Author Archives: Joe

#21 – Married… with Children: You Better Watch Out

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“You Better Watch Out” (1987)

When the Fox network initially launched it was pretty lackluster. Two shows would rise up and help give it a chance; The Tracey Ulman Show and Married… with Children. It may be forgotten by some, but if there was a first family for Fox it’s not The Simpsons, but rather the Bundys. The Bundys are the original dysfunctional sitcom family. While shows like All In The Family certainly showcased a flawed family none were as remorseless as The Bundys.

The Bundys consist of Al (Ed O’Neil), wife Peg (Katey Sagal), Kelly (Christina Applegate), and Bud (David Faustino) and basically everyone of them is a pretty bad person. Not only do they seem to not love each other they do not even seem to care about one another. They’re all selfish, stupid, lazy bores. Peg is a sex-starved housewife who would never lift a finger for anyone, least of all her husband, but will happily spend what little money they have. Bud is actually book smart, but too consumed with getting laid to apply himself at much of anything. Kelly is a typical dumb blond with her mom’s selfish tendencies. Meanwhile the patriarch, Al, is a women’s shoe salesman who basically hates his life. If any of the four have a redeeming quality about them, it’s Al who at least has some feeling of responsibility for his family’s well-being, though he treats it more like an inconvenience than a sense of duty.

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The Bundys and their neighbors gather around the TV to watch the Santa landing.

In the show’s first Christmas special, “You Better Watch Out,” Al finds his usually empty pockets more empty than usual when a new mall moves into town to syphon away business from the store he works at. It’s so bad that he has no money for Christmas presents for the family. Al adopts an “oh well” attitude about it while the rest of the family is more than a little irritated. When the new mall hosts Santa as part of some big Christmas Eve display, he is to parachute into the mall but his chute fails causing the Santa to plummet to his death right into the backyard of The Bundys.

Naturally, a crime scene is established by the local police and while everyone around the house is distraught over the death of Santa, The Bundys are delighted to get some free pizza out of the whole thing. Al does eventually step up and put on the deceased Claus’s costume to assure the children amassed outside that Santa is okay, but in typical Bundy fashion, this ends up biting him in the ass when the mall no longer needs to compensate the family to keep the death of Santa a secret.

In atypical Bundy fashion, the family actually does get something in the end but this is certainly not the way anyone watching would want to spend their holiday. Married… with Children was a pretty unique show at the time. While most sitcoms went the family friendly route this show decidedly did not and ended up lasting a long time as a result. The show still holds up really well, even if a lot of the humor is sophomoric at best, and “You Better Watch Out” is the show’s clear best Christmas episode.


#22 – Invader Zim: Most Horrible X-Mas Ever

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“The Most Horrible X-Mas Ever” (2002)

Invader Zim is a short-lived Nicktoon from the early part of the century. Most Nicktoons seem to have a short lifespan but Zim’s was especially short. Either the show failed to perform well or network executives were not onboard with its tone and brand of gross, snarky, humor. Since its cancellation it has established a cult following and DVD sales performed modestly. In its short life it also produced a Christmas episode, which is all we care about for this post.

Invader Zim tells the story of Zim, a doom-obsessed alien sent to earth to conquer it, but not expected to, by his superiors. Zim arrives on earth and disguises himself rather poorly as a human adolescent. Lucky for him, this version of earth is even more self-absorbed than our actual earth and basically no one ever notices Zim’s obvious alien lineage. All except one boy, Dib, who’s an outcast among his peers and is left to combat Zim all by himself.

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Santa Zim atop his hideous throne.

Zim is a woefully incompetent invader. Despite his incredible technological advantage, he’s incapable of creating much mayhem on earth. In “The Most Horrible X-Mas Ever,” Zim decides to take advantage of humanity’s love for Santa Claus and disguises himself as the jolly old elf in an effort to convince the humans to board prison ships that will deliver them to his alien overlords. Zim crafts a Santa suit that incorporates all of the elements that make Santa, Santa. Unfortunately, Zim’s suit is too similar to the real thing and it ends up taking over Zim, making him nice. Further complicating his plans is Dib, who’s usually useless father is actually of some help for him in this episode because he has a hatred of Santa Claus.

Invader Zim’s humor could probably be described as dark. The look of the show is very stylized with lots of straight lines. There’s a slight anime influence at times, but mostly the show reminds me of AAAAAHHH Real Monsters in terms of looks. Zim is prone to saying “doom” a lot and the show seems to find something funny about moose, with the presence of a moose item often being relied upon as a joke by itself. The show can be rather hit or miss, but “Most Horrible X-Mas” ever is mostly hit and it’s amusing to see the show’s impression of how blissfully unaware society can be of something obviously dangerous.  It’s another off-beat kind of Christmas special, which this list has been heavy on so far, but I promise more traditional ones are still to come.


#23 – Robot Chicken’s Half-Assed Christmas Special

MV5BMTQ4NDMzMDg5MV5BMl5BanBnXkFtZTcwODcyNTUzMQ@@._V1._CR31,27,314,421_SY317_CR11,0,214,317_AL_Robot Chicken is the brainchild of veteran actor Seth Green and Mathew Senreich. It’s hard to believe the show has been running for ten years now, but that’s the reality of the world and in that time the show has produced three Christmas specials.

The show is basically an animated version of ToyFare magazine’s Twisted ToyFare Theater that sees popular toys dropped into humorous sketches. The focus is mostly put on turning old action figures, like Mattel’s popular Masters of the Universe line, into puppets to create stop-motion sketches. The integrity of the old toy is retained but it’s often modified to include more points of articulation to create better animation. Other times the show creates its own puppets or finds random toys to repurpose into new ones. Sketches vary in length, but it’s not uncommon for one to last merely a few seconds. In that sense they’re often like micr0-sketches when compared to a traditional sketch comedy program. Usually there’s at least one longer sketch that may last a few minutes that serves as sort of the feature sketch of the episode with each episode only lasting around twelve minutes.

The show is pretty funny, and I suppose it would have to be to have lasted ten years, and the fact that each episode is so short has helped to prevent the show from becoming stale. While it’s rare for all sketches in a single episode to be laugh out loud funny, there’s usually enough there for the show to be entertaining for its short duration.

As a result, it’s hard to really review a single episode like the Half-Assed Christmas Special. And in truth, both of the other two Christmas specials (DP Christmas Special and ATM Christmas Special) are basically just as good. And since these are actually the few shows I do not have a copy of, it’s hard to recall which sketch came from which special, so I’m just going to mention some I remember.

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You better watch out when Composite Santa is on the loose!

Since the show is stop-motion it’s naturally suited to parody Rankin/Bass productions. There’s a sketch that tries to discover who murdered Santa Claus where everything is basically done up at the North Pole Rudolph style, though a cocaine-addicted Frosty is present as well. The anime Christmas sketch features Santa enlisting the help of Goku and his son to save Christmas from Composite Santa, who’s half-Santa half-Frosty, and eventually a showdown with an Akira-esque Mrs. Claus occurs. The origin of Composite Santa is also detailed in his own sketch when a mad scientist tries to create an irresistible holiday character but he turns out to be genocidal.

Hermey from Rudolf shows up in “Hermey’s Dentistry,” where we see Hermey actually knows nothing about being a dentist and fails miserably at that and other professions. He returns to Santa to beg for his old job back and then the sketch turns into a Godfather Part II parody. “Co-opting Santa” sees Kris Kringle voice his displeasure with the Coca-Cola Company for co-opting his image for over 70 years in a very violent manner. A simple, but effective sketch, also features Santa getting mistakenly murdered after he had a sudden urge to drop a deuce while on the job. This simple, but crude, setup and execution pretty much sums up Robot Chicken in two minutes.

Unfortunately, Robot Chicken’s Christmas themed sketches aren’t available in one volume, to my knowledge, so if you want them you have to buy each individual season. Thankfully, Adult Swim is pretty good about broadcasting the specials every year a couple of times around Christmas and I would assume the same will be true for 2015. We may even get a fourth Christmas special if we’re lucky. Individual sketches are also available on Youtube. The Robot Chicken specials are too short to really feature any actual Christmas cheer, it’s basically just a funny use of Christmas imagery. It’s certainly not going to bring about those warm fuzzies other specials will, but they’re pretty good at getting laughs which makes them a unique entry in this top 25.


#24 – Winnie the Pooh and Christmas Too

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Winnie the Pooh and Christmas Too (1991)

Call this one a total 180 from #25, Winnie the Pooh is as safe as it gets. The gluttonous stuffed bear has been delighting children for decades along with his buddies in the Hundred Acre Woods (where Christopher Robin plays…) in the most tamest of ways. Winnie the Pooh just manages to be charming enough to not be boring, though if your kid likes to marathon Winnie the Pooh cartoons you may beg to differ.

Winnie the Pooh originated in book form by A.A. Milne (actually, Winnie originated in Canada as a real bear) but American audiences are likely more familiar with the Walt Disney version of the character. That Winnie the Pooh was brought to life on the big screen as a sort-of collection of shorts eventually packaged into one main feature referred to as The Many Adventures of Winnie the Pooh. In 1988, Pooh was brought to television in The New Adventures of Winnie the Pooh, a mostly forgettable 80’s cartoon series that, like many cartoons of that era, is probably most fondly recalled for its catchy opening theme.

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Not surprisingly, things tend to work out in the end.

The New Adventures did reintroduce the character to a new audience, and the same cast was utilized on several direct to video films and specials, such as Winnie the Pooh and Christmas Too. In this special, Christopher Robin writes a letter to Santa for everyone, but Pooh forgets to ask something for himself. When he and Piglet retrieve the letter, he and his friends re-write it to include more stuff as the gang all experience some momentary greed. When Pooh and Piglet attempt to resend in the letter (in a very low tech kind of way) it gets lost. Not wanting their friends to have a crummy Christmas, Pooh dresses up as Santa and attempts to deliver presents to all of his friends himself.

If you go back and watch the old Pooh cartoons from the 70’s, you may pick up on the fact that Pooh is a glutton, through and through. To the point where it’s almost not cute as he really cares about his stomach above all else. The modern Pooh isn’t quite so bad, which is why this special ends in the way it does with Pooh not too concerned about getting anything for Christmas when he has his friends already and everybody learning a lesson (but also getting presents too, so it’s not like they were made to suffer). It’s cute and it’s safe, but not offensively so. If you’re looking to check it out for yourself, Winnie the Pooh and Christmas Too is sold in both DVD and Blu Ray form as A Very Merry Pooh Year and includes a New Year’s special as well. And if you’re not picky, you can probably find it for pretty cheap on the second-hand market. Otherwise, I’m not sure if it will air on television this holiday season, but you can always check this site to see if it pops up.


#25 – Moral Orel: The Best Christmas Ever

maxresdefault-2As we kick-off the best Christmas specials feature I say we start with something dark and cynical. It’s no secret that most Christmas movies and TV specials are sweet, warm, and offer a heartfelt message about the holidays (usually something about love, sharing, compassion, selflessness, and so on). That stuff is fine in small doses, but after many Christmases it can also become trite.

Moral Orel’s “The Best Christmas Ever” is hardly the typical Christmas special. If you are not familiar with the Moral Orel series, it’s a stop-motion short-form series that aired on Adult Swim from 2005-2008 and sporadically after. It focused on the title character, Orel, a goody goody two-shoes that just wanted to praise God and live by His word. Each episode usually centered around Orel taking something too literally from a  church sermon and doing something sacrilegious by mistake only to have his father set him straight in the end with a good lecture and a good beating. The adults surrounding Orel were mostly a bunch of miserable, sinful, hypocrites that rarely practiced what they preached, but Orel remains oblivious to his surroundings.

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Orel’s blind faith in God and ignorance leads to him concluding this was the best Christmas ever in the end.

For “The Most Wonderful Christmas Ever,” Orel hears about the second coming of Jesus during church and that he won’t be happy when he returns, ushering in the Apocalypse. When Orel overhears his parents arguing about his malcontent younger brother, with his dad proclaiming his doubts the kid is even his, Orel mistakenly reaches the conclusion that his little brother is Jesus reborn. Orel’s attempts to welcome the baby Jesus are pretty humorous, but the side story of his father’s depression over his crumbling marriage is some pretty dark stuff.

Moral Orel is basically a satirical black comedy and its Christmas special captures that perfectly. In a world full of terrible Lifetime and Hallmark Channel Christmas movies, Moral Orel is a nice piece of Christmas bleakness that is funny because it’s not like anything else. Even Bad Santa has more Christmas cheer than this one.


Danzig – “Skeletons”

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Danzig – “Skeletons” (2015)

“Skeletons” is a covers record by Danzig that has been discussed publicly going as far back as 2010. The first single for the album was unveiled online on the Danzig website in 2012, but it wasn’t until November 27th, 2015 that the album was finally released. Totaling ten tracks with a running time just over 36 minutes, it’s a bit puzzling how such an album could take as long as it did to get released, but so be it. In reading interviews with Glenn Danzig I got the impression that the album was recorded piece by piece over the years with the band never fully committing to just go into the studio and pound through it. And considering a covers record probably isn’t expected to move a ton of units or make a lot of money, there likely was no sense or urgency with the record at any point in time.

When it comes to art, it really doesn’t matter how long something takes to get done, only the finished product matters. Of course, when it comes to a covers record we’re talking a lesser form of art. These are songs all written by someone else and recorded a long time ago. And though artists often like to boast, Danzig included, that they’re bringing something new to a song they cover, the truth is the songs are largely unchanged. In the case of the songs contained on “Skeletons,” most of the songs sound as they were originally recorded but with added down-tuned guitars and Danzig’s voice in place of the original singer. Listen carefully and you’ll pick out some slight variations in the lyrics, but it’s nothing major. And there are some tracks altered more than others, the most obvious being the Elvis cover “Let Yourself Go,” which basically turns a rock-a-billy track into something more resembling a punk track with a sinister groove.

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The cover for the album’s single, “Devil’s Angels.”

“Skeletons” gets to benefit from a couple obscure tracks. The two lead-off tracks, “Devil’s Angels” and “Satan,” are not likely to be known by most listeners making them feel like all new songs. “Devil’s Angels” features former Misfits guitarist Doyle in an uncredited role and features a sound that may or may not answer the question of what a Misfits record in 2015 would sound like with Glenn and Doyle onboard. It’s a fast, uptempo number with really only one hook, but the song ends before it becomes overplayed. “Satan” is from the film Satan’s Sadists, so if you’ve seen that you may know the song, but chances are you have not (I certainly haven’t). “Satan” is more of a blues-based number and the lyrics invoke the Lucifuge era tracks “Killer Wolf” and “I’m the One.” The single release of “Devil’s Angels” features a version of “Satan” that’s just Glenn and an organ. I didn’t care for that version but the album version of the song is pretty rockin’.

Other covers stand-out, including the ZZ Top track “Rough Boy” and the Aerosmith cover of “Lord of the Thighs.” The latter is probably the most surprising inclusion on the record as I never took Glenn Danzig for someone who would be familiar with some of the more obscure tracks from Aerosmith. “Lord of the Thighs” was always an oddball in the band’s library, with its bouncing guitar riff way ahead of its time. Danzig’s version of the song is obviously tuned lower giving the riff a more driving quality to it. Steven Tyler’s vocals on the song come across as seductive, and at times, even a little playful, while Danzig’s are more commanding and dominating which isn’t all that surprising, all things considered. Danzig’s cover of the Everly Brothers’ “Crying in the Rain” closes things out and it’s a nice little downer (in mood) of a track to end the record, though I do wish there was a little more emotion in Glenn’s vocals, but it’s a nice little cover. The only song I really wasn’t all that taken with is Danzig’s Sabbath cover, “N.I.B.” In the case of that track, it’s just a song that’s been done too much before. It even has its own cover by Primus featuring Ozzy on vocals that probably improved the original more than anyone else could ever hope to (not that the goal of a cover is really to improve a song). With Sabbath’s vast catalogue, it just seems like there are songs more suitable for Danzig to cover. Danzig’s take on “N.I.B.” doesn’t bring anything new to the table, it just swaps out Ozzy for Glenn and Iommi for Tommy Victor, which is a clear downgrade as Victor’s noodling outro is more distracting than anything.

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In addition to the standard CD digipack release, “Skeletons” is also being released on vinyl in numerous variants.

The production on recent Danzig releases has been spotty, at best, and the same is true for “Skeletons.” Some of the vocals sound too distant and hollow, with the worst probably being the opener “Devil’s Angels.” Some tracks, like “Action Women,” seem to put the instruments and vocals in competition with each other and they all just seem to be rising in intensity throughout the song. The worst overall track in terms of production is probably “With A Girl Like You” which just comes in so much lower in volume when compared with the surrounding tracks. In some respects, the production adds a garage feel to the album which seems appropriate for a covers record. “Crying in the Rain” has a muted softness that actually works with the material. All in all, for a Danzig record, the production is actually fine and arguably better here than it was on the past two proper Danzig albums.

“Skeletons” is a nice little collection of songs that not only work individually but actually arrange well with each other to form a credible album. My expectations, even as a longtime Danzig fan, were actually pretty low so I’m happy to say they’ve been exceeded. And I guess if you like Danzig covers then there’s good news as the band isn’t done recording other people’s songs. During the recording of this record, the band did several additional Elvis songs that Glenn Danzig decided would make sense to just release separately as an EP. It’s being referred to as “Danzig Sings Elvis” and I really hope he rethinks that title. It makes me think of Anne Murray. There was also an additional song released online a couple of years ago, a cover of the Lee Hazlewood and Nancy Sinatra duet “Some Velvet Morning” that Danzig recorded with Cherie Currie of The Runaways. The song was cut from this release and the rumor was it had something to do with Hazlewood’s estate. I don’t know if they just plain didn’t want the song being covered by Danzig or if they were demanding a larger than normal royalty or whatever, but the song is readily available online and I don’t think anyone is really missing out. It would have been the worst track on the album had it been included. There is a new Danzig album also being worked on and it’s expected sometime next year, but with Danzig you should never hold your breath. For now, we have 36 minutes of cover songs to bridge the widening gap between releases.

Top Tracks

  • Devil’s Angels
  • Satan
  • Crying in the Rain

The 25 Greatest Christmas Specials

christmas-tvNo holiday spawns more television specials than Christmas. Really, no holiday spawns more of anything than Christmas (Halloween probably creates the most cavities in children). Christmas is a pervasive presence in our society. It’s everywhere, which makes the imaginary “War on Christmas” all the more ludicrous. Christmas is so inescapable this time of year that it’s hard to not feel cynical over the whole thing. Somehow I’ve managed to retain a fondness for the holiday despite having no religious givings in my bones. I enjoy the splendor, for the most part (Christmas songs are mostly terrible and annoying), and the warm fuzzies the holiday stirs inside me. Mostly though, I just like how I’m able to recall how excited I was as a child knowing Christmas was coming. It’s my ability to tap into that part of me that likely keeps the fire alive.

Each year since I started this blog I’ve taken the time to make Christmas-centered posts every December. This year I’m taking it one step forward and posting what I consider to be the 25 best Christmas specials created for television advent calendar style. What do I mean by that? Well I plan to post a short blog entry on each special on each day of December leading up to the holiday. You may be thinking this sounds like a rip-off of Chris Antista’s A Cartoon Christmas blog and you would be right. In defense of my own ranking I’ll say I’m not limiting myself to just cartoons (though expect the list to be dominated by them) and A Cartoon Christmas never attempted to rank the specials in such a fashion. Also, that site hasn’t been updated since 2013 and the last time the advent calendar format was utilized was 2012 so I think enough time has passed that someone else can do something similar.

My only criteria for selecting the best Christmas specials is that the special must have been featured on television at some point. This excludes Christmas movies, because they’re just a different animal, but not cartoon shorts that originally debuted on the big screen but have since become television staples around the holidays. This also means I’ll be doubling up on some specials that I’ve written about in the past. Many I covered in the first year of this blog as part of my Essential Christmas Viewing posts, but there they were covered in brief. A few have had full write-ups, and where that has occurred I’ll link to the original post but also offer up some fresh takes.

Now, my typical blog posts tend to stretch on for thousands of words, which is why I only end up making 2 or 3 a month. As a result, expect these blog entries to be much shorter than my typical ones. Hopefully by doing so I’ll be able to keep myself from falling behind. Obviously I’ll be writing and working on this list in advance of any being posted so expect this feature to pretty much dominate The Nostalgia Spot for the remainder of 2015, though I may find time to slip in a post or two on other subjects.

#25. Moral Orel – The Best Christmas Ever

#24. Winnie the Pooh and Christmas Too

#23 . Robot Chicken’s Half-Assed Christmas Special

#22. Invader Zim:  Most Horrible X-Mas Ever

#21. Married…With Children – You Better Watch Out

#20. The Snowman

#19. It’s a SpongeBob Christmas

#18. Beavis and Butt-Head Do Christmas

#17. A Muppet Family Christmas

#16. Yes, Virginia

#15. Frosty the Snowman

#14. A Very Special Family Guy Freakin’ Christmas

#13. Rudolph the Red-Nosed Reindeer

#12. Futurama – Xmas Story

#11. Prep & Landing

#10. A Garfield Christmas

#9. A Flintstone Christmas

#8. Mr. Hanky, The Christmas Poo

#7. Toy Tinkers

#6. Simpsons Roasting on an Open Fire

#5. Pluto’s Christmas Tree

#4. A Charlie Brown Christmas

#3. A Chipmunk Christmas

#2. Mickey’s Christmas Carol

#1. Dr. Seuss’ How the Grinch Stole Christmas!


When Marnie Was There (film)

When Marnie Was There (2014)

When Marnie Was There (2014)

In my review of The Tale of the Princess Kaguya I detailed the state of Studio Ghibli and its decision to suspend all production on animated features. It was a sobering bit of news and remains so as the studio certainly seems to possess enough talent following the retirement of Hayao Miyazaki to press on and a film like When Marnie Was There only reinforces that thought.

When Marnie Was There is based on a novel by Joan G. Robinson. I had never heard of it nor read it so my experience with the story is entirely via the Studio Ghibli film. The film is written and directed by Hiromasa Yonebayashi in his second go-around as director for a Studio Ghibli film, the first being the very good The Secret World of Arrietty. Even though this is only his second turn as director, Yonebayashi has been with the company for over a decade working on several other animated films in various roles. Takatsuga Muramatsu handles the music for the film making the film feel like a promotion of the studio’s younger talent. The film is wonderfully animated and visually resembles very strongly another recent work by the studio, The Wind Rises. Like that tale, When Marnie Was There is a mostly grounded film from a visual sense and lacks some of the studio’s more wildly imaginative settings and characters.

The film follows Anna, a young girl of about thirteen who has a hard time fitting in. The film never explicitly states it, but she’s quite obviously depressed at the start of the film and is paralyzed by a social anxiety order that seems to manifest itself in the form of severe asthma. As the film progresses, we learn the root cause of most of her issues is her sense of abandonment as she lost her parents and grandmother at a young age and has been in foster care with the same family for most of her life. She is having a particularly hard time coping with a recent discovery about her foster parents that lessens her sense of self worth. She states that she hates herself, and following another asthma attack early in the film, her foster mother decides it may be good for her health to visit some relatives in the countryside.

The film is visually quite earthy, with many lush and well-detailed backgrounds.

The film is visually quite earthy, with many lush and well-detailed backgrounds.

It’s in the countryside where the film’s plot gets rolling along. Anna stays with the Oiwas, relatives of her foster parents, in a seaside town located somewhere near Kushiro and Nemuro. It’s a small, quiet town located on the coast. Her family tries to get her involved with the local girls her age but Anna struggles to make friends. She soon finds herself drawn to an old, rundown mansion on the coast that she enjoys drawing from the shore. It’s there she encounters Marnie, a lonely young girl about the same age as Anna. Marie tells Anna she dreamed of her and the two form a fast friendship. Marnie is the child of wealthy socialite parents who are rarely home leaving Marnie in the care of an abusive nanny and two maids. Anna and Marnie have an instant connection and the two are free to express their love for one another. It’s a sisterly kind of love, but when Marnie invites Anna to a party her parents are throwing and dances with a young man, Anna is seen as jealous and possessive of her new friend. It becomes obvious to the viewer that Anna has never had a real friend before, and it’s touching to see Marnie wordlessly pick up on this and tenderly sooth her friend.

What the film doesn’t obviously address for a long time is the nature of Marnie’s existence. During the day, the old mansion where she lives is run-down and abandoned, but at night, time seems to rewind around the old house and restore it to its former beauty. As the viewer, we’re left to wonder if Marnie and the people in the mansion are ghosts or if everything is a product of Anna’s imagination. Anna seems to think Marnie is an imaginary friend, as she’s confronted later in the film by a young girl who’s family has purchased Marnie’s mansion and is renovating it. The girl, Sayaka, notices Anna staring up at her room and mistakes her for Marnie. She knows that name because she found an old diary by a girl of that same name when her parents bought the mansion. Anna and Sayaka soon become determined to unravel the mystery of Marnie. I do not wish to spoil anything further, but I’ll say it’s a very satisfying tale and the film answers all of the questions it poses which helps give it a sense of closure. Repeated viewings are also satisfying because knowing the end adds added context to a lot of what happens during the film.

The mansion seems to call out to Anna beckoning her to investigate.

The mansion seems to call out to Anna beckoning her to investigate.

The film may contain a mystery as part of its central plot, but it’s really secondary to the story of friendship between Anna and Marnie. Both characters possess tragedy about them and both are instantly likable even though both also possess obvious flaws. Anna’s inability to communicate with others is a frustrating flaw for the viewer, but also a heartbreaking one. Meanwhile, Marnie is so clearly neglected that it’s sad to see just how happy she is when she’s able to sneak outside at night knowing what awaits her when she eventually returns home. The film’s reluctance to really address how Marnie is able to exist allows it to focus on the growing friendship, and all of the trials and tribulations a new friendship creates. Once Anna becomes so attached to Marnie an anxiety brews. When Marnie disappears for a few days Anna immediately assumes it’s because of something she did to anger her friend. The film makes it easy to think back on one’s own adolescence and recall similar feelings.

The film moves at a comfortable pace and the english dub is well done, even if the film was not picked up by Disney for release outside of Japan. Universal handled it, which also handled the release for The Tale of the Princess Kaguya, and the english cast features some notable names such as Geena Davis, Catherine O’Hare, and John C. Reilly. Hailee Steinfeld and Kiernan Shipka voice Anna and Marnie, respectively, and both do an admiral job giving a voice to these characters. It is especially important that the english dub be of a high quality because it would be a true shame to mar the visual presentation of such a film with subtitles. The look is so vibrant and colorful that I often found myself delighted by even the most simple of shots. This is one of the studio’s finest productions and it’s a joy to see it was not wasted on an inferior story.

There's a lot to distract the viewer from what is at the heart of the movie: two lonely souls desperate to find a kindred spirit.

There’s a lot to distract the viewer from what is at the heart of the movie: two lonely souls desperate to find a kindred spirit.

When Marnie Was There is the kind of film that you either connect with or you don’t. I suppose for those where the film’s characters and plot do not resonate they’ll see it as a perfectly fine little film about friendship. For those able to connect with it on a more personal level will find something truly captivating and beautiful. I do not know why the film made such an impact on me, it’s not as if I could truly relate to any of the characters because of a personal experience, but I think it’s because the film was able to tastefully portray Anna’s struggles without being heavy-handed that it made everything to follow so believable. The score is impressive and there isn’t a scene in the film where the music isn’t perfectly suited. Even the closing track, “Fine on the Outside,” is utilized at just the right moment and feels wonderfully suited to close out the picture. When Marnie Was There possesses the heart and magic that has made Studio Ghibli one of the premiere production houses in the world when it comes to animation. It is my sincere hope that it is not the final feature from the studio, but if it turns out to be, it’s a wonderful way to cap an unprecedented run.


#1 Best in TV Animation: The Simpsons

The_Simpsons_LogoCould it really be another? There have been funnier shows, better looking ones, and shows with better stories to tell, but it’s hard to argue against the show that made prime time animation a thing and has lasted over 25 years. The Simpsons are an American institution at this point. There are people in their twenties who have never had a year of their life pass by without a new season of The Simpsons. That’s pretty incredible. And say what you will about the quality of the show in recent times, there’s still a large body of work that’s among television’s best.

Let me actually start with the argument against The Simpsons being number one. Really, that argument boils down to the show not being very good for the last ten or fifteen years. You’ll be hard-pressed to find a fan of the show willing to argue that the best is happening right now. The general consensus seems to be that the show’s peak was probably seasons two through seven. Seasons eight through twelve have their moments, and from there the show has been in a downward spiral of re-used plot devices and poor gags. After all, how many times have Homer and Marge split-up during an episode only to patch things up in the end? Or how often has Bart pulled some elaborate prank only to feel remorseful after the fact? For me, the best era of The Simpsons probably ended with the season nine premiere, “The City of New York vs Homer Simpson.” It was a promising start to what ended up being a mostly mediocre season. I’d argue though that The Simpsons ever since has mostly remained mediocre and has never produced a truly awful season. Though I concede one should feel fortunate if there’s at least one memorable episode per year that isn’t a Treehouse of Horror installment.

The first family of animation: Maggie, Marge, Lisa, Homer, and Bart.

The first family of animation: Maggie, Marge, Lisa, Homer, and Bart.

Even if I were to go so far as to say that The Simpsons has been bad since season nine, that’s still nearly two-hundred episodes of quality prior to that. Such an episode total dwarfs almost every other series on this list with the only comparable being South Park (which has had its own peaks and valleys over the years). When The Simpsons was operating at its best it was sharp, funny, satirical, but with enough heart to make viewers care about the characters. It operated as a pretty typical sitcom, but one willing to take advantage of the animation medium. Characters never had to age and the town of Springfield could be filled with hundreds of characters without the need to expand the cast.

What made The Simpsons a hit was its edgier brand of humor when compared with other sitcoms. The Simpson family was dysfunctional. Bart and Homer were always at odds with Homer being a rather poor example for the kids. They weren’t as hopeless as Fox’s other family, The Bundys, but they certainly weren’t The Waltons (much to the dismay of then President George H.W. Bush). Bart dominated the early episodes, often getting into trouble and just being a general delinquent. Overtime, Homer moved more and more into the spotlight as his I.Q. seemingly deteriorated more and more each season. Lisa and Marge have mostly served in a supporting role with each representing a foil for the male members of the family. Often once or twice per season one of the ladies would assume a starring role. The supporting cast became robust and episodes would even follow someone from Springfield with The Simpsons serving in a supporting role. It’s hard to pick a best character from outside the family because there are just too many to choose from. The miserly Mr. Burns is so good as the boss character/villain of the series (boss as in Homer’s boss, not video game boss, though he did serve in that role too). Krusty is well known as Springfield’s resident celebrity as is the cartoon duo Itchy and Scratchy. Moe, Barney, Troy McClure (voiced by the late, great, Phil Hartman), Ned Flanders, Principal Skinner, and on and on it goes. I doubt there’s ever been a larger cast in the history of television.

The cast is positively ginormous.

The cast is positively ginormous.

Every cartoon needs its own look, and visually, the series has always been distinct with its yellow skin-toned characters and circular eyes. Everyone sports three fingers and a thumb and wears the same clothes every day. The quality of the animation was a bit crude in the early going with some of the colors in the first season looking washed-out. As the series became a success, more and more money was tossed its way and the quality of the animation has steadily risen each year. In fact, that’s one thing the current episodes can boast over the classics: better animation. The show is often bright, but not distractingly so, with a lot of Springfield often appearing kind of run down. The main theme of the show was composed by Danny Elfman and is about as well-known as any other television theme. Shockingly, Fox has been able to keep the same vocal talent onboard over the years, though it hasn’t always been easy. There was a time when it appeared as if the rising costs of production due to raises for the cast would eventually kill the series, but now that seems unlikely. Everyone is past their career prime at this point and there’s less of a call for them to leave the show to pursue something else. They’re also all nearing or beyond retirement age and I imagine The Simpsons is a nice source of income they can rely on now. They’re also not stupid and know the show has gone past its peak so they’re unlikely to demand significant raises going forward, unless they collectively all decide they don’t really want to continue working on the show and demand Fox make them an offer they can’t refuse. It must be noted though that The Simpsons hasn’t avoided some tragedy over the years (it would be almost impossible for it to considering how long it’s been on) losing two popular talents. Phil Hartmen, who voiced many supporting roles, was murdered in 1998 while Marcia Wallace, voice of Bart’s hard-luck teacher Mrs. Krabappel, passed away in 2013. Both actors had their respective characters retired upon their death.

A neat graphic of the principal voice talent and the recurring characters they voice.

A neat graphic of the principal voice talent and the recurring characters they voice.

Just as it’s hard to pick a favorite character, it’s hard to pick a favorite episode or even season. The show was so good and so consistent in the early 90’s that it seemed to turn out a classic every week. “The Telltale Head” from season one is arguably the show’s first classic, along with the very first episode “Simpsons Roasting on an Open-Fire,” which is still the show’s best Christmas episode. “Bart the Daredevil” is another classic with an iconic moment even referenced in The Simpsons Movie. “Homer vs Lisa and the 8th Commandment,” “Bart the Murderer,” “Flaming Moe’s,” “Homer at the Bat,” “Marge vs The Monorail,” “I Love Lisa,” “The Last Temptation of Homer” and so many more. It truly is a daunting task to list the best of the best. Just coming up with a list of the best Halloween specials is hard (which The Simpsons must have a record for most Halloween episodes, easily)!

The Simpsons has been on television for so long that its legacy is likely going to be forever linked to its longevity. It has almost surpassed the show’s reputation for just being a damn good TV show. And how long will it go on? Who knows? The natural assumption would be 600 episodes, or maybe a 30th season, but it’s possible the show just goes on and on until someone too important decides to leave. It likely won’t go quietly as I imagine Fox would not allow the show to just end without making a big deal out of it, and they should. The show deserves as much. If it weren’t for The Simpsons it’s unclear what the landscape for adult cartoons would be. Sure, The Flintstones came first, but The Flintstones were not as nearly as impactful. While The Simpsons embraced the animated form, The Flintstones tried to be a typical sitcom that just happened to be animated. I may not watch The Simpsons on a weekly basis anymore, and really have not since the nineties ended. I still do not look forward to the day when The Simpsons has ended. It may no longer be the best show on television, but I still think the world is a better place with The Simpsons on at 8 PM every Sunday.


#2 Best in TV Animation: Cowboy Bebop

Cowboy Bebop (1998)

Cowboy Bebop (1998)

Three…Two…One…Let’s jam!

Of all the mainstream arts, television is the one that has seen the biggest advancement in terms of relevance over the past fifteen years. It used to be that TV was nothing more than the idiot box, a thing to rot our brains with. It was the home of the sitcom, a mostly safe way to kill 25 minutes on a weeknight, or daytime soap operas with outlandish and never-ending plotlines. Even the more celebrated dramas often had a “play it safe” mentality designed to entertain for a single episode before putting everything back in place for next week. There wasn’t much going on that seemed worthy of the term “art,” and an actor jumping ship from Hollywood to the small screen was seen as an admission of failure on said actor’s part.

Things are different now and some of the best stories, acting, and directing are occurring on television. Most of this is attributed to premium cable network HBO and their series The Sopranos and The Wire often cited as the two most influential. Basic cable has jumped in on the fun over the past eight years or so with much celebrated hits like The Walking Dead, The Americans, and of course, Breaking Bad. The main networks are still mostly home to popcorn fair but they’re slowly catching on to the changing television landscape.

Before all of these shows were breaking the mold, there was Cowboy Bebop. Cowboy Bebop is an example of strong story-telling with great character development that refused to be a slave to the popular TV tropes. The fact that it was coming out of Japan likely had something to do with it because Cowboy Bebop would never have existed as-is if it were American made. Just imagine a hugely successful show voluntarily ending after just one season of twenty-six episodes (a film would later be released but there’s never been talk of a season two or spin-off that I’m aware of). Cowboy Bebop set out to tell a complete story, and that’s what it did. If there was a temptation to double-back on that and have a second season it was ignored and probably for the better.

From left to right: Ein, Ed, Spike, Jet, and Faye.

From left to right: Ein, Ed, Spike, Jet, and Faye.

Cowboy Bebop is largely credited to director Shinichiro Watanabe, who presided over the twenty-six “sessions” that make up the series. Cowboy Bebop follows the crew of the Bebop, comprised of bounty hunters in the year 2071. In this setting earth has largely been abandoned by humanity due to asteroid activity. A large collection of people now live on Mars, but a lot of the solar system as we know it has been colonized. The Bebop is captained by Jet Black, a former cop with a cybernetic arm. His main running mate is Spike Spiegel who was formerly messed-up with a criminal syndicate but now hunts bad guys for coin. They’re a fairly unsuccessful duo when the series begins but they’re soon joined by Faye Valentine, a woman with no memory of her past and a huge debt to settle, and the sexually ambiguous child Edward, who speaks in the third person and is a computer whiz and hacker extraordinaire. Rounding out the group is a welsh corgi by the name of Ein, a dog with near-human intelligence. They’re mostly a motley crew and often their bounties get away or find a way to devalue themselves preventing the group from really cashing in. Most of their relationships are a bit strained with Spike and Jet often wondering how their duo came to be this group. Faye basically comes and goes at her leisure while Ed just seems to enjoy hanging out with the crew. The various dynamics work out well as they clash often but all seem to reluctantly accept one another’s help when needed.

All of the characters are interesting and well-developed in their own right, but Spike is the show's main character.

All of the characters are interesting and well-developed in their own right, but Spike is the show’s main character.

The animation for Cowboy Bebop is a sophisticated take on the standard anime style. The characters do not possess the exaggerated features of many anime programs but retain enough of the art form’s style to be considered anime. Characters tend to be long of limb. They look like they should animate in a stiff manner but they tend to have a certain flow about their movements. There’s a mixture of handrawn animation and CG with most of the CG reserved for the spaceships. Some episodes are visually dark, others bright. Some settings have an industrialized look to them, others are leafy and green, and some neon and futuristic. There’s a lot going on in the twenty-six sessions and the nomadic nature of the crew adds considerable variety in both story-telling and visuals.

Music is a big point of emphasis by Cowboy Bebop. In fact, each session title is a reference to either a song or style of music. There’s “Sympathy for the Devil,” “Bohemian Rhapsody,” and “Jupiter Jazz,” just to name a few. The music was done by Yoko Kanno and a better anime soundtrack you will not find. The opening title “Tank!” is a jazz-fusion track that has undoubtedly influenced several shows since like The Venture Brothers and Archer. The closing track for each episode, “The Real Folk Blues,” perfectly captures the show’s more melancholy moments. The show’s dub is also particularly impressive. Several of the names attached to it are well-known in the animation community such as Steve Blum (Spike), Wendee Lee (Faye), and Beau Billingslea (Jet).

By far though, the best thing going for Cowboy Bebop is its story-telling. The show slowly peels back the layers of each character throughout the series. At first, Spike comes across as a reckless cowboy who cares only about collecting his bounties. As the series moves along, we see he’s actually a good person at heart and when push comes to shove he usually opts to do the right thing. His story is what I would consider to be the main story. Some of his past, including his rivalry with current syndicate member Vicious, is revealed in the fifth episode “Ballad of Fallen Angels.” More is then revealed in the two-part “Jupiter Jazz” which is essentially the midpoint for the series before wrapping with the two part finale, “The Real Folk Blues.” His story is compelling often alternating between exciting and sad. Faye also has a window to her past opened as the series moves along and hers is just as captivating and arguably more tragic. The episode most centered around her, “Hard Luck Woman,” is one the show’s more satisfying. Jet and Edward are also examined and each has difficult choices to make. We learn a lot about these characters and it’s painful saying goodbye after just twenty-six episodes, but that’s part of the show’s lasting impact.

The Spike/Vicious rivalry is one of the show's main conflicts, but it's never overplayed.

The Spike/Vicious rivalry is one of the show’s main conflicts, but it’s never overplayed.

Interspersed amongst the episodes are one-off palate cleaners, if you would. These episodes take on the form of a “bounty of the week” and we get to see the Bebop crew in action. Some are laden with humor such as the psychedelic “Mushroom Samba” while others are dark and violent, like “Pierrot le Fou.” Even though these episodes are lighter in content, they still offer moments for the characters to deepen our understanding of them or make use of creative story-telling devices, like the Alien inspired “Toys in the Attic.” Truly, there are episodes more likely to be cited as favorites but there is no bad episode among the twenty-six.

Cowboy Bebop nails it at pretty much every level. It’s visually engaging, aurally amazing, and its story-telling was ahead of its time. If the show had a smell or taste attached to it I’m sure they too would have been excellent. It’s rather unique among the other shows on this list, most of which are either comedies or children’s shows. Cowboy Bebop will make you laugh, but it’s definitely not a comedy and its mature subject matter puts it squarely in the adult zone. It’s really one the greatest shows made for television and one of Japan’s finest exports. Thirteen hundred words can not do it justice.