Gargoyles has, over the years, developed a cult following, one that has only grown with all episodes from the 1994-1997 series available to stream on Disney+. Rumors of a new animated series featuring the heroes have come up consistently since the series ended, and the seeds of a live-action take goes as far back as 1995, going so far as to have a screenplay drawn up. The initial success of the series had even spawned the idea of a Disney action universe, a more mature set of fare along the lines of what DC and Marvel had. Only Disney kept the series at arm's length, distributing the syndicated series through its Buena Vista Television arm. They really wouldn't attach the Disney name to it until changes were made for its third season. The series was popular, and toys and other related merchandise was flying off the shelves, so why wasn't it embraced wholeheartedly from the beginning?
Gargoyles begins in 1994, where gargoyles - winged creatures who awaken at night - assist the guards of a medieval Scottish castle from attack by the Vikings. Their leader, Goliath (Keith David), is caught outside the castle walls when daybreak hits, turning him into stone. The captain of the guards (Ed Gilbert) is behind the ruse that led Goliath outside and betrays the clan by letting the Vikings inside. All but a few of the gargoyles are smashed while in their daytime stone form, and the castle is destroyed. Believing the princess of the castle was killed in the attack, the court magician curses the remaining gargoyles in their stone sleep "until the castle rises above the clouds." Only the princess was saved by Goliath, who reunites her with the Magus (Jeff Bennett). Sadly, the curse can't be undone, so Goliath asks to be put under the same curse as his clan.
The Gargoyles are awakened when their castle is reconstructed atop a New York skyscraper by industrialist David Xanatos (Jonathan Frakes), whose intentions are villainous. Befriended by detective Elisa Maza (Salli Richardson), Goliath and his Gargoyle clan, who have taken on very New York names - Bronx (Frank Welker), Brooklyn (Bennett), Broadway (Bill Fagerbakke), and Lexington (Thom Adcox-Hernandez) - learn the truth about Xanatos and spend the nights fighting Xanatos' threats and all manner of evil.
'Gargoyles' Wasn't Like the Other Disney Fare
Goliath (Keith David) and Elisa (Salli Richardson) stand side by side in Disney's 'Gargoyles'Image via Walt Disney Television Animation
Gargoyles was unlike anything else in the mid-1990s, especially in comparison to Disney's other animated fare like Darkwing Duck and TaleSpin. It had far more in common with shows like Batman: The Animated Series as a darker, more mature offering, including a controversial episode, "Deadly Force", that spoke to the gun control debate. The mythology of the series, as well as its story arcs, ran deep, even incorporating Shakespearean themes throughout its run. The one truly unique aspect of the show for its time was its serialized storytelling, especially for syndication. Most series in syndication had self-contained episodes that could be viewed in any order, but Gargoyles had a sequential, overarching narrative that couldn't be aired haphazardly without sacrificing the storyline.
An in-depth interview with creator Greg Weisman with Polygon brings forward two other differences that set the series apart from its animated kin, and arguably live-action television series as well. The character of Detective Elisa Maza was a rarity. As Weisman points out, she was never a damsel in distress, saving Goliath's life just as often as he saved hers. She was half African-American and half-Native American, and the actress who voiced the role, Salli Richardson, is a woman of color, another rarity in the industry back then. Weisman also talks about how Lexington, one of the gargoyles, was gay. At the time, that trait couldn't be acknowledged without consequences, especially for a studio like Disney, so he was written as a gay character without explicitly stating such.
'Gargoyles' Season 3 Changed Everything
Goliath (Keith David) and Elisa (Salli Richardson) in a scene from Season 3 of Disney's 'Gargoyles'Image via ABC
When the time came for a third season, a number of circumstances spelled the end for Weisman's Gargoyles. Almost everyone at Disney that had championed the series was no longer around (Disney president and CEO Frank Wells tragically died in a helicopter crash, and other executives had bolted to DreamWorks), or had effectively been neutered (Michael Eisner was forced to give up being the final word on animated series). News from the O.J. Simpson trial was constantly preempting TV shows and the syndicated stations that were running Gargoyles cut to the trial coverage in lieu of airing the show, meaning episodes were being missed by the public, impacting the narrative, and changing the afternoon appointment viewing habits of the public.
Mighty Morphin Power Rangers blasted onto the scene, knocking Gargoyles off its perch atop its afternoon slot. Finally, when Disney bought ABC, they moved the series to the network's Saturday morning lineup, calling it The Goliath Chronicles to separate it from the first two seasons. Standards were significantly different from syndication for network television, especially when it came to Saturday morning fare The darker, more mature edge that made Gargoyles unique was dropped, the creative team had largely jumped ship, and the third season was shipped out to Nelvana Enterprises, a cheaper alternative that saw a marked difference in the quality of the animation... and not a good one at that.
Gargoyles was a show that was well ahead of its time and a gamble that, for a while, paid off. By making the series safe, unchallenging, Saturday morning fare in its third season, it fell into an undefined sameness where each show blended into the next. Now, the series can - and should - be enjoyed as it was meant to be seen on Disney+, a world-building narrative where each episode plays into the next. From its beginnings in medieval Scotland to the boroughs of New York in the present day, Gargoyles' nocturnal protagonists stand unparalleled, with ground-breaking elements that, even now, are unlike anything else in the entertainment industry.
Credit: Llyod Farley
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