't figure it out until she told them (at high volume).