"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Euro-Awesomes"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

If The Tick was the Seinfeld of the superhero comedy genre (as was the hangout sitcom No Heroics during its brief run in the U.K.), then The Awesomes is the Get Smart of the genre: each week, the bumbling lead character manages to save the day despite his ineptitude, and often due to the help of his work family. But while Maxwell Smart's bumbling ways stemmed from his arrogance and ego, the physically frail Professor Dr. Jeremy Awesome's bumbling ways (as a combatant and an actual superhero, that is, not as a leader/strategist, which he's far better at doing) are due to a low self-esteem instilled by an unsupportive and distant father. If Prock had taught himself to be more assertive towards the currently absent-from-Earth and retired Mr. Awesome (Steve Higgins), who spent much of his time as a dad supporting his protégé Perfect Man (Josh Meyers) and belittling Prock (either due to Prock not being as perfect as Perfect Man or Prock not listening to his doctors' warnings to not use his secret time-freezing superpower because it gives him nosebleeds within seconds), you can damn well bet that Prock would be frequently Zack Morrising the world to move frozen people and objects around (like he did on Earth 4 during "It's a Mad Mad Mad Parallel World") instead of using that power only to talk to himself.

Manipulating time is a power anyone, including myself, would want to have, which is why Prock's inability to appreciate his ability and figure out how to make proper use of it (or how to work around the pain chronokinesis gives him) is both amusing and infuriating. So when Prock's mentor-turned-nemesis Dr. Terfenpeltz (Bobby Moynihan) points out to Prock that he's not using his time-freezing power to its fullest potential in "Euro-Awesomes," I thought to myself, "Word." The evil scientist is basically voicing the frustrations of Awesomes viewers like myself who can think of a million things to do with time-freezing if it were possible and also wish that Prock would be a little less intimidated by his own chronokinetic power, even though it does turn his nose into a Ragú ad.

Prock finally figures out how to use that power to defeat somebody: in this case, Dr. Terfenpeltz, who wants to collect superheroes' powers to conquer the world (Prock tricks Dr. Terfenpeltz by allowing him to absorb his chronokinetic power and then withholding from him the caveat that chronokinesis is painful). While it's nice to see some progress in Prock's struggles with time-freezing, it'd be wise for The Awesomes to continue having Prock learn something new about his powers every once in a while (his other power is the ability to block Dr. Malocchio's mind control) because Prock wouldn't be as interesting anymore if he became more like Perfect Man, who, by the way, has been far from perfect lately (both having to hide at Awesome Mountain from the law and being unable to do superhero things out in the streets like he used to do are driving Perfect Man crazy and causing him to talk to basketballs as if they were Wilson the volleyball from Cast Away). Much of what made The Greatest American Hero unique--as well as, frankly, more enjoyable than the character of Superman, whom a rather deluded-at-the-time DC Comics thought The Greatest American Hero was ripping off--was Ralph Hinkley's often klutzy attempts to be a hero without the supersuit instruction manual he kept losing. As we see during DVD or Hulu rewatches of that old Stephen J. Cannell show and now the storylines for both Prock and the disheveled Perfect Man in "Euro-Awesomes," a hero who's imperfect or always learning makes for better storytelling than a super-perfect man who's always got it together.

There's also some progress in Prock's love life during "Euro-Awesomes," as he realizes his current girlfriend Jaclyn Stone (Amy Poehler) is no Hotwire (Rashida Jones), and both he and Hotwire, who developed feelings for Prock during her time as a mole working for her evil dad Malocchio, finally get the guts to kiss each other. While it's good that The Awesomes doesn't have to prolong Hotwire's Metal Fella arc anymore now that everyone on the team finally knows she's alive and has been pretending to be Metal Fella because of her guilt over betraying them, I'll miss her terrible impression of a male superhero because it gave Jones more to play than just the sexy mole/love interest.

Even though The Awesomes is a comedy, it takes its action scenes seriously, just like the original Get Smart did (despite Max's klutziness and what has to be the whitest white-guy walk in TV history, Don Adams--or his occasional stunt double--did an awful lot of hitting and running and jumping and clinging to the tops of cars). The climactic battle where Dr. Terfenpeltz's giant mecha absorbs the powers of both the Awesomes and their European counterparts is nicely visualized and reminiscent of the Super-Skrulls from various Marvel titles and The Avengers: Earth's Mightiest Heroes.

Another treat in "Euro-Awesomes," which was written by DC Comics veteran and Awesomes staff writer Judd Winick, is its gags about Euro superteams like Justice League Europe and Excalibur (a British offshoot of the X-Men), which are the most Judd Winick-y part of the episode. The cleverest creation out of all the Euro counterparts Winick and the other writers came up with has to be Mademoiselle Hunchback, an icy French beauty who transforms into Quasimodo from The Hunchback of Notre Dame when she Hulks out and plays hard to get in front of a smitten Impresario when she's in her more conventionally feminine form. You got to love how of all the superhuman forms she could have taken, like maybe a She-Hulk physique, a crystalline-armored body or a wolf, she prefers to change into Charles Laughton.

Mr. Awesome let Prock down as a parent, and now Dr. Terfenpeltz, the father figure who, unlike Mr. Awesome, could have helped Prock to become the genuine superhero he'd prefer to be instead of a mere lawyer/doctor/thinker/delegator, has let him down too. "Euro-Awesomes" doesn't brood over these father figures who keep disappointing Prock, but this history of underwhelming father figures is kind of depressing when you think about it, and it's where The Awesomes gets unexpectedly sad (and maybe even tragic) in a way that Get Smart couldn't because '60s sitcoms were incapable of depth and dark humor (aside from that one time when KAOS murdered a secretary by drowning her in a phone booth, which struck me as really dark back when I was a kid discovering Get Smart reruns in the '80s). My advice to Prock?: Stop looking for a father figure. That "Ask Dad, He Knows" cigarette ad sign young George Bailey saw in It's a Wonderful Life got it half-wrong. Dad doesn't always fucking know. Maybe the newly reformed Hotwire will be that long-sought-after figure who boosts Prock's self-esteem about his abilities and won't let him down like Mr. Awesome and Dr. Terfenpeltz did. A smart guy is nothing without a 99 by his side.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "MadeMan"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

The Sopranos is back in the limelight again, not because another one of its stars died, but because of a Vox writer's misguided attempt to create click-bait for the crazy "Tony got whacked in that diner, and we've got proof!" conspiracy theorists. So "MadeMan," a mob genre-influenced Awesomes episode where The Sopranos happens to get mocked, has wound up becoming kind of timely, and what I like about "MadeMan," which was written by Ben Warheit, is that it parodies the elements of The Sopranos and The Godfather that other animated comedies usually don't pay attention to whenever they riff on either of them.

Instead of spoofing Tony, Big Pussy or the HBO show's frequently parodied final scene, "MadeMan" spoofs Dr. Melfi. (Is that Kate McKinnon or Cecily Strong voicing Dr. Romano, Impresario's therapist? Whoever she is, she's come up with the best impression of Lorraine Bracco as Dr. Melfi since Debra Wilson's uncanny impression of her during MADtv's classic "The Sopranos on PAX TV" sketch.) And instead of doing tired gags about Don Vito Corleone's wheezy voice (although "I'm gonna make him an offer he can't refuse" and "No Sicilian can refuse a request on his daughter's wedding day" get referenced), the horse's head scene or any other violent moment from the two Godfather movies (The Godfather Part III never happened), the episode focuses its attention on a minor section of the first Godfather, Michael's romance with Apollonia while hiding out in Sicily.

Another thing that's enjoyable about "MadeMan" is its visual sense. The episode displays a confidence in both its visuals and storytelling that The Awesomes didn't quite have when it started out ("MadeMan" juggles three different plots--Impresario's mama issues, the love life of Josh Meyers' Perfect Man character and Gadget Gal's mentorship of Tim into a skilled gambler--and intertwines them more smoothly than most animated comedies that attempt to juggle the same amount of plots). The show has come a long way since its cheap-looking, straight-out-of-a-2002-webtoon sewage monster in the first episode. Bento Box shows like The Awesomes and Bob's Burgers have a tendency to start out looking unremarkable, but then as their seasons unfold, their animation quality and visual sense both improve (to the point where the rough animation quality of an early Bob's Burgers episode like "Art Crawl" becomes really jarring upon rewatch, much like the animation quality on many first-season Simpsons reruns).

The whole section of Perfect Man the fugitive laying low in Sicily and falling for a local businessman's daughter who's not unlike Apollonia is done mostly without dialogue and was handsomely realized by the Bento Box animators (it's letterboxed too, which enhances the Sicily section's '90s Miramax chick flick vibe as the section becomes more than just a Godfather riff). The images of the city being flooded with Impresario's infinite clones of himself are also quite impressive for an animated show produced exclusively for a streaming service (although the lack of bystanders while the Awesomes attempt to clear the streets of Impresario clones is kind of distracting).

The flood of Impresarios is a result of a fed-up Impresario finally getting rid of his smothering mama Annabelle's presence from the magic jewel she gave him, which supplies him with his Green Lantern-style power of conjuring up purple energy constructs that all previously carried the visage and voice of Annabelle. Now that Annabelle is dating one of Gadget Gal's poker buddies and old Awesomes teammates, the gangland-themed retired superhero MadeMan (Bobby Moynihan), and focusing all her attentions on this other man in her life, her new relationship gives Austin an excuse to free himself of his ubiquitous mama and turn into the kind of independent grown man he's always wanted to be. An especially observant and amusing touch in Warheit's script is that Austin is so stunted as a mama's boy that one of his first acts of freedom is to fill his home at Awesome Mountain with arcade games, pinball machines and oversized toys, much like what 12-year-old Tom Hanks did when he got his first apartment in Big (the scenes of Impresario being ecstatic over all the new belongings he's conjured up, including the "Walking Piano" from Big, are particularly amusing for me because I happened to catch for the first time the expanded cut of Big on DVD right before I watched "MadeMan"). It's such a mama's boy's idea of parentless freedom.

Without the jewel version of his mama, Impresario becomes irresponsible and reckless and creates countless clones of himself to pamper both himself and his teammates. But he loses control of his duplicates and isn't able to make them disappear, so he turns to Prock for help, and Jeremy reveals to his teammates that, much like Batman does with his Justice League teammates, he keeps secret files on them that list how to defeat them if any of them ever becomes dangerous and needs to be stopped (example: trick Frantic into running into flypaper and then light his dick on fire). Prock may be far better as a leader and strategist than as an actual superhero, but apparently he dozed off on the day the lecturer at Sky High (or wherever superheroes in the Awesomes universe go for superhero school) told aspiring leaders to never divulge to their teammates that they keep secret instructions on how to take them down because revealing to them that they keep such secrets about them would just creep them the hell out.

Impresario's A-story in "MadeMan" is a good example of how, on screen, the superhero genre is really at its best when it's handled as a satire or comedy that embraces the inherent absurdity of the genre and makes the characters' battles with their own neuroses more engrossing than any of their battles against crime, like The Incredibles, The Venture Bros. or The Tick (which, by the way, made news last week when Amazon expressed interest in reuniting the live-action Tick's cast). When the genre becomes a completely humorless glorification of superheroes--like any Zack Snyder-directed comic book movie where, as Birdman director Alejandro González Iñárritu once put it while elaborating on his hatred of superhero movies, "the human quality" becomes so de-emphasized that the heroes wind up being unrelatable as characters--the genre's interminable as hell. As we saw in his lead-footed take on Watchmen, Snyder's one of those neo-con directors who's too dumb to handle satire. I'm now convinced that all the witty moments in Snyder's first and best movie, the Dawn of the Dead remake, were James Gunn's doing, not Snyder's.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Tim Goes to School"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

It's a good week to be The Awesomes. Hulu announced that it's renewing Seth Meyers and Mike Shoemaker's animated superhero sitcom for a third season, and this week's Awesomes episode, "Tim Goes to School," solidly penned by Late Night with Seth Meyers head writer Alex Baze (who's been killing it on Twitter, whether he's ripping on Republicans or paying tribute to the late Don Pardo), isn't too shabby either. The episode deals with both the formation of the PRICKS (People Really Into Crime & Killing Sprees), a team of supervillains assembled by Malocchio Jr. to take down the Awesomes, and Awesomes leader Prock's realization that the raising of a child without his parents--in this case, Tim, whose ex-mercenary parents are currently under the protective custody of a hero protection program--is a responsibility he needs to be better at.

A new government act that requires both underage superheroes to receive an education and adult superheroes to finish theirs if they dropped out ends up forcing Tim--as well as school dropouts Muscleman and Frantic--to attend middle school, where Tim learns that handling bullies is easy, especially when you can transform into a 500-pound sumo wrestler with amazing strength. Instead of the bullies being the ones at school who are bothering Tim--they wind up becoming his friends after they see him transform into Sumo due to their surprisingly non-race-related verbal taunts pissing him off--it's Prock and the rest of the team who are bothering him with their overprotectiveness. Prock, Impresario, Gadget Gal and Concierge have disguised themselves as faculty to make sure Tim gets through school okay, and Tim's discomfort with having them around escalates into one of those Hulk-vs.-the-other-Avengers-type battles that have become such a staple of the Avengers comics that the Joss Whedon movie version staged such a confrontation aboard the Helicarrier.

Neither white viewers of The Awesomes nor Asian Americans who don't watch The Awesomes because they've been alienated by the comedy shows from Awesomes co-producer Broadway Video (due to SNL's propensity for yellowface and brownface, its lack of Asian American cast members and the particularly rocky year of race-related humor SNL experienced last season) may pay much attention to how The Awesomes writes Bobby Lee's character, but I like the way the show handles Tim and gives him the same type of anger management issues that Arthur Chu discusses in his Daily Beast essay "Model Minority Rage: Why the Hulk Should Be an Asian Guy." It helps that Tim's Asianness (he's half-Korean, half-Japanese) isn't used as a punchline like on Drawn Together or Family Guy. Sure, Gadget Gal, who's basically filter-less Estelle Getty from The Golden Girls in a rejuvenated body, says frequently racist things to Tim, like when she delivers a one-liner about walloping an uncontrollable Sumo right in the "won tons" during "Tim Goes to School" (won tons are Chinese, you old bitch), but The Awesomes frowns upon her racist views instead of adopting them like Drawn Together or Family Guy would.

It also helps that, Gadget Gal's xenophobia aside, the Awesomes team members are likable and the kinds of characters I don't mind spending an animated half-hour with. In his Dissolve piece on why Star Trek V didn't work at all, whether as a sci-fi actioner, as a Star Trek story or as a movie about the letter V, Noel Murray said that the '60s Star Trek has great replay value partly because its cast of characters is pleasant to be around. "The crew of the Enterprise has a believable camaraderie, cut with just enough friction to bring some dimensionality to their relationships," Murray wrote. Even though the Awesomes are animated characters--and even though the voice actors don't appear to have recorded their dialogue at the same time in the same studio, an approach that hasn't hurt Archer, a show where the actors are scattered in different parts of the country and are recorded separately--that same kind of camaraderie shines through in Awesomes episodes like "Tim Goes to School." Plus I like seeing SNL and MADtv alums together on the same show and getting along well: Lee, Ike Barinholtz and Josh Meyers, Seth Meyers' brother--and Barinholtz's one-time makeout scene partner--came from MADtv, as did current SNL regular Taran Killam, who voices Frantic. There used to be an intense rivalry between the East Coast SNL and the West Coast MADtv, but the two camps appear to have buried the hatchet--or maybe amongst the Meyers brothers, Lee and Barinholtz, there wasn't even a hatchet to begin with.

Like Jason Ritter on Gravity Falls, Lee is a couple of octaves too low to be voicing an 11-year-old, but he's good at bringing out the vulnerability of Tim, just like Ritter does with 12-year-old Dipper. Casting them to voice boys is better than getting women to voice them. As good as Regina King was as Huey and Riley on The Boondocks, I still couldn't shake the awareness that a lady was doing their voices. I don't think I'd be as invested in Tim's anger management issues in "Tim Goes to School" if Tim sounded like June Foray as Rocky the Flying Squirrel.

Stray observations:
* The biggest payoff of the formation of the PRICKS is not fisticuffs, but another appearance by Maya Rudolph as Malocchio Jr.'s doting mom Lady Malocchio, who shows up at inopportune times to make Malocchio Jr. look far from imposing. I've been wondering why Rudolph's amusing voice as Lady Malocchio sounds so familiar. It turns out that Lady Malocchio's voice is basically the voice Rudolph came up with for her obscure SNL character Glenda Goodwin, an attorney obsessed with Bigfoot. "Aired one or two times, I think, but was [co-creator] Mike Shoemaker and my favorite voice of all her voices. When we asked Maya to play the part, the first thing she said was 'Lemme guess, Glenda Goodwin?' She was right," said Meyers to Entertainment Weekly.

* Now that Prock has a girlfriend (Amy Poehler's lawyer character Jaclyn Stone), everyone's been throwing themselves at Prock, from a hot teacher at Tim's middle school (Cecily Strong, who replaced Meyers on Weekend Update) to Muscleman's sister Abby. The Bento Box animators did a good job with Muscleman's expression as he realizes that the shirtless pic of a bodybuilder that he glimpses on Prock's phone is not a pic of himself.

* "Tim Goes to School" doesn't contain any Zack Morris Time-Outs from Prock. I don't miss them.

"Brokedown Merry-Go-Round" Show of the Week: The Awesomes, "Destination Deading"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

The superhero sitcom The Awesomes, about a cash-poor team of misfits and their equally inept adversaries, is easily the best of Hulu's batch of original animated shows--a batch of mostly horrendous, often Canadian-made shows. I can't say The Awesomes is a great show quite yet, but it might be getting there. The first season of The Awesomes was marred by animation by Bento Box that was as rough-looking as the Burbank and Atlanta animation studio's work on Bob's Burgers was during that now-great Fox show's first season, as well as the stilted, Jerry Seinfeld-during-Seinfeld-ish voice acting of Awesomes co-creator Seth Meyers, whose previous experience with the superhero genre was co-writing a Spider-Man comic with Awesomes co-star Bill Hader. In the second season, Meyers has clearly been growing a little more comfortable with the voice work, plus Bento Box is starting to play around more with shadows and shading, so The Awesomes has been looking less and less like a visually flat Flash webtoon from 2004.

Meyers and co-creator Mike Shoemaker just need to ditch the annoying device of having Meyers' neurotic and meek team leader character Prock always use his superpower of freezing time, not to perform heroic tasks but to monologue, and not to the audience like how Zack Morris monologued on Saved by the Bell but to himself for some weird reason (perhaps Meyers is trying to avoid making Prock resemble Zack by having him talk to himself, but it just continues to remind me of Zack). The big running joke in these time-freezing scenes is that there's always some sort of dangling opportunity for Prock--who has to follow his doctor's orders about not using his superpower for too long because it gives him nosebleeds--to make that superpower useful, but he keeps ignoring it. It's a good running joke that's reminiscent of self-important Maxwell Smart's ineptitude on Get Smart, but it can't disguise the fact that these scenes are such a clunky exposition device (Jody Schaeffer and George Krstic were better at the self-monologuing thing when Coop always did it in the middle of robot battles on Megas XLR). The device shows up in every Awesomes episode, and it briefly mars "Destination Deading," a solid Awesomes episode that riffs on both Andy Serkis' unexpectedly popular Planet of the Apes prequels and the absurdities of expensive and tedious destination weddings, from $800-a-night hotel rooms to $18 glasses of lemon water.

Recently on Late Night with Seth Meyers, the host told the audience that much of "Destination Deading" was lifted from an Awesomes staff writer's terrible experience as a guest at a destination wedding. "One of the writers said, 'Oh, [the Awesomes] should have to go to a destination wedding, and that will be worse than any supervillain they've ever fought because nothing's worse than when you get invited to a destination wedding.' And what made that hard for me to hear was he had been a guest of mine at my destination wedding," said Meyers.

The Awesomes co-creator's willingness to make fun of himself and own up to the mistakes he and his bride put their wedding guests through ("It was a nightmare. We were awful people," added Meyers) is one of a few reasons why I can't get mad at The Awesomes, even whenever Prock is awkwardly rattling off exposition to himself or when Prock, who's saddled with daddy issues, and his season 2 nemesis Malocchio Jr. (Will Forte)--the Black Canary-inspired accountant son of Malocchio (Hader, terrific as always), season 1's big bad (and now maybe a season 2 ally)--both come off as Venture Bros. lite. Another thing that helps The Awesomes through its rough spots is the simple fact that the members of the Awesomes are likable without being bland, as well as flawed without being as detestable as the characters of Hulu's other animated shows Fugget About It and Mother Up!, which both follow the increasingly hackneyed "let's make everybody an asshole for the sake of shock value" model of animated comedy.

Impresario (Kenan Thompson), a magician-themed hero saddled with a smothering mom (also voiced by Thompson), Concierge (Emily Spivey), Gadget Gal (Paula Pell) and Sumo (Bobby Lee) are my favorites of the team (which, fortunately, is as diverse as Meyers' unexpectedly diverse Late Night writing staff). Impresario's Green Lantern-style constructs always take the shape of his mom, and they're an amusing and effective running gag (Impresario's construct in "Destination Deading" turns into a mash-up of Mom and Godzilla, complete with Japanese lettering beside her). The Awesomes' efficient secretary Concierge--who was promoted to official Awesomes team member in the last episode despite not having any superpowers and was also given a snazzy new jumpsuit to replace her standard secretary outfit--borders on Mary Sue territory. But Spivey--a veteran SNL writer who created and then fled the sinking ship known as Up All Night and was recently involved with the equally troubled How I Met Your Dad pilot that didn't sell--imbues Concierge with a nicely irascible Southern voice that keeps the character from being Blandy McPerfectshoes.

Enjoyable voice work by another veteran SNL writer--Pell, who wrote two of my favorite SNL commercial parodies, Litter Critters and Homocil--also distinguishes Gadget Gal, an elderly heroine in a rejuvenated body that's modeled after the look of the '40s Silk Spectre from Watchmen. And Daily Beast contributor and Jeopardy! champ Arthur Chu has been wishing for an Asian Hulk (after Marvel gender-swapped Thor and made Captain America black) because Hulk's identity crisis reminds him so much of the cultural baggage of being an Asian American male who's constantly stereotyped and emasculated, but Chu clearly hasn't been aware that The Awesomes already features an Asian Hulk. He's in the form of 11-year-old Tim, a.k.a. Sumo, a mash-up of Hulk (brute strength) and Shazam (a little boy in a big guy's body).

Scripted by Dan Levy, "Destination Deading" continues the running joke of everyone on the team (except for Ike Barinholtz's supportive best friend character Muscleman and Taran Killam's deferential-to-Prock speedster Frantic) finding Prock to be a dorky stick in the mud, exemplified in this episode by the schmoopy talk between Prock and his new lawyer girlfriend Jaclyn Stone (Meyers' old Weekend Update partner Amy Poehler). But the team's dislike of Prock's mushy phone conversations with Jaclyn is immediately outweighed by their dislike of the overpriced drinks and suites during the wedding of Muscleman's sister Abby (Meyers' old Chicago improv partner Jill Benjamin), who had an unrequited crush on Prock and isn't quite over him, and David Apelstein, a mild-mannered chiropractor from the ape nation of Apesylvania. An Awesomes episode wouldn't be complete without a battle between superheroes and supervillains, so "Destination Deading" pits the team against the groom's grumpy uncle Elliot Levy-Apelstein (Colin Quinn), who uses his nephew's wedding to plot an ape uprising against humans.

Absent from this episode is Hotwire (Rashida Jones), an Awesomes member who turned out last season to be a reluctant mole for her dad Malocchio and is currently thought to be dead by her teammates, including Prock, who fell in love with her. Rescued off-screen by drunken Teleportation Larry (Bobby Moynihan), Hotwire has kept herself hidden and is pretending to be a male armored hero named Metal Fella. Jones excels at playing awkward--one of my favorite Jones scenes on Parks and Recreation had Ann Perkins trying and failing to bond with Ron Swanson's little stepdaughters--so Hotwire's awkward attempts at dudebro talk with Prock while she was suited up as Metal Fella last week marked the first time that this show has used Jones really well as a voice actor. Also absent from "Destination Deading" is Bob's Burgers voice actor Dan Mintz, who joined the Awesomes writing staff this season and voiced several different side characters in the episode he wrote, "Hotwire's Funeral," so it was kind of bizarre to hear Tina Belcher's voice--which is basically Mintz's normal speaking voice--popping up on another show and emanating from people who don't look like Tina. But "Destination Deading" is worthwhile for nailing the tediousness of weddings, especially destination weddings. "It's like a vacation, but at an inconvenient time, twice as expensive, not where you actually want to go," grumbles Concierge, "and instead of having a vacation, you go to a wedding." I've never been invited to a destination wedding, but if I had to pay $18 for a glass of water, I'd rather stay parched.