1994 Spider-Man episode #41-“Turning Point” Review

 The ultimate throwdown occurs with the time tested tale of two men and a woman whose lives hang in the balance on a bridge. But is this a great episode or the greatest episode of the series?

Credits
Story By: John Semper
Written By: Marty Isenberg, Robert N. Skir, James Krieg and John Semper
Music Composed By: Shuki Levy and Kussa Mahchi
Animation Services By: Toyko Movie Shinsha (TMS)

THE PLOT: The Green Goblin learns of Spider-Man’s secret identity, and plots a final assualt to be rid of him once and for all.

LONG STORY SHORT: Mary Jane is plunged into a Time Dilation Portal and is seemingly lost forever, with the Goblin quickly following suit. Peter Parker remains alone, completely and utterly devastated.

MY THOUGHTS: Possibly the most famous episode of the series, this episode proves also to be the most difficult in terms of approaching to review since the pilot back in March. However, this has going for it a lot more than just nostalgia. Many people see this as the series’ peak, which is hard to argue. Others see this as another 90s show bastardization of not one, not two but three classic Spider-Man/Green Goblin stories including the most famous one. But there are several factors to be explored here, so it will take more than one viewing to truly see all the angles and rate how this episode fares in Spider-Man media history.

Even you haven’t guessed by my tenor, this episode rules. It’s dramatic, the action is excellent, it’s the last hurrah of the wonderful TMS animation and it has major ramifications for the rest of the series. It’s also the return of the awesome Christopher Daniel Barnes overacting, but it’s done for a reason. I admit that in this episode he does go a bit too arch even for my generous tastes, but it still serves well within the context of the story. Neil Ross does just as admirable with Osborn and the Goblin, switching between the two almost so instantly it’s a wonder why he’s so underrated as a voice actor. (While we’re on voice actors, this is the first appearance of Julie Bennett voicing Aunt May as Linda Gary died from brain cancer.) There’s just so much good stuff in this episode, that it’s simple just to slap 5 “MARY JAAANE!!!””s on it and call it a day.

But what does it all mean?

 Consider all the factors. It’s not only that this episode culminates the Mary Jane and Peter romance which has been building and building honestly since early in season two. In the time the episode premiered the mass majority of Spider-Man fans either were in grade school and knew nothing about the issues from which this episode’s plot consists of, (Amazing Spider-Man #39, Spectacular Spider-Man Special #2 and Amazing Spider-Man #121 and #122) nor the history it represents. This episode is a clear homage to then iconic Death of Gwen Stacy story substituting Mary Jane for Gwen and gives new fans of Spider-Man a glimpse at the type of fantastic storytelling the character has had throughout the years. If nothing else, this show has done that for the masses. Sure, the first movie did the same thing but only in a brief reference with an entirely different ending. Viewers at the time who had never read the comics watched Spider-Man fail in a way he had never failed before, and witnessed possibly the darkest ending to a story any hero of fiction can be given. It gives credence to the faith the show’s crew had in its audience because when I was a child, at no point did I ever cry out for Mary Jane to be rescued. I was too enthralled by the sheer magnitude of the story, and was left wanting more.

But was I part of a majority or a minority? Going back to a previous review that covered the Venom and Carnage two-parter, poster Enigma_2099 said that he stated his opinion that Carnage should never have appeared on the show due to the inevitable watering down of the violent nature of the character. While I disagree, I’m very much grateful that he spoke out as he showed the diverse perspectives of the Spider-Man fanbase and that everyone has a different opinion. Similarly, many critics of the 90s show make the complaint that it frequently avoided death by having characters fall into limbo by way of time portals. In in some ways that is entirely fair. If this episode had actually killed off Mary Jane, it would definitely served in favor of the show’s reputation…or not, considering Peter and MJ were married in the comics and Gwen was the one who died.

Okay, okay. Let’s say that they took the Spec Spidey route and included Gwen in from the start and killed her off. Nice to think about, but a pipe dream when discussing children’s programming.

So Mary Jane is in the famous scene and instead of her neck snapping like a twig, she falls into a dimensional portal never to be seen again. What are the pros and cons of this? Immediately people will say that the cons are that the story is changed by her not dying and it not being Spider-Man’s inadvertant fault. Not to be a contrarian, but I have to say that at the end of the day it doesn’t really matter. If you read ASM#122, it’s all about Peter anguish over Gwen’s death, and how everything he does since is because she died. The same applies here. Spider-Man is so enraged and distraught over losing Mary Jane that he nearly lets the Green Goblin fall into limbo. That echoes him in the comics nearly killing the Goblin before choosing not to, which I’d say is pretty faithful to the source material. Dead or not, the damage is done and the effect is carried over.

And the effect is not just deleivered due to the ending. It’s earned throughout by the palpable sense of dread which builds and builds from the get-go. Faithfully adapted from Spectacular Spider-Man Special #2, the scenes with Norman Osborn fawning knowingly over a confused and cautious Peter at the dinner party make for some excellent tension. It manages to top the Eddie Brock Venom scenes from “Alien Costume pt.3” in that Peter cannot simply escape Osborn here. He is as trapped and enclosed in Norman’s control during the dinner as he was when they shook hands, with Peter’s dialogue ripped verbatim from the issue (“He’d break my hand were it not for my Spider-Strength!”) It also speaks of the psychology of Norman Osborn first displayed in “Enter the Green Goblin”. The psychosis returns here, and it is in full force with both Norman and the Goblin more aware of their relationship without fully acknowledging the true nature of it. It’s more schizophrenic than it was in the comics with the constant back and forth between the two personalites instead of a dominant singular mind, but I think it works. It serves for a more unpredictable enemy for Spider-Man to face, and as Peter said he’s never been more vunerable.

And with this season finale, it really brings home the point that this has been a very Peter Parker focused season. While the Neogenic Nightmare saga was about Spider-Man’s disease, this seasonal arc entitled “Sins of the Father” has been as much about Peter’s life and decisions as it has been about Norman and Harry. We seen and heard glimpses about Peter’s parents, we’ve seen him driven to the edge of quitting, we’ve learned his origin and through the uneeded plot device of Madame Web we’ve seen him grow as a crime fighter. And while I could have gone without seeing Peter at first beg for Madame Web to bring Osborn and MJ back it was certainly in character for him to do so. Again, Spider-Man’s one of the most human fictional characters out there, which is why seeing him drvien to such emotional and psychological extremes is such a treat for fans.

This is the episode that I hold up to the show’s standard when referring to it to other people. It’s easy to look at it and only see the repeated animation, the screwy desgins and the downright laughable science, but two-thirds of that apply to the old comics that fans says they love and cherish as well. Apples and oranges, but with every ASM #33 there’s a cartoon adaptation that has something like “Hydro Man” or “The Alien Costume” or “Turning Point”. As inconsistent as the show can be, this season was almost overwhelmingly good and had way more hits than misses. I am one of those who say that the show never again got this good with seasons four and five, and while I am looking forward to the Clone Saga and Harry as the Green Goblin, frankly with this episode it’s a matter of deciding if this is better than “Night of the Lizard” or “The Alien Costume” in terms of overall presentation. It’s tough, especially considering that all three episode are dark in nature and have superb animation. This episode has the edge in making ripples throught the rest of the show’s continuity. It also has Madame Web being told off in the most satisfying manner ever. (You can just imagine Peter holding up both middle fingers as she says her finals words to him before vanishing away.) In any case, let’s table that debate for now.

John Semper was once quoted to say that the ending with Peter inner monologuing on top of the bridge is his favorite moment in the series, because it’s nearly a full minute of a man just thinking to himself with no supervillains or silly action going on in the background. This is indicative of what makes this episode stand out, the little things. The animation provides small touches like Spider-Man batting away one Pumpkin-Bomb before getting hit with the next one, or Peter grabbing part of the top of the bridge to prevent from falling off after he caused him and the Goblin to crash onto it. Other things Flash bringing Debrah Whitman to Harry’s birthday party, or Liz feeling sorry for Harry (marking her first appearance since the season 2 finale IIRC) make for a fuller continuity and a greater viewing experience, especially since this episode is based on strong continuity. This entire show is for that matter.

There’s just too many good things I could say about this episode, so I’ll simply end the review, the season and this year’s review with the expected grade.

5/5 “MARY JAAANE!!!”s

Best Quote Contender-

Aunt Anna: “I still say you’re asking for trouble by dating that…strange young man.”

*Goblin phases into the house*

Green Goblin: “Lady, you don’t know the half of it!”

All images taken from marvel.toonzone.net and drg4.wariocompany.com respectively.