Since the end of Superman: The Animated Series, Superman has not had an animated series solely dedicated to himself as an adult in the intervening 23 years. He’s certainly been part of team shows like Justice League/Unlimited or Legion of Superheroes (albeit as a teenaged Superboy) that had his character as a key component. And there have been no shortage of movies, live action or animated, that starred him either. But it feels like something’s been lost, especially on the live action end, where interesting ideas by Zack Snyder and Henry Cavill largely failed to coalesce into a compelling character (and also were a major contributing factor in the current disaster zone that is Warner Bros. Discovery, so, that doesn’t help). But we finally have a new series starring him in My Adventures With Superman, and its two-part premiere has finally surfaced. How do things shake out for the Man of Steel?
The comparisons with Luz Noceda are starting to become actively aggravating. Luz is Afro-Latina. Lois is voiced by a Korean actress, Alice Lee, and is probably some variety of East Asian due to such. We don’t in fact have to flatten everything in a fandom monoculture.
reblog to bonk the person you reblogged it from with a hollow cardboard tube
https://www.youtube.com/watch?v=LqvGZLpoOGA
(via betterbemeta)
P. self-explanatory, I’d imagine. Multi-parters will count as one episode Let’s get rolling!
FIVE HONORABLE MENTIONS
“In Brightest Day”: This one’s admittedly here more for the historical importance. It’s a solid episode on its own, with a much-abbreviated mashup of Hal Jordan and Kyle Rayner’s origins serving as the main thrust, and Kyle is a very likable protagonist in his first day on the job, especially against a formidable threat in Ted Levine’s arrogant, well-essayed Sinestro. But what this represented to the larger DCAU is hard to understate, with the Green Lanterns and Guardians of Oa introduced, as well as the soaring musical leitmotif that will also go on to represent John Stewart in Justice League. Of the hero team-up episodes, this is definitely on the higher end.
“Speed Demons”: Speaking of which, this also has a great deal of importance in introducing Wally West as the Flash to the DCAU. And the episode is a ton of fun, especially with the mix of personalities and TMS’ animation bolstering the speedy movements of our heroes and environmental effects. The main reason it’s here and not on the list proper is that it’s fairly light and fluffy as these go. Weather Wizard gets a lot of mileage out of Miguel Ferrer’s confident sneering villainy and going as far to attempt to murder his nebbish brother, but he’s ultimately just kind of A Guy here, and the frivolity is indicated all too well by the ending tag as Superman and Flash cheerfully resume their race. It came close, but it can’t quite go the distance.
“Little Girl Lost”: Another important episode, this introduces Supergirl as well as Granny Goodness and her Female Furies on Apokolips. Nicholle Tom of The Nanny fame makes for an immediately winning Kara, sympathetic in her desire to roam free and tough enough to make her a credible heroine. As said in the main post, the legendary Ed Asner is hilarious and menacing in equal measure as Granny, just the right edge of camp, which Apokolips should always have to one degree or another. It doesn’t make the main list because I think it is a LOT of material to cover even in a two-parter, and I wonder if having Supergirl start in a more mundane adventure could’ve been beneficial. Still, what’s here is fun, and we get enough of Ironside’s Darkseid to tease us further, especially his darkly funny exit: “Teach Granny the price of failure.”
“Monkey Fun”: This is pure Silver Age ridiculousness, and I mean that as the highest compliment possible. Titano the giant space-irradiated monkey is one of Supes’ goofiest threats, and to see him get battered around like a children’s toy is remarkably funny. It’s also a good episode for Lois, as we learn about her military father Sam and childhood with Titano (few things can tug on the heartstrings like a little girl being devastated at a pet being taken away). She even gets to save the day in her own fashion.
“Legacy”: Yes, this is another series where the finale doesn’t end up on the top 10. No, I don’t know how this keeps happening. Mainly I quibbled with putting it there because while they’re excellent episodes, there is a clear sense of unfinished business. We wouldn’t fully answer the questions raised by the story until Justice League Unlimited, especially in regards to characters like Hamilton. And the final note is bittersweet, but hardly definitive. Still, this is some of the best action and drama in the series, especially the iconic Timm-boarded throwdown between Superman and Darkseid, which features just as many great lines as punches.
Other Miscellaneous Favorites: “My Girl”, “Fun and Games”, “Brave New Metropolis”, “The Hand of Fate”, “Knight Time”.
THE TOP 10
10. “Two’s A Crowd”: This feels underrated by a lot of fans tbh. Stan Berkowitz gives us a clever premise in Supes having to rely on Parasite’s absorbing abilities to tap into the mind of Dr. Earl Garver, who’s holding the city ransom via a bomb that he’s hidden. But it’s not quite that simple, and the twists it takes with Garver and Rudy Jones interacting are very well done. Garver benefits hugely from the vocal presence of the legendary Brian Cox, who brings his typical brand of egotistical intellect and confidence to what could have been a generic madman, relishing Berkowitz’s hammy dialogue with gusto. It’s a good showing for Brion James as Jones too, who has his own opinions about getting crowded out of his body, and expressive TMS animation is the cherry on top; while they were always great with action scenes, their character acting is a great boon to this episode in particular.
9. “The Main Man”: Sometimes two-parters in this series feel like butter scraped over too much bread in terms of thin plots getting padded out by action scenes (this would also be an issue at times in the first two seasons of Justice League before the Unlimited rebrand). Thankfully, that’s not the case here, primarily because we have such a surplus of character work. As noted in the main post, Brad Garrett is terrific as Lobo, a character who should never be taken completely seriously, and his comedic crassness matches well with Tim Daly’s increasingly impatient straight man. (Credit also to Harvey R. Cohen for giving Lobo a distinct musical identity with bitchin’ electric guitars) It also does have a genuinely intriguing plot, with the creepy Preserver as a formidable foe and Superman having to use his wits to get out of the situation; my particular favorite moment is him briar patching a group of thugs. Also features the iconic scene where Clark sarcastically confesses to being Superman to annoy Lois.
8.
“The Way of All Flesh”: This is a fascinating episode because it takes a premise that would have been an outright tragedy in Batman: The Animated Series and tweaks it to fit this series’ tone. Corben is never anything less than a brutal asshole intent on killing Superman and clearly has no regrets on that score. But the struggle with his dwindling senses is nevertheless compelling, and Malcolm McDowell gives a stellar performance as Corben rages against his loss of humanity. Add in some great TMS-aided fight scenes and one of my favorite cold-blooded Luthor moments (”And just what makes you think there’s anything of him left to find?”), and you’ve got a classic.
7. “Solar Power”: There’s a bit of a pattern with my favorite episodes in terms of Superman having to rely on more than just his powers to solve the problem, and this fits in well here. Edward Lytener, who first debuted in the episode “Target” as a stalker/burned source of Lois, returns to take vengeance on Superman by becoming Doctor Light Luminus and creating a device that turns the Earth’s yellow sun rays into red ones to put Superman on a normal human level. It’s clever plotting, and Robert Hays gives a fantastically smug performance as Lytener, relishing his attacks and holographic tricks (it resembles the kind of stuff Mysterio puts Spider-Man through on the regular at points); he also has one of my favorite big “NO!” deliveries ever.
6. “Mxyzpixilated”: This has a great Looney Tunes vibe, with Superman baffled and confused by Mxyzpltk’s braying jackass routine, but ultimately turning the tables and becoming more of a Bugs Bunny type trickster than I’ve ever seen him as before. It’s another one where Tim Daly gets to shine with deadpan deliveries, such as a moment where a stunned Mxyzpltk blusters that his friends will remain animals if he doesn’t play along: “They don’t seem to mind.” Very funny stuff, with an immensely satisfying ending.
5. “Ghost in the Machine”: Much like Harley Quinn’s introduction in Batman, Luthor’s bodyguard Mercy Graves proved compelling enough in her creation here that she crossed over into the main DCU comics. And it’s easy to see why, with Lisa Edelstein giving her a fantastic don’t-fuck-with-me vocal edge and proving to be incredibly competent. This is a rare showcase for her and Luthor’s relationship, with us learning that she believes that Luthor taking her off the streets made her what she is. It’s more than a little sad, especially with the final moments playing out as Superman looks on. We also get Brainiac and Luthor interacting, which has fantastic dividends here with the tycoon oddly vulnerable and his protestations having little effect on the brutally efficient A.I. (plus it pays off down the line in a very unexpected way in Unlimited).
4.
“The Last Son of Krypton”: As said in the main post, this is a top-tier pilot movie, especially part 1 with my favorite depiction of Krypton’s destruction ever. But the other two parts are equally good, with Jason Marsden giving teenage Clark genuine teenage angst without going over the top in part 2, and some truly kickass TMS action in part 3, plus a final scene that says everything it needs to about Superman and Luthor’s relationship.
3. “Apokolips…Now!”: The first part of this is quite good, bringing in Jack Kirby’s New Gods elegantly and giving us the backstory on them and Darkseid. But it’s part two that everyone remembers and gets it on the list, with Darkseid’s invasion of Earth offering dark action scenes with a genuinely operatic atmosphere. The stakes have never been higher, illustrated all too well by the death of Dan Turpin, which still shocks me to this day in its swift brutality. It becomes a loving tribute to Kirby and his work, and this would carry forward in the DCAU to even greater ends.
2. “The Late Mr. Kent”: I’ve never been fond of the idea with either Batman or Superman that one persona is fake and the other is “real”. To me, both should be true to some extent even if they ‘mask’ plenty. And this great episode illustrates why Clark Kent is necessary to him; he belongs in this world, not separate from humanity. The plotting is ingenious, making us wonder how Superman can get an innocent man off death row while appearing to die himself as Clark, and it’s a terrific showing for Lois as she takes up Clark’s quest as a way of honoring him, as best shown in a wonderfully played moment where she admits that she respected and liked him even amidst all the teasing. It features possibly the most chilling ending I’ve ever seen in a Western kid’s cartoon that still gives me goosebumps.
1. “World’s Finest”: Let’s see. Beautiful TMS animation? Check. Thrilling action scenes? Check. Snappy dialogue and outstanding character interactions? Check, double check, triple check. This isn’t just one of the most important episode of the DCAU historically, it’s one of the most purely FUN, barely seeming like it’s straining for effort in bringing all these characters together. Batman and Superman’s initial wary partnership is played just right, with hostility giving way to camaraderie as they save each other by turn and give the promise of more in the future. Even better might be Bruce Wayne and Lois Lane having a genuinely spicy romance, something that feels so obvious but is so rarely played out, and Conroy and Delany feel like an old-school movie star couple in their vocal stylings. And of course there’s the villains, as Luthor and Joker’s deal is inevitably, hilariously doomed to fail, and we get to watch two masters of the craft in Clancy Brown and Mark Hamill go at it like prizefighters. (Also hey, remember when the Joker was threatening AND funny instead of validating every weirdo edgelord on the Internet?) I never get tired of watching this one.
It’s not always easy to appreciate how groundbreaking Batman: The Animated Series was. Much in the same way that The Simpsons revolutionized adult animated sitcoms, Batman completely changed the game for action cartoons in America. And as it wrapped up its initial run, the obvious question arose of what to do next. While creator/producer Bruce Timm wasn’t initially eager to do a Superman series, believing it would be much more difficult even with Batman under his team’s belt, he warmed to the idea and set forth on a series that would follow in those footsteps, but create its own identity. Gone were the gothic shadows of Gotham City, replaced by sunny Epcot-esque futurism. The heavy Max Fleischer influence on the character design would give way to a sleeker, streamlined look more reminiscent of Jack Kirby and Japanese anime (designer and art director Glen Murakami would take the latter influences even further on series like Batman Beyond and Teen Titans). And Superman himself would be a vastly different lead character, which trickled downwards. So how do things hold up?
Thirty years ago, the American TV landscape was a world apart from the one we know today. Broadcast networks and syndicated local markets still ruled the roost, the Internet was just starting to have an influence, and cable had a few powerhouses but was still fairly expensive. Perhaps most importantly, while serialized storytelling wasn’t nonexistent-soap operas were popular in daytime, and network dramas and sitcoms like Hill Street Blues and Cheers had made inroads in terms of story arcs and long-term character development even within episodic structures-it was still a relatively fresh concept. In terms of sci-fi genre fare, largely episodic TV was still the order of the day with series like the various Star Trek entries or Quantum Leap. And the televised Western was relatively dead by comparison. Thus we come to The Adventures of Brisco County, Jr., a one-season hybrid mash-up on FOX that is practically tailor-made for the designation of “cult classic”. How does it hold up in our streaming age?
The legacy of the DTV sequel/TV spinoff era for Disney’s animated films is a fascinating question. In terms of the naysayers, it was seen as diluting the brand with cheap recycling of the characters and plots of the classic movies (this is also the current argument aimed at the live action remakes). On the positive end, fans who grew up with them cite expanded worldbuilding and stories with new, compelling characters as points in their favor. I’m somewhere in the middle: I think at their worst with films like The Little Mermaid II: Return to the Sea, The Hunchback of Notre Dame II, The Jungle Book 2, or The Fox and the Hound 2, the stories are lazy and inspired with dull characters that don’t further the narratives. (FATH2 also lands in the strange “midquel” territory, which tends to present structural and dramatic issues) But at their best, those positive elements do stand out: even with some janky animation here and there, the Aladdin sequels and series created a robust action-adventure universe, The Lion King 1 ½ is a genuinely clever spin (I also have a fondness for the Timon and Pumbaa TV show in terms of unabashed cartoon shenanigans, and Simba’s Pride has some strong drama to it), An Extremely Goofy Movie is a very solid follow-up to its predecessor, while Cinderella III: A Twist in Time arguably improves on the original in terms of the character writing. So I find myself here today having watched a couple of them I hadn’t seen before and found them interesting enough to write about. Let’s dig in, shall we?
The year 2002 was a weird time for the Disney animation studios, to put it mildly. After the legendary stretch of films that constituted the Disney Renaissance-The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King-the yearly animated offerings were still making money, but they largely weren’t outright phenomenons anymore. Worse, competition had arisen both within and without: Pixar had totally changed the game with 1995′s revolutionary Toy Story, but the fancy new CGI bells and whistles were making more money than the studio’s traditional 2D animation and seemingly had more staying power to boot. Former studio chairman Jeffrey Katzenberg had left to form DreamWorks with legends Steven Spielberg and David Geffen thanks to a highly publicized power struggle with CEO Michael Eisner after the 1994 death of company president Frank Wells. They were succeeding too, with 2001′s Shrek being a (ahem) monster hit in particular. Eisner’s grip on the Magic Kingdom was slipping after this and other costly blunders like the creation of Euro Disney/Disneyland Paris, and he knew it. In the middle of all this, one of the most expensive films in the company’s history, a passion project for directors Ron Clements and John Musker, was nearing the end of production: a sci-fi adaptation of Robert Louis Stevenson’s classic adventure novel Treasure Island. How does it hold up? Well, if you’re like me and grew up with this, Atlantis: The Lost Empire, and The Road to El Dorado on loop, the answer is “I cannot be remotely objective about that”, but let’s get down into the nitty gritty on why this movie rules.
The Legend of Vox Machina is two-thirds of the way into its second season, with three episodes left in terms of the adaptation of this portion of the campaign’s Chroma Conclave arc. I think on balance, it’s been pretty great! The first season tackling the Briarwoods arc was excellent, but as with most first seasons, it took a bit to find its creative identity and how to approach the material. The Conclave arc is bigger, bolder, and wider in scope, and they’ve done a hell of a job upping the stakes as well as their production values, already very good to start with. Additionally, there have been even more changes made to the story and character choices than there were in the first season. This has caused a lot of debate, inevitably, and I don’t begrudge people for DISLIKING some or even most of them; for my part, I think they took a bit to figure out how to translate Scanlan’s crass humor when at the table, much of the edge is taken off by his cast members’ genuine laughter and assurance that it’s all in good fun. And I think there have been some odd friendships seemingly lost in translation like Vax and Grog’s prank war, or Percy bonding with Keyleth initially because he thinks she’s the only other adult in the group. But outside of my own minor personal gripes, I think there has been a broad failure here of a proper analytical framework for an animated series as opposed to a tabletop campaign, and I wanted to dig into that in my own long-winded way. Strap in.
Justice League Unlimited is potentially my favorite team superhero show of all time. The initial Justice League episodes are certainly very good and often excellent, but there was a clear sense by Bruce Timm and his creative team that it was a much taller mountain to climb compared to their past achievements. Instead of a single hero POV, they had seven to keep track of at any given time. By Unlimited, though, they were in the full flower of their creative gifts, and as a result, we had a show that could dip in on any hero and tone whenever they wanted. Batman had to sing to reverse Wonder Woman being turned into a pig. We could travel in time as far back to the Old West and then leap ahead to Batman Beyond’s future. The Question could star in a paranoid conspiracy thriller with Green Arrow and Supergirl. The Flash and Lex Luthor switched brains. And on and on, with plenty of room for classic superhero beatdowns along the way. It is in that spirit that we look at the DTV movie Justice League Vs. The Fatal Five, the first in-continuity animated JLU story since the finale in 2006. And it’s quite a welcome return to be sure.
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I love that there’s one who immediately starts spinning in place
aminals
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