Plot
Set years after the end of The Real Ghostbusters, lack of supernatural activity has put the Ghostbusters out of business. Each member has gone their separate way, except for Dr. Egon Spengler, who still lives in the firehouse to monitor the containment unit, further his studies and teach a class on the paranormal at a local college. When ghosts start to reappear, Egon is forced to recruit his lone four students as the new Ghostbusters. These are Kylie Griffin, a goth girl genius and expert on the occult; Eduardo Rivera, a cynical Latino slacker; Garrett Miller, a young white paraplegic athlete who uses a wheelchair; and Roland Jackson, a studious African-American machinery whiz. Filling the cast are Janine Melnitz, the Ghostbusters' previous secretary who returns to the job, and Slimer, a hungry ghost.
The series follows the adventures of this "Next Generation" of Ghostbusters tracking down and capturing ghosts all over New York and occasionally beyond the city. The series is styled as a supernatural comedy, following the trend set by its predecessor, but given an updated and darker feel. This is reflected by the use of a gritty, rock/funk-inspired variation of Ray Parker, Jr.'s song "Ghostbusters" as the opening theme written by Jim Latham and performed by voice actor Jim Cummings. Recurring themes throughout the series are the new team learning to work together despite their differences, Janine's largely unrequited affection for Egon, the love-hate relationship between Kylie and Eduardo that is never resolved, and the Ghostbusters' frequent clashes with authority figures who disbelieve their work.
Read more about this topic: Extreme Ghostbusters
Famous quotes containing the word plot:
“There saw I how the secret felon wrought,
And treason labouring in the traitor’s thought,
And midwife Time the ripened plot to murder brought.”
—Geoffrey Chaucer (1340?–1400)
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)