Yeah, I think Season 1 holds up pretty well.  Season 2 is where it starts getting rough, for me; and, that's mostly with the villains they made up for the show, rather than the big classic ones....like The Minstrel and such.

I watched the Bookworm episode a few months back and was kind of surprised by a scene where Roddy McDowell is losing his @#$% at the moll, because of something she said and violently lifts a large book overhead, then stops himself and starts flipping through it, speed reading.  McDowell is always great in this stuff and knew how to play over-the-top, without going too far, and its pretty scary, in that moment.  Too bad they didn't bring him back; but, we did get his wonderful voicing of the Mad Hatter, in BTAS.

Season 3, if it wasn't for Batgirl would get pretty dire, at times.

I'll second Buono, too; another actor who "got it."  Love how he could swing between comical and menacing.  Enjoyed him as Mr Schubert, on The Man From Atlantis (the show was always much better when he made an appearance).  My favorite role, for him, is still as the sea captain, who runs an amusement park boat ride, in Who's Minding The Mint?  Especially when he goes "down with the ship."  Funny, funny film,.

Oh, well; if Skitch Henderson is going to be there, I'm in!

Gimme all of Jr. Walker and His All-Stars.  And the Batusi Girls.  

I'd agree about the X-Men to an extent: I enjoyed the Claremont/Cockrum and Claremont/Byrne runs but never rated them in the top rank of Marvel comics back then: MoKF, the Englehart Dr. Strange, most of Gerber's stuff, ToD, Killraven, and others were much higher quality series to me at the time and I probably feel even more strongly about it now. They were entertaining but at the same time fairly standard Marvel superhero stories. I doubt I would have read X-Men at all if I hadn't liked the artwork so much, and did in fact bail after Cockrum's second stint on the book ended, just as I gave up on the Avengers after Perez left (but then forgot to come back when he returned for a short time a couple years later).

The Morrison JLA passed me by when it was new but I did try to go back and look at it a few years later, after I had gotten to know and like Morrison's independent work. I found it pretty much unreadable: the regular JLA characters were written as god-like heroes (deliberately so, to give Morrison his due), while the only two characters I was really interested in, Orion and Barda, were mostly used as fall-guys to show how much more heroic and morally superior the mortal superheroes were to the New Genesis immortals. I suspect Morrison wrote this before he had read Kirby's New Gods material closely or given it much thought, because in later years he showed a pretty good appreciation of it in interviews (though not in any of his own comics featuring those characters, sadly). So yeah, I'd agree about the Morrison JLA too.

I like the art and the design work, and don't mind the story, but overall it's just a barely above-average 'event' comic.  (also, I know it was supposedly stolen from Moore's proposal, but always considered the plot comparison overrated ... as opposed to Armageddon 2001 which was hands-down the same plot.) 


All-Star Superman has its moments, but also a lot of moments that fall completely flat for me.  Still, I appreciate the scope and grandeur of the story and it would be a candidate for a 'one Superman comic' to give someone (I did in fact buy it for my brother-in-law).


I loved the series as a child, and having rewatched it as an adult ... it didn't bother me but I think the humor has dated badly.  I will give the series props for one thing though: Batman is more comics-accurate than any other cinematic version.  He's solemn but not humorless, and he actually is a brilliant detective (he just lives in a very silly universe).


I collected X-Men from the first Cockrum through the end of the Paul Smith run.  It's rather hard to rate.  I agree with you that at the time, I was far more interested in the more experimental titles.  On the other hand, Cockrum's importation of soap opera tropes and female-focused storytelling made it one of the better mainstream, non-experimental titles out there, and I thoroughly enjoyed it at the time.  It's not aged so well, but partially because so many other writers have learned from it.

I was a fan of Morrison from their early days (literally, Gideon Stargrave in Near Myths), but I hated their run on JLA.  I found it completely tedious.  I also think it was bad for their writing, and almost everything they produced after that had the 'big screen,' less humanistic, style that didn't appeal (sometimes I'd catch glimpses of the more humanistic style in 7 Soldiers or other projects, but fewer and farther between).