Episode 06


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We're baaaaack! (In all seriousness, sorry about the long delay between episodes.) This time around Alfred takes the fall for Bruce ("Eternal Youth"). In "Perchance to Dream" Bruce Wayne is given his dream life, but turns it away. An international thief targets Batman in "The Cape and Cowl Conspiracy." Dick Grayson's emotional origin is recounted ("Robin's Reckoning"). And The Joker plots another zany scheme in "The Laughing Fish."

The above is from: http://www.worldsfinestpodcast.com/episodes/wfp_006.mp3

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I can offer a supposed counterpoint to the issue over Batman having no idea that Hatter was behind his constructed reality. In that Hatter was in a recent episode and dealt with mind control. Now, it could have been ANYONE with access to mind control devices (like Hugo Strange, even if he hadn't appeared yet) but of all the people on Bruce's list of suspects, you'd expect the Hatter to be up there, if not #1 perhaps.

Anyway, another very good episode. Gotta love Robin's Reckoning.

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"and even the worst Joker episodes, and this was one of them"

WHAT THE HELL??? how is The Laughing Fish one of the worst Joker episodes if anything it's one of the best and one of the best episodes of the series in general. This episode is pulled right out of what is probably the best run on a Batman comic ever in "Strange Apparations" by Steve Engelhart and Marshall Rodgers which includes "The Laughing Fish and it's considered by many to be one of if not the best Joker stories ever written, and it's adapted beautifully for this episode.

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Ian: In the dream world Batman might think and even realize Hatter is behind it (which I don't buy, because he was too shocked upon unmasking "Batman"), but to have Hatter monologue? To have him reveal his plan doesn't make sense because the real Hatter (outside of the dream) would have had to program himself into the dream in case something like this happened. Why reveal to the dreamer that he's dreaming?

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Finally! I've been waiting forever for this. Reading this thread, I'm assuming 'Perchance to Dream' is pretty well-liked but pretty harshly nitpicked (:smile:), but 'Laughing Fish' is getting some dislike (:shakehead:), but I'll just have to wait and see.

Starting on 'Eternal Youth' right now and right off the bat I'm glad this is getting some negativity. Post will be edited as I get deeper in, as usual.

Oh yeah, I'm psyched that the movies and 'Teen Titans' is getting covered. Glad you're going all the way on this.

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Malpractice: As James and I say from time to time, there are certain episodes we'll reevaluate. Maybe "Laughing Fish" will be one of them. Until then, my score stands. The comic it's based on might be excellent (I know of it, but haven't read it), but the episode itself is just not a good episode in my opinion.

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Okay, I'm back to the podcast and am listening to the animation criticisms on 'Eternal Youth'. Right on with Efrem Zimbalist Jr. praise.

Ha, Ras Al Ghul gone retarded.

Another edit: Starting up 'Perchance to Dream'. Can't wait.

I've been listening to James' love of the episode (and I completely agree) up to the issues with Martha Wayne's apparent insignificance, and I'm very interested by the complaint that Martha is a very flat character (I'd list Thomas too, but that isn't what's being discussed at the moment, although it very well could be in a minute) in Bruce's dream world. At least Thomas gets a few words of conversation in with Bruce during the episode, but seriously, I think Martha's only line is 'Bruce!' when Bruce runs out of the house after smashing the TV. Even those who love the episode to death, I've found, aren't able to argue around the fact that Bruce's parents are poorly represented as being anything other than people who loaf around and play golf. Okay, this is kind of rambling so I'll resume listening.

I'm probably not the comics buff that you guys are, but I've come across two very interesting Martha Wayne moments in recent memory. The first is in a famous Elseworlds tale, 'Arkham Asylum', which I think James mentioned on an earlier podcast which portrays Bruce as having an Oedipus complex, which means basically that he was sexually attracted to her and her death turned him into a sexually repressed maniac. The other is, I'm pretty sure, in Jeph Loeb's and Tim Sale's 'Haunted Knight', which is an anthology of three Batman stories. I forget the context, but I remember a flashback dealing with Bruce's insistence that his mother wear pearls to the Zorro movie, which of course was the central object of desire for the gunman. So basically, even if there's not much insight into Martha Wayne's importance to Bruce, it's definitely an interesting way of conveying Bruce Wayne's guilt at his parents' death.

>Gasp< Yoda (can't remember you're actual name at the moment because I'm so used to your username) has complaints. Well, so far I agree that the animation is very sub-par, but as for the fact that Bruce shouldn't look on in awe at Batman's capabilities, I think it's pretty cool and completely believable. Even if he knows what he can do, this is still a once in a lifetime moment to see himself in action from his Bruce Wayne persona (which, as the episode somewhat argues, is something of a separate entity from his Batman persona). I can see your problems, but I personally think it's a neat little moment. Oh crap, missed out on your complaint that Bruce wouldn't be distracted by ANYTHING if he's determined to find out what kind of conspiracy is going on here. Okay, now that makes you complaint a whole lot more valid and hard to refute. Never thought about that myself.

Okay, now about you're complaint about Bruce blaming Batman. Well, I'll probably just turn to my idol Jay Allman again for his incredibly deep and psychological commentary on this episode and put in bold the part where he justifies Batman's blaming himself. Here goes:

"Perchance to Dream" is interesting in the same way that Vertigo is interesting. Vertigo is also just a "trick mystery"--a fact emphasized when you remember that Hitchcock originally planned to end it with a scene of Scotty and Midge listening to a radio report about the arrest of Elster in Europe for the murder of Madeline. The truckloads of commentary about Vertigo all deal with the implications of what we've seen: what it tells us about Scotty's psychology and about the nature of obsession and domination and voyeurism. If PtD is not "interesting" for its implications, then neither is Vertigo.

I've said all of this on my website, but let me go over it again step by step.

"Perchance to Dream" reveals very surprising things about Bruce Wayne. Start with the fact that Tetch's dream machine does not manufacture a ready-made simulation for Batman. Instead, it can only take what is already inside him--his hopes and dreams and desires and fears--and turn them into a fantasy life that is meant to appeal to him at his deepest and most personal level. Hence, what it shows us in that fantasy life must be what is deeply true about him. That is why it is not merely a "trick," but an exploration of his psychology. ("For the Man Who Has Everything" does the same thing to Superman, but I don't think it reveals anything nearly as surprising about him.)

First, it splits Wayne in two: there is Bruce Wayne, playboy heir, and there is Batman, crimefighter. This is already a surprise, because most people interpret Wayne as having only a single "true" personality: he is Batman, and "Bruce Wayne" is just a mask. But if Wayne's fantasy materializes both personalities, then we ought to conclude that there really is a duality within him. There really are two "personalities" or psychologies. Otherwise, his fantasy life would either be one in which Bruce Wayne exists in a world without Batman, or in which Batman exists in a world without Bruce Wayne.

Second, there is the point of view that the dream subject adopts. Why is he "Bruce Wayne" instead of "Batman"? Why isn't he Batman, crime fighter, puzzled to discover that he does not have a separate existence as Bruce Wayne? Why isn't his fantasy life one in which he can devote all of his time and energy to fighting crime without having to worry about being "Bruce Wayne"? If this is what he really wanted, wouldn't the dream machine manufacture a fantasy in which he didn't have to be Bruce Wayne? That is the second surprise: apparently, our hero thinks that "Bruce Wayne" is the real personality, the root psychology, and so that is the perspective it adopts even though it doesn't get rid of the Batman figure altogether. (Why it doesn't get rid of the Batman figure is a topic I'll tackle below.)

My conclusion: The episode argues that Bruce Wayne is the man, and Batman is the mask.

(Side note: Notice the scene where Wayne questions Alfred about his life; it takes place with Wayne reflected in mirrors, which symbolicallly represents his doubling. I don't know if b.t. remembers enough about the making the ep to confirm that this was intentional; if Boyd Kirkland is reading this thread, maybe he could comment.)

Now, what do we learn about "Bruce Wayne"? That this part of the personality is very much a dilettante. He parties; he doesn't take his business responsibilties that seriously; he is bored with his WE duties; others have to run the company for him. That the fantasy does not develop anything interesting about him suggests that there isn't anything very interesting about him. You can say the same thing about his parents. Maybe he doesn't remember enough about them to give the machine enough material to develop them interestingly; or maybe it's that Wayne himself doesn't imagine that they would be very interesting people. (I know that this observation is offered as a criticism of the episode, but if the episode is canon I think we have to take its implications as canonical, too; and though it's doubtful that Thomas and Martha Wayne were that boring in real life, it's still an interesting discovery to find that Bruce apparently has this kind of picture of them.)

That the dream machine can't give Bruce Wayne an interesting life might suggest that the machine isn't very good at its job. Or it might be (what I sense) that Bruce Wayne does not have a very high opinion of himself; if he thinks of himself as a shallow playboy, is it any surprise that the dream machine would give him the "ideal life" of a shallow playboy? In essence, he sees himself, at bottom, as being the kind of person who would not enjoy the kind of life that the person he sees himself as would enjoy. Bruce Wayne, the person he thinks he is, would lead a life that he himself would long to escape.

This ties in with the very interesting discussion he has with "Leslie." She diagnoses his problem as a lack of self-esteem. (Further evidence for my diagnosis above.) Bruce Wayne, she says, feels that everything has been handed to him, and he resents it, so he has identified himself with an "ideal" life in which he has earned self-respect. Because "Leslie" is only a figure in the dream, basically she is another part of his mind diagnosing itself; his session with Leslie is a moment when he analyzes himself. And he endorses her conclusion: He is, he happily concludes, a spoiled layabout who daydreams of doing great things. And instead of being repulsed by this, his immediate reaction is one of relief and an almost giddy acceptance of his situation. This confirms that "Bruce Wayne" really is a dilettante, a dreamer.

And then he has his bad encounter with a newspaper. There are two ways to follow and interpret that bit. The first is to interpret it literally: The dream machine has a flaw, and our hero has caught it. The second is that the newspaper bit is just a part of his dream. I'll follow the first interpretation for the moment and come back to the alternative in a bit.

Wayne's immediate reaction is one of bewilderment and anger. What's interesting is that he doesn't immediately announce that he is "really" Batman and that everything is an illusion. He says that it is all unreal, but he he lashes out at Batman as an independent figure (when he screams at the TV), which suggests that he has not fully come back around to accepting his memories of being Batman but is still struggling to find himself and the truth about himself. He know that "Batman" is somehow mixed up in it and sets off to confront this figure.

That he sees "Batman" as being somehow outside of himself--again, as a personality that is "outside" his "Bruce Wayne" persona--is further supported by the fact that he confronts, accuses and physically attacks Batman, even though he "knows" Batman's routines as his own. Why does he do this? There are several possibilities, none of which contradict the others. It could be that Bruce Wayne is jealous of this superior side of the personality--as established earlier, he certainly has grounds for jealousy. But there is also the suggestive "You did this to me!" accusation he hurls at the cowled figure. Bruce Wayne knows that he is in a mess; apparently, he thinks that Batman got him into it. Well, he did, didn't he? Wayne not be in this predicament if he weren't chasing Tetch and out fighting crime in general. This is basically the cry of a man who, in some sense, doesn't want to be out there fighting crime. That's another interesting surprise. And why does he find the Hatter underneath the cowl when he rips it off? The revelation could have occurred by having him push Batman off the tower and then have the Hatter step out of the shadows. The implication must be that Wayne sees Batman as some kind of adversary: the enemy of the life of ease and privelege that Bruce Wayne would, in some sense, like to live.

I pause here to pick up the second thread mentioned above: perhaps the dream machine is not flawed. Maybe the mixed up words are just another part of the dream. Our hero has two dueling personalities: and at the moment that one seems to triumph in its deepest desires, its world crumbles in a way that can't be rectified. I would interpret it as the Batman persona fighting through and destroying the fool's paradise that Bruce Wayne would prefer to live in. That, then, would be the meaning of Wayne's "You did this to me!" in the church tower: his life would be a perfect dream except that his Batman personality keeps interfering. The Batman figure, after all, insists that "You're not well, Mr. Wayne," which implies a rejection in the strongest possible terms of Wayne's desires: they are diseased. And when Batman turns into the Hatter, it is the Batman personality's way of showing Bruce Wayne who is true enemies are: Gotham's gallery of rogues.

At this point I need to make a serious detour into some deep and very perplexing philosophical territory; since The Matrix films came out, I suppose most people are familiar with the problem of global skepticism: What if everything I see and believe is false, and reality is radically different from what I take it to be? The question sounds plausible, but it actually leads to a serious conundrum: If everything is a lie, then so too is the evidence that everything is a lie, because that evidence is, by hypothesis, part of the lie which is being presented to you. Hence, there can never be good evidence that everything is a lie. Worse, if you accept the hypothesis, then you can never trust any evidence that would say that you had escaped into the "real" reality. Because that evidence itself might be a lie.

In "Perchance to Dream" this conundrum is illustrated by "Leslie" and by "the Hatter"; if what the Hatter says is true, then both he and Leslie are figments of Wayne's imagination. But if that is true, then Wayne has no better reason to believe the Hatter than he has to believe Leslie. That is, his reasons for believing that the world is an illusion is no better than his reasons for believe that he is mad. (Kant wrote his Critique of Pure Reason, in part, to argue this very point. And, if nothing else, I've now saved you the trouble of deciphering the "B" Deduction of the Critique ) Wayne can only accept the Hatter's claim because he prefers to believe that his present "life" is an illusion. Put that insight together with the disappearance of Batman, and it suggests that Wayne has now re-integrated the two sides of his personality: He has chosen to be Batman. And he seals that choice by deliberately leaping off the tower. There is an unremarked ambiguity in this act: It is either the act of our hero trying to escape from the dream machine by using the "wake before you hit the ground" device, or it is an act of suicide: In either case, it is our hero demonstrating that he wants to depart any world in which he is not Batman, whether that means waking or dying. And there is nothing wrong with saying that it is both. It is Bruce Wayne committing suicide so that Batman can live; it is the inferior "Bruce Wayne" part of the personality finally getting out of the way of the Batman part.

(There is also an deeply disguised reference to Alice in Wonderland in the act: at one point in the book, Alice, reflecting on the tremendous physical changes she goes through, remarks that after she gets back home she would probably "think nothing of falling off the roof," an observation that the narrator admits is "probably true." That's a bleak pun on Carroll's part: if Alice fell off the roof, she would probably not be alive to think at all!)

Put it all together, and "Perchance to Dream" should probably be taken as one of the fundamental turning points in the inner life of the animated Batman: it's the moment in his history when the "Batman" of the later BTAS, TNBA, BB and JL/JLU episodes is fully born, because it's the moment that "Batman" becomes the man and "Bruce Wayne" really does become the mask.

That is, unless we accept the bleak logic of the non-malfunctioning "dream machine" hypothesis. In that case, there is no good evidence to suppose that Batman really has woken up. Instead, his "waking" would simply be the machine recalibrating the illusion so that Batman gets the life he has chosen--to be Batman--and given him a plausible way to "escape" into that life. (As the Hatter mischievously remarks, "There's no way out of this!" and he's right: once you become convinced that the world is a sham, you can never convince yourself that it is not. You can only forget that you ever thought it was a sham.) Even that ambiguity is captured in that final (often-maligned) line that Batman delivers at the end. If the machine is "the stuff that dreams are made of," then it is composed of "dream substance." But the substance that makes up the machine Gordon is handling is the same substance as everything else is made up of, which implies that everything else is "dream substance" too. Which implies that everything is still a dream. Batman's quiet delivery of the line could be taken as his rueful admitting that maybe he really hasn't escaped at all.

----------------

It's easy enough to reply to all of this that none of the writers/producers/directors had any notion of this in the episode they fashioned. But it's also pretty clear that Hitchcock wasn't the least aware of all the implications of Vertigo. Whether creative intentions should be taken as decisively refuting this interpretation is an entirely different subject. But at this point I can only wait for you to announce that none of this is "interesting."

My explanation is that Batman is the only thing that doesn't make any sense at all. I mean, just assume that his parents never died and everything makes sense. That is what life would be like for Bruce in an alternate reality, right? But in a world such as this, why would Batman even exist? It's the one thing that doesn't fit, so that's why I think Bruce targets him.

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You are correct; in this episode both Thomas and Martha are flat, but at least Thomas has his own design and a little character. Martha looks like Leslie Thompkins and says maybe one word. Just like in the comics, Martha is secondary to Thomas. As said during the episode, Bruce is always going on about "My father's house" and other such things in the comic. Never is it "My parents' house" or "My mother's books" (or whatever), so seeing it here in the cartoon is just as bothersome as seeing it in comic books.

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I'm actually pretty sure that the voice actress for Martha is the same for Leslie. The only upside to Martha's bland and unexplored character is that, seeing as how she hasn't properly been fleshed out, there is a whole lot of potential for Martha to become interesting and/or important in stories to come.

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^Okay, I'll be waiting.

Anyway, on to the fact that Hatter shouldn't in the dream, well, here's my attempt at a retort. Batman represents the nobility that Bruce can't have in a dream world. It's the thought in the back of his psyche that begs Bruce to ponder which life is truly what he wants: the one in which he has his family but lacks any righteousness of his own, or the life he currently lives, which is one of heroism born of tragedy. It's a struggle between two personas. That's why Batman appears as far as I'm concerned. As for why it's the Hatter, well, as argued by Mr. Allman, it's because the Bruce Wayne persona views his Batman persona as an adversary, an antithesis to everything Bruce Wayne is in his dream world. But yeah, that's where I'm stuck. Even if Batman represents madness (as symbolized by the Hatter) or an adversary to what Wayne wishes he could be, it's clear that the Hatter is an entity in an of itself and is separate from the world Bruce Wayne is actually constructing for himself. So I love the conversation between the Hatter and Bruce, but at the same time, it's hard for me to really come up with a reason for it even being there. My only conclusion is that the dream machine is flawed, or that dream logic itself is flawed, so either way, due to some nonsensical but valid reason, Hatter can exist to explain his scheme.

But maybe that Hatter isn't an entity in and of itself. Everything he says in his little monologue could have easily been figured out by Batman persona, seeing as how Batman in any form is the World's Greatest Detective. And the fact that he exposes the dream may not be the Hatter's dream self talking; it's the Batman persona's way of telling Bruce that he's fallen into a trap, all the while, in the guise of the Hatter, pointing Bruce toward the real enemy. The question after that would be, 'why would the Batman persona try to convince Bruce to stay if he's so intent on getting Bruce out of the mess?'. Perhaps the Batman persona has taken on the role of the Hatter completely, which would mean adopting his villainy as well, all in his quest to have Bruce see the real picture. Now this paragraph is just theorizing, and I don't even think I buy it, but it's an interesting way of thinking about it.

Oh yeah, another flaw that I don't think as been mentioned that I'd actually mark against the episode is that the episode's point of view drifts to that of the cops while their chasing Bruce. If it was really Bruce's dream, wouldn't it always be told from his point of view? So it's impossible, even in such a flimsy reality, that we would ever see the cops' point of view as their chasing Bruce.

Oh yeah, Mike, you'd actually enjoy this a lot, but Bruce Timm himself isn't too fond of the episode. This is what he had to say over at the Toonzone forums:

ok, just got done watching "ptd"....and, well, i'm sorry, but anyone who thinks that it's remotely in "ftmwhe"'s class must not have seen it in awhile, must be reacting to their memory of it...i found it to be clumsy and heavy-handed every step of the way....the dialogue is painfully "on the nose", the animation's REALLY pretty bad, even the score seemed to be oddly inappropriate throughout....kevin's performance IS good, but i honestly think he's done better....i will say that roddy's performance is SPECTACULAR, even better than i'd remembered....but everything else, i dunno....

'ftmwhe' refers to the Justice League: Unlimited episode 'For the Man Who Has Everything', by the way, which really is a Superman version of 'Perchance to Dream'.

Okay, back to the Podcast. I think that the Hatter really shouldn't care about Batman's identity. Batman's his enemy, and whoever is under the mask is insignificant, so that's what I think about that. The Mad Hatter is one of the most insane members of Batman's rogues gallery, so he's not one for rationalizing that unmasking him could help him or peak his interest.

Oh, you're anecdote from Ultimate Spider-Man with Kingpin's 'I have no idea' is almost exactly like the scene from JLU's 'The Great Brain Robbery', when Luthor and Flash have switched bodies, and Luthor, in Flash's body, runs into the Watchtower's men's room. He looks in the mirror and says. "Lex, what have you gotten yourself into? Well, at least while I'm here I can figure out the Flash's secret identity. (He unmasks himself) >Pause< I have no idea who this is." And I have read the first six hardback volumes of the series, by the way. Great stuff.

Okay, finally at 'The Cape and Cowl Conspiracy'. Yes, I completely agree with all of your jabs at the logical flaws. The only thing about this episode I can actually enjoy is the fact that the big Batman reveal at the end took me by surprise the first time I saw it.

Oh wow. Wormwood masturbating. Just wow.

Okay, 'Robin's Reckoning'. Well, I don't think it's the best of one's you're reviewing. I'd place 'Perchance to Dream' and 'The Laughing Fish' higher, the former for being really deep and the latter for being the greatest most definitive Joker episode of all time. As for the episode, I think the second episode just really takes a dip in quality, especially in the animation department. The first one was usual Spectrum animation brilliance. The second episode they were forced to use Dong Yang's animation, which is almost always just average. Another reason is that after the awesome origin, nothing can ever reach that level of brilliance. And the Batman line at the end is, I don't know, sort of cheesy in a sappy kind of way. I don't know. What I wonder is, if the whole reason Batman was shutting Robin out was because he cared for Robin and didn't want him to get hurt, why does he refrain from telling Robin until the end? Oh well, I still regard it highly for the brilliant first part.

I know what you mean when you say you want to scream at the Graysons. The moments before the rope finally snaps are some of the most suspenseful in all of the DCAU.

Oh yeah, Bullock's '30s uniform is scene again in a 'Mask of the Phantasm' flashback.

I just had a thought. The big difference between Batman and Robin is that the killer of Robin's parents was caught and Batman still hasn't found the man who murdered his parents. So I'm guessing part of the reason Robin goes off to get a life at college as illustrated by 'Old Wounds' while Batman continues with the mission is that Robin has already tasted the satisfaction of revenge. The killer is caught and part of the motivation is now null, so he feels that he should be allowed to enjoy himself, whereas Bruce continues to treat him like his lackey in crime-fighting. I know the big moment that put Robin over the edge was watching the terror in the eyes of the child as Batman brutally interrogated his father (the child being a metaphor for himself and the boy's terror at Batman representing the harsh lifestyle that Batman has forced on Robin's childhood), but I wouldn't be surprised if the fact that he's already felt the satisfaction that Bruce never could adds to the division between them.

I haven't seen the 'Teen Titans' episode where Raven goes into Robin's mind for a long time, but I assume it's 'Haunted', in which case, I never noticed that reference, awesome find; and James, you NEED to see it as soon as possible.

Ooh, the 'Batman Beyond' episode you're talking about is 'Shriek'. I love the music-less fight scenes. The reason for it was that Shriek went deaf (oh the irony). Okay, back to the podcast.

Yeah, the design on Batman changes in the flashback. I actually thought that he was blue when the car's headlights illuminated him, but I suppose the rest of the time it was entirely black; I forget ('Avatar' features an all black bat-suit as well). I think that the reason he looks a lot more detailed is because it seems a bit like a different model entirely. I think Spectrum (the animation company) just went all out on this episode, which is probably one of the major reasons it won an Emmy Award.

When you talk about how crazy everything must be for 'young Richard Grayson' (heh), it's probably part of what Nightwing is referring to when he says to Tim in 'Old Wounds' that he didn't exactly have a normal childhood.

Starting 'The Laughing Fish', one of my favorites.

Didn't 'Heart of Ice' technically have an animated title card?

The story is hilariously perfect! Yeah, Mike, it's not supposed to make sense! Yeah, raise the score! Raise the score!!!! Ha, that's me posting completely in synch with the podcast.

Well, I don't think I'm going to post a massive retort. I will link you to my favorite site for B:TAS reviews. If you bother to read it, I'd recommend reading some of the other reviews; they are really very interesting reads, even if I don't necessarily agree with all of them. And yes, it's run by the guy who's reviews I'm always quoting for my arguments.

Score time. I'd have to disagree completely with the 4 for 'Perchance to Dream', which I would give a 9.5 or a 10, but oh well, I see where you're coming from there. You're criticisms were surprisingly convincing.

3 for 'Laughing Fish'? NOOOOOO!!!!!! That's a 10 for me easily. Oh well, it's surprisingly interesting how much fun it is to listen to disagreeing opinions.

Okay, finally the conclusion to my commentary on your reviews of those five episodes (that's sort of weird), I was highly entertained and can't wait for the next podcast. Oh and about feedback being offered by means of E-Mail, do you think this thread could count as an alternative to E-Mail when it comes to offering Feedback? Because everything I would say in a feedback E-Mail is already posted here. It'd be interesting to hear you guys responding to my posts in the feedback section on the actual Podcast, but oh well, it's just a suggestion.

As for the next podcast, here are my hopes: 'Cat Scratch Fever' will get butchered brutally, 'The Strange Secret of Bruce Wayne' will be rated slightly below average, 'Night of the Ninja' will get a 5 down the line for just being an interesting little romp, 'If You're So Smart Why Aren't You Rich?' will be seen as entertaining, but largely nonsensical in places, and 'Heart of Steel' will get a bit above average for being so weird and eerie.

So overall, another enjoyable episode, can't wait for next episode, and great job guys.

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  • 4 months later...

Well you mention that thr Mother's of DC heroes like Batman Superman are never lingered upon much. You're right to some degree. Rember Superman II: The Richard Lester cut had Lara being Clark's connection in the Fortress of Solitude. Even though, it made no sense for Lara to suddenly appear when Jor-El was his connection in the first film(Illya Salkind still claims is a better thing dramatically, I don't believe so). In the original version of Superman II, Jor-El is still there and the aspect of how Jor-El is let go from Clark is so much better(I really wish I could go back in time and tell Donner about this and convince the Slakinds to keep Donner on).

Anyway, it's late so tomorrow I'll right my thoughts on this episodes and a few other Podcast episodes. Have a good night and keep giving us those excellent reviews.

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  • 2 weeks later...

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