Silverstar’s Top 9 Favorite Characters

Inspired by Doug Walker’s Top 10 Favorite Characters, I began thinking about which fictional characters from TV shows and movies particularly resonate with me. Which characters I’ve always admired and enjoyed, and which ones I’ve always related to; the ones where you watch them in action and think, “That’s me”. It took me a bit of time to narrow them down, but I do now have a list. And since we’re presently trying to make this blog more fun, I figure it would be fun for me to share with you my fave characters. Keep in mind that I’m considering both animated as well as live-action characters, and that I’m not counting the shows and/or movies themselves, just the characters in said movies and shows. So without further delay, here are Silverstar’s Top 9 Favorite Fictional Characters of All Time. (I couldn’t think of an even 10.)

9. SHELDON COOPER (The Big Bang Theory)
sheldon-cooper,-bazinga,-the-big-bang-theory-162790
I don’t know whether this is a good thing or a bad thing, but this uber-geek is easily my favorite character on The Big Bang Theory, and the one I identify with the most. Like Sheldon, I’m the geek among geeks in my social group, I’m super-smart and rarely pass up an opportunity to drop my vast knowledge and useless trivia upon the world, I have something of an ego (“No, not you!”), I have a decidedly bent sense of humor, I’d rather geek out on my favorite activities than hang out with the gang, I tend to obsess over what others consider to be minor details and like Shelly, I’m asexual and am cool with that. Sheldon has even inspired my latest hobby: collecting superhero, science fiction, video game and general geek-themed novelty T-shirts. Though I want to stress that I’m not crazy like Sheldon, I’m just a little…off.
8) SKIPPER (Barbie: Life in the Dreamhouse)
For a while I wasn’t sure whether I should put this character on the list at all, since Barbie: Life in the Dreamhouse is a web based series, not a TV show or a movie, but for many people the internet has replaced TV as their primary means of entertainment, and I do enjoy this series (yeah, I enjoy a Barbie show–don’t judge me!) and I really like this show’s take on Skipper. Skipper is easily my favorite Barbie sister and favorite Dreamhouse character. I love the other characters’ antics as well, but Skipper’s fondness for the latest high-tech toys, laid-back laziness, semi-tomboyish demeanor (“Does everything have to be so pink??”) and general “Yeah, whatever” flippancy instantly struck a chord with me. Plus, I really like Skipper’s appearance and fashion style: the brunette hair with that flashy hipster lavender streak and the star-studded outfits (I really like stars, as is evident by my online handle).
7) SAM AND MAX
I’m going to cheat a little and list these 2 together, since it was impossible for me to think of them in isolation from one another and because I like and can identify with both of them equally. Sam and Max are my favorite anarchic, devil-may-care adventure-seeking nutjobs. Nothing seems to rattle these guys, they seem incapable of taking anything (including themselves) seriously, beneath their simple goofball appearances lie big, big, BIG guns capable of a ton of damage (just don’t ask where Max keeps his) their jokes and wordplay are as layered as a haiku and are twice as funny and they always come on top despite overwhelming odds and their own utter insanity. My behavior and demeanor is reminiscent of both Sam and Max, depending on the situation. Generally I possess Sam’s sense of general morality (and habit of spinning bizarre homilies), but get a little booze in my system and my inner Max comes forward.
6) TOPH BEI FONG (Avatar, The Last Airbender)
Toph_Beifong
I thought Avatar, The Last Airbender was an OK show, though not an all-time favorite of mine, as I’m generally indifferent to action cartoons, particularly saga-heavy action cartoons, since my attention span is only about 20 minutes max; if a story can’t be resolved in 2 or 3 episodes, I usually lose interest, but what kept me glued to this show was Toph, the blind Eartbender, who is without question my favorite character in the franchise. I relate to Toph more than any other Avatar character, and am the most fond of her for various reasons: she’s short (I’m only about 5’6”) but scrappy, she’s filthy rich and ridiculously sheltered but still capable of kicking butt, she’s funny and not all virtue, nobility, sweetness and light as the other members of the party tended to be, she’s brutally honest and frank (it’s a blessing and a curse for me), she has a handicap (hers is blindness, mine is allergies to dust and pollen and basically being a chick in a dude’s body) which she deals with but isn’t self-loathing, mopey, whiny or emo about it. Another reason I like Toph is because she’s as cute as a button, from her squat body down to her bare feet (I admit to having kind of a fondness for girls who don’t wear shoes. Hey, it’s my list, my qualifications!).
5) TONY STARK/IRON MAN
The only comic book superhero to make my list. There are superheroes whom I admire like Wonder Woman or Superman, but Tony is the kind of superhero I imagine I’d actually be like if I were in that profession. He’s a wise-cracker, he doesn’t like having to call people “Boss”, he questions authority, he doesn’t give 2 squats about a secret identity, he loves the ladies, he toots his own horn, but he’s got the smarts and the awesome gear to back up his braggadocio. Plus, again, he’s got more money than the mint–my kind of superhero. Tony Stark is Bruce Wayne minus the angst and thirst for vengeance. He’s a super-geek, a hero that computer nerds and technofiles can look up to.
4) SLAPPY SQUIRREL (Animaniacs)
Easily my second favorite character from Animaniacs. (Who’s my first? Wait and see.) Slappy is one of those fictional characters whom I swear is my alter ego: funny, a little slower in her advanced years but still sharp as a tack, a tad cynical, jaded, never at a loss for a joke or a wisecrack, has seen it all and done it all, knows every trick in the book and has a fondness for good old fashioned pitiful puns and cartoon chaos. Even now, 20 years later I find myself channeling Slappy by droning things like “This…is sad” in my daily life. Missed opportunity, Warner Brothers: Pinky and the Brain were good and all, but why didn’t you give Slappy her own spinoff? I’d have watched the heck out of that.
3) KIMIKO TOHOMIKO (Xiaolin Showdown)
As with #6, we have a character that I really like who’s from an action show that I could take or leave. I was never really crazy about Xiaolin Showdown, but I loved Kimiko. She’s pretty, smart, kind of snotty, rich and tech-savvy. (Kimi’s almost a J-Pop Tony Stark.) Plus, I love her multiple hairstyles and outfits. (I thought about uploading a few of my favorite Kimiko looks, but we’d be here a while.) If it weren’t for this darn Y chromosone, I’d probably dress like her. the girl has style.
2) DOT WARNER (Animaniacs)
My other favorite character from Animanaics, The Warner Sister has always struck a chord with me, though she may not have to big-time breakout personalities of a Yakko or a Wakko. The reason I think it was easier for the writers to pin down Yakko and Wakko’s characters is because they each had a clear model: Yakko was basically Groucho Marx and Wakko was more or less Harpo Marx (albeit a verbal Harpo). Since there was no Marx Sister in the act, Dot didn’t have a Marx equivalent to be based on like her bros (and just giving her a fake Italian accent like Chico Marx would’ve just been odd); the writers more or less had to build Dot from scratch. And they did a pretty good job, all things considered.
One reason Dot has always been my favorite of the three is because she’s not as powerfully over-the-top as Yakko and Wakko; Dot can be wacky and nutty too, but her near-normality provides a nice oasis of calm between her brothers’ anarchic insanity (which I can sort of relate to). But despite that, she’s not bland or boringly sensible; she has this attitude and a bit of an ego. (I can definitely relate to this.) That’s not an easy combination to pull off, but the A! writers did a great job bringing all that together and making it work.
The ‘cute’ shtick I see as sort of a way of poking fun at the Smurfette Syndrome: often the token girl in the group has to by default be the embodiment of beauty and grace within said group. Dot was both an embracing and a parody of this trope. One episode likens Dot to Fanny Brice, and I can definitely see the correlation. Anyone old enough to know of Fanny Brice can definitely see traces of Brice in Dot. I like to imagine that if there had been a Marx Sister, she would’ve been a Fanny Brice/Dot archetype.
And now we come to…(Drum roll, please)………………..
1) DAFFY DUCK (Looney Tunes)
Anybody who knows me intimately already knew who was going to make #1. My favorite Looney Tune is now, has always been and always will be the little black duck. I’ve always felt I’m half-human, half-cartoon, and my cartoon half definitely channels Daffy. The fast-talking, the energy, the ego, the raw determination, the inability to just sit still and shut up, the cleverness, the desire to be a star, no wait, a super, duper nova-star; if it’s true that everybody has a doppelganger, I have a strong feeling that mine is Daffy Duck.

The Looney Tunes Show: Adieu at 52

It looks like Bugs, Daffy, Porky and company will get to chillax on the beach for a little while longer. According to Supervising Producer Tony Cervone, The Looney Tunes Show has ceased production. There isn’t going to be a third season of the show. The remaining episodes will begin airing on April 23rd, but after these have been burned through, TLTS will not be making any more episodes. It’s done.
“So, you’re saying I won’t be joining the cast in season 3?! But I had a contract!!”
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‘Fraid not. According to Jessica Borutski, Petunia will appear on the show in one of the upcoming remaining season 2 eps, but those who were waiting to see Porky finally get a full-time girlfriend and Petunia join the cast as a full-time regular will have to settle for fan fiction.

Let’s get our terminology straight: This isn’t a cancellation, because Warner Bros. never had any plans for TLTS to go beyond 52 episodes. According to Cervone, the idea was for the show to keep the Looney Tunes characters in peoples’ minds, but it was only supposed to run for 52 episodes and that would be it. 52 seems to be the magic number for Cartoon Network/WB original series: 52 episodes is roughly Cartoon Network’s equivalent to 4 TV seasons (13 x 4 = 52) and 52 eps is considered by CN to be a sufficient amount for a series to run daily (although it’s worth mentioning that TLTS as well as Scooby-Doo: Mystery Inc., also produced by WB, have started airing daily before reaching 52 episodes), and the late Kids’ WB! toon Tom & Jerry Tales currently airs daily on CN, even though it only made 26 episodes). Basically, all of the current WB-produced CN shows are wrapping up, save for MAD (and that’s likely to get the kibosh by the end of this year), with new WB toons such as Beware the Batman, Teen Titans GO! and the upcoming Tom & Jerry Show slated to run after they’re gone. (It’s also pretty much a given that there will be a new Scooby-Doo series on the horizon, since Scooby is so popular and enduring that he’s harder to kill than crabgrass.)

My feelings on this? I’m more reflective than anything else. Yeah, it kind of sucks that there won’t be anymore LTS episodes, but in retrospect, I have to admit something: I’m one of the biggest Looney Tunes fans there is, but I didn’t love The Looney Tunes Show.

daffy-duck

“WHAT?!!?? Blas-pheemer! Eggth Benedict Arnold! Thtone the heretic, I thay! Rack ‘im over hot coalth!!!”
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Now, don’t get me wrong: I liked the show. I just didn’t love it. I want to love a Looney Tunes show again.
Supervising producers Cervone and Spike Brandt have stated that the reason they didn’t try to flat-out copy or even directly emulate the shorts formula or style is because they didn’t think they could live up to it, and while I both understand and respect that, at the same time I have to confess that while TLTS did indeed have some funny moments and was an ambitious undertaking, overall the more laid-back style of TLTS just didn’t work, and it didn’t resonate well with LT purists, though kids seemed to enjoy it. Forgive how jerky this is going to sound (it already sounded jerky in my head) but if nothing else, TLTS can be used as a textbook example of what works and what doesn’t work:
  • Putting the characters together in a single setting = works
  • Having them emulate the Seinfeldian sitcom style = doesn’t work so well
  • Having skits (including CGI skits) and musical bits between the stories = works
  • Sparse background music and little to no adherence to squash-and-stretch physics = not so much
  • Making Bugs and Daffy friends instead of rivals/enemies = works
  • Making Bugs a stiff straight man and Daffy an oblivious idiot/jerkbag = doesn’t work so well
And then there’s Lola. Wow. I can’t think of a more polarizing cartoon character in recent memory than this show’s version of Lola Bunny, except maybe Scrappy-Doo. Brandt and Cervone claim to have never seen Space Jam and therefore had no exposure to the shoehorned in, Mary Sue version of Lola and wanted to do their own take on her, and to their credit, TLTS’ Lola was indeed loony, but oh, the hate she received from viewers. I’ve heard her called everything from a stereotypical ditz to an offensive female throwback and a stalker. Now, I didn’t hate TLTS Lola, but maybe it wouldn’t hurt if in any future projects the writers made her a little less spacey, perhaps they could meet somewhere in the middle with Lola: not quite the paragon of Girl Power perfection, but not quite the crazy birdbrain either, sort of a happy medium between the 2.
Right now, there aren’t any new Looney Tunes TV projects in the works, but if the upcoming LT ‘reboot’ movie (assuming that’s still happening; I haven’t heard any recent updates on that) does well, a new LT show is sure to follow. Hopefully, whoever’s in charge of said series will take what happened with TLTS into account and this will help them create a show which pleases the vast majority and hardcore LT fans like myself will actually love, not just like.
Also, please continue to use Tina Russo. Tina’s awesome.

Talkin’ Nerdy: Hub Needs Moms

Today on Talkin’ Nerdy I’d like to discuss something which has getting up my craw for some time now, and is really just part of a darker, more disturbing trend that’s been grinding my gears for much of my creative life:  namely, the trend of leaving mother characters out of the fun in fiction, specifically the curious lack of mothers on notable Hub shows.

For instance, take Transformers Rescue Bots….please. OK, that was kind of a cheap shot, but when I first heard about this show and it was compared to the likes of Marvel’s Super Hero Squad Show, I actually thought TRB was going to be lighthearted wacky spoof show a la SHS or Batman: The Brave and the Bold. Instead, we get this somewhat stale show meant to teach kids about safety and clearly and very visibly intended to sell a new wave of Transformers toys to prepubescent boys. Look, I have nothing against safety and lessons about safety; heck, as a kid I received an Officer Friendly coloring book and I liked it well enough, and I understand that it’s show business and many of The Hub’s shows are designed to sell toys, but I have a greater appreciation for the ones that at least try to entertain me a bit in the process of pounding lessons into my head and coaxing me to buy stuff. Rescue Bots‘ biggest crime is that it’s just dull.

It’s second biggest crime is the point of this discussion: OK, the premise of TRB is that these 4 Transformers land on an island town somewhere in Maine called Griffin Rock, where a group of Autobots named Heatwave, Boulder, Blades and Chase respond to Optimus Prime’s message for any active Autobots in space to arrive to Earth. Coming out of a long stasis, learning what became of Cybertron and that they are the only Rescue-Bot team remaining, they are partnered with the Burns family composed of first response rescuers. Together, they learn teamwork and heroism alongside their human friends as they deal with various disasters. Each bot is paired with a different family member relating to what type of vehicle they are: Chase turns into a police car and so is partnered with dad Chief Charlie Burns, Heatwave turns into a fire engine and is partnered with firefighting son Kade Burns, Boulder turns into bulldozer and is partnered with construction engineer son Graham Burns, and Blades turns into a rescue helicopter and is partnered with helicopter pilot daughter Dani Burns. The youngest member of the family, the very blond Cody Burns, is the bland kid protagonist of the show. What’s wrong with this picture? Where’s Mama Burns? Forget where is she, who is she? They never mention a mother or her whereabouts. If Charlie’s a widower or a divorcee, then it must have just happened, since Cody doesn’t appear to be any older than 10. But why does the Burns family not have a mother? Would it have killed the show’s writers to include a mom as part of the team? Actually, from a marketing standpoint, I think I know why: Transformers Rescue Bots is aimed primarily at young boys, who by and large think “girls are icky”, and only a boy with mountain-sized self-esteem would be willing to own a Rescue Bot piloted by a mom. I think the only reason they have a daughter character is to avoid pressure from women’s groups. This show is so overtly boy-centric that the only 2 female characters of any importance on TRB have the androgynous names Dani and Frankie. So while I can see why there’s no Mom Burns, I still think it’s bullocks. If you’re going to put a daughter on the team, then you might as well have a mom. And for anyone who says that moms don’t make good action heroes, Helen Parr/Elastigirl from The Incredibles and Drew Saturday from The Secret Saturdays say hi. Heck, even the Bionic Six had a mom, and she was actually one of the heroes, she didn’t just stay home and bake cookies while the rest of the family was out saving the world.

 

The Transformers Rescue Bots family. But where’s Mom? Is she vacationing on Cyberton or did she just sample some of Sam Witwicky’s college roommate’s brownies??

But, wait: Cody’s platonic little friend Francine “Frankie” Greene doesn’t have a mother either. She has a dad, Doc Greene, but again, no sight, sign or mention of a mom. What the what, Hub? Do the producers of this show have some kind of mother-phobia or something? I could probably see 1 motherless family on the show, but 2? Really?? To add insult to injury, one episode featured a lady scientist whom Doc Greene seemed to have a thing for, and those feelings seemed to be mutual. OK, so it’s all right to have potential girlfriends dangled before the audience’s eyes, but moms are a big no-no? WTH? If the writers are going to give Doc a potential girlfriend, they could’ve just given him a wife to start with, and been done with it.

The Hub’s “Moms are kryptonite” mentality unfortunately isn’t restricted to 1 show on the network. Another guilty party in this alarming trend is Littlest Pet Shop. I actually like LPS so it pains to have to put this show on my hit list, but they’re guilty of the same crime: its’ protagonist, Blythe Baxter, lives with her dad, your typical goofball father Roger Baxter, but Mrs. Baxter is nowhere to be seen and is never mentioned, not even in passing. Even during a series of flashbacks in the “So You Skink You Can Dance”, we see little Blythe and her dad interacting, but still no mom to be seen or heard from anywhere. So was Blythe grown in a test tube or what?? I can at least understand why the Burns family on TRB doesn’t have a mother, though its one of the things I hate most about the show, but I at least get why from a marketing standpoint. Littlest Pet Shop, by contrast, is based on a toy line aimed squarely, if not exclusively, at girls, so I really don’t get why Blythe couldn’t have 2 parents on the show. Part of the reason why Roger is so frequently annoying is that there’s no contrast; the household needs a somewhat more competent parent to provide a counterbalance to Roger’s goofiness. It’s like having the Odd Couple with only Oscar. Heck, I would even take a goofy embarrassing mom over no mom at all. And what’s more, the show’s rivals/frenemy characters, Whitney and Britney Biskit, likewise don’t have a mother. They’re constantly mentioning their father, Fisher Biskit, whose even made a couple of appearances on the show, but again no mother. At first I though maybe Mrs. Biskit was just perpetually off-camera, but then the episode “Bakers and Flakers” aired, and the only parent to show up at the school bake-off was Fisher, basically confirming that the Biskits are likewise motherless.*

The closest thing Littlest Pet Shop has to a mother figure is the character of Blythe’s friend Youngmee Song’s Aunt Christie, but as her title implies, Christie is Youngmee’s aunt, not her mother. Though given her quasi-maternal relationship with her niece and also how so far we have yet to see any of Youngmee’s other adult relatives, the LPS writers could have easily made Christie Youngmee’s mom and it wouldn’t have altered the stories in any way. But apparently protagonists on Hub shows can’t have moms or else it would split the Earth in two. Even an upcoming Hub acquisition, Wizards VS Aliens, features a lead character who lives with his dad and grandma. So grandmothers are OK, but mothers? That’s the line, right? Got it, Hub.

 

Roger Baxter and his daughter Blythe, who was sculpted from magical clay on the island of Themyscira. Hey, show me where Blythe’s mom is and I’ll take it back.

I’m just going to say this right now, if you haven’t guessed already: I hate single fathers in fiction. The Dead/Missing Mom trope is one of my least favorite cliches in fiction, and it’s one I’ve vowed to never employ as a writer. Why, you may ask? I can’t provide a better answer than Jason, who when asked the same question, responded with this: “Because I like marriage humor and MILFs, and with single dads, you don’t get either.” I can’t speak for Transformers Rescue Bots, as I don’t proactively follow that show nor do I regularly converse with its’ fans, but I know that I’m not the only one who’s been asking about the identity or whereabouts of Blythe’s mother. It’s probably a subject that the show’s writers have no plans of ever addressing unless they’re pressured to by fans, similar to the question of whatever happened to Chuckie’s mother on Rugrats; the producers largely ignored this question but fans persisted in asking about it, so the producers were finally forced to acknowledge it and change the status quo accordingly, first with a Mother’s Day special, then by making it the plot of the 3rd movie. I don’t know if LPS needs to go that far, but it wouldn’t kill them to address it at least once, like, say, have Blythe lament “I miss Mom” in some given scene. Of course, if they had given Blythe a mom in the first place, they wouldn’t have to do anything.

Finally, I’d like to give an honorable mention to Dreamworks’ The Croods. It remains to be seen how well this movie will perform at the box office, but I’ll give Dreamworks one iota of credit in regards to the mother of the cave family, Ugga, namely, that they actually have a mother! In far too many animated family movies of this ilk, the mother is just straight-up dead before the movie even starts, but Dreamworks avoided that cliche here, and for that, I’m grateful. If we can see this tired old trope continue to get snuffed out over time, I’ll be a happier camper.

*ADDENDUM: In the subsequent seasons since this article was written, Hasbro has since rectified their ‘no mother’ situation on Littlest Pet Shop at least. Season 4 featured the first ever on-camera mention of Blythe’s mom Betty, and in an admittedly clever bit of comedy, in this same season it was also revealed that Whittany and Brittany Biskit also indeed have a mother. Furthermore, the writers turned the Biskits’ mom Eliza’s sudden appearance into an in-universe joke, implying that Eliza Biskit had been there all along and we the audience had simply never seen her before. Jason plans on doing a full retrospective on LPS’ 4th (and evidently, final) season sometime after season 4 is complete, but in the meantime…

Eliza_Biskit

Good on ya, Hasbro. Well played.

What the Hub?!

THIS JUST IN: Disney Channel and Disney X-D Networks executive Nikki Reed has been named Senior Vice President, Programming & Development for The Hub Network, the fastest growing children’s cable network, it was announced today by Margaret Loesch, President & CEO of The Hub, to whom she will report. The Hub Network is a joint venture of Discovery Communications and Hasbro, Inc. 

Ms. Reed succeeds Donna Ebbs who served as The Hub’s first programming chief and helped launch the network in October 2010. Ms. Ebbs has transitioned to a new role as a consultant and an executive producer for The Hub and is responsible for pursuing and developing several new properties and securing unique production opportunities for the network.

“Nikki Reed’s background as both a producer and an executive at top-level entertainment companies like Disney, NBC Universal, and Touchstone Television makes her the perfect person to lead our development and programming during this unprecedented time of growth for The Hub,” said Ms. Loesch. “Donna Ebbs built an incredible creative team that helped shape The Hub in its first two years on the air. Moving forward, Nikki’s experience and creativity is the right blend to lead this team as we grow The Hub into the primary destination for programming that children and their parents watch together.”


“The Hub is in a period of tremendous growth as it becomes a leader in the kids and family space,” said Ms. Reed. “Our goal is to utilize my relationships with writers, producers and talent to grow The Hub’s existing slate of programming and enhance it with more live-action series. I am excited to work with Margaret and The Hub team to carry out the creative vision to make smart, entertaining shows that appeal to both children and their parents.”

Ms. Reed is responsible for planning, directing and executing the network’s programming strategy, as well as working with Ms. Loesch and the network’s senior management team on creative development and overall strategic planning and direction.


Ms. Reed has more than 15 years of experience developing feature films and television series, including live-action series geared towards kids, tweens and families on Disney Channel and Disney X-D, as well as numerous platforms around the world. Among the series she developed at Disney are “Jessie,” “Austin and Ally,” “Dog with a Blog,” “Lab Rats,” and “Crash and Bernstein.”

Prior to joining Disney, Ms. Reed was the Vice President of Current and Development at Universal Cable Productions. She also spent five years as a development executive for executive producer Barry Kemp’s Bungalow 78 Productions while it was based at Touchstone Television. Previously, she served as Vice President of Development for director Jon Turteltaub’s Junction Entertainment for Disney Studios. There she spearheaded the development of the feature films “National Treasure” starring Nicholas Cage and “The Kid” starring Bruce Willis. In 2005, Ms. Reed served as an executive producer on the feature film “Invincible” starring Mark Wahlberg.

Naturally, upon hearing this news, people on the interwebz are having a hissy-fit because they’re afraid that a former Disney Channel exec taking the reins of The Hub’s programming will mean that the channel’s entire lineup, animated hits and all, will be nerfed in favor of live-action teencoms like Dog with a Blog and Good Luck Charlie. Personally, I’m taking a cautious “wait and see” approach to this. Why? Here’s my take:

While it is a potentially off-putting truism that Ms. Reed’s history is predominantly in live-action and she’s coming to The Hub, a channel largely dominated by animation currently, I honestly don’t think that the toy-based animated shows are in any danger. As I pointed out in “A Failure to Communicate…and See the Truth”, The Hub is first and foremost a toy company. The whole reason Hasbro launched this whole venture with Discovery Communications in the first place was so they could have a launchpad for shows and movies based on their cadre of toy and game franchises, so the likes of My Little Pony, Pound Puppies, Littlest Pet Shop, Transformers Prime, Transformers Rescue Bots and the like aren’t going anywhere. Those shows are the main reason why The Hub exists; they earn great ratings, and more importantly in Hasbro’s eyes, they drive toy sales. My guess is that the reasoning behind this move is that The Hub is trying to bring in more viewers and is trying to find some more solid rating grabbers to increase their audience, but they’re not likely to alienate their current audience since they are still dedicated to toys. This could, mind you, could mean that the channel may be relying less on acquired 3rd party reruns like Animaniacs and The Super Hero Squad Show, which wouldn’t really be such a bad thing, at least not to me; I already own the A! DVDs and SHS has looped all of its’ episodes a few times already. As for the prospect of  “focusing on live-action series”, well that depends on the type of shows Ms. Reed has in mind and where and how much of them she plans to implement; while it’s true that I consider shows such as Good Luck Charlie, Dog with a Blog and Shake it Up to be twaddle and an entire schedule of those kinds of sitcoms would indeed be terrible for a good network, a smattering of a few of them here and there around the schedule wouldn’t be that bad, provided The Hub’s original vision isn’t lost and these live-action shows (whatever they end up being) don’t take over the channel. It would be a heck of a lot better than just looping the same 5 movies over and over again every month. While I personally can’t stomach most of Disney Channel’s live-action ventures, the sad truth is that they do put butts into seats, and if the addition of such shows were to bring more permanent viewers to The Hub, that would mean higher ratings and more money, money which could conceivably be used to produce more original series for the channel, both animated as well as live-action, hopefully.

Also keep in mind that it’s not a given that Ms. Reed will simply try to copy the sort of shows that got made under her watch at Disney here, as that may not prove to be the best strategy. Hasbro undoubtedly wants The Hub wants to carve out its’ own niche, not be thought of as Disney Channel 2.

What I really hope this means is that The Hub will finally be spicing up their nighttime lineup. I’ve mentioned this a few times already here, but The Hub’s PM schedule sucks noodles. I never watch The Hub at night because absolutely nothing that The Hub runs at night interests me in the slightest. Shortly before this announcement, The Hub released the news that they would be acquiring reruns of Who’s the Boss? in April. My reaction: “Another old fluffy family sitcom from 20+ years ago. Yay.” The Hub could be doing so much more than just trying to ape early 90’s Nick @ Nite. On this someone remarked: The Hub is trying to follow in the footsteps of Nick at Nite and have their prime time line-up consist of type of programming that their adult viewers remembered watching when they were kids/teens (be it live action shows on syndication or hit cartoons of the 1980’s and 1990’s).” Yeah, here’s the thing about that: animated shows aside, I never watched this crap when I was a teen. I thought shows like The Facts of Life, Family Ties and Who’s the Boss? were trite when they were new. You know what I watched as a teenager? The Young Ones, Red Dwarf, SCTV, Monty Python’s Flying Circus, The Black Adder, French & Saunders. The only network sitcoms I watched during that time were Newhart and Night Court. I see so much wasted potential on the PM Hub; Hasbro could be offering so much of a variety: not just my idea of alternative comedy (though I still think that’s a great idea), but also new game shows, new action/adventure shows, sketch/variety, etc. I’m not saying that The Hub should abandon the old sitcoms if they’re pulling in ratings, but why should that be the only thing they run at night? Like I mentioned in “Point and Laugh at Retro-Snobbery”, classic TV is nice and all, but it doesn’t equal huge ratings, and The Hub knows this, hence whey they’re mking this move in the first place. If Ms. Reed can inject some much needed life in The Hub’s nighttime schedule, then I welcome our new overlord.

Basically, I have to see what’s to come before I start playing Taps for this channel just yet. I really need to see what sort of shows get ordered and the pilots which get greenlit before I can say conclusively whether this is a regrettable move or not. As long as the likes of The Aquabats Super Show! and Littlest Pet Shop remain intact, I’m fine with it.

Considering Cartoon Planet

While lurking on Toon Zone, I came across some interesting comments and opinions regarding Cartoon Network’s Cartoon Planet block. I’d like to address some of them with my own spin on things. As per usual, the original comments will be printed in italics, while mine will be in regular type.

“I would like to see some Squirrel Boy on the block. Again, CP should be 2 hrs. I want to see full Foster’s and if they add it, Sheep episodes.”
 
“Not just Sheep, but I’d also like to see Mike, Lu & Og to the block. It’s been awhile since Boomerang has aired it, it’d been doing so on/off.”
 
“They could extend it an hour, making it 2hrs long, then we might have room for thirty minute episodes of stuff, like Foster’s and the like.”
 
 
A lot of people have made the above suggestion, but there’s a very obvious roadblock to that plan that no one ever seems to consider: namely, that Adult Swim starts at 9PM. If CN were to expand Cartoon Planet to 2 hours, then it would have to begin at 7PM, since CN becomes AS at 9. Unless Turner would be willing to push AS back an hour for an extra hour of CN on Friday nights, which I know they wouldn’t be; heaven forbid that Turner ever dial back on Seth MacFarlane time. Another reason I don’t see a CP expansion happening is simply that the block isn’t that popular or successful; it’s doing well enough, but not extremely well. Face it, retro fans, Cartoon Planet isn’t setting the world on fire. CP is a block driven by nostalgia, which has niche appeal and a limited shelf life. A continuous loop of reruns gets old after a while. It doesn’t help matters that the cartoons which air on CP seem to stay locked in a Mobius strip: the Dexter’s LabPowerpuff Girls, Chowder, Marvelous Misadventures of Flapjack and Ed, Edd ‘n’ Eddy shorts have yet to go beyond season 1, and many fans contend that a lot of these shows, Ed3 in particular, didn’t really find their grooves and start to really take off until after their freshman seasons. (Except for Chowder, whose first season was clearly its’ best.)
Also, an expanded CP would mean that CN would have to make new Brak & Zorak bumps, which they don’t seem to be in a hurry to do; they’ve only made about 2 new bumpers since the block came back.
Let’s be real here: the only reason that Cartoon Planet is still on Friday nights is because everything else CN has put on Fridays has failed; if the action cartoons had managed to put enough butts into seats and could’ve held their own against Disney Channel’s Friday night premieres, then action would still be running on Fridays. CN’s original comedy premieres could possibly hold their own on Fridays, but then CN wouldn’t have anything to air on Monday and Tuesday nights. CP is basically filler that fulfills a need and does OK, just well enough to keep a relative number of viewers tuning in, but not well enough for the block to be expanded.
As for the prospect of CP acquiring shows like Sheep in the City, Whatever Happened to Robot Jones?, Time Squad, Squirrel Boy and the like, it’s a good idea, but I don’t see it happening. For whatever reason, these shows have all been swept under the rug by CN’s big brass and nowadays The Powers That Be at Cartoon Network don’t even like to talk about these shows anymore. It’s a shame too; I’m not saying that all of these shows are great, but adding them to the regular rotation would definitely add some much needed variety to the block. CP got a little better when they began airing Robotomy, The Problem Solverz and Secret Mountain Fort Awesome, but there aren’t any of those shorts scheduled for the month of March. I don’t know if this is due to low ratings or just bad fan reaction to them, but I’m sure the fact that the network aired the same Robotomy short twice in succession didn’t help garnish support for these shows.
“The least CN could do is add new bumpers to the block. I also want to see the network to add repeats of the show on early Saturday or/and Sunday mornings.”
To the first point, heck yeah. However, going through the trouble of making new bumps for CP would imply that CN actually cares about the block, which of course they don’t. To the second, repeating CP on weekends isn’t going to happen either, for the same aforementioned reason: the block just isn’t successful enough to warrant such a move. Also, Saturday mornings have been designated for action, and like it or not, Pokemon, Bakugan and Beyblade do better than repeats of Cow & Chicken and Courage, the Cowardly Dog. Face it, folks, Cartoon Planet isn’t a groundbreaking boon to CN; it’s a medium between airing something and just running white noise for an hour.
“Yup. Pretty much everyone wanted to see some new shows or a block expansion for CP. Not new new shows, but shows like that.”
 
I’ll hand this one over to my brother Jason, who has this to say:
*shakes head* Well, yes and no. A 2 hour comedy block on Cartoon Network’s Friday night prime-time lineup in the tradition of Cartoon-Cartoon Fridays would be great, but if CN were to launch such a block, I would much rather have new shows premiering on the block than 2 hours of Cartoon Planet, even if that would mean seeing half hour episodes of Foster’s and Sheep in the Big City again. Sorry, but new shows trump reruns every time. At the very least, said block consist of premieres for the 1st hour, and then devote the 2nd hour to reruns. Reruns aren’t going to topple the comedy premieres on the Disney Channel and Nickelodeon. If action cartoon premieres couldn’t bring CN up from 3rd place on Friday nights, then there’s no way that 2 hours of CN nostalgia could.
 
“Anyone notice they’ve been cropping the intros? Seems like whenever they do something right, they have to nerf it right when it begins.
 
Seriously, are they just TRYING to bribe us and then negotiate the wrong way?
 
They really need to stop cropping the intros. Doesn’t matter if they’re doing it so they can get more cash or just trying to piss us off, but that needs to stop. Spongebob never had his intro cropped, and neither has the Fairly Odd Parents. Cheapskates.”
 
Somebody call the waaahmbulnce. The network doesn’t crop the intros to bribe us (I don’t even know how such a thing to be possible) or to piss us off; they do it because they also have to air the Zorak and Brak wraparounds as well as make room for commercial breaks. There just isn’t enough time to do all that and run the full intros for each individual cartoon. Remember the Cartoon-Cartoon Top 5? There the intros were skipped entirely and they just went straight to the title cards. Would you rather they cut 2 or 3 minutes from the cartoons themselves? Seriously, cropping the intros isn’t that big a deal. Get over it.
“I hope we’ll also get to see the likes of What A Cartoon!, Whatever Happened To Robot Jones?, 2 Stupid Dogs, The Herculoids, Space Ghost, SWAT Kats or Birdman at some point. All have a few 6/7/11/12 min. segments that could air.”
 
Robot Jones we’ve already covered above; it could air on the block, but since CN has been disallowing that show’s existence for years now, don’t expect it to turn up on CP, or anywhere else for that matter, anytime soon.
CN doesn’t seem to have any interest in airing any of the What-A-Cartoon! shorts which haven’t been made into series, since the main purpose of WAC! was to audition pilots for potential new shows. If CN were going to do that, there are also plenty of unaired shorts from Cartoonstitute which they could run on CP.
While it was indeed a comedy, 2 Stupid Dogs wasn’t a Cartoon-Cartoon, and therefore it would be out-of-place on a block which is basically a ‘Best of CN’ showcase. Keep in mind that 2SD wasn’t made specifically for CN, but rather was launched on TBS and in syndication, so it wouldn’t be a good fit on this incarnation of CP, plain and simple. Again, CN could also start airing Looney Tunes and Tom & Jerry shorts on CP as well if the plan was to deviate from the all Cartoon Network original comedies format.
*Ironically, if Cartoon Planet ever did start incorporating 2 Stupid Dogs, Looney Tunes and Tom & Jerry shorts, it would be more like the original Cartoon Planet, only with no Space Ghost or Andy Merrill frolicking around in a Space Ghost costume.
Swat Kats, no, just no. CP is a comedy block, action cartoons have no place on it. Also, most of the Swat Kats episodes were 22 minutes; a half-hour cartoon would take up half the show.
Space Ghost, Herculoids, Birdman and the like, again no. In addition to being action shows, and not Cartoon Network originals, those cartoons are waaay too old; they wouldn’t secure CN the audience it wants, or so they believe. Nowadays those shows are only appropriate for Boomerang; I could only see them airing on CP if the show were to deliberately make fun of them, by inserting fake catcalls, ‘oohs’, ‘aahs’ and ‘Oh yeah!”s like they used to do when they would sometimes air after Space Ghost: Coast to Coast on Sunday nights.