Editorials
“Extreme Ghostbusters” – Revisiting the Underrated Sequel to “The Real Ghostbusters”
The Real Ghostbusters had only concluded six years before its direct sequel premiered in 1997. And, as with many things geared toward children at the time, there was this trend of overselling the product to bring in both eyes and money. Hence the title of Extreme Ghostbusters (hereinafter referred to as XGB). The revival never quite lived up to the marketing hype, however, this cartoon was also no lightweight. It proved to be a worthy successor that was neither afraid of no ghost nor afraid to push the envelope in ways its predecessor could not.
After a few blissful years of zero paranormal activity in XGB, the supernatural has returned in full force to haunt New York City and the rest of America. So who you gonna call to handle this new flux of specters, ghouls and other uncanny creatures? Well, not the Ghostbusters. The original team understandably disbanded after fulfilling their mission. Which brings us to the next option: another quartet of eager ghost hunters whose arsenal include upgraded proton packs and a heavier-duty ghost trap. Unlike before, though, the heroes are not another assemblage of adult scientists. Just the opposite, the XGB squad is made up of the four young college students who so happened to be enrolled in Egon Spengler’s Paranormal Phenomena 101 course.
Had things gone differently, it would have been Ghostbusters receptionist and ally Janine Melnitz training undergrads to be mankind’s last hope in these new and spooky times. The switch from Janine to Egon as the team mentor was one of several significant changes made behind the scenes before the finished product aired in ‘97. In fact, XGB nearly turned out to be two female Ghostbusters fighting alongside Eduardo Rivera (voiced by Rino Romano). Character designer Fil Barlow (Godzilla: The Series, Starship Troopers: Roughneck Chronicles) certainly had his work cut out for him when handed the revisions later on. Although, the XGB roster featured a ‘buster with a physical disability from the beginning; adrenaline chaser “Lucy” eventually became Garrett Miller (Jason Marsden). Rounding out the finalized cast of misfits was goth Kylie Griffin (Tara Strong) and mechanics whiz Roland Jackson (Alfonso Ribeiro).
Pictured: The ghosts of “Deadliners.”
The Breakfast Club-ish appearance of the core cast seemingly undermines the edgier aim of XGB, but these characters are not always so agreeable or straight-laced. For instance, ginger jock Garrett, who was popular with both boys and girls during a children’s test screening, does not rally his teammates so much as rile them up with his arrogance and endless quips. He does not shy away from self-deprecation either, namely in regards to his wheelchair. Meanwhile, Eduardo is the resident smartass who fancies Kylie — with some PG-13 jokes slipped in to help sell his massive crush — and habitually feigns disinterest in helping the haunted. And when Eduardo has to “come out” (as a Ghostbuster) to his older brother, who is also a cop, it becomes clear that Rivera’s slacker trait is really a cover-up for his fear of failure. Roland, on the other hand, is more responsible and level-headed than his teammates. Yet for all the respect he carries for technology, he dreads the same tech failing him when he needs it the most. Lastly, Kylie offers an element overlooked in The Real Ghostbusters: death. The taboo topic was glossed over in the ‘80s cartoon despite the constant presence of ghosts and the series’ own version of the afterlife. Here mortality is more openly discussed and usually in regards to Kylie, whose grandmother’s passing influenced her interest in the paranormal (as well as contributed to the return of ghosts en masse).
For the time, XGB was a considerable exercise in creating more well-rounded characters in genre animation on TV.
While most episodes contained no-frills ghostbusting, others colored outside the lines and better qualified the use of “extreme” in the title. “The True Face of a Monster” was the first to show how XGB was willing to take on heavier content, such as anti-Semitism; Garret unknowingly joined, then helped stop the bad crowd vandalizing a local synagogue and provoking a summoned Golem. There were also the Cenobites-esque and torture-craving antagonists (to go with an obvious R. L. Stine parody) in the fan-favorite episode “Deadliners.” Finally, and in an episode directly referencing an event from The Real Ghostbusters, “Grundelesque” saw Kylie confronting her childhood trauma: her friend went missing and presumably died because of The Grundel. The same episode used the boogeyman-like entity to, essentially, show how killers create other killers.
Of course, it was not always that serious or high-stakes in XGB; many times over the team entered into more inconsequential but no less entertaining confrontations with the otherworldly. This includes encounters with a famous cryptid (“The Jersey Devil Made Me Do It”), a leprechaun who curses Garrett (“The Luck of the Irish”), and teenage witches who, out of desperation more than desire, recruit Eduardo into their coven (“Witchy Woman”). Then there are other minor episodes with a touch more going for them in the nightmare fuel department: “Home is Where the Horror Is” presents a living ghost house that feeds on children, aspects of “Killjoys” seem inspired by Killer Klowns from Outer Space, and “Fear Itself” is the show’s vivid take on the ever popular “face your fears or they will kill you” prompt.
Pictured: The Grundel grabs Kylie in “Grundelesque.”
In addition to the new class, the legacy characters were given their own spotlight episodes here and there. Janine, beloved GB clerical warrior and occasional frontline reinforcement, was voiced by her overall third actor in the animated continuity, Pat Musick. XGB Janine slightly resembles her loathed redesigns from the retooled seasons of The Real Ghostbusters, minus the lobotomized personality. This Miss Melnitz retains her acerbic wit, hankers hard for Egon (“The Crawler”), and will suit up if the need rises (“A Temporary Insanity”). As for Mr. Spengler (Maurice LaMarche), he is not “long-bearded and robed” as he was envisioned during pre-production; that wizard-like design along with an obsession with the Netherworld were both passed on to Egon’s rival-turned-foe Edward Kirilian (“Heart of Darkness”). Egon is, more or less, the same as before (withdrawn, rational, and oblivious to Janine’s affection), only now with a spot of age anxiety whenever he feels past his prime as a Ghostbuster (“The Sphinx”). Finally there is Slimer (Billy West), once the bane of many Real fans, who is now not anywhere as obnoxious as his former iteration. XGB makes certain to remind everyone that Slimer is a member of the team — Egon considers him his family — and even gives the green glob a chance to save the day in heroic fashion (“Slimer’s Sacrifice”).
It only made sense to bring back the rest of the old gang at some point in XGB.
Serving as the series finale, the two-parter “Back in the Saddle” is a tremendous gift for longtime fans of RGB. At first the youngers are in awe of their elders — who, by the way, are not anywhere as ancient as the writing makes them out to be — but when Peter and the others indulge their, as Janine put it so delicately, collective mid-life crisis, viewers cannot help but feel sympathy for Kylie and her teammates. Particularly after their predecessors contemplate un-retiring. The inferiority the XGBs experience here is soon replaced with validation as they prove they are not just stand-ins for the originals. No, they are indeed bonafide Ghostbusters who have earned their spots and our respect. This is a satisfying display of one generation passing the torch to the next, all while reminding fans why they love this franchise to begin with.
Extreme Ghostbusters was a small yet significant part of the animation renaissance happening on television back then. Its bolder and often complex storytelling made the series appealing to viewers of all ages and not just the kid demographic. The classic Ghostbusters cartoon went on to downplay its creepiness over time, whereas XGB turned up the dial whenever possible. Unfortunately, a lousy early-morning time slot and low toy sales killed the show; it was swiftly canceled after one season. Based on steady appearances in the comics as well as the fandom’s largely positive (and not rose-colored) nostalgia, though, there is still plenty of love for the XGBs all these years later. Kylie, Eduardo, Roland and Garrett deserved better than they were given, and it would be a treat to see them back in action in the near future.
Stream Extreme Ghostbusters and buy the complete series on DVD now.
Pictured: Both teams of Ghostbusters unite in “Back in the Saddle.”
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.
Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.
Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.
A bridge troll reaches up for food and finds Hans decked out in armor.
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