Phillip's a pro up until he feels his family is threatened, and then all bets are off. We've known that from the very first episode.

"While it would certainly be impressive in the real world to get a chance to fly to the moon, it’s a little unambitious for a second episode when there’s an entire galaxy waiting."

Pretty sure Xanatos taught me "naïveté".

To wit: "Ah, a book. I will read it while precariously perched high atop this very tall stool rather than comfortably in a chair."

End of the first season already? Count this as a vote for more reviews.

Yeah, the writing, the animation, and the delivery all work so perfectly in that line. It reads as confidence, but you can't miss the panic peeking through.

It's narratively questionable, but I love how Bronx basically decides he no longer cares about the electrified bars at this point, and just forces his way into the other cage to free Brooklyn and Lex.

I've just realized that Gargoyles' best action setpieces may be the most horror-influenced. Last week, in the "Pack", we saw a desperate chase get reversed into that tension-filled rooftop hunt. This week, in that warehouse climax, we have something out of Aliens, with heavily-armed humans helplessly picked off by the…

This first running battle between the Pack and the two Gargoyles is pretty superb, full of tension, traps, and reversals. It's telling that Goliath and Lexington, finding themselves ambushed and outnumbered, beat a tactical retreat to more favorable ground before turning the tables. Even then, they favor stealth over…

Well, she's a thousand years old, so … compound interest.

Check out that top image. On a character note, how amazing is it that Demona—this fantastic, magical warrior creature from the Dark Ages—uses guns? And not restrained little hand pistols, but huge honkin' laser bazookas?

My favorite such reference will always be Elisa's Halloween costume.

Gargoyles classic coverage? This is the best day of my life. These reviews will fill the hole in my life that was left by the DS9 coverage, and not just because of the overlapping voice talent. Genre television with complex serialized plotting, a rich, ensemble cast, and deep, oft-tragic themes? My heart’s already…

It’s a bit traditional to end a Star Trek series or film with the Enterprise receding into the distance, whether in a slow drift or by going to warp. It’s so optimistic. There’s an implication that this home and this makeshift family is going on without us, toward new adventures, past the second star on the right,…

Ops exploding at the end of Call to Arms. "Dukat wanted the station back, he can have it."

Damar gets a lot of well-deserved love for the way his character develops near the end of the show, but pales against my love for Kira's story. Traveling to Cardassia to train her former enemies in resistance tactics goes so completely against everything she'd ever want or expect to do. Yet when this development…

Could he have couched it more manfully? "Odo needs you! … We all need you!"

Bashir: This is a once-in-a-lifetime opportunity. We can't pass it up.
O'Brien: Julian!
Bashir: What?!
O'Brien: Listen to me. He wants us to die with him. If we die, Odo dies, too.
Sloan: All my secrets, yours for the taking, Doctor…. If you want them badly enough.
Bashir: Odo needs you, Julian. He's counting on you.

That moment should have come exactly when and where it did, but only after Claire saw Adam's photograph hanging in the stairway while her mind was still heavy with thoughts of Megan.

I'm currently watching this series with my bf, a DS9 virgin, and he predicted partway through that Sloan was the actual Dominion-aligned traitor. It's a well-crafted episode that can hint at a completely plausible twist, then throw us for a loop that's still logical in retrospect.