The gold standard for cartoon reboots comes to a glorious, glorious end.
Having spent a season fighting against the Fiendish Organization for World Larceny (F.O.W.L.), Scrooge McDuck (David Tennant) and family finally face off against the assembled forces of villainy. The stakes are not just the future of the McDuck family, but the future of adventure itself. IT. IS. MAGNIFICENT.
Anything else would be a spoiler.
Since it came out I have hailed this show as nothing short of brilliant and that did not change. I’m deeply disappointed with Disney’s decision to end this show after only three seasons, but I cannot help but be impressed with how much effort the team behind it put into this sendoff. Not only does it directly reference multiple shows from the Disney Afternoon lineup (DuckTales, Darkwing Duck, Rescue Rangers, TaleSpin, Goof Troop, The Wuzzles, Gummi Bears), it indirectly references essentially all of the other animated shows that Disney put on in the 1990s, including an insanely funny joke involving Keith David from Gargoyles.
The key to this finale is that it both pays tribute to the huge mythology that this show built and also to all of the history that inspired the show itself. It doesn’t just present an amazing adventure for our characters, it highlights why we love them so much and why we want to root for them. The theme of the show has always been about family, particularly about how family are the people that stand up for you not the people you share blood with, and this finale makes that take the center. It’s got a lot of solid emotional moments between all of the characters, but particularly ones involving Webby (Kate Micucci), a character who often seemed to feel like she was an outsider trying to join a family. I think that’s something that many shows often overlook when doing a finale, that it still needs to have the emotional core to keep us invested in our characters even though we’ve been on the journey with them this far. DuckTales nailed it.
I know that this is a kids show, but I will miss this series. It didn’t just try to hit nostalgia, it dove in and reminded us why nostalgia can be great, because it gives you a feeling of shared love between creator and viewer. It told us that whether it was the original comic books, the ‘87 series, the later comics, or even other shows that were just made by the same company, that we can all be bonded over our love of stories about good triumphing by being smarter than the smarties, tougher than the toughies, sharper than the sharpies, and earning it square.
Overall, I hope that they at least keep the Darkwing Duck show developing at Disney+ in this continuity, because even a few occasional cameos would help soften the blow. They probably won’t, but a man can dream.
A young girl makes the most unusual friend you can find.
Flora Buckman (Matilda Lawler) is a ten year old girl whose parents (Ben Schwartz and Alyson Hannigan) are getting divorced. Her dad is a failed comic book artist who is now working at an office supply store while her mother is an award-winning romance novelist who is suffering from major writer’s block. She is also dealing with her new hysterically blind friend William (Benjamin Evan Ainsworth). Later, Flora’s neighbor has issues with her “evolving” robotic vacuum, resulting in it sucking up a squirrel. Flora adopts the squirrel, naming it Ulysses. Soon, she discovers that the incident with the vacuum has given Ulysses powers. He has the strength of a dozen squirrels, can understand humans, and can even write some poetry. Unfortunately, after an incident at a diner, the public believes that Ulysses is rabid and he now must avoid animal control officer Miller (Danny Pudi), while possibly helping bring a family back together.
I didn’t ever read the children’s book this is based on, but a quick look at the book’s Wikipedia seems to indicate it had nothing to do with superpowers, just a squirrel that got smart enough to write poems. However, since Disney owns Marvel, it seems like a natural way to use your IP. Oddly, though, while there are a lot of mentions of Marvel heroes in the series, as well as the fake superheroes that her father supposedly created, there were more than a few mentions of DC comics characters. I guess even Marvel can’t ignore Batman’s popularity.
This isn’t the best film, but it’s definitely pretty cute. It’s supposed to be a family film, so it has to focus largely on kid-friendly gags. Some of them still work for adults, including some of the jokes about her mom’s profession, and a few are inside gags for people who are fans of Disney. For example, at the beginning of the film, a comic book shop owner played by Bobby Moynihan is reading a DuckTales comic. With Kate Micucci appearing as a waitress, this film features Huey, Dewey, Louie, and Webby from the new DuckTales series. It doesn’t really pay off more than that, but it’s still a nice touch.
Overall, though, it’s still a kids movie. If you aren’t watching with a young child, you’ll probably get pretty bored.
There’s a reason why the people of the world believe in Garnet, Amethyst, and Pearl… and Steven.
Welcome to Beach City, Delmarva (yes, that’s a state here). It’s a quiet seaside town, except for all of the monster attacks. Fortunately, it has long been guarded over by the Crystal Gems, a group of sentient magical alien gemstones in human form. The team consists of leader Garnet (Estelle), wild child Amethyst (Michaela Dietz), and strategist Pearl (Deedee Magno Hall). At the beginning of the series, they are raising their future fourth teammate, Steven Universe (Zach Callison), the son of their former leader Rose Quartz (Susan Egan) and her human lover Greg Universe (Tom Scharpling). Steven starts to inherit his mother’s powers when he’s 13, leading him to want to take a more active role in the team. As his abilities grow, however, so too do the threats against humanity, ranging from the cracked gem Lapis Lazuli (Jennifer Paz) to the agents of the Crystal Gem Homeworld’s Great Diamond Authority, Peridot (Shelby Rabara) and Jasper (Kimberly Brooks), to the Diamonds themselves, Yellow Diamond (Patti LuPone), Blue Diamond (Lisa Hannigan), and White Diamond (Christine Ebersole). Fortunately, Steven’s natural empathy makes him really good at gaining allies. He also regularly interacts with his best friend Connie Maheswaran (Grace Rolek) and local donut sellers Lars and Sadie (Matthew Moy and Kate Micucci). Also, they’re later joined by former Crystal Gem Bismuth (Uzo Aduba). After the show ends, Steven deals with the threat of the mad gem Spinel (Sarah Stiles), and then an existential crisis.
When I talked about Adventure Time, I said that the show was the ultimate coming-of-age story because it represents a shift from a childish world to a more complex and, despite the setting, a more realistic adult one. Steven Universe has a similar progression, but the world it progresses towards is more of an ideal than a reality. Whereas Finn in Adventure Time sometimes averted conflict through empathy, he still often just chooses the “violent” solution, because it’s expeditious and works on people who will not listen to reason. Steven Universe, on the other hand, starts off with the gems often choosing the more direct solution of beating the crap out of monsters, but as the show progresses and Steven takes on a greater role, conflicts are increasingly resolved through a combination of endurance and empathy. No matter how resolved the enemy is, Steven can still find a way to connect with them and turn them to his side. Heck, the series finale is called “Change Your Mind.”
While the show was filled with bold choices (more on that in a minute), one of the most profound was giving Steven powers that are traditionally not associated with a male superhero. His abilities are almost exclusively related to defense (a shield and a bubble), healing, and empathy through astral projection or empathetic telepathy. While he does eventually learn how to fight, for most of the show he leaves that up to the other Crystal Gems, whose powers manifest as weapons. Moreover, when he does finally start flinging his shield or throwing punches, he still always does so with non-lethal intent. The show ends up proving him right in doing so because defeating an enemy gives Steven a chance to speak with them again as an equal, rather than an opportunity to humiliate them. When Steven talks to enemies, he’s really trying to find the source of their anger and to help them with it, something that is way outside of the typical hero role. This ultimately allows Steven to get most of his enemies onto his side, meaning that he’s turned a weakness into his strength. It’s a message that so many people should heed: Defeating an enemy will likely breed more enemies, making a friend from an enemy won’t.
As to the other bold choices the show made, there are a lot of them.
First, every body type is represented in this show and, moreover, every body type is presented as attractive. The main characters are a perfect example: Pearl is extremely thin and angular, Amethyst is short and callipygian, Garnet is taller, more muscular, and has an hourglass figure. More than that, Steven and Connie frequently “fuse,” combining into a non-binary character called Stevonnie (AJ Michalka), who is considered to be beautiful by men and women alike.
Second, this show probably pulled the greatest move in getting an LGBT relationship into the series without causing a major “moral panic” by revealing that Garnet is, in fact, a fusion of two other gems, Ruby (Charlyne Yi) and Sapphire (Erica Luttrell). Garnet’s existence is powered by the love of these two characters, meaning that Garnet literally IS a lesbian relationship (and eventually a marriage). Pearl, too, is shown being attracted not only to other female gems, but also to human women. Rose Quartz is revealed to have been bisexual and, eventually, the show had the first non-binary character played by a non-binary actor in Shep (Indya Moore) in a kids show. In short, this show has a ton of LGBTQ+ representation, breaking all sorts of barriers.
Third, the series never shied away from a lot of musical experimentation. A clever storytelling supplement is that each of the main characters has an instrument associated with their music (Pearl: Piano, Garnet: Synth Bass, Amethyst: Drums, Steven: Chiptune Tones), as do almost all of the recurring characters, but each of their themes changes and combines when they fuse. For example, when Pearl and Amethyst fuse to become Opal (Aimee Mann), Amethyst’s drums become more ordered and Pearl’s piano more experimental. Moreover, the show itself has a heavy musical influence that increases as the show goes on, growing from relatively simple tunes on the ukulele and guitar to showtunes to some ridiculously complex works by Estelle or Chance the Rapper towards the end. Steven Universe: The Movie is a flat-out musical and I loved all of the numbers.
Lastly, the final story arc of this show isn’t about fighting some intergalactic war or a typical escalation of villain a la Dragonball Z or Supernatural. Instead, this show ends on an introspective journey, analyzing the hero’s role after the show ends and how a person with traumatic experiences and a self-sacrificing nature adjusts to a more normal life. Showing that may be one of the most impressive and original things in a show filled with impressive and original things.
Now, similar to my statement about Adventure Time, I will caution anyone wanting to give this show a try that it is a pure kids show at the beginning. In fact, I genuinely advise against watching the beginning of the series unless you have small children. If you just want to get into the show, here’s my recommendation: Skip the first half of the first season to “Mirror Gem/Ocean Gem.” Watch those two episodes, then skip to “Lion 3: Straight to Video” and go from there. I’ve just reduced the first season from 52 episodes to 21, and you will thank me for it.
I loved this show, which is all the more impressive because when I watched the premiere, I assumed it was a waste of time. I can’t emphasize how much I didn’t enjoy the beginning of this series, to the point that I didn’t start watching it again until someone convinced me to give it another try a few years later. Please, give this show a try, particularly if you have kids. You may learn some things about yourself.
The Gold Standard of Reboots continues upholding its standard.
SUMMARY (Spoilers for Seasons 1 and 2)
Welcome back to Duckburg, where birds are people, but also sometimes are birds. Seriously the opening shot of the series was a normal seagull being shooed off by an anthropomorphic bird. The most prominent citizens are Scrooge McDuck (David Tennant) and his family members: Huey, Dewey, and Louie Duck (Danny Pudi, Ben Schwartz, Bobby Moynihan), Donald Duck (Tony Anselmo), Webby Vanderquack (Kate Micucci), Bentina Beakley (Toks Olagundoye), and Launchpad McQuack (Beck Bennett).
In season one, the Duck/McDuck family worked together to defeat Scrooge’s most dangerous adversary Magica De Spell (Catherine Tate), only for the audience (but not the characters) to find out that Donald’s Sister Della (Paget Brewster), the mother of the triplets, was still alive and stranded on the moon.
In season two, Della finally makes it home, only for the Moonlanders, led by General Lunaris (Lance Reddick) to invade Earth. He is thwarted by the Ducks, Darkwing Duck (Chris Diamantopolous), and Scrooge’s rival Flintheart Glomgold (Keith Ferguson), but it turns out that this threat has forced an even greater evil power to escalate their plans: F.O.W.L. (the Fiendish Organization for World Larceny).
Now, the Ducks have set out to locate a collection of the lost treasures of Scrooge’s idol Isabella Finch while F.O.W.L. plots to get them first.
This has been a solid three-stage development for this show. The first season was mostly about acclimating the audience to the new world of DuckTales, which, while it still resembled its 1987 counterpart, had been updated in both tone and animation style to be more in line with Disney’s new animated series like Gravity Falls or Star vs. the Forces of Evil. It also abandoned the original series’ episodic nature and instead was a serial, which allowed the show to build up Magica’s threat gradually over the series, as well as the mystery of what happened to Della.
Season two didn’t expand the adventuring, but instead doubled down on expanding the series emotionally. It showed us the backgrounds of several of the characters from the last season and recontextualized their actions, which is a great storytelling device when done well (like the Ice King in Adventure Time) and expanded on the emotional loss felt by the Duck family over Della going missing. Then, when she returns, it’s not quite the happy reunion with her kids that she’d hoped for, because they’ve spent ten years without her. While they’re fighting giant golems or robots, the show still demonstrated that Della’s return was affecting everyone emotionally and that it was a gradual process to deal with it. It also gave us a little taste of nostalgia by bringing back the Three Caballeros and Darkwing Duck, which was basically a set-up for this season.
The theme for season three is “nostalgia.” It was advertised a while ago that the third season would contain almost every character from Disney’s ‘90s afternoon lineup and so far it has delivered on it and then some. I don’t want to say who has appeared so far, but I can say that making them canon to this show bodes well for future episodes. There’s even an episode which takes place in a ‘90s sitcom, just to make sure that everyone gets a full blast of that extreme pre-financial crisis optimism that is so hard to even remember now.
It’s the fact that the show was willing to be patient with their properties that makes it work. They didn’t bring Della back in season 1, nor was it just a “she’s back, everything’s normal now” situation. Season 2 gave us Darkwing Duck in an amazing reboot, but they only used him sparingly. Similarly, Season 3 is giving us several characters, but even when they appear it’s only ancillary to the storyline. It’s not overloading us on anything, instead just making us want it more. Really, I’m impressed with the restraint.
Overall, still love the show, recommend it highly.
Richard Dreyfuss and Chevy Chase join forces to make a comedy film about aging and… it sort of works.
Al Hart (Chevy Chase) was a professional agent for 50 years, but is now being pressured into retiring by his granddaughter, Jeannie (Kate Micucci). While touring a retirement facility, he runs into his former client, Buddy Green (Richard Dreyfuss), who encourages him to take up residence. Buddy was a promising comedian who was given his big break on the Tonight Show with Johnny Carson, but instead walked off and pursued a medical career and a family. Buddy is mostly content with retired life, but Al quickly grows upset with it, telling Buddy that they should do a comedy tour and get him on the Late Show with Stephen Colbert to make up for his missed opportunity. Along the way, Al meets Doris Lovejoy (Andie MacDowell), a free-spirited woman with whom he forms a bond. Hi-Jinks ensue.
So… it’s pretty much a well-established fact at this point that Chevy Chase is hilarious, but also an intolerable asshole. In fact, the latter has pretty much wrecked his career because it has so overshadowed the former. If you’ve seen the Vacation movies, Fletch, the first season of SNL, Caddyshack, Funny Farm, The Three Amigos, or Community, you’re probably aware that Chevy Chase can be hilarious. If you’ve ever seen or read anything about him, you know he’s an asshole. When he left Saturday Night Live after season 1, the rest of the cast cheered. When he came back to host, he got into a fist-fight with Bill Murray on set. When he met with Kevin Smith about reviving Fletch, he drove Smith completely insane. He had one of the most famously unfunny roasts of all time, because few people showed up and those that did hated him. He was kicked off of Community for making everyone miserable, though admittedly Dan Harmon is also famously difficult to work with. Last September, the Washington Post did a report about the fact that Chevy Chase wants to work, but can’t find anyone to tolerate him.
Well, good news, he found at least someone willing to put up with him long enough to film a buddy comedy. Surprisingly, that’s Richard Dreyfuss. More surprisingly, Dreyfuss is the one in the film that is a comedian. Even more surprisingly, Dreyfuss is the funnier one in the film. Not that Chase isn’t funny in some scenes, he is, but since Dreyfuss is doing the routines, he has a lot more chances to be funny. He also has the more emotional journey, having previously given up this career for a family and stability, but now having no close family or career left. It’s a great performance by a gifted actor about a man trying to take back the road not taken.
The biggest problem with the movie is that it doesn’t have much of a sense of urgency in anything that happens, which is something you do need on a road-trip comedy. Even when they do try to provide some level of it, the film just doesn’t ever feel like this really needs to be the “last” laugh, because they could just keep working at it. There is a great sequence in the film involving trying to actually get Buddy on the show and a dream sequence which does show Chase’s range, but other than that the performances are only pretty standard for the actors. Take that how you will.
Overall, I’d say that it’s only an okay movie and both of these guys have done way better. Give this one a shot if you’re a big fan of Dreyfuss, but otherwise maybe save it for when you’re old and have watched everything else.
A packed cast of comedians star in this film about life in a Fourteenth Century convent.
It’s 1347 in Italy and a convent of nuns is being led by Father Tommasso (John C. Reilly). The nuns, particularly the extremely angry Fernanda (Aubrey Plaza), drive off the gardener and caretaker Lurco (Paul Weitz), forcing Father Tommasso to look for another one. At the same time, a servant named Massetto (Dave Franco) is kicked out of his position and ordered arrested by his master, Lord Bruno (Nick Offerman) for sleeping with his wife Francesca (Lauren Weedman). Massetto flees and runs into Tommasso, who has gotten drunk and lost the embroideries he was supposed to sell to fund the convent. Tommasso agrees to hide Massetto at the convent in exchange for being a gardener and pretending to be a deaf-mute.
Despite not being able to talk, Tommasso is soon befriended by Sister Alessandra (Alison Brie) who grows infatuated with him. One night, Sister Fernanda’s friend Marta (Jemima Kirke) appears and all of the nuns, including Alessandra, Fernanda, Sister Ginevra (Kate Micucci), and Mother Marea (Molly Shannon) get drunk while they’re being told that sex is amazing. Fernanda takes a drunken Ginevra back to her room for sex while Alessandra and Massetto start to get closer.
At one point, Fernanda kidnaps Massetto and she and Marta have sex with him, seemingly confirming him as a viable candidate for something. Ginevra is upset by this, having fallen for Fernanda. Massetto and Alessandra begin getting physical, but get interrupted by one of the elders coming into the room. Soon, Fernanda again kidnaps Massetto, this time taking him to a coven of witches in the woods who prepare to sacrifice him for a fertility ritual. They’re stopped by Ginevra, who has consumed a bunch of drugs and shows up high, but Massetto reveals that he’s not a deaf-mute while escaping. The group is caught returning to the convent by the visiting Bishop Bartolomeo (Fred Armisen), who uncovers all of the secrets, including that Ginevra is Jewish and that Tommasso and Marea are having sex.
Massetto is sent back to Lord Bruno, but is rescued by Alessandra and the other nuns. They all escape together, passing Tommasso and Marea who have likewise fled, and everyone lives happily ever after, except Bruno’s wife who is probably dead.
This movie is the most bizarre concoction I’ve seen in a while. It’s an adaptation of one of the stories from the Decameron, specifically the first story of Day 3, albeit a very loose adaptation. In the original, Massetto is a man pretending to be a mute gardener for the purpose of, successfully, seducing the nuns. It turns out that they actually choose to take advantage of him, believing that a mute won’t ever tell anyone. Unfortunately, he underestimates their desires, resulting in him having to beg for help from sheer exhaustion. He ends up begging mercy from the Abbess, who ends up keeping him at the abbey as a steward so that he can continue to service the nuns until he’s very old. That particular story, told by Filostrato within the text, would likely have been a very bawdy comedy by the standards of 1353. My favorite line is: “Madam, I have heard say that one cock sufficeth unto half a score hens, but that half a score men can ill or hardly satisfy one woman; whereas needs must I serve nine, and to this I can no wise endure; nay, for that which I have done up to now, I am come to such a pass that I can do neither little nor much.” While that’s not exactly how the film plays out, you can definitely see the influence.
A lot of the quality in the film is the dialogue, most of which sounds like contemporary speech adapted into subject matter fit for the 1300s. It helps that everyone delivering the lines are all comic geniuses, but Jeff Baena, the writer/director/husband of Aubrey Plaza also does a good job of crafting anachronistic situations that are just farcical enough to work. Granted, a lot of the secret to the movie is that it is just 90 minutes. Any longer and the premise would completely have run out.
Every performance is great, but I do have to say that Fred Armisen’s inquisition scenes basically had me floored with his delivery and quips. If you don’t get into the movie, I’d recommend going ahead and fast-forwarding to that sequence just to enjoy 5 minutes of sheer madness.
Overall, I liked this movie. Not loved, but liked for sure. What shocks me is that I hadn’t heard about it before now. Usually when something has a cast this good and I don’t hear about it, I have to assume that it was just that bad, but this actually got decent reviews. On Rotten Tomatoes the audience score isn’t great, but for a film like this that’s not surprising. It’s not going to be everyone’s taste, but if you like the people in it, you’ll probably enjoy it.
They might solve a mystery or re-write history. DuckTales re-boot!
People constantly complain about reboots, but it’s not like they’re a guaranteed failure. I preferred the new Battlestar Galactica to the original, there have been who knows how many amazing film and television versions of Batman, and From Dusk ‘Til Dawn even did a solid job going from film to television. Hell, I think that Scooby Doo’s best incarnation was the 12th. Still, there’s no denying that, a lot of the time, it feels like reboots are just cash grabs aiming for our nostalgia wallets. Because of that, every time a show comes out that’s just a reboot of an old property, I’m inherently suspicious. So, when they first announced that a new DuckTales was coming out, I didn’t put a huge amount of faith in it.
As time went by, though, I admitted that I started to get excited. First, they announced the cast for the show by having them sing an acapella version of the theme song. This both showcased the insane level of talent they managed to grab and also showed that they were paying their respects to the past series.
Then, they announced that Lin-Manuel Miranda would appear in the series as Gizmoduck, cementing the return of one of the more beloved creations of the original cartoon and having him voiced by a genius composer and playwright. They announced that Tony Anselmo would be voicing Donald Duck, giving the show ties to the regular Disney canon. They released a copy of the show’s intro sequence which was a combination of the original Carl Barks Uncle Scrooge comics with the original cartoon, but updated and redesigned, with the same theme song only a little jazzier. Oh, and they dropped the bombshell during Comic Con, just a month before the show was set to premiere, that Darkwing Duck would make an appearance, a character that people have been begging to get more of for 20 years.
At this point, I was just worried that this was all going to fall apart. Then, they did the last thing I would have expected: They put the pilot on YouTube. Not behind a paywall, not for a limited time, they just put the pilot “Woo-oo!” online, and IT WAS FANTASTIC. Watch it right now!
“Woo-oo!” was a great first episode. It introduced us to the characters, emphasized all the differences between their current and previous incarnations, and put in a ton of wonderful nostalgia references while also being funny and original in its plot. Huey, Dewey, and Louie now had different voices, looks, and personalities, with Huey (Danny Pudi) being the closest to the original version but nerdier, Louie (Bobby Moynihan) having abandoned even the outfit from his previous incarnation and being the greedy one, and Dewey (Ben Schwartz) being a blend of old and new traits and a fame seeker. Scrooge McDuck (David “I’m the f*cking Doctor” Tennant) is now a jaded old man who wishes to rekindle the exciting, adventurous days of his youth. Launchpad (Beck Bennett) is a little dumber than his original version, but still an adorable doofus and an optimist. Donald Duck is pretty much the same, but plays a much bigger role in the series.
Then, there’s Webby Vanderquack (Kate “from Garfunkle and Oates” Micucci) and Mrs. Beakley (Toks “I’m so f*cking amazing” Olagundoye). These two were basically redone from the ground up. Rather than being the young girl who carries around her doll all the time, this Webby is smart, skilled, and more athletic than any of the boys, but is socially awkward due to living in a mansion alone. Mrs. Beakley, rather than being just a live-in nanny with relatively few other character traits, is a retired version of Agent 99 from Get Smart. I’m not even joking, they have an episode that tells you that’s who she’s supposed to be.
The first half of “Woo-oo!” showed us that, in this new universe, magic is real, Scrooge is an almost Batman-level combatant and adventurer, and that he and Donald had a falling out in the past. Flintheart Glomgold (Keith Ferguson) returns as one of Scrooge’s enemies and is shown being even more over-the-top Scottish, almost as a mockery of the fact that his nationality was changed in the original series from South African (because Apartheid). He’s also much more of a comic foil to Scrooge than a serious rival, but his brutality is raised a few levels in this version. In the second half, the group goes on an adventure to Atlantis and, upon returning, the boys and Donald move in with Scrooge.
Now, this would normally be where the Pilot just acts as a set-up for the rest of the series, but, at the last minute, Dewey moves a piece of a painting seen earlier, revealing the figure of a young female duck. Dewey, shocked, says “Mom?” as the episode ends. Yes, at the last second, the show drops the biggest two surprises on us it could. First, they’re actually going to address what happened to Della Duck. Second, holy hell, THIS SHOW IS A SERIAL. There are going to be actual story arcs throughout the series. Again, this is in the last 15 seconds of the episode and it is huge.
The rest of the season was a little mixed. Some episodes were amazing and had fantastic guest stars, but others didn’t really use the characters well, and I was getting a little worried that they were too hit-and-miss. However, the whole time, they were also building up plot-lines and characters, including setting up Magica De Spell (Catherine “I was the best Tennant companion” Tate) as the big bad of the season. Then, we got to the penultimate episode, “The Last Crash of the Sunchaser” which not only had one of the most intense sequences in animated history, but had an ending that led me to sit in stunned silence trying to grapple with what I had just witnessed.
Then, we get to the finale and it took a bit to get going but, once it kicked into gear with Magica De Spell as the villain du jour, it was a hell of a ride. Probably the single best thing was that they had Donald Duck swallow a “Barksian voice modulator” which made him talk like Don Cheadle. He then proceeded to deliver some both hilarious and bad-ass lines (which were turned into hilarious ones by the fact that DONALD DUCK was saying them). The season ends, however, with several plot-lines still up in the air, giving them plenty to work with in the next year.
The main thing that really makes this reboot stand out is that showrunners Matt Youngberg and Francisco Angones basically went through all of the previous incarnations, from the comics to the show to even other Disney cartoons from the 80s and 90s, and kept what was timeless. They didn’t go out of their way to avoid doing things like the old show, they celebrated the things the show did well while correcting the things it didn’t. They tried new things, to be sure, some of which worked better than others, but they gave the show a feel that, while still DuckTales, was still unique. They gave us nostalgia, but they never really relied on it too much and they always made any reference still work even if you didn’t know it.
They also knew that too much nostalgia could overpower the work they were doing, so they did it gently. They did re-introduce Darkwing Duck, but now he’s a character on a show within a show. However, they go out of the way to point out that the actor who played Darkwing did his own stunts, so they have left the door open to have the actor become the superhero in future episodes. This was the right way to do things, because, if you put Darkwing Duck directly into the series, there would be too much pressure to keep putting him in it and any episode he was in would be focused on him.
Overall, I think this is one of the best reboots I’ve ever seen. Check it out, guys!