"Tennesse didn't care for the ending... He found the fight at the end melodramatic—that from Tennessee, whose heroes, when not castrated, are eaten alive by small boys in Amalfi."
—Gore Vidal, Palimpsest
"Owing to the influence from pulps like The Shadow and its heroís nocturnal theme, Gotham was always a little darker than average, but thereís really nothing in those original stories that required an environment that wasnít, say, New York City. Itís not until creators like Dick Sprang start playing around with the environment to make chase scenes and set pieces more exciting that Gotham really becomes distinct as this strange world of larger-than-life props and 'advertising displays' mounted on the sides of buildings. I love that idea, that Gotham is by its very nature a place thatís bigger than life, where everything ó advertising, crime, heroism, everything ó is operating on this massively grand scale. Thatís the kind of environment that could produce the Riddler..."
"This is ostensibly trying to go for Ballard-esque 2000 AD-inflected dystopias of street gangs and cannibal old women running around a council estate. Unfortunately, it looks like a children's panto. This is somewhat dissonant, in much the same way that that claim is somewhat understated. But most of the criticisms of it miss the point. The usual line of critique is that Richard Briers as the Chief Caretaker overacts. Which, yes, he does.
The thing is, everyone overacts... The Kangs are too old to be a child street gang and don't so much act like a street gang as like a childish approximation thereof. The Rezzies are over the top. Pex is a completely inadequate parody of an action hero. And yes, Richard Briers is channeling his inner John Cleese in portraying a fascist authoritarian."