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That Terrible Episode of TMNT Was Terrible

We need to talk about how bad Teenage Mutant Ninja Turtles is right now.

TMNT screenshot

I watch a lot of cartoons. I watch a lot of TV in general, but cartoons tend to be the easiest for writers to bypass and push aside under the mistaken belief that, since their work is for kids, they don’t actively have to try. They can skirt by with an abundance of action scenes, physical comedy, and fart jokes. And I’ve certainly seen my share of cartoon episodes that just embarrassed me to watch, terrible episodes of an already mediocre animated show. When it comes to bad TV, there’s usually two kinds – it can be bad at a narrative level, and it can be bad at a technical level. It rarely is both, but for the most part, TV is usually competent technically. Narratives tend to be hit or miss. But bad TV is bad TV, and when an episode sucks, it sucks. At the very least, you can simply say, “That sucked.”

“The Kraang Conspiracy,” TMNT’s latest episode didn’t just suck though. It was bottom of the barrel terrible, an embarrassment to every single person involved. It’s the kind of episode that anyone else would have shelved immediately, hiding from the public. It’s just pure trash, with awful quips and horrendous timing and pathetic plotting and piss-poor pacing. The characters are suddenly extra dickish and shit kinda happens in this episode with NO explanation and then they gave April psychic powers, because what?

“The Kraang Conspiracy” is the epitome of a season that has been sliding downhill ever since the first episode, “The Mutation Situation.” In the first season, what made TMNT a delight was its sense of discovery and growth. It had a keen focus. It emphasized the turtles’ brotherly connection while maintaining each brother’s difference, all while they sought to understand the world around them and their growing list of enemies. Things were happening, and the turtles themselves were training, struggling, and working their way to face each new problem. It was amazing to actually see the turtles become better fighters over the course of the season, and yet fail miserably at taking on The Shredder. They smartly toned down Raph, who has always been portrayed as an emotional wrecking ball – in fact, they completely shut down his attitude in one single episode. They dealt with Leo’s leadership issues and Mikey’s silliness as an extension of wanting to make a real connection, and while Donny’s crush on April is not exactly narrative gold, it at least gave him something outside of his nerdiness to follow. The entire endeavor built to a pretty great (if not memorable) season one finale.

Then season two came.

Season two, frankly, is a mess. We were already in dangerous territory when it began as a tedious slog of mutagen canister fetch-quests, but then this plot goes away. Then Shredder leaves for Japan for unknown reasons. Karai’s in charge and she fucks up everything. This plot then goes away. Then the Foot is replace by robot-Foot, who’s abilities lie in the fact that they can immediately learn your moves and adapt. This should have made for truly intriguing, complicated enemies. It doesn’t, to the incredulous point that Casey Jones, who is only a half-assed hockey player, can take them out. This gets worse when somehow he can hold his own in a fight against Raph – you know, the turtle who has been training in martial arts since birth. Oh, the difficult robot-Foot plot? Completely irrelevant now. (Made so when, upon finding the turtles’ lair, only one robot-Foot soldier analyzed the location and ran off to report it.) Worst of all, they did two episodes in a row about emo Raph being a complaining baby, the very thing the first season actively worked to avoid (seriously, like, you can tell the first season went out of their way to make Raph likeable). Season two is random, jumbled, unfocused, out-of-character, and just not congealing at all.

Then came “The Kraang Conspiracy,” an episode so awful that it made me physically ill and forced me to move on from the show.

What makes this particularly problematic is that the second season represents the worse writer mentality. It misinterprets the first season, pooling together a group of writers who missed out that tight focus and saw nothing but a bunch of talking turtles that fought bad guys. Thinking that such a show could be and would be easy to write, they went off and just tossed the turtles into any situation they could think of and literally made up the crap as they went along. So why, for example, Casey Jones can fight off the learning robot-Foot Clan with ease? Because it would be cool, of course, barring all logic or reason. Bringing back emo Raph is just lazy, since you can’t think of anything better. Why is Shredder gone? Don’t bother to break it down. Just make it vague and useless, so Karai can be bratty on her own. And after you do all this stupid stuff, make “The Kraang Conspiracy.”

There is just so much awfulness here. I mean, we begin with the turtles running across the rooftops with ease, only to find a slow, inept April behind them. Why is she patrolling the rooftops with them? There is no reason. Like, they even say this. They literally are like, April, we trained years for this. But April is there, trying to keep up, and failing. They want to bring April along because the experience will help her learn faster. But this is just straight up reckless. Not even April should be down with this kind of danger (why isn’t she still training with Splinter?! Hell, why isn’t she at school?)

So they find out someone is talking pictures of them on the roofs (because of April’s psychic powers – more on this later) and they chase him down, and this makes no visual sense. There’s absolutely no sense of space, so the chase is muddled and confusing. They approach a gap between the roofs, and they pull out grappling hooks. Grappling hooks! When did they get grappling hooks? Oh, and April has one? Okay, fine. I suppose Donny (who I assumed made them) would have created a spare. So everyone crosses the gap except April, who is just sucking at grappling hook. Donny comes back and goes, “April, you can use my grappling hook!” Which is clearly a handjob joke. But the flaw is that the tension of the chase is complete gone, now that we’re spending a minute with Donny and his sad attempt to feel up April. It fails, of course, because Donny will perpetually have green blue balls and it’s important to run this gag into the ground.

Because of all this, the turtles should have lost track of this guy because of April. Yet somehow they catch up to him with easily. The logistics of this chase sequence is baffling. But they follow him into his creepy apartment and find out he’s a reporter who’s been tracking the Kraang for years. They’ve been around for millennia doing stuff with human DNA apparently, but failing. This development makes little sense. It makes less sense when the reporter mentioned they finally broke human genetics or something through April’s father, making April “Kraang special”.

Then the Kraang arrive. The reporter yells out, “They found me. I don’t know how they did it but they found me!” Well, this is a good question. How DID they find you? The show doesn’t answer this. The Kraang just ARRIVE because network notes demanded an action scene at this point. And it’s sloppy. Somehow the apartment changes sizes and the Kraang are really terrible shots at close range. Everyone escapes and because they need to cut to commercial on a tense moment, a Kraang arrives suddenly with a gattling laser gun! They manage to escape it because – randomly – they drive over it with their Turtles’ Van! Where the fuck did they get access to their van? This whole scene was just random and awful and pointless.

Oh, but here’s the best part.

The reporter goes, “We gotta check out TCRI.” And April goes, “Didn’t you guys blow that up?” Because they did. CUT TO the turtles staring at a BRAND NEW TCRI BUILDING. Not even in the middle of re-construction. Just fucking there! Raph yells out, “They rebuilt it? That fast?” The implication being, “Are the writers this fucking lazy?” You mean to tell me no one noticed that the home base of their fucking enemy got rebuilt? In maybe a month, tops? This fucking tower is HUGE and no one noticed it? And you mean to tell me you couldn’t just render another nondescript building to act as the Kraang’s new home base? Go the fuck home.

Oh, and now April is acting like a bitch. With both April and Raph being assholes this season, you’d think one of the writers is having issues at home. Leo tells April to wait outside because SHE’S UNTRAINED AND INEXPERIENCED and she’s pouts because she doesn’t want to wait on the sidelines anymore. What? Do you realize how insane and dangerous this is? This season is just filled with way too much stupidity, in particularly by doing that thing where kids do dangerous shit because they’re bored or because it would be cool, a thing that ruins so many fucking kids shows that it’s sickening. So of course, inept-ass April follows along, because what could she possibly add to their advantage?

No, she’s there because she needs to be able to LINK PSYCHICALLY TO THE KRAANG. Which is a whole different thing than simply having psychic fucking powers. Listen, if April could indeed connect to the Kraang because of the experiments done to her in the past, I can buy that. If she’s mentally noticing stalkers from afar and blowing up entire rooms of Kraang robots, that’s a whole different (ridiculous) ball game. See, in the first season, they kinda implied April could detect Kraang tech if she could concentrate and focus. That’s fine. But if she’s just going to be an adolescent Jean Grey, then just be a fucking different show. Because there’s no way this will end well.

Okay, so then the Kraang finds them and there’s a whole bunch of fighting, and they do too much standing around/talking in the middle of the fight because they need to get some jokes in there. They then find a whole bunch of April clones, because the Kraang wants to extract her DNA, but they can’t do it through the April clones (so why bother with them at all?) so they almost take it from April when they captured her, but Raph saves her. Oh, and when April sees Raph coming to rescue her, she goes, “Oh, great, Raph. He’s never gonna let me live this down.” Holy flying fuck of aces, what the hell are you talking about? Are you seriously being passive-aggressive with the guy who is about to save you? And since when has Raph given you shit about needing rescuing? How did you have the wherewithal to being snarky while you WERE ABOUT TO DIE? Oh, goddammit.

So Raph rescues her and they’re all about to escape, but the Kraang releases all of the April clones – but why? They’re not exactly fighters or useful. But then in an incredible bit of hilarity, the clones grab April and pull her into their masses. The turtles LITERALLY watch her get taken and, somehow, they get confused on which one is the real April! Like, they weren’t distracted or busy or blinded. They lose track of the real April without losing visual contact with her in SECONDS. I couldn’t believe that happened. How did no one on staff watch a screener of this episode, point to this moment of abject stupidity, and yell out, “What the fuck is this shit?” You couldn’t even spend three seconds to alter the turtles attention to make this moment comprehensible?

Don’t worry, they all escape and then Donny looks at April’s DNA and goes, “You’re a human/Kraang mutant, April. That’s why you’re acting like an annoying prat.” He didn’t say that last part, but I wish he did. But who cares, the episode from top to bottom was just an embarrassment, a shitty story told terribly and everyone – writers, storyboarders, animators, producers – should be ashamed of themselves to allow this to air. Just a lazy, lazy nonsensical episode that made the TMNT look pathetically inept. And if this is the direction the show is going, there’s no way I can continue to watch this without going insane.

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Tumblr Tuesday – 02/11/14

Welcome to another Tumblr Tuesday! Enjoy!

— A Simpsons gag gets a few people talking about the downside of providing everyone with Valentine cards:

http://totalmediabridge.tumblr.com/post/75695311849/tainted-petals-glory-to-cobrastan

— Steve Harvey does not like to be touched:

http://totalmediabridge.tumblr.com/post/75837728598/whitepeoplesaidwhat-phrankles-lol-black

Johnny Bravo was great. Seth MacFarlane, I swear, was funny once:

http://totalmediabridge.tumblr.com/post/75901132667/narutosexmagic666-im-rewatching-johnny-bravo

— And finally, a British person doesn’t understand sweet tea, then is shot down by some good ol’ history:

http://totalmediabridge.tumblr.com/post/76259406637/starkinglyhandsome-cloudyobsession

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Gargoyles – “High Noon/Outfoxed”

Gargoyles "High Noon" and "Outfoxed"

Welcome back, Kevin! Thanks, Kevin!

It’s good to finally get back into Gargoyles recaps, especially after a great, four-part saga. “City of Stone,” as I mentioned before, won me over to the Gargoyles fandom. The first season was a bit shaky, but the second season, while awkward at points, at least had the kind of forward momentum that one looks for in shows like this. I can finally say that I understand what people see in this show.

Or, at least I did.

Continuity really wasn’t a thing in the 90s, really, especially in cartoons. There were no DVRs or Youtube to catch up on missed episodes or recap current narrative threads. I might be rehashing this, but this is actually an important point, especially after watching “High Noon” and “Outfoxed.” In the era of Separate TV, when shows were watched weekly or daily, making sure an episode stood on its own wasn’t just optional – it was paramount. Overarching narrative threads are nice and all, but it’s important to remember that such threads have to be planned in (ideally) excruciating details. My point is, as detailed as Gargoyles is, I have severe doubts that Greg Weisman planned the entire run of this show with the level of detail that his fans may think.

When I was in LA, I spoke with a contemporary of Weisman. He was particularly adamant against shows being so beholden to continuity, because, in classic TV, that kind of planning was really nonexistent, except for large scale dramas. There’s a lot to be said of the narrative connections between Batman, Superman, Batman Beyond, Justice League, and Justice League Unlimited, but let’s be clear, only a certain percentage of it was planned. (It helps that comic vets worked on the Marvel Animated Universe, a group known for connecting past works with apparent ease). The contemporary alluded to the fact that Weisman and his crew were more or less scrambling to tie up loose ends more than prepping future story reveals. It just was a different approach to story telling in the 90s. And while “High Noon” felt right, moving forward with an intriguing followup to “City of Stone,” “Outfoxed” is a prime example of that scramble to tie up loose ends, taking a step backwards, both visually and narratively.

“High Noon” shares little with the movie that hosts its name. It’s the story of Elisa, really, a woman who’s lack of sleep in this episode masks a more internal struggle of a person simply tired of it all. Between Derek, the gargoyles, Xanatos, Demona, Macbeth, and a host of other crazy people, Elisa, understandably, just wants it to end and return to a normal life. Early in the episode, Elisa tells a now-literate Broadway and Hudson that she chose the badge because she knows what’s right; she’s no hero, she’s just doing her job. It’s a bit on the nose but it’s something that needed to be said – after all the insanity, Elisa is hanging in there because it’s the life she chose, the life she has to live with.

The gargoyles struggle to return Coldstone back to his former self, with the three souls stuck inside Coldstone’s body back in “Legion” due to science and magic. The internal struggle inside Coldstone continues to fall flat, especially since we know so little of his lover and the third evil gargoyle, who is apparently just swooping down on occasion to disrupt the lovebirds? There’s no meat here, and if the writers were scrambling to tie up anything, this should have been one of the top priorities.

As the sun rises, Elisa tracks some strangers in the police station downstairs, only to discover they’re Macbeth and human Demona. They knock her unconscious and fly off with “the package.” Things are really weird here. What package? How did Macbeth and Demona discover the gargoyles home turf? Why did Demona, with a perfect opportunity to destroy the stone gargoyles, not do so? Why in the world are they working together? Of course, we know it has something to do with the Weird Sisters. The question is what, and how far? This is starting to approach “Xanatos-gambit” levels of control, but at least the Weird Sisters have shown their abilities and insight to be way beyond mortal souls. That being said, there aren’t any real parameters given to the sisters’ magic powers, so it’s hard to really get a bead on why they’d enact their plan in such a fashion. More on this later.

Right now, though, Elisa tells the gargoyles what happened – that they took Coldstone – and the team goes after him. The animation here continues to be gorgeous; the fight scenes are top notch, but Demona’s human/gargoyle transformations are the real highlight. There’s a real sense of foreboding and tension as the gargoyles explore Macbeth’s spooky mansion (especially knowing how well Macbeth can set traps). And while it seems the team gets the upper hand, it’s revealed that they were fooled all along when Coldstone – in the possession of the nameless evil gargoyle – betrays them. In all honesty, this should have been a Coldstone episode. We should have been focused on the resuscitated gargoyle and given clarification on who his lover and rival are. Instead, we’re presented with an uncomfortably clingy Coldstone who has no motivation to gain control of his body, until his lover (in no small part helped by the Weird Sisters) talks him into it. Again, though, since we haven’t learned a lick about these characters since “Legion,” this just feel forced.

Demona teases Elisa to come to a certain locale at high noon to save the captured gargoyles, which seems insanely out of character, but there’s a purpose to it all. Here is where Elisa bears her soul, her desire to just get away from it all. An officer named Morgan helps to regain her sense of purpose and duty – a long running theme of the show – and while this approaches “magical Negro” levels of schmaltz, I’m willing to let it go. She rushes to the location and has a one-on-one fight with human Demona, who she beats by doing the same move twice. Meanwhile, Coldstone – the real Coldstone – is convinced to regain control of his body, forces Macbeth and Demona to run away, and then scurries off himself to achieve the victory of his internal struggle. I assume it involves learning his lover’s and rival’s names? [Okay, maybe not names since they don’t have them, but can we at least learn something about them?]

As Elisa finally gets her sleep, Demona and Macbeth break down their real spoils – the Grimorum, the Eye of Odin, and Phoenix Gate. It’s here that they finally become self-aware, confused as to the full extent of their plan and even why they’re working together. They’re just about to kick each others’ asses before the Weird Sisters show up, freezes them in place, take the spoils for themselves, and warp everyone away. Yes, it was all their hugely, wild manipulative plan to ultimately get their hands on the goods. This is important I presume. The Sisters are not a Greek chorus, a group of symbolic Fates who work to affirm or deny personal stakes and desires. They have a specific objective in mind, powered by their control of Macbeth and Demona, and a bit of solid manipulative apparition. But what is the full extent of their powers? Considering all the things they can do, is this really the best plan they could come up with?

I suppose it doesn’t matter. Elisa gets her beauty rest. She earned it.

“Outfoxed” hurts a little. It kinda seems stupid. It’s definitely the most forced episode of the run so far, creating by far the most ludicrous setup and ham-fisted metaphor in the show’s run. Remember back in “Awakenings,” when Xanatos fooled Goliath and Demona to attack Cyberbiotics’ flying Fortress, and Demona destroyed because she hates everyone in the world? Well, Cyberbiotics has a new Fortress running. Goliath “thinks” Xanatos may attack it, so he follows the thing, all exposed and everything. Cyberbiotics leader, Halcyon Renard, a creepy guy copping Professor Xavior’s hovering wheelchair, sends a legion of robots at him, besting him in a really terribly animated aerial fight, and capturing him.

Then begins a series of speeches on responsibility and accountability. This is just really, really awkward. I mean, I get it. I really love it when a piece of entertainment acknowledges the full extent of its setups and developments. (Almost Human never calls attention to the fact that its police officers routinely kill its criminals in cold blood, which implies a Judge Dredd-like dystopian worldview but never comments on it, while Sly Cooper 4 brilliantly called out Sly’s bullshit – he can rob from all the evil criminals he wanst, the fact is that he’s still a thief). It’s clear that’s what they’re doing here. But watching Renard just lecture Goliath about taking account for his role in destroying the Fortress is a prime example of telling, not showing. It doesn’t help that the animation by Hong Ying Animation is subpar, with really wonky perspective shots and off-model poses. Without anything really motivating it, like say, a cliched but entertaining thirst for revenge, it comes off petulant and whiny. Oh, speaking of whiny:

Renard: “No excuses, creature. Learn to take responsibilities for your actions, and stop whining!”

Goliath: “A gargoyle doesn’t whine. He ROARS!”

Yeesh. That’s a cringe-worthy exchange from a show that’s rather on point with its dialogue.

This should have been a lesson that Goliath learns on his own, if he should have learned it at all. Having Goliath stuck in a cage and lectured at is insane. Maybe, just maybe, he could have visited the various humans who was hurt in the first Fortress crash and saw their pain and suffering as being innocent victims to a vicious attack. After all, Goliath isn’t Demona. He KNOWS that humans, while flawed, are suspect to the same emotions as their own kind. It’s quite possible he may understand this in theory. SEEING that kind of pain and limitation in humanity would allow Goliath to understand a new, tangible truth to the fragility of humanity, and how his actions, no matter how manipulated, led to it. But no, “Outfoxed” take the “Shame on You” route via an inane, consistent lesson force-fed to the gargoyle before he finally swallows. And suddenly, Renard and Goliath are friends. This would never work on humans; I doubt the quick-to-anger gargoyle clan member would be so susceptible to it.

The real point of this episode is filler and more setting up. There’s Renard’s assistant, Preston Vogel, who resembles Owen so much that it can’t be a coincidence. Brothers? Clones? The episode doesn’t say, but I’m sure we’ll get to it. The real story lies with Fox, who we learn is Renard’s daughter and with child. The best part though is witnessing Xanatos and Fox work. Their relationship still functions perfunctorily, two machines continuing to wheel and deal sans any passion between them. Xanatos’ blase response to his wife’s pregnancy (and Fox’s own stoicism) is creepy but perfect, as is their plan to sabotage the second Fortress via Vogel, ruin Renard, and take over Cyberbiotics. Vogel proves to be more loyal to Renard in the end, assisting to save the Fortress and confessing to his treachery. This leads to a slightly-less-but-still-ham-fisted conversation where Goliath convinces Renard that Vogel’s confession proves that humans still possess the kind of integrity that Vogel believes his species has lost. Again, I understand what the show is going for, and it’s something worth learning, but “Outfoxed” fails to make that theme work.

That theme is put at the forefront when Fox and Renard talk, revealing their disturbing relationship. It’s clear Renard’s obsession with integrity and accountability stems from his daughter’s demeanor, who would rather forcibly take over his father’s company instead of inheriting it. It’s definitely a strange thing but on par with what we know of Fox. With a little bit of tweaking and rearranging, this could have been a stronger episode with a more resonant theme, but as it is, it’s a lot of posturing and lecturing, and no one likes to be lectured to.

“High Noon” A-/”Outfoxed” B-

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