Author Archives: Joe

Dec. 4 – Doug – “Doug’s Christmas Story”

Original air date December 12, 1993.

Last year, we covered in depth the inaugural Christmas episodes of Rugrats and The Ren & Stimpy Show, two of the three original Nicktoons that premiered in 1991. Now, we’re going to look at the Christmas episode for the other original Nicktoon: Doug. Doug was created by Jim Jinkins and was one of the first of the Nicktoons to go into production. Back when Nickelodeon set out to commission its own animation, the studio didn’t actually have an in-house animation studio, or at least not one capable of producing three shows. This meant the original three Nicktoons were all animated independent of Nickelodeon which would in turn make them more expensive than the shows that followed. Rocko’s Modern Life was the first Nicktoon produced by Nick’s own internal studio, Games Animation, which also took over The Ren & Stimpy Show following the firing of John Kricfalusi. I think it’s because of that aspect of the show’s production that Nickelodeon was always reluctant to order more. The original contract with Jinkins was for 65 episodes which were ordered in chunks and spread out as seasons, a common tactic unique to animation where one production season is treated as multiples by a network. Nick ended up stopping at 52 episodes though as Doug wasn’t the hit they had envisioned. Not that it was a failure, it just wasn’t on the same level as the other two original Nicktoons. Combine that with it being more expensive to produce than some of the Nicktoons to follow meant Jinkins got to take his project elsewhere. Nickelodeon had agreed to let Jinkins retain ownership of the property from the onset which is how it ended up in the hands of Disney where it would be revived in 1997 and run for a few more years.

It’s easy to see why Doug may not have been the success that Rugrats and The Ren & Stimpy Show were. Rugrats was fairly unique in its depiction of toddler life which was ripe for comedy while The Ren & Stimpy Show was just off-the-wall zaniness. Doug was a gentler show that was basically a coming-of-age story about a kid who was actually older than the show’s target demographic. Doug was roughly 11 and a half and said to be in the 7th grade and most of the episodes dealt with Doug facing pretty ordinary problems: allowance, rumors, popularity, peer pressure, etc. The show was able to flex its animation muscle a bit with Doug’s imagination. Doug acted as both main character and narrator for each episode and would often fantasize about a way out of his problems where a superhero, secret agent, or some other product of his imagination would save the day. In the end, Doug would have to figure things out on his own that didn’t involve superpowers or fancy spy gear. Alongside him was always his trusty canine sidekick, Porkchop, who is basically on the level of Scooby Doo or Astro as far as intelligence goes. He’s way beyond a normal dog and he’s a character that helps remind the viewer that they’re watching a cartoon and not something set in the real world.

Jim Jinkins created Doug to not be an education show, but he did want each episode to have a moral of some kind which gave it a decidedly different flavor from the other Nicktoons.

Unlike the other two debut Nicktoons, Doug saved his Christmas episode for what Nickelodeon dubbed Season 4 of the show. Airing in 1993 was “Doug’s Christmas Story,” one of the last episodes of the show to premiere on Nickelodeon. Only three episodes remained from the Nick production run after it with Doug wrapping up on New Year’s Day 1994. And like a great many Christmas episodes from shows that customarily split their half hour block in two, “Doug’s Christmas Story” takes up the full 23 minute runtime for the episode so it can tell a more complete story. It’s one of tragedy and triumph and I don’t think it’s much of a spoiler to say Doug will have an okay Christmas when all is said and done.

Pictured: the kids actually able to afford hockey sticks.

Following the standard opening credits (boo!), we find Doug and his friends doing something familiar for the opening of a Christmas episode: skating. More precisely, they’re playing hockey on a frozen pond, but it’s impossible not to get some A Charlie Brown Christmas vibes from the scene. Doug chimes in as narrator to tell us that basically the worst possible thing that could happen in the lead-up to Christmas is about to happen. He doesn’t actually tell us what that something is, we have to watch and find out. Once he’s done setting the stage, we see the town kids playing hockey. You get a sense of which kids come from money and which don’t. Some have nice gear and actual hockey sticks, while Doug (Billy West) and his buddy Skeeter (Fred Newman) are using a rake and broom, respectively. Apparently, no one owns a hockey puck though as the kids are playing with a pine cone.

This isn’t going to go over well.

Porkchop (Newman) is also present and sliding around on the ice, but he comes to a section marked as a hazard for thin ice and freaks out a bit. As he backs off of the ice, it breaks, and the sign sinks below the surface of the water. A scrum around the not-puck results in the pine cone sliding over in the direction of the area Porkchop just vacated. Beebe (Alice Playten) skates over to retrieve it completely unaware of the thin ice. Despite the pine cone being located near open water, Beebe still heads in the direction to retrieve something that literally grows on trees while Porkchop tries to warn her. Now, I said Porkchop possessed intelligence far beyond a normal dog and compared him to the likes of Scooby Doo, but one thing Scoob can do that Porkchop cannot is actually talk. He communicates with pantomime mostly, and it’s pretty hard to figure out how to get the message of “thin ice” across in such a fashion. Especially when time is a factor, so he does the only thing a dog can do: he bites Beebe. By locking his jaws on her leg, he’s able to pull her away from danger, but to Beebe and any onlooker, it just looks like he attacked her (well, that’s how we’re supposed to read it and thereby ignore the actual open water she was skating towards). Beebe screams and the other kids gather around. As Doug approaches to find out what happened he’s given the bad news: Porkchop attacked Beebe. Doug is rather flabbergasted, but does the normal thing of reprimanding his dog as he has to go off of what the eyewitnesses saw, even if it makes no sense.

Following a quick break to introduce the title card, we find Doug and Porkchop at home. Doug is reprimanding Porkchop for what he did by telling him that you don’t bite people, even if it is Beebe. Beebe is basically the spoiled rich girl of the show that is hard to like, so if the viewer was going to enjoy seeing any of the characters in the show have pain inflicted upon them, chances are it would have been Beebe. Or the school bully, Roger, who is surprisingly absent from this one. Anyway, Porkchop tries to pantomime what happened for Doug, but his message isn’t getting across. Doug just tells him to quit goofing off and sends him into his igloo, which is his dog house. After Porkchop sullenly heads inside, Doug’s sister Judy (Becca Lish) pulls into the driveway and beckons Doug to come with her so they can get Christmas presents for their parents while they’re out. Doug seems a bit reluctant to leave Porkchop, but hops into the car anyway.

The former mayor turned disc jockey.

We then cut to a radio station where the former mayor of Bluffington, Bob White (Greg Lee), is hosting a talk show. He’s relaying some recipe that involves cocktail weiners soaked in grape jelly, which just sounds terrible. We also find out that he’s a bit of a sore loser as he lost his re-election bid in an earlier episode to Doug’s neighbor, Mrs. Dink, but he points out on his show that she’s out of town which practically makes him the acting mayor for the holidays (I don’t think that’s how it works, Bob, but whatever). Some of his terminology is eerily similar to some of the stolen election rhetoric that’s become all too common in our current society. Anyway, his caller brings up the incident at the pond and Beebe getting attacked by a dog. Seems like a weird thing to gossip about, but okay, it’s a small town. White is understandably just hearing about this for the first time, but he seems to view this incident as an opportunity to get some much needed publicity.

This seems a little over-the-top for a dog.

Doug and Judy are shown shopping and apparently Judy wants to get their father a new golf club. He needs a 9 iron and she mistakenly thinks getting him a 7 and a 2 iron would be better than just getting him one club! Doug, for his part, has his mind still on what happened earlier and can’t really focus on the task at hand. He does see a hat that he thinks would look great on Porkchop and decides to buy that for him for Christmas. This seems to cheer him up a bit as we find the two driving home, but when they get there they find a huge crowd assembled. White has apparently summoned the media and the police and demands that Porkchop be arrested for what happened earlier. He even brought his back-up singers from his radio show to punctuate everything he says. Referring to Porkchop as a trained killing machine, he orders the dog be taken away where he’ll be put away forever. This is all done in the name of keeping the children of Bluffington safe. Doug is understandably confused and a bit distraught, but there’s nothing he or his family can do to stop the cops from tossing Porkchop in a paddy wagon and hauling him off to the pound.

It’s not visible in this shot, but I like how the animators decided to put pants on Doug instead of his customary shorts considering it’s winter and all. For some reason, he’ll be back in shorts though before this one ends.

We then find the Funnie family in their nicely decorated family room. Doug’s dad, Phil (Doug Preis), is trying to cheer his son up by saying how the spirit of the season should help everyone come to their senses. Judy, on the other hand, is ranting about how unbelievable it is they had a killer in their midst this whole time which earns her a reprimand from their mother, Theda (Lish). Doug’s mom then asks him if he’s sure Porkchop was just trying to play with Beebe and that’s the story Doug is running with as he can’t fathom Porkchop ever actually hurting someone. They’re interrupted by the doorbell and it’s a letter for Doug. He opens it to find out it’s from Beebe’s father, Mr. Bluff, and he’s pressing charges against Porkchop. The family is pretty surprised by this development, but they cheer up when Phil suggests they start a petition that has every signer declare that Porkchop is in fact a good dog. Doug thinks it’s a great idea, but also one that he should undertake by himself since Porkchop is his responsibility. I get the sentiment on Doug’s part, but maybe he’s not taking this as seriously as he should? Four people canvassing the town would cover a lot more ground than one, but his parents don’t object and Doug sets off to do right by his pal.

She is just the worst.

Doug gets started right away on gathering signatures for his petition. He starts with his neighbor, Mr. Dink (Newman), who is happy to provide his name for Doug’s cause. He finds other neighbors in a similar position, but soon runs into trouble. When one person finds out he’s trying to help the dog they saw on the news, he declines to sign it. Others seem to follow suit and one older lady even reprimands Doug for spreading such negativity at Christmas time. The fact that Doug just stands there and lets her lecture him makes him a better person than I for I would have gone off on the woman. Defeated, Doug walks off and ends up downtown. A store display has a television running and Doug happens to catch a news report on what the media is calling the incident at Lucky Duck Lake. A re-enactment is shown which features a particularly vicious looking dog basically maul a young girl which gets Doug’s dander up. Realizing this is all getting out of hand, he decides he needs to talk to Beebe to try to put things in perspective.

Mr. Bluff is almost cartoonishly evil given his indifference, or disgust, towards dogs.

And Beebe is currently in the hospital. Doug races over there and tries to enter her room, only he runs into her father, Mr. Bluff just outside it. When he tells Mr. Bluff who he is the man refuses to grant him access to Beebe. In doing so, we also find out that the Bluffs don’t just want Porkchop put away, they want him killed, though he uses the kid friendly term of “put to sleep.” As Doug tries to reason with him, the man just walks away forcing Doug to follow. When he offers up the excuse that Porkchop was just playing, Mr. Bluff just reiterates that they’ll let the court decide if putting an innocent girl in the hospital is just playing. Doug follows him to his limo where the old man finally states it plainly that it’s no use, he doesn’t like dogs on account that they don’t have any money or even understand the concept of money. Now that we’ve established that this man is cartoonishly evil, we can remove any sympathy we might have felt for him as the father of a girl wounded by a dog. Doug tries to appeal to him once more by stating Porkchop is his best friend, but Mr. Bluff just tells him to get a new best friend. As he drives off, Doug suggests he knows just who to turn to in order to solve this crisis.

You know it’s a special episode when Doug’s personas have to get together to formulate a plan.

If you’ve watched an episode of Doug before then you probably know what’s coming. Doug is going to dip into his imagination and consult with one of his personas. Only since this is the biggest crisis we’ve seen Doug face to date, one persona just isn’t enough. We’re taken to a Hall of Justice like building where Doug’s Indiana Jones rip-off, Race Canyon, comes sliding down a firepole. He’s surprised to find the superhero, Quailman (who is just Funnie with a belt on his head and his underwear over his pants), is there already. He thinks Quailman summoned him, but he did not, and soon enters the James Bond wannabe Smash Adams. He’s brandishing a pair of non-alcoholic drinks that he hands to the others and notes they were all summoned here by someone else over a missing dog or something. And that someone else is: Doug! He spins around in a chair dramatically to announce he’s the one who assembled this collection of the world’s greatest heroes (his definition, not mine) because it’s going to take their combined might to get Porkchop back!

Apparently none of them are wise enough to tell Doug that breaking his dog out of prison is probably a bad idea.

Doug shows the assembled heroes a map of the pound where Porkchop is being held. He solicits a plan from each hero and it goes about as well as you might expect. Quailman suggests flying in and using his super powers to subdue the guards, which Doug can’t do. Next is Race who just suggests beating everyone up, but Doug isn’t about to do that. Smash suggests using high tech gadgetry (as he puts it) which Doug actually thinks is a good idea. He then seeks out the real world help of the Sleech twins (Eddie Korbich), the class nerds capable of inventing stuff, to see if they have a solution. They’re eager to help Doug since he’s likely one of the few kids at school who doesn’t make fun of them for their nerdy ways. And since their dad is a donut maker (a plot of a prior episode), they suggest Doug use subterfuge by hiding a smoke bomb in a cupcake. Apparently, these boys have been spending their Christmas break devising weapons that combine with holiday desserts which is a bit alarming. Doug is right to treat these future school shooters kindly.

Poor Porkchop.

Doug sets off with Skeeter and his cupcake bomb to execute his horrible plan to spring Porkchop from the pound. Only upon entering the premises, they find a No Cupcakes sign waiting for them. I guess the plan was to give the cupcake to Porkchop who would then use the cover of the smoke to escape? Seems like the actual cell is an obstacle Doug didn’t account for. Well, with that obstacle in place, Doug still decides to push ahead and alerts Skeeter that he’s up. Skeeter does as he’s told and fakes an illness, only the cop doesn’t really care. He takes a phone call, and it’s about Porkchop too, and that’s the distraction that allows Doug to slip inside to find Porkchop. At first, Doug can’t find him, but he calls out for Porkchop and a helpful dog points him in the direction of a door labeled Very Bad Dogs. In there, he finds a spiral staircase that leads deep into a dungeon-like setting where Porkchop still can’t be found and that’s because he’s in the section for Very Very Bad Dogs. Meanwhile, the cop tries eating the cupcake despite Skeeter’s warning not to and activates the smoke bomb, which will surely reflect poorly on Doug. He soon finds Porkchop who is basically in solitary confinement. He’s locked in a box which in turn is locked in another room separate from the others. Or not locked, as Doug is able to enter, but he sets off an alarm in the process and is hauled away. We briefly get a glimpse of a teary-eyed Porkchop waving goodbye to his best friend. It’s the saddest shot in the episode.

Aww, look how cute they are!

The guards at the pound must have felt some pity for Doug as he apparently avoided his own arrest. We next find him standing outside of Porkchop’s igloo which is covered in police tape. He’s at a loss as to what he can do next and starts to reflect on his past with his dog. We see a toddler Doug opening a present on Christmas which just so happened to contain Porkchop. We also get a shot of last Christmas when Porkchop gifted Doug the very journal he’s writing in as he narrates this story. We then see a vision of the future and a Doug draped in a black coat standing beside Porkchop’s grave. It’s at this point that Doug finally allows himself to cry for how could he not feel helpless knowing that if he fails his dog is as good as dead?

If things weren’t serious before, they are now.

The next day is the trial, and it starts with Mr. Bluff speaking casually to the judge and refers to him by his first name, Dave (West), and informs him he wants this over with quick so he can get to his office Christmas party. The judge tries to discourage him from being so casual, but lets him know he’s of the same mind, essentially. Porkchop is then brought in, muzzled and tied-up, and apparently Doug will be representing him. I guess the Funnie family couldn’t afford a lawyer? I’m also guessing that since this is essentially a civil matter that they’re not entitled to representation. Bluff’s attorney presents an expert on dog psychology who has predictably decided Porkchop is predisposed to being a killer. While he’s giving his testimony, Porkchop is trying to communicate something about the lake to Doug which the expert just uses against him as further proof the dog is nuts. Then they drop the hammer by bringing in their last witness: Beebe. She’s confined to a wheelchair with her leg wrapped and Doug is legitimately alarmed to see the state she’s in. She looks rather sad, like she doesn’t want to be there, but takes the stand, nonetheless.

With how cavalier everyone is towards Porkchop in this one, I’m guessing dog ownership isn’t that high in Bluffington.

Upon seeing the state Beebe is in, Doug does what he always does when overwhelmed: he retreats into his imagination. This is just further proof that someone else should be representing Porkchop here, but clearly he’s ride or die with Doug. In his head, Doug imagines his three heroes proposing suggestions on what to do next, which Race thinks should be to plead guilty. The three then get into a physical altercation which just forces Doug to realize that the only one who can get he and Porkchop out of this mess is himself. Beebe is then shown finishing her testimony and it’s now made clear she’s not really fully onboard with this charade. As she says what happened she tells the court that Porkchop did bite her leg, but tries to clarify that it didn’t hurt, which her father’s attorney tries to gloss over. When Doug asks if he can cross-examine the witness, Mr. Bluff objects declaring the girl has been put through too much already. The judge apparently agrees as he asks the people present “Isn’t she a brave girl, ladies and gentlemen?” Again, we’re talking about a dog here so apparently the same rules don’t apply. Doug then approaches the bench to try to plead his case that Porkchop should be allowed to tell his side of the story. He explains that Porkchop has been trying to tell him something about the lake and proposes going there, but the judge finds this suggestion ridiculous. He points out that a dog can’t tell it’s side of the story, and since it’s Christmas Eve, they all have families they need to return to.

Finally! Porkchop has a reason to smile! Though I don’t understand why he would suddenly be permitted to remove the muzzle.

Doug takes that as an opening and declares that Porkchop is a part of his family just as Beebe is to the Bluffs. The judge still seems unconvinced, which is when Doug addresses the assembled crowd to point out how Porkchop is a part of the community. It’s at this point the episode goes off the rails a bit for me as we hear about all of the good deeds Porkchop has done. Doug calls out one woman and points out that Porkchop babysat her kids when she had to go out of town to see an aunt. Another family had their house burn down, and Porkchop showed up the next day to help them rebuild. Another person chimes in that he lent them money and a woman stands up to declare that Porkchop fixed her transmission. The capper is that even the judge has encountered Porkchop in his day-to-day life. It seems his daughter suffered an accident and Porkchop actually taught her how to walk again. The judge probably should have recused himself from the case given that, but even so, the dog taught his kid how to walk! This is one absurdly amazing animal. This judge is ready to execute him after that experience?! This dog should be world famous and Bluffington’s number one citizen!

Old Killer is at it again!

After Doug pleads his case, the judge finally allows for Porkchop to do the same and orders everyone to reconvene at Lucky Duck Lake. Once there, Beebe explains what happened to the judge once more and points out where she thought she was at the time of the attack. Doug asks her to point out exactly where she was, but she’s not sure. Patti (Constance Shulman) spots the pine cone they were using as a puck and determines that she must have been there. Of course, there’s open water still present and even the Thin Ice sign is visible floating on it. As Beebe heads over there, Porkchop once again goes into a panic as he tries to warn everyone about the ice. To the onlookers, this just makes Porkchop look like he wants to maul her again and the judge even suggests that he’s seen enough. Doug assures them that Porkchop is just trying to tell them something and he gets on one knee to consult with the dog. It’s too late though as Beebe falls through the ice!

If you want a rich person to care about a poor dog, you basically have to save their life or the life of a loved one. And they better witness you doing it too!

Mr. Bluff immediately cries out for someone to help his daughter, but Doug shouts out a warning about the ice (finally, someone gets it!). Porkchop is able to break free of the guards and runs after Beebe diving into the water as Beebe goes under. He’s able to pull her up and onto the ice and drag her to safety. We then cut to everyone gathered in a hut of some kind as Patti declares that Porkchop was trying to keep Beebe away from the thin ice. Finally, the last horse, or horses, cross the finish line and the people gathered rightly acknowledge that Porkchop is a hero, not a devil. Porkchop is set free and we cut to Christmas morning and Doug looking at a newspaper which declares Porkchop a hero for saving Beebe. Porkchop is gifted the hat Doug bought for him and he seems to like it, though he also has a cold. Doug also narrates that people kept coming by all morning to see Porkchop, including Mr. Bluff and Beebe, whose leg is suddenly all better. Mr. Bluff, who clearly has had a change of heart, wants to know if there’s something he can do for Porkchop as a showing of thanks for saving the life of his daughter. Doug doesn’t know of anything, but Porkchop apparently does.

There’s the happy reunion we’ve been waiting for!

Porkchop is somehow able to communicate that what he would like most is for Mr. Bluff to put on a feast for all of the dog’s at the pound. We then get to see how it all unfolded as it took place in the center of town. The former mayor attended and Doug informs us that he was able to use his radio show to find homes for all of the dog’s in attendance. Mr. Bluff, who apparently has a different outlook on dogs now, offers a toast to all in attendance and a special toast for The Hero of Bluffington – Porkchop! Porkchop is there as well dressed as Santa Claus and he joins the Funnie family for a toast. The camera pans out as the assembled crowd break into “Deck the Halls” which takes us into the credits. As a parting gift, we’re treated to an image of a Christmas card from the Funnie family.

Doug even channels The Grinch with a “He himself,” line in reference to Mr. Bluff.

And that’s how Porkchop went from villain to hero one Christmas. It’s a solid approach to tug at the heart strings, have a dog wrongfully accused of being a bad dog and toy with the emotions of the viewer by suggesting the life of the mutt is over. And while the premise is a bit preposterous, it fits with the setting of the show since Porkchop is a bit preposterous himself. It just takes things too far by making the people of Bluffington look incredibly stupid by not realizing what is obvious to anyone who looks at that lake. And they also look like lunatics for wanting to terminate Porkchop from the start. The dog is amazing! Too amazing as it undermines the situation because no one would assume the worst of Porkchop given what he’s demonstrated in the past. It’s to the point where it’s absurd. Am I taking this cartoon too literally? Possibly, but it did it to itself by going way too far in characterizing Porkchop as a force in the community. We didn’t need all of those incredible examples of the dog’s good nature in the courtroom to be on his side. And if the show didn’t portray the people of Bluffington as being so readily out for blood then it wouldn’t have taken such a speech to grant Porkchop a defense. Sure, heading to the scene of the crime to let a dog tell its side of the story is a bit odd, but the judge was literally denying Doug any kind of defense for his dog. He couldn’t even cross-examine a witness!

Looks like it was a merry Christmas after all, just as I predicted it would be.

This one is clunky, but don’t assume that means I wasn’t still moved by it. Of course I was! I get a little choked up each time I watch that silly dog pull Beebe from the water and I do feel good for Doug and his dog when all is said and done. It’s still a heartwarming story, it just pushes things too far. It tries way too hard to be that kind of story when it didn’t really have to. That’s why a much better Christmas Nicktoon is “Arnold’s Christmas.” That plot needed some pretty crazy things to fall into place as well, but it doesn’t feel like it’s reaching to the degree that “Doug’s Christmas Story” is. Does that make this one bad? No, but I can totally understand someone having more of an eye roll reaction here than feeling truly moved.

Season’s greetings from the Funnie family!

If you would like to see this one for yourself, your best option is to stream it on Paramount+. Doug, being a less celebrated Nicktoon, isn’t assured of finding airplay on cable this year. It’s also a little messy in that Disney owns the character now so Nickelodeon might not be eager to promote this one, even though the company retains ownership of this era of Doug. The episode was released on both VHS and DVD if that’s your fancy, and it can be rented on other streaming services. I give it a bit of a tepid recommend. While I think anyone can enjoy it, it’s probably best enjoyed by those who watched the show as a kid. Anyone else might just find it too ridiculous to take seriously.

Can’t wait until tomorrow for more Christmas? Check out what we had to say on this day last year and beyond:

Dec. 4 – The Pups’ Christmas

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Dec. 4 – Family Guy – “Christmas Guy”

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Dec. 4 – A Christmas Story (1972)

For today’s Christmas post, we’re going to take a look at A Christmas Story. No, not that Christmas Story, the first one. Way before Ralphie started obsessing over a BB gun, the duo of William Hanna and Joseph Barbera brought us a story about a mouse and a dog trying to get a last-minute letter…


Dec. 3 – Animaniacs – ‘Twas the Day Before Christmas

Original air date November 29, 1993.

Children’s cartoons often take to Christmas when the season rolls around. The holiday is usually ripe for parody or just direct adaptations so it’s easy for the writers to kind of phone it in. What’s not customary is for a cartoon series to feature two dedicated Christmas episodes in a single season! That’s what Animaniacs did in 1993 airing the episode we’re about to talk about one week, followed by the episode which featured “A Christmas Plotz” the next week. I’m not sure why this approach was undertaken. Maybe they had too many ideas to settle on? “A Christmas Plotz” is the sort of special I dread as it’s just a re-telling of A Christmas Carol. It’s not bad, but it’s a bit that was stale even come 1993 unless the writers found a way to really upend it, which the show did not. This episode, which features “‘Twas the Day Before Christmas” and is the segment I consider the meat of the episode, is more a scatter-shot type of episode. None of the segments are particularly long, but most tie into Christmas in some way. And they’re a bit more original than a parody of A Christmas Carol, though there’s some DNA from other Christmas specials to speak of.

It doesn’t take much effort, but just adding falling snow to the opening credits really adds to the Christmas feeling.

The episode begins with a short segment called “Slippin’ on the Ice.” The Warners, Yakko (Rob Paulsen), Wakko (Jess Harnell) and Dot (Tress MacNeille) are literally slipping on some ice as they sing about it. It’s very brief and feels like a time-filler, but it’s well animated. It takes us into the opening credits which are the standard ones, only they’ve added falling snow over them. It’s a simple, but effective, way to make the episode feel more special. When the credits end (the credit joke is Yakko singing “Citizen Kaney”) we launch right into the intro for Slappy the Squirrel, only this time, there are no Christmas accents. We then get a title card for the main attraction “‘Twas the Day Before Christmas.”

This framing device is just a way to include Slappy and Skippy as there seemed to be a desire to fit in all of the regulars.

When the cartoon begins we find Skippy (Nate Ruegger) in his room by the window when his aunt Slappy (Sherri Stoner) enters. Skippy is in his pajamas, and Slappy too, and she’s wondering why he isn’t asleep. It’s Christmas Eve, and the kid keeps hearing the sound of Santa’s sleigh bells outside and can’t sleep (Oh, do I know the feeling). Slappy tells him he’s just hearing the LAPD choppers and throws him over her shoulder to dump into bed. Skippy then tells her he can’t sleep and would welcome a story. Slappy remarks “For the love of Al Gore,” which certainly dates this one a bit (the main failing of this show and Tiny Toon Adventures is they both relied on topical references that don’t always age well), but then agrees to provide one story to send Skippy off into Dreamland. He agrees to the proposal, which is followed up with Slappy asking if he wants to hear about the time she stuffed live piranhas down the pants of Sonny Tufts? I had to look up who Sonny Tufts was. Apparently, he’s an actor who did most of his work for Paramount and starred in the film Cat-Women of the Moon. Also, by the time this episode aired he had been dead for 33 years.

Ladies and gentlemen: Sonny Tufts!

Skippy is not interested in hearing about some dead actor’s piranha troubles and insists on Slappy telling him a Christmas story. She still tries to sell him on the Tufts story by saying he was drinking eggnog at the time, but Skippy just hands her a book. Slappy agrees and takes the book, but before she can start reading she has to noisily clear her throat which Skippy responds to with his catchphrase, “spew!” The title of the book is The Day Before Christmas and it’s basically A Visit from Saint Nicholas, or ‘Twas the Night Before Christmas, only it’s going to be about some characters we all know and love: the Warners!

The pattern on those giant ornaments just makes me think of Easter eggs.

Slappy begins reading it, but her narration is only going to be used to get us into the story. From there, the characters present will speak their own lines without the aid of a narrator, but they’ll speak in a cadence reminiscent of the source book. It’s a little annoying, but not overly so. As the story begins, it’s the day before Christmas (as the title implied) and it’s 90 degrees in Burbank, CA. The Warners are busy decorating their water tower so Santa knows just where to deliver the presents. Elsewhere, some characters are fretting though. And those characters are Mr. Plotz (Frank Welker), Dr. Scratchensniff (Paulsen), and Hello Nurse (MacNeille). Plotz is fretting because he needs to find someone to deliver presents to the Warners, but he doesn’t know who is stupid enough to do so. He turns to the doctor first, who refuses on account that he did it last year. They drove him bonkers and kissed him a lot then made him stay up late singing carols and he apparently got creamed in a pillow fight.

I bet the artists loved working on Hello Nurse.

Hello Nurse, and I forgot just how absurdly curvaceous this character was drawn until now, asks Plotz why bother when they can just leave the job for Santa? He informs her it’s because they have a clause in their contract that mandates it and if they don’t they can sue. Plotz understandably doesn’t want to deal with that, but wonders aloud where he can find someone stupid enough to do it? Right on cue, he spins in his chair and spies the security guard, Ralph (Welker), who certainly qualifies as stupid enough. Ralph is one of those characters that I don’t think children’s shows do anymore as he’s one of those “Dahh, okie dokie,” kind of morons that could be read as being an insensitive take on someone with an actual genetic condition.

Come on! It’s Christmas! Can’t we give Buttons a reprieve from crippling pain?

When we’re taken to Ralph, he’s basically closing down the Warner lot and saying goodbye to celebrities as they drive on out. The first to go is apparently Kevin Costner in a limo. The next is a station wagon and when Ralph wishes the vehicle a “Merry Christmas” the window rolls down to reveal it’s Buttons (Welker) and Mindy (Nancy Cartwright). She gets to utter her catchphrase, “Okay, I love you buh bye!” while Buttons has pain inflicted upon him when the car window goes up and catches his snout. It feels almost too cruel and looks especially painful for the poor dog. The hippo characters then walk out with Flavio (Welker) shown following his wife while carrying a mountain of wrapped gifts. He looks exhausted, but his wife Marita (MacNeille) calls out for him to come along as they have more shopping to do. Behind them is the mime character and as Flavio moves along an anvil tumbles out of a gift box from his pile and crushes the hapless mime.

Of course I’m getting in this image of the Batmobile.

Off to the side, Rita (Bernadette Peters) and Runt (Welker) are lurking and seeking a way onto the lot as Rita reasons they may be able to find some unguarded dumpsters. Runt is just along for the ride and by pairing him with the Ralph character it becomes quite apparent that Frank Welker’s voice for each character is essentially the same. Only Runt is doing a Rain Man impression to Ralph’s moron voice. Anyway, they slip in undetected as Ralph waves bye to the next guy to pull up, Michael Keaton, who is driving the ’89 Batmobile which Ralph refers to as a “lovely sedan.” Plotz, from his office, is able to build off of this rhyme by declaring “Give him a Santa suit, Ralph is our man!” as he and Dr. Scratchensniff shake on it.

They would get their own classic Christmas special years after this, but I feel like the show really should have given Pinky and The Brain their own Christmas cartoon.

We cut to later that night and the Warner tower is plastered with signs welcoming Santa and instructing him where to deposit their gifts. Yakko’s voice then comes in reading the start of “‘Twas the Night Before Christmas,” with Dot picking up the line about creatures stirring, only she points out there was a mouse stirring. This is our cue for Pinky (Paulsen) and The Brain (Maurice LaMarche) to enter. Brain is dressed as Santa and Pinky an elf and they apparently have a Christmassy plan to take over the world tonight which involves stealing Santa’s sleigh. Pinky responds by saying “Brain, you’re a genius, you simply astound me,” and as he does he whirls around and knocks Brain off of the water tower. As he goes screaming towards the ground, Pinky looks down and exclaims, “Narf! Brain’s gonna pound me!”

I have to hand it to the Warners, they keep a tidy home.

With Brain a pile of goo on the ground, we head inside the water tower. It’s looking rather festive including a giant tree in the middle. The Warners are gathered at the fireplace hanging their stockings and Wakko’s is the one that’s unusually large. Dot explains, “The stockings all hung so our name’s clearly showed,” and Wakko finishes the line by saying, “In hopes that old Santa would leave a big load.” That sounds gross. Yakko then blows us a kiss and says “Goodnight everybody!” as the three hop into bed. They continue with the poem and Wakko gets the part about sugar plums which appear in a thought cloud that he promptly eats. Yakko continues by saying “We were all feeling tired when we turned out the light,” then clicks the light back on to admit, “Forget it! There’s no way I’m sleeping tonight!”

We can’t forget about The Goodfeathers!

We then go to the part about the kids hearing a sound. They jump from their beds, take a tumble, and throw open the door to the water tower. And lo and behold they spy…a cat and a dog in the garbage – P-yew! It’s Rita and Runt again and they’re nosing around for some grub. Then the Warners hear a different sound – a miniature sleigh and eight pigeons with antlers! It’s Ralph Claus and he’s flying through the air being pulled by, as Yakko just told us, eight pigeons with antlers! This allows the Goodfeathers to sneak in as we see Squit (LaMarche), Bobby (John Mariano) and Pesto (Chick Vennera) struggling along with the other five pigeons to keep the rather large Ralph and his sleigh airborne. Despite his appearance, the Warners still refer to him as a little old driver and we get to see Ralph call out to his pigeons, “Duh, now, Bobby. Now, Squit. Now, Pesto. Now, Vixen. On, Comet. On, Cupid. On Richard and Nixon!”

I feel like Brain isn’t usually subjected to this much abuse.

The little sleigh gets tugged up to the top of the tower where Santa is hurled with Brain (now back on the tower) declaring “As soon as it lands we’ll take over the world!” Only the sleigh lands on the two mice and it’s not a pretty sight. They yank themselves out from under the runner of the sleigh, only for Santa Ralph to step on them as he exits it. Brain remarks, “Pinky, I am in considerable pain,” but Pinky is only able to reply in nonsense words of “Narf! Zoit! Poit! Gake!” before finishing with “I’m with you, Brain.” Inside the tower, the Warners are preparing for Santa’s imminent arrival, but before he can do that Squit has to tell Pesto his antlers look cute so the hot-headed pigeon has an excuse to whack him. With that out of the way, Santa makes his grand entrance by dropping through the ceiling like a sack full of bricks. The Warners inform us he’s likely concussed, and Ralph confirms it by wishing “Happy Easter, you guys!”

Everybody is getting creamed in this one!

The Warners haul him to his feet so that Yakko can make fun of his appearance before Ralph heads over to the tree to unload all the presents. Then it’s time for him to make his exit, but since this is a 90s cartoon he can’t lay his finger beside his nose, but inside it! Yakko tells us the dear network censor finds it totally gross so we don’t actually see him go three knuckles deep and instead we just see him climb the Christmas tree and out the hole in the roof. There Ralph hops back into his sleigh to signal the flock, but when they take off they drop like a rock. Ralph and the pigeons look rather worse for ware on the ground below, but what’s this? Up in the sky! Could it be?!

It just keeps getting worse for Ralph.

Yes, it is! It’s Santa! The real Santa who bellows out “Season’s greetings to all,” as he flies by the moon with all eight reindeer. Rita and Runt are then shown shouting out their thanks as Santa apparently left them some food that didn’t come from the garbage. Santa then circles back to make another pass before the moon while shouting out, “Merry Christmas to Yakko, Wakko, and Dot!” The Warners are shown waving from their tower at the departing Saint Nick as the cover from the book we’ve been reading from closes upon them.

A picture perfect ending.

We’re back in Skippy’s room and his aunt Slappy has apparently fallen asleep. Skippy closes the book and sets it aside and says “And Merry Christmas Aunt Slappy and to you girls and boys. As for me,” he curls up under his covers and closes his eyes. Then they snap open and the little squirrel leaps high in the air to add, “I’m going downstairs to open my toys!” And the little scamp races off while an iris shot closes out the scene.

Go check out that tree, Skippy! I guess he has a tree within a tree?

That’s the end of the main cartoon I want to talk about, but it’s not the end of the episode. A “Good Idea/Bad Idea” segment follows juxtaposing singing Christmas carols at Christmas with doing the same thing on the Fourth of July. The skeleton family gets blown up for their holiday mix-up which seems rather harsh. After that, we go into another cartoon: Jingle Boo. It’s a Chicken Boo sketch with a holiday theme, though it foregoes the usual opening. If you’ve never seen one of these, Chicken Boo is just an oversized chicken masquerading as a man, only he’s really not personified at all. He’s just a chicken. Most of the people in his orbit don’t seem to notice, but sometimes there is one person who does making it feel like a goofy Twilight Zone bit sometimes, which is how this one is going to go.

Just a perfect gift from the perfect Santa Claus.

The short begins with a shot of a Christmas tree positioned on top of a building. “Oh Tannenbaum” plays in the background which is soon replaced with an instrumental version of “Jingle Bells” as the camera pans down to reveal we’re outside of a store named Marcy’s. Inside we find a mall setting and there’s a massive line of children and parents waiting to see Santa Claus. One woman (Gail Matthius) remarks he’s the most convincing Santa she’s ever seen. The other adults, another mom (MacNeille) and a dad (Paulsen) seem to agree as the first woman’s child runs up and jumps on Santa’s lap. She seems to be credited as Sabina (MacNeille) in the credits and she has a real Pistol energy from Goof Troop which makes me wish they had Nancy Cartwright voice her. Anyway, she jumps onto Santa’s lap and we see that it’s clearly Chicken Boo in the suit. Sabina wants a Baby-Go-Burp doll for Christmas and one comes down a chute beside Santa and he hands it to her. It does a very exaggerated burp which the child is happy to show off to her mother by having it belch in her face.

The only smart person in this picture.

Another kid (sounds like Nate Ruegger again) follows and he asks for a Mr. Dude action figure complete with polyester power suit and dude accessories. The kid gets handed a figure of a man in a business suit with a cell phone and he seems pleased as he cries out “He is the real Santa!” before departing. Santa’s attention then turns to the next kid, Colin (Colin Wells). He has the same design as the little boy who is used in quick-hitting segments where he comes out of his house to tell the audience a story about some kid named Randy Beemer which always ends with him saying, “K – bye.” Only here, the little kid is terrified and it’s because he’s seemingly the only one who knows that Santa is actually a chicken. The two moms, who are still lingering despite their kids running off, derisively ask the boy’s father “Isn’t he a little old to be afraid of Santa Claus?” The dad seems embarrassed by his son’s behaviour and encourages him to go see Santa, but the kid refuses. There’s a rising hysteria in his voice as he says “He’ll peck my eyes out!” which sounds great.

Chicken Boo has been outed.

The rest of the patrons in line laugh at the kid for thinking Santa is a chicken which doesn’t seem to phase his dad. The other moms remark the kid needs therapy, but the dad just takes him by the hand and leads him to Santa. I’m surprised at the gentle touch being employed by dad here as I was expecting him to get angry, grab the kid, and slam him on Santa’s lap. The kid basically goes willingly, but with some hesitation, and the dad reassures him once he’s seated on Santa’s knee that it’s just jolly old Saint Nick. The kid remarks, “More like jolly old Saint Chick,” and begins tugging on Santa’s beard. It doesn’t come off initially, but a more forceful second tug causes it to come free and the whole stage area basically collapses. When the boy pops his head out, so too does Chicken Boo. The boy screams, Chicken Boo (Welker) clucks a return scream, and the dad finally realizes that Santa was, indeed, a chicken.

I guess he can try putting those wings to work.

The dad grabs his kid and runs off while Chicken Boo emerges from the rubble and shakes off some of the holiday ornaments stuck to his leg. The manager of the store (Welker) then comes storming over while the children scream and demands to know what’s going on. The angry moms then storm off with their kids threatening to never come back to this store again leaving the manager to direct his anger towards Chicken Boo. He fires the chicken on the spot, and then takes a jab at Arkansas by suggesting they may let chickens play Santa down there, but they don’t up here in New York City. He then boots Chicken Boo like a placekicker would a football and he goes crashing through the ceiling of the store and soaring into the air.

He is one lucky clucker.

Because it’s Christmas, there’s someone flying high above to catch the soaring chicken: Santa Claus (Harnell)! Chicken Boo lands in his sleigh and the jolly old elf gives out a hearty laugh and informs Chicken Boo that since it’s Christmas, they’re going to give him a happy ending for a change. Some elves then emerge from Santa’s sack and start singing “Jingle Bells,” but they change the lyrics to better describe the present situation. They soar through the night sky and head for a full moon, and as the elves finish their “Jingle Boo” song, Chicken Boo looks at the camera and clucks before an iris shot signals the end.

If you like moon shots then this episode has you covered. I think this is our third one?

Our next segment is “The Great Wakkorotti: The Holiday Concert” and it’s Wakko just belching the melody to “Jingle Bells.” There’s not much to say about it, but my kids think it’s one of the funniest things they’ve ever seen. It’s followed by yet another “Good Idea/Bad Idea” and this time it’s finding Easter eggs on Easter compared with finding Easter eggs on Christmas. Then we get another short starring the Warners titled “Toy Shop Terror.” It’s a strictly visual short that’s also not really Christmas themed. The Warners don’t speak until the very end, but it’s basically them causing mischief in a toy shop after the old toy maker goes to sleep. They get into a chase sequence with a security robot, which they end up destroying and returning to the old man. It’s okay. Following that is one of Yakko’s song sequences, this one “Yakko’s Universe,” which had been used in a prior episode. They clearly had some time to fill and since it begins with a snowy scene it must have felt appropriate to toss it in.

The toy shop short is fine, just not very Christmassy.

Following that, the episode is over. It’s a bit interesting for a Christmas episode of Animaniacs because it starts out very centered on the holiday, and then it sort of just peters out. It’s a bit of a shame that the main cartoon, “‘Twas the Day Before Christmas,” wasn’t simply longer. It felt like there was more that could have been done with that one which may have allowed for some of the other stuff to get cut. Not that anything that follows is bad, it’s just not entirely onbrand with a Christmas episode. “Jingle Boo” is a solid edition of Chicken Boo so if you like that character you’ll probably enjoy it. I’m a sucker anytime a character that usually just has misery inflicted upon it gets a happy ending, sort of like Barney Rubble finally getting some Fruity Pebbles in the classic holiday commercial. The toy store sequence doesn’t do much for me and belching Wakko makes me feel ill to my stomach. The final segment is pleasant enough though and that line about being tiny specs the size of Mickey Rooney has been stuck in my head for almost 30 years now.

Animaniacs has its own style of humor, sort of a modernized golden age toon, and it either works for you or it does not. I’m mostly charmed by it, but I know some people just can’t get into it. If I had to pick one Christmas themed episode of the show to watch, I’d go with this one as it’s superior to yet another version of Dickens even if it’s less focused as a result. If you would like to check it out, Animaniacs has been made available on DVD over the years and I still see it in big box stores when I’m in them. The show used to be streaming on Hulu, but their agreement with Warner has since expired leaving Yakko, Wakko, and Dot without a streaming home at present. Hopefully, that won’t be forever.

Can’t wait until tomorrow for more Christmas? Check out what we had to say on this day last year and beyond:

Dec. 3 – Popeye the Sailor – “Mister and Mistletoe”

Last year for the Christmas Spot we took a look at the 1960’s TV series Popeye the Sailor and its Christmas episode “Spinach Greetings.” There are a lot of Popeye fans in the world and my assumption is that most would not put Popeye the Sailor above the theatrical shorts that helped catapult Popeye to…

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Dec. 3 – The Simpsons – “The Way of the Dog”

It’s not often I get to look at a Christmas special from the same year I’m doing The Christmas Spot, but it also helps when that Christmas special premieres in May of the same of year. May?! Yeah, it’s weird, but for the 31st season finale of The Simpsons the show rolled out a Christmas…

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Dec. 2 – Justice League – “Comfort and Joy”

Original air date December 13, 2003.

In 1995, Warner Bros felt it was a big enough entity that it could launch its own broadcast television network. Dubbed The WB, it would try to compete with the big four of ABC, CBS, NBC, and Fox, but never really achieved that level of success which is why it no longer exists. The strategy seemed to be to go for a younger demographic with its prime time shows, similar to Fox, but even younger. Maybe they felt there was a market for the kids who had outgrown Nickelodeon and were searching for something else to watch. The American household had long since evolved past the one television per home model and kids basically had as much access to TV as adults so I suppose it made some sense. Warner never did leave the little kids behind entirely though as they also programmed afternoon and Saturday mornings tailored to children. Kids WB was definitely meant to challenge Fox Kids who had become the dominant brand for broadcast children’s programming behind the strength of shows like X-Men, Mighty Morphin Power Rangers, Spider-Man, Batman, and Animaniacs. The interesting part about Warner’s decision to launch its network when it did is that a lot of its intellectual property was tied-up in other places, like Fox. They basically had to run out the clock on the likes of Batman and Animaniacs until they could get those rights back which meant in the meantime turning to other characters like Superman and Tweety (seriously, Tweety was somewhat inexplicably popular in the mid 90s).

Eventually, Warner did get those rights back and Batman was able to join Superman on Kids WB with his old collection of episodes from the Fox days as well as some new ones. We’ve already talked about this pretty extensively in the Batman section of this blog, so we probably don’t need to dawdle any longer. That power hour of Superman and Batman would eventually give way to Batman Beyond as the continuation of what was becoming the DC Animated Universe. Bruce Timm, Paul Dini, Dan Riba, and other creators behind those shows would continue to flesh out their world. It seemed obvious to anybody keeping up that the end game was to collect all of these heroes in place for a new Justice League show. The problem with that strategy ended up coming from an unexpected place.

Something that has not aged well is the CG intro. The shoulders on these guys are absurd!

A little known cartoon outside the US called Pokémon made some headlines in the 90s due to it causing a bunch of kids in Japan to have seizures during an episode. It was basically just a peculiar story and I bet a great many folks who read it assumed they’d never hear about this show again. They would be wrong as the game would arrive in the US eventually and the show followed. While it didn’t make a huge splash at first, it would gradually rise in popularity until it became the ratings king of Saturday morning. And it was on the Kids WB Network. The success of Pokémon seemed to convince the powers that be at the network that the future lied in licensing Pokémon adjacent programming for their network essentially forcing out their homegrown stars. Those shows were costly to produce and the only revenue they saw from them was ad revenue. Luckily for fans of the DC shows, there was a new home waiting for them in Cartoon Network, which had found tremendous success on weekday afternoons with its action block Toonami. That network started airing reruns of Batman and they performed well enough that they were willing to make a deal with Warner for new content thus becoming the home of the Justice League.

Justice League premiered on November 17, 2001. It’s another animated series from Warner and DC developed by Bruce Timm with Butch Lukic and Dan Riba returning as directors. Stan Berkowitz and Rich Fogel are the credited head writers, but they received contributions from the likes of Dwayne McDuffie, Paul Dini, and a host of other writers. It would definitely seem that Dini was less involved with this show than past DC animated programs, but he is the writer of today’s episode “Comfort and Joy.” This is, obviously, a Christmas episode and it excludes Batman. Maybe because he already did two Christmas episodes? It’s the only episode of the series, which was one order of 52 episodes, that’s a stand-alone one. Every other episode is either a two-parter or more. The main team consists of Superman, Batman, Wonder Woman, Green Lantern, The Flash, Hawkgirl, and Martian Manhunter. It’s not a show I ever watched so I’m banking on my familiarity with these characters from outside this show to help me through this one. And even so, I mainly know Superman, Batman, and Wonder Woman and both Wonder Woman and Batman aren’t featured. I guess it’s time to get acquainted with Martian Manhunter!

It’s certainly a Christmassy setting.

The episode begins with Martian Manhunter (Carl Lumbly) standing in a snowy environment silently assuring some alien lifeform that they will save their world. Apparently, these aliens (who look like uglier versions of The Snorks) have entrusted the Justice League with some sort of gravitational device. I guess we’re not on Earth, even though the snowy area has evergreen trees on it, and the aliens that Martian Manhunter is communicating with are on a different planet. Superman (George Newbern) and Green Lantern (Phil LaMarr) are assembling the device which is rather massive and ugly looking. This show is digitally animated and the characters and backgrounds mostly look fine and can pass as cel-animated. The device, however, is rendered in 3D and just looks really bad. It’s the type of thing that probably looked bad even back then, but so many shows loved incorporating that sort of thing into their look.

These are the guys the Justice League are trying to save.

As the two super men do their part, we see Hawkgirl (Maria Canals-Barrera) delivering some rope and parts to The Flash (Michael Rosenbaum) who dashes about the assembled device and inserts what looks like circuit boards into a compartment. He indicates that J’onn (apparently Martian Manhunter’s real name, which just sounds like “John” but they had to make it annoying to type since he’s an alien, or whatever) is “beaming the directions” into his head as he goes along. When he’s done, he dashes over to the others who have assembled where J’onn has been standing and we see the device in action. The planet they’re on is some ice planet and it was going to collide with the planet those Snork guys are inhabiting. The device envelops the ice planet with some green beems and basically backs it off. It’s all done with some pretty bad CG. It worked though as the aliens cheer and Superman remarks that the ice planet will never threaten the other one again.

All in a day’s work, I guess.

Show’s over, right? No, because now we can get to Christmas! Flash indicates that this was the best way to start a holiday break, which apparently Green Lantern is no fan of? He immediately bails, I guess he can just fly through space, and Hawkgirl decides to join him. Flash asks J’onn what his plans are for the holidays and he responds, without a trace of emotion in his voice, that these times hold no special meaning for him. He then walks onto the device which apparently doubles as a spaceship, or the this is an unrelated spaceship. Flash remarks that his personality is rather “frosty” and then Superman, with a sly smile, indicates that they’ll have to do something to change that. And that’s our A plot – show Martian Manhunter the spirit of Christmas!

Real creative, GL.

That takes us into the usual opening credits and when they end we’re back on the ice planet. Green Lantern has created a green snowboard using his power ring and is blasting down the side of a mountain with glee. Hawkgirl is there to watch and when Green Lantern comes to a stop she remarks that she thinks it’s odd for a man who can fly through space to get so worked up by snow. Green Lantern tells her it reminds him of his grandmother and how he used to play in the snow as a kid. He offers a “See?” like he’s going to prove to her how awesome snow is and goes on to assemble a snowman with his ring. When Hawkgirl doesn’t heap praise upon him he flops to his back to show her another “secret” and makes a snow angel. He points out his “wings” and Hawkgirl is appropriately unimpressed. What is this? Are we to assume Hawkgirl has never seen snow before or the things that kids do with the snow? When she turns her back to him he nails her with a snowball and when she angrily asks what that was for, he responds with “It’s supposed to be fun.” Predictably, Hawkgirl returns the remark with a smile and uses her mace to conjure up a wave of snow herself and sends it in Green Lantern’s direction. They both then enthusiastically commence what is sure to be an epic snowball fight before we cut to another scene. That might be the worst thing Paul Dini has ever written.

You can’t have Christmas without orphans.

The next scene begins with an exterior shot of an orphanage. It would seem the structure of this episode is going to be “how each member of the Justice League (minus Batman and Wonder Woman) spends Christmas.” And for this one, it’s The Flash. Well, I suppose I ruined the surprise there as the scene begins with a woman (Kimberly Brooks) prepping a group of kids for the arrival of the man in the red suit. We’re probably supposed to think she means Santa, but The Flash comes zipping in to the delight of the kids. I was hoping they’d be bummed it wasn’t Santa, but I guess we’re playing things pretty straight. He mentions he’s there and he’s bringing gifts and questions what the kids want this year. They direct his attention to the TV where a commercial for a DJ Rubber Ducky is playing. It’s terrible, but likely intentionally so, as it’s a rapping duck who shakes his ass at the screen and makes farting noises. I can’t tell if they’re supposed to be farting noises or if they’re just a poor imitation of traditional, animated, duck noises that we see from the likes of Donald Duck or Quackers. Flash seems amused though and promises the kids he’ll get that for them while the woman cautions him about making a promise he can’t keep since the stores are apparently sold out. Flash is dismissive of her concerns setting up this plot for us as Flash needs to supply some orphans with a sought after Christmas toy. This is definitely going to be a low stakes episode.

He’s feeling just a bit out of place.

Next we check-in with Superman and Martian Manhunter. Superman has apparently decided to take his green buddy back home to the farm for a good old-fashioned Christmas. Hey, if it worked for Garfield then it can work for the Manhunter. J’onn is unsure of his presence here, but Clark insists he wasn’t leaving him alone at the Watchtower, which I assume is their headquarters. We also get our one mention of Batman as Clark remarks that he insisted on monitor duty tonight. When they enter the house we’re introduced to Martha (Shelley Fabares) and Jonathan Kent (Mike Farrell) who welcome their son in. Clark tells them he brought a friend, and J’onn introduces himself and lets them know that their son insisted on his coming. He also introduces himself as a martian which naturally doesn’t phase the Kent parents and they welcome him into their home. Once inside, Clark asks where Kara (aka Supergirl) is and we’re informed she’s skiing with Barbara (Batgirl) and won’t be home until New Years. Clark remarks that J’onn can stay in her room then we cut to the big man entering a very, girly, looking bedroom. He indicates to Clark that it’s a bit strange seeing this side of him, but Clark just lets him know that’s because here he can be himself and relax. We then hear his dad call out from the other room that he’s lighting the tree causing Clark to bolt out of the room like a child crying out “That’s my job!” Left alone, J’onn takes a seat on the bed and seems a little sad. A cat saunters in and we actually see the green guy smile and call out “kitty,” but he just gets a hiss in return which seems to wound him more than a scratch would have.

That’s better, much more creative this time around.

We next check in on the snow fight (yay). Green Lantern has magicked up a trio of glowing, green, catapults which sling a volley of massive snow balls in Hawkgirl’s direction. She maneuvers around them through the air and smashes her mace into the ground sending a shockwave in Green Lantern’s direction. He takes a direct hit which knocks him into a tree causing a mass of snow to fall from its branches and bury him. Hawkgirl lands with a cocky grin on her face that soon fades when a dozen, green, hands emerge from the snow all brandishing a snowball. They fire off an assortment of snowballs in her direction causing her to give up. Immediately after her concession a snowball hits her square in the face to add insult to injury. Green Lantern then emerges from the snow to inquire if she’s feeling more festive now. She indicates she’s not and that she just doesn’t get the holidays on Earth. She mentions that on her home world (okay, so she is an alien which makes the last scene slightly less ridiculous) they had a different sort of celebration and that she’s only encountered one other like it on another planet. She apparently can’t get home, but she could get to this other world and Green Lantern seems game. It sounds like we’re going to see an otherworldly holiday when we next check-in with this pair.

Is Flash going to meet Santa?!

Back on Earth, Flash is shown running through traffic pausing for a moment to wave to a little kid riding in a car. He whirls past a Santa on the corner and deposits a dollar into his collection box and helps himself to a candy cane. His ultimate destination though is a toy store which is surrounded by a mob of angry folks. When Flash gets there, one man urges him to do something and accuses the store owner of hoarding this DJ Rubber Ducky toy, but he insists he’s completely sold out as he tries to hold the doors closed. The crowd disperses and we’re shown Flash race from store-to-store and all have a “Sold Out” sign posted regarding the toy. Flash then grumbles how dealing with Gorilla Grodd was easier than finding this thing, but takes notice of a store display featuring Santa’s workshop. He then remarks that’s his solution – to go straight to the source! Is Flash going to visit Santa? No, apparently not. He heads to a factory in China where the toy is made and we see him walking out with the factory’s last DJ Rubber Ducky. A Mr. Hama (Robert Ito) tells him that they’re happy to pass on the last unit to someone like The Flash and we see that this silly toy is freaking huge! It’s basically the size of Flash’s torso.

“You drink from the skull of your holiday idol?”

Next we return to the home of the Kents to see how Martian Manhunter is doing. The family is gathered at the kitchen table and the Kents are telling stories about young Clark at Christmas. Jonathan remarks that they used to have to wrap his presents with lead foil so he couldn’t peek and Clark rather sternly remarks, “You mean Santa wrapped my presents,” and the Kents just go along with that. Meanwhile, Martian Manhunter looks a touch confused and looks down to the steaming mug in his hand which bares the visage of Santa Claus. Martha then informs J’onn that anyone who attends Christmas at their home leaves with a present and she hands over a box to J’onn. He seems surprised, and conjures his inner little drummer boy by pointing out that he brought no gift in return. Martha insists though and J’onn opens his gift to find it contains a rather nice looking sweater, not an ugly Christmas sweater. She says she hopes it fits as he slips it on, over his cape I might add, and then tells her not to worry as he smiles and expands his body to fill the sweater. It’s actually pretty absurd that the sweater was too big in the first place since this guy is a massive man, or rather, a massive martian.

Sometimes you want to go…

We cut to a billboard of a scantily clad woman on a foreign world. I’m guessing Bruce Timm is responsible for this shot. This is the planet Hawkgirl was talking about and we spy she and Green Lantern descending to ground level. Despite that billboard containing a shot of a human looking woman, the streets are largely filled with inhumanoid aliens including one that’s just a big snake scooting about. Green Lantern asks if this is the place she goes to relax and Hawkgirl responds with a no, this is the place she heads to for fun! She leads him to a sleazy looking nightclub and the two make their way to the bar. She orders a pair of drinks that just look like frothy milk in a beer stein. She chugs one and lets out a loud belch when done remarking it’s delicious and slides the other one over to Green Lantern. He gives it a try and promptly spits it out. When he looks at the drink he spies two worms floating in it. I suppose it makes sense that a hawk girl would enjoy such a delicacy. She then turns to him and the background audio drops as she remarks only one more thing is needed to make this evening better. Green Lantern says “Yeah?” and he seems to think she’s looking for a kiss only for her to whirl around and smash this gigantic alien seated at the bar with her mace. She quickly hands the mace to Green Lantern while the monster rages and when he turns to her she gestures to Green Lantern indicating to the creature that he is the one responsible for the pain in his hand. The monster pounces on him and the two roll around the floor. A pair of aliens look at the brawl and then smile at each other before one blasts the other in the face with its mug. This sets off a bar-wide brawl leaving Hawkgirl to sip her drink with a contented smile upon her face. I thought this was the sort of carnage heroes were supposed to prevent, not start.

Finally! Some action!

We find The Flash racing towards Central City duck-in-hand. Upon arrival though he encounters an explosion at a museum and heads over there to survey the damage. As he walks inside he sets the duck down and wonders who would blow up a bunch of priceless artwork? His answer is Ultra-Humanite (Ian Buchanan), a big man-ape in suspenders with a huge cranium indicating he’s rather intelligent, though lacks fashion sense. He apparently finds the use of public money to fund art offensive so he decided to blow it up – makes sense. He’s also armed with a laser gun and starts firing off at Flash who manages to avoid it. He ends up under a suspended sculpture that the villain blasts from the ceiling and it falls on him. He even looks up to see it, but still gets nailed. I thought this guy was fast? Ultra-Humanite then approaches eager to finish him off, but he takes too long for when he blasts he finds no Flash. Worse, his gun won’t even fire as Flash brandishes the giant battery he yanked from it when he ran by and taunts him by suggesting he should have asked Santa for some more. This enrages Ultra-Humanite, but Flash just pummels him. The shot is from behind Ultra-Humanite so we don’t actually see his fists land, but it’s more than implied. Unfortunately though, he lands right on old DJ Rubber Ducky.

No! Not DJ Rubber Ducky!

Flash hears the crack and knows what happened immediately. When Ultra-Humanite gets up to reveal the broken toy, Flash runs over to, I guess, check on it. Ultra-Humanite doesn’t care and just casually strolls away remarking how it’s just plastic and crude electronics. Flash tries to appeal to him by asking him if he can recall having his hopes and dreams dashed when he doesn’t get what he wanted most and Ultra-Humanite just remarks it happens quite frequently and the Justice League are usually the ones responsible. He thinks the kids would be better off with a book, and he’s probably not wrong, though impractical. Flash is pretty heartbroken and as Ultra-Humanite reloads he even suggest he can go ahead and use that gun on him since he couldn’t possibly feel any worse than he already does. When he said this, his back was towards the villain and Ultra-Humanite is happy to oblige! As Flash turns his head he gets smashed in the face with the butt of the gun.

This is an unexpected development.

Flash is then shown waking up from his concussion laying on the floor. He’s in a lab, or work shop, of some kind and as he rubs his head he sits up and finds Ultra-Humanite at a work bench fixing the duck. Ultra-Humanite tells Flash that his words did not fall on deaf ears and in the spirit of the holiday he proposes a truce. Flash is confused, but seemingly accepts the truce by shaking the hand of the man-ape. He’s then told by Ultra-Humanite that he is repairing the toy while also making some improvements. Flash asks him if he’s rigging it with explosives and Ultra-Humanite rather sternly says “Flash, it is Christmas!” Flash then counters with the question we’re likely all wondering, “Then why did you hit me?” “You hit me first.” Okay, seems fair. He then asks Flash to hand him a screwdriver and I guess we’re just all going to forget about that whole blowing up the museum thing?

They always wind up at a church.

We return to Martian Manhunter who has apparently ditched that nice sweater gifted to him by the Kents. He’s just staring out the window, but then goes intangible and passes through the floor. From there he spies the Kents doing the dishes and making out a bit in the process. It’s an odd kink, but we don’t kink shame here. He then moves onto the living room where Clark is placing gifts under the tree. He picks one up and remarks, “Lead,” so he’s not placing gifts, but peeking! Good thing you have a lot of good will built up with Santa, Clark! J’onn then moves outside and into town where he returns to a solid state and transforms his appearance to that of a human. He then sees a couple walking down the sidewalk who wish him a “Merry Christmas,” and he returns the gesture with a polite wave. He observes them head into a diner and then moves on. J’onn finds himself outside a home and he can hear a young girl inside assuring a “Tommy” that Santa is real and she just knows he’ll come and eat the cookies she left out. This seems to stir something in J’onn who smiles a bit. He drops his disguise and flies up onto the roof, the sound of which wakes the little girl up with a start. We see the cookies and milk left out, and J’onn’s hand pops out of the fireplace to snatch one of the cookies. We next find J’onn outside a church and we can hear singing from within. He’s just standing outside in the snow back in his normal, green, appearance listening to the hymn which is “It Came Upon a Midnight Clear.” When the verse ends with “The world in solemn stillness lay to hear the angels sing,” he almost winces and perhaps a look of understanding crosses his face.

This is going well.

Back at the brawl, Green Lantern is still tangling with the big guy while Hawkgirl is now involved smacking around some poor fools of her own. The whole place is in chaos and Hawkgirl is quick to point out that this is way better than a snowball fight! Green Lantern agrees, but I’m detecting some sarcasm here, as he blasts the big monster man away with his ring. He then conjures up a green boot to kick an alien off of Hawkgirl and goes to help her up, only for her to call out “Don’t let your guard down!” He turns and finds the monster has returned and he knocks him into Hawkgirl.

You know what, I like it.

We somewhat abruptly cut back to the orphanage and Flash and Ultra-Humanite’s silhouettes appear on the door as they approach the building. They’re arguing about Ultra-Humanite wearing a costume and Flash points out that he put on the beard and also suggests that the big gorilla guy wouldn’t want to scare the kids, would he? We can tell he’s trying to place a top hat on him, and I’m guessing it’s a Frosty look. Flash then enters the room and declares himself Santa Flash! The prior shot made it look like they were at the entrance to the orphanage from outside, but the entrance shot makes it seem like they were already in the orphanage. I’m guess it’s just an error. Flash is sporting the hat and beard, but that red suit of his could really use some padding. He’s greeted with cheers and then goes on to introduce his helper: Freaky the Snowman! Ultra-Humanite enters to no reaction from the children. He’s clad all in white and sporting the top hat and deadpan expression. He rather curtly instructs Flash to give them the toy and then take him to jail, so I guess we aren’t just going to forget about the arson from earlier.

Time for a Christmas rave!

Flash once more seeks to confirm that it won’t explode and Ultra-Humanite seems offended by the suggestion. He places the toy on the floor himself and turns it on. The kids are then surprised to hear the voice of Ultra-Humanite come from the toy duck as it beckons them to come closer and hear a story. It’s going to tell them the tale of The Nutcracker and Ultra-Humanite rather smugly mentions to Flash how he improved upon the original. Flash doesn’t seem convinced and remarks he preferred the “poopy noises.” He then notices the kids all sitting around the duck with smiles on their faces. They may not have received the duck they thought they were getting, but they seem content with this one. Flash then smiles and agrees that this present is good too. We then fade out to see Ultra-Humanite being lead into prison by two guards. As he enters his cell he remarks “Haven’t I seen enough of you for one night?” He’s speaking to Flash, who was waiting for him. He setup a little Christmas tree in the big guy’s cell and tells him he thought he could use a little Christmas cheer. Ultra-Humanite approaches and observes that it’s an aluminum tree. Flash basically starts to apologize for being corny and all, but Ultra-Humanite stops him by saying he had one just like it as…though he trails off a bit. Flash leaves him to his tree and once out of the cell Ultra-Humanite turns on a floor lamp that projects Christmas lights all throughout the cell. He sits on the bench and a hint of a smile seems to cross his face as Flash looks on with a more obvious smile from outside the cell.

It’s an unconventional relationship, but this is a no judgement zone.

We return to the D plot of the episode where the bar brawl has apparently come to an end. The place is trashed and there’s one, lone, janitor uselessly sweeping the floor which is littered with numerous unconscious bodies. The camera pans over to find Green Lantern and Hawkgirl in a seated position with the big monster guy. His arm is draped around the two of them and it would appear they’re enjoying a post brawl cuddle session. Green Lantern and the monster guy are unconscious, but Hawkgirl isn’t. She’s sporting a very contented smile and plants a kiss on Green Lantern’s cheek and says, “Merry Christmas, John.” Too many John or John sounding names in this show. That’s apparently the end of this one though as she basically returns to the cuddles.

Martha seems to be a little freaked out by J’onn’s singing, but is trying to put on a nice face.

At the home of the Kents, it’s still dark. We find Clark asleep in his bed, but his eyes soon pop open and a smile crosses his face. He hops out of bed and puts on his robe apparently intent on heading for the tree on Christmas morning. He opens his bedroom door and we can see from the window that the sun is just starting to rise, so the tree is fair game at this point. As he walks into the hall he finds both of his parents standing there with smiles on their faces outside the bedroom door where J’onn is staying. We can hear singing coming from within the room, and the melody is similar to “It Came Upon a Midnight Clear” but the words are unintelligible as he’s apparently singing in his native tongue. Clark places a hand on the shoulder of each parent and remarks “And he said he didn’t bring a gift,” so I guess they’re enjoying the song. We then cut to inside the bedroom and J’onn is seated by the window, naked, stroking the cat. He’s in a more alien form than usual and I suppose the takeaway is that he found the Christmas spirit and apparently the cat did too. We get one last exterior shot of the Kent home before the credits roll.

Petting a cat with no pants on is definitely a bold move.

The premise of “Comfort and Joy” makes a lot of sense for this show. If you’re going to do a Christmas episode about a superhero team it would seem the approach is to either have some big, Christmas, mess or just try to show what the holidays mean to each hero. It’s a bit odd to completely exclude Wonder Woman (Batman is essentially excused by Clark and we’re left to assume that Christmas Eve is just another work day for grumpy Bruce, or an act of selflessness on his part since he doesn’t have a family to spend Christmas with), but that’s the issue with superhero teams: it can be hard to find room for everybody. And on the surface, the approach makes sense. For Flash, we just see how he solves a problem that arises from the mere existence of Christmas. For Hawkgirl, she’s from another world and needs to find a way to relate to Christmas and also wishes to share her interpretation of a holiday with her apparent lover. And for Martian Manhunter, who seems to be mostly devoid of emotion, he really has nothing in his past to allow him to relate or identify with the holiday so Clark takes it upon himself to bridge that gap.

This guy is the show-stealer for me. His motivation to educate the children with finer points is both clever and amusing.

The problem lies in the execution. This episode really wants to be profound. It wants to be a feel good story and also likely seeks to ask the audience what Christmas means to them. It’s just overly simplistic with the approach that leaves little room for a genuine emotional response. The first half of the episode is pretty dreadful. I hated that initial scene between Hawkgirl and Green Lantern and honestly their plot never landed for me. There were no stakes and nothing about the resolution was all that fun or interesting. The plot with Flash had some stakes, albeit they weren’t exactly important. I mean, I want orphans to have a nice Christmas and all, but the material possessions aren’t that important. At the same time, I do appreciate it not completely dismissing the material component as we all know kids want to wake up on Christmas morning to find that toy they want. And if it doesn’t happen, they’re going to be pretty bummed. Still, it found its footing once Ultra-Humanite was introduced via the humor he injected into the story. I liked his deadpan delivery and he’s a well-written character in a very literal sense as his words and delivery are quite entertaining. The resolution was corny, as Flash pointed out, but what Christmas episode isn’t?

Hey look, he gets it!

With the Martian Manhunter plot, Dini was really trying to hit a home run, but he only managed a bloop single. There’s some good character animation with Manhunter via his reactions to what is around him and his struggle to find something in the holiday he can relate to is interesting on the surface. I enjoyed the small bits of humor sprinkled into the story via Clark and his attitudes towards Christmas. I love that Superman believes in Santa and he’s very serious about it and his regression to a more childlike state is handled well and not overdone. Manhunter finding some meaning in the song he hears from outside the church feels forced. It’s like Dini was trying to find a unique way for J’onn to find the Christmas spirit, but the manner in which he settled on is just an empty one. The climax of that plot just doesn’t do it for me. I’m not a talented enough writer to offer a suggestion on how to better craft the climax, I just know it doesn’t land for me. And as someone who consumes and enjoys consuming a lot of cheesy Christmas stuff, it’s not hard to move me with such a tale, but I got nothing out of this one. Sorry, J’onn.

If you like your superhero shows to possess some realism and a serious approach, then I suppose this is still worth giving a look since there really aren’t a lot like it. The Christmas episodes for Batman and The New Batman Adventures aren’t particularly strong either, but they are more fun. I would much prefer those to this one, but maybe you’re a Superman or Martian Manhunter fan more than you are a Batman one. If you want to watch it, it’s presently streaming on the Max platform despite threats of removal earlier this year. If this is after 2023 that you’re reading this, then who knows if it’s still there (or if Max is even still alive)? It’s also still available to rent or buy digitally from places like Amazon. The show was released on DVD and they were still reasonably priced at the time of this writing, but if the show were to get delisted, it wouldn’t shock me if aftermarket prices started to rise. I think such an approach is only merited by those who want to take-in the full series as dropping some coin for the full 52 episodes just to experience this one is probably not worth it.

Can’t wait until tomorrow for more Christmas? Check out what we had to say on this day last year and beyond:

Dec. 2 – Toy Story That Time Forgot

When the credits started to roll in 2010 signaling the end of Toy Story 3 I think most who were watching it assumed this was “good bye.” The toys which had captured the hearts of movie-goers going on two decades were saying good bye to their former owner and playmate, Andy, and so too were…

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Dec. 1 – Christmas Comes But Once A Year (1936)

Original release date December 4, 1936.

We’re back with another year of The Christmas Spot! And to kick things off this year we’re taking a look at a bonafide Christmas Classic. Christmas Comes But Once A Year may not be the household name that Rudolph and Frosty are, but for Gen X and millennial kids it’s probably familiar because it was a frequent inclusion on public domain VHS tapes. The Fleischer Studios cartoon is one of the earliest Christmas specials released. It follows the likes of Mickey’s Good Dead and The Shanty Where Santa Claus Lives, but predates Gifts From the Air, Tom and Jerry’s The Night Before Christmas, and the more popular Disney Christmas specials starring Donald and Pluto.

This cartoon represents Professor Grampy’s lone starring role.

The cartoon stars Professor Grampy (Everett Clark) who is best known as a character who appears in Betty Boop shorts. This is actually his only starring role and it’s my assumption he was chosen to helm a Christmas cartoon because he does share some resemblance to Santa himself. It is an early color cartoon from Fleischer Studios and it has been lovingly restored by Thad Komorowski and Jack Theakston for Jane Fleischer Reid’s company Fabulous Fleischer Cartoons Restored. It premiered last year on MeTV’s Tune in With Me on December 21st making it far too late for inclusion last year so I’m making up for that by placing it in the lead-off position this year. The restored version (as well as copies of the original) are available on YouTube to stream for free. All of my screen captures for this entry are from the restored version.

I miss the era of big studios having their own stable of cartoon stars. Not that I actually lived through the era or anything, but I did benefit from it by having lots of things to watch growing up!

If you’re into classic cartoons then you’re probably pretty familiar with the Fleischer brothers, Max and Dave. Max was the producer while Dave handled direction duties for Fleischer Studios which was hugely influential in the world of animation. The credited animators for this short are Seymour Kneitel and William Henning with most credits these days including Abner Kneitel as well. Fleischer was known for Betty Boop and later Popeye and many of the studio’s shorts are recognizable due to their use of 3D objects for some settings. Many of these inclusions were used sparingly which helped make them stand out as special and we’ll see the technique on display here. Betty Boop may not be in this cartoon, but her voice actor Mae Questel is as she’s credited with voicing the orphans and Jack Mercer is assumed to have provided some incidentals as well.

This one opens with a lively instrumental that share its title with that of the short. The music is credited to three individuals: Tot Seymour, Sammy Timberg, and Bob Rotherberg. One, or all three, of those individuals is responsible for the song itself the lyrics to which can be found on the Wikipedia entry for this short. It’s a serviceable little Christmas song that’s easy to relate to since it’s celebrating the big payoff that is Christmas. Perhaps if there was a bit more meat to the song it could have been more of a hit and had some legs eventually leading to covers by Michael Bublé and Kelly Clarkson. It did get a second lease on life in a modified format for the Popeye short Let’s Celebrake about a year later. That short is actually a New Year’s cartoon instead of a Christmas one.

These 3D shots will never not be fun to view. Still images don’t do them justice.

The cartoon begins with a shot of an orphanage that’s one of those 3D shots the studio is known for. It begins at a 3/4 angle and then rotates to a head-on shot while a version of “The First Noel” is sung in the background. Many of these 30s Christmas cartoons feature orphans or poor children who need a little boost at Christmas and that’s likely due to The Great Depression. It does often give these old shorts a bit of a redundant quality, but this one does distinguish itself in some ways which we’ll see.

It doesn’t seem normal for an orphanage to have a trustee, or is that just me?

The camera zooms in on the front door which has a wreath and a rough looking sign that says “Merry XMas” with a backwards “S” at the end because these kids are poor. The image dissolves into an interior shot and we get to see their pretty terrible Christmas tree. It would be a real fire hazard if it had any lights on it. The camera then pans over to the fireplace and some sad looking stockings are hung with care over the unlit fireplace and they each have some sort of present in them so that’s good. As the camera moves to show the entrance to the dormitory portion of this orphanage we can see a picture on the wall of a very Scrooge-like individual with the label “Our Trustee” beneath it. Hopefully he was visited by some ghosts the night before.

Dreaming of sugar plums, no doubt.

In the dormitory is where the children sleep. There are ten beds for ten sleeping orphans. Before I counted 14 stockings so I guess there will be some leftovers. They have a fairly generic design to them with round, cherub-like, heads and cheeks dressed in different colored nightgowns. They all have the same hair, for the most part, but they’re not all the same color. They are all little white kids which is bad for representation, but maybe good since so many of these 1930s Christmas shorts feature racist caricatures. Then again, most of those come from toys so we’re not out of the woods yet.

I wonder if the orphans fight over who gets to sleep under the puppy clock or if it’s the bed no one wants?

The image comes to rest on a wall clock and as the minute hand strikes the 12 to signal that it’s 7 o’clock and a compartment on the top opens to reveal a little puppy. They can’t afford a cuckoo clock, but I’d say a puppy clock is an upgrade. The puppy does his job by yipping and then jumping down a slide that drops him into the lap of a sleeping orphan. The orphan is roused from his slumber and quickly gets to his feet to alert his fellow orphans that it’s finally here – Christmas! The other kids sit up and return the “Merry Christmas” greeting back to the orphan before they all hop out of bed and start prancing around and singing the title song.

This kid appears to have received a somewhat questionable toy for Christmas.

As the children frolic, we see that at least one of them looks different. He’s more of a baby with a single hair and an oversized nighty. He even gets a solo as he sings the second verse before falling on his face because it’s cute. They all parade past the fireplace and retrieve their stocking as they go, except the little guy at the end because he’s too short to reach his stocking. He has to jump a couple of times and manages to grasp a loose string. By tugging on that he causes the stocking to basically fall apart freeing his toy which drops into his hands. And that toy is…eh, it’s a close one. I’m going to give this one the benefit of the doubt and say it’s a monkey because of the costume it’s wearing which was often depicted in cartoons via a hurdy gurdy performance (see the Bugs Bunny cartoon Hurdy-Gurdy Hare). It is missing a tail though, but lacks some of the racist characteristics of similar black face toys. I’ll post an image and you can decide for yourself what this thing is.

Well, that’s hardly a festive sight to behold.

We then get to see the kids play with their new toys. At first I was thinking this isn’t bad for orphans, but I was wrong. One by one we see the toys fail. First it’s a cap gun which falls apart after it’s fired. Then we see another kid try to blow up a football that’s been patched about twenty times which pops for the final time before he’s finished. Another orphan has a tricycle come apart while riding upon it while another has a simple teddy bear which can’t even survive its first hug. When the toys break, the kid is left sobbing and this happens to every toy. All 10 kids are howling with sadness for a long shot of the entire room surrounded by the remnants of Christmas. Actually, the kids have multiplied! I’m counting 18 now, and since there were only 14 stockings, four must be crying because they just plain didn’t get anything.

Hmm, what’s an inventor to do when confronted by a bunch of kids on Christmas with busted toys?

Juxtaposed to this image is the hard cut to Professor Grampy. He’s pretty damn happy, and why shouldn’t he be? It’s Christmas! He’s riding around on a vessel of his own making, I suspect. It’s basically a sleigh powered by an outboard motor and it’s been outfitted with bells for an extra touch of Christmas cheer. He’s singing the short’s song while decked out in warm furs and he’s having a pretty good time until he comes upon the orphanage. The kids are so distraught that their wails can be heard from the street overcoming the sound of the motor and likely decades of hearing damage incurred by Grampy. He drops anchor, literally, and then flails his arms up to the door of the orphanage in a comical manner and peers inside. He sees the room of crying kids and the sight is enough to ruin his mood. He walks over to the stoop in thought and quite literally puts on a thinking cap which is a mortarboard with a lightbulb on it. He thinks aloud, and like the Fleischer Popeye cartoons, his mouth rarely moves with his words. Eventually the lightbulb goes off for ole Grampy has an idea how he can save Christmas for these orphans.

Oh, Grampy! Surely common household items can’t be repurposed as toys!

Grampy twirls and dances his way to the edge of the porch and then walks across the snow to a window. As he does, the snow builds up under his boots creating stilts which just makes it easier to slip in through the window. As he does he’s laughing at himself like a maniac and he’ll continue to do so all through this sequence. The window leads him into a kitchen and Grampy starts gathering up all sorts of tools and dishware which he piles up in the center of the room. He then gets to doing what he does best – inventing, by turning household objects into toys for the kids. His first creation is a washboard which he turns into a sleigh with some coat hangers and skis. To assemble it, he dumps a box of nails into his mouth and simply spits them into place which means Grampy is basically a superhero or something.

He’s so proud of himself.

After creating the sleigh, he moves onto more toys. He turns a shade and some other junk into a toy plane, and since this is a cartoon, it really flies! A feather duster, alarm clock, sock, and some forks becomes a wind-up ostrich or something which walks right out of frame. The film then cuts to the pile of assorted junk as Grampy reaches for more and the pile gradually dissolves to indicate the passage of time with Grampy’s last creation a frying pan banjo. With a pile of toys now assembled, it’s time to distribute them, but first Grampy seems to think the place could do with a little sprucing up.

Hey kids, please don’t disassemble important exhaust functions on household appliances for your own amusement. Even if it is to spread Christmas cheer.

While the children all cry in their beds, Grampy starts decorating the fireplace. He uses a sewing machine, funnel, and popcorn popper to create popcorn garland that he hangs above the mantle. Those kids might prefer to eat the popcorn, but I suppose they can do that after. Grampy then seems to decide that he can’t hand out these toys. Oh no, that’s a job for only one man – Santa! Giggling to himself once again, he heads back into the kitchen with a pillow which he sets aside. He then does something very inadvisable and removes a portion of the exhaust pipes from the stove. He needs these to create convincing Santa boots, apparently, but he’s now doomed these poor orphans to death by carbon monoxide poisoning. a red tablecloth with white trim is repurposed as a coat with the pillow stuffed under it and Grampy is able to fashion a belt and hat out of other convenient scrap.

Should we count the orphans again? No, I don’t think I will.

With the ensemble complete, there’s nothing left to do except distribute the gifts! Grampy grabs a small bell and uses it to rouse the children from their beds once more. They rush out into the room to find their new toys all strewn about in the room. The first toy we get to see is a highchair combined with a vacuum cleaner which turns it into a self-propelled vehicle of some kind. There’s some mangled chairs that have become a rocking horse with an old boot serving as the horse’s head. Grampy continues decorating while the kids play and maybe the best toy is the coffee percolator which is somehow powering a toy train made out of a tea set.

I suppose any tree is an improvement over the crummy one they had.

Despite the questionable composition of Grampy’s toys, they seem to be holding up just fine and the kids like them. Grampy turns the stairs into a makeshift ski slope via a comically large box of cotton and the kids ski or sled down one by one. While they do that, Grampy retrieves a bunch of umbrellas from an umbrella can that all conveniently happen to be green. He opens each one and arranges them from small to large one inside the next to create a makeshift Christmas tree. He straightens the handle on the last umbrella and affixes it to a phonograph. While the kids continue to play via recycled animation, Grampy decorates his tree and then summons them over.

He saved his best invention for last!

With the phonograph on, the tree spins and we’re treated to another 3D sequence where the tree is a model and the characters appear as animation around it. Grampy leads them in a recitation of the short’s theme song. The kids then darken to black and the background darkens as well leaving just Grampy in full color beside the tree as the children can be heard singing. This shot seems to exist to remind us who the star of this one is, or it’s a gloomy bit of foreshadowing for these kids. Probably the latter.

There are some pretty interesting inventions in this one. I think the choo-choo is my favorite.

When the song ends so does the cartoon. Christmas Comes But Once A Year is a simple story framed by a good enough song. I have no particular affection for the Grampy character, but he’s fine in this role. The plot plays to his inventor status as he whips up some toys for a bunch of kids. The site of poor orphans at Christmas is, as I alluded to in the intro, a bit played out resulting in me not really feeling anything for them. This one at least doesn’t play up the misery like other shorts. We don’t see them freezing or searching for food. They’re clearly not in an ideal situation and their shitty benefactor got them shoddy toys for Christmas. I suppose it’s a bit surprising that this one downplays the existence of Santa Claus. Even though the lyrics to the song celebrate him, clearly it wasn’t he who left such shoddy merchandise behind for these orphans. If Santa did his job, Grampy wouldn’t be needed. Maybe even his workshop was hit hard by the depression?

The restoration on this one is just tremendous. I confess, this short has never been a particular favorite of mine, but the restoration elevates it for me into annual viewing territory. The colors have just the right amount of saturation, and it doesn’t appear as if any of the finer details were lost. I never even noticed that “Our Trustee” picture on the wall before seeing the restored version – that’s how good it is. Yes, it does reuse animation and the orphans are all basically the same, but the animation is still lively and smooth. Grampy can’t just move like a normal human he has to always be flailing and bobbing which keeps the images interesting. The audio is also crisper and less distorted so kudos to Fabulous Fleischer Cartoons Restored, I’m eager to see what else they can do.

Holiday greetings, folks!

If you want to watch this one this year, and I suggest that you do, the easiest way is to head over to YouTube. I already linked it earlier, so give it a click if you haven’t already. The short is a little over 8 minutes so it’s definitely worth your time. If for some reason you’re opposed to watching the restored version there are other numerous videos out there should you wish to go that route. You can also keep an eye out on MeTV as I would anticipate that network showing this either as a rerun of Tune in With Me or as part of their Popeye block on Saturday morning. This is definitely more for the animation lover in your life as modern children might find it boring, but they can manage for 8 minutes. Christmas comes but once a year, and it’s almost here, so come back tomorrow for more holiday goodness as we are off and running!

Can’t wait until tomorrow for more Christmas? Check out what we had to say on this day last year and beyond:

Dec. 1 – 35 Years of The Christmas Tape

Welcome back to another year of The Christmas Spot! This year we’re kicking things off with a post I’ve been sitting on for a few years now. When I utter the title “The Christmas Tape,” I’m curious what comes to the minds of readers. It sounds both generic and specific and I suspect a few…

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Dec. 1 – Frosty the Snowman

Welcome back, lovers of Christmas, to the 7th edition of The Christmas Spot! If you missed the introduction a few days ago, we’re doing things a little differently this year. Yes, you’re still getting a dedicated write-up each day through Christmas about a beloved or not-so-beloved holiday special, but this year we’re also going retro…

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Plunderlong Feral 8-Ball

Look who came to join the plunder party!

When Lone Coconut came back last year with a new Kickstarter to build out its Plunderlings universe, I was immediately smitten with the brutish new Plunderstrong. The big, chunky, boy looked like a fun character type to pair with the diminutive Plunderlings. The Plunderlong, on the other hand, took a bit for me to get onboard. It’s basically a taller version of the Plunderling with an elongated face that mostly takes the form of a large chin. It’s not a cute design, but I don’t think it’s supposed to be, and the initial designs didn’t thrill me. Then along came 8-Ball, a demolitions aligned Plunderlong that’s basically designed to work with Captain Blackjak’s canon. That was a fun concept to me, so I went ahead and added the character to my pledge along with a box of hatchlings to go with it. When the figures were initially delivered to Lone Coconut, there was a quality control error with the Plunderlong figures that held them up. Lone Coconut did not specify what that issue was, but it was something the factory fixed. For the consumer, it meant a slightly longer wait (about 6 weeks) for the Plunderlong to arrive, but now I have mine in-hand and I’m ready to render a verdict.

I expected the Plunderlong to fall in the middle of the Plunderling and Plunderstrong, but he’s really just a little bit taller than the ‘ling and quite a bit smaller than the ‘strong.

The Plunderlong comes in a similar box to the Plunderlings, though (get this) taller. It still has a window box framed by a face and there are some cardboard ears inside the box you can attach to the side if you wish. The Plunderlong stands around 4.75″ so while it is indeed taller than the Plunderling, it’s considerably shorter than the Plunderstrong. Most of the figure is brand new tooling, but it does share some parts with the Plunderling including the hands, feet, forearms, and maybe the upper thigh. Basically, all of the new pieces are where the Plunderlong gets its added length such as the torso, thigh, shin, and bicep. Having the same hands will help with the hatchlings and will allow for easy sharing of weapons and accessories with your Plunderlings.

I think of this guy as a wacky pyromaniac.

For 8-Ball, the chosen color is white. The figure is sculpted in white, but also painted over, so it has a nice, matte, finish. The fingernails, toenails, eyes, and trunks are where the detail paint is needed. It’s mostly okay, but you will find some imperfections upon close inspection. There’s also a hint of pink air-brushing on the inner ear which looks nice and I do wish they had added a touch of color to the teeth just to differentiate them from the white of the figure’s skin. The vest the character wears is removable, though you would have to pop the arms off first, and it’s black with brown trim and it looks fine.

I much prefer the happy expression in this case.

8-Ball is a nice looking figure, but it’s made much better via the accessories. 8-Ball comes with three heads, as basically all of the figures do: neutral, grimace, and smile. Of the three, the smile seems most appropriate as this guy seems like he’s got a few screws loose. For hands, he has a set of gripping and a set of open hands which is also standard. For stuff unique to this guy, there’s a helmet with attached goggles. It’s black and made out of soft plastic and slots over his ears just fine, but there’s also a magnet to make it even more secure. There’s some brown paint on it and the character’s namesake is painted on the top to make the helmet resemble an actual 8-ball. It looks great and adds tremendous character to the figure so you’re unlikely to ever display him without. To go with that helmet is a long torch with translucent flame attachment. You can pull the flame out if you wish, though there isn’t much that can be done with it. There are also two bundles of dynamite that are fastened together with handles that 8-Ball can hold. It would have been cool if the accessories were design to work with each other so that the flame could be attached to the dynamite, but it’s a minor complaint. An actual explosion effect, or soot-covered face, would have also been pretty fun.

He’s a rascal!

The articulation for the Plunderlong is basically the same as the Plunderling, though with a larger figure comes more room for joints. The head is on a ball-hinge and it gets great range up and down, but only a little tilt. It’s also very tight and Lone Coconut even sent out a warning to heat the heads first if they show some resistance and I followed their recommendation. The shoulders are ball-hinged and raise out to the side past horizontal, though there’s paint transfer on mine from the brown trim on the vest so he has some pretty nasty looking armpits. I’d recommend that future figures just omit that paint hit as it doesn’t add much anyway. New for the Plunderlong is a biceps swivel which works fine and the single-hinged elbow returns with a 90 degree bend. It’s attached via a peg so it probably could swivel too, but mine don’t really want to. The wrists are pegged in and swivel as a result while each hand features a hinge: vertical for gripping and horizontal for open – perfect!

“I’m ready – let’s do this!”

The torso features some additional articulation over the Plunderling as well, though this one I’m not sure about. The diaphragm is attached via a hinged ball-peg so the chest can rotate freely. It’s also engineered much better than the same joint at the head as there’s plenty of tilt and the chest can move forward and back on that ball peg very well. The hinge is the part I’m not really feeling as it’s an eyesore. It also doesn’t add much. 8-Ball can bend pretty far forward just on the ball-peg. Yes, the hinge lets him go even farther than that, but the trade-off isn’t really warranted, in my opinion. There is a waist twist, but if it had been a ball-joint it might have given them the range they were looking for with that torso hinge. The hips are ball-sockets, but they don’t go out to the side very far – maybe 45 degrees. They kick forward fine, but not back as the Plunderlong has the same saggy butt cheeks the Plunderling has. There’s a thigh cut and double-jointed knees which bend past 90 degrees. Some are tight, so you may need to heat them. The ankles are hinges with rockers and both work fine. Since the figure is all painted there will be some flaking at the joints, but there’s no mis-colored joints underneath so the flaking shouldn’t result in any terrible eye-sores.

“Ahhhh! I’m not ready!”

The Plunderlong moves better than the Plunderling, which by itself, moved pretty well. It doesn’t have any joint tolerance issues like the Plunderstrong, so if articulation is a priority for you, then the Plunderlong is probably the best action figure of the three. Of course, there are plenty of other elements that affect one’s enjoyment of an action figure, but that is my objective take. I also grabbed a set of hatchlings which comes with the fist hands. I find that these newer hatchlings feature very tight joints and you may need to heat them to get the hands in all the way. The heads do not go on easily either, but I didn’t need to use heat, though they don’t spin very well on the ball joint. The heads also worked fine with the canon blast effect. It makes me wish I had two hats for my display as I think the heads look great on the blast. I may go with the grimace head instead since it gives the character a look of “What have I done?” coming out of a canon.

Hatchlings are a must with any Plunderling/long/strong purchase.

If you have found yourself charmed by Lone Coconut’s Plunderlings, then you’ll probably feel pretty similar about the Plunderlong. If the appeal of the Plunderlings for you resides in their cuteness, then maybe you won’t see much need for the Long. As an action figure, it’s pretty well done and a satisfying experience. The Kickstarter obviously ended awhile ago, but Big Bad Toy Store has partnered with Lone Coconut to offer these figures post Kickstarter. Lone Coconut prioritized getting the Plunderlong to backers first, since they had to personally receive all stock to swap whatever the faulty part was, but it can be assumed that BBTS will have them soon. Since Lone Coconut is a small shop, these figures aren’t cheap and will run you $45 a piece. From a pure value standpoint, they don’t match-up well with other figures from more established lines and companies which may not work for you. For those who want a fun figure with a good design that don’t mind paying a premium to a “little guy” then I think this is a worthy buy. Frugal shoppers may find deals somewhere down the road, though given it is November, you could always toss a few Plunderlongs on the old Christmas list!

It’s a plunder party!

Check out these other offerings from Lone Coconut:

Plunderlings Raider Fwush

When I first came across the Kickstarter drive for a series of action figures called Plunderlings I was almost instantly smitten. The little impish creatures reminded me of some characters I used to doodle as a kid. In my mind, they look a lot like what I used to draw, but given I was much…

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Plunderstrong Captain Blackjak

In 2020, Lone Coconut, a small company out of the Dominican Republic, launched a Kickstarter campaign for a line of original action figures called Plunderlings. They’re basically little imp-like creatures with a pirate motif that have a very charming design. From an engineering point of view, they made for a smart toyline because every figure…

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Plunderlings Nomad Goyle & Hatchlings

Last April I posted a review of the Plunderlings Raider Fwush from Lone Coconut. I was pretty charmed by the little goblin-like creature and found the action figure to be pretty fun. It’s also always a little rewarding to know that in buying such a toy I’m supporting a small shop like Lone Coconut. When…

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NECA TMNT Toon Turtle Van

It’s finally here!

It’s our last Turtle Tuesday before Christmas, though probably not of the year, and it’s a pretty big one: The Turtle Van! NECA solicited its version of the Turtle Van based on the same from the animated series Teenage Mutant Ninja Turtles back in April of 2022. It was originally scheduled to be released before the end of the year, but that turned out to be far too optimistic. The vehicle did undergo a redesign between solicitation and release. Originally, it was going to have a big hump in the roof that most didn’t seem to care for (including me). To NECA’s credit, they listened and adjusted the design and the finished product looks much closer to the show than the prototype. Did that redesign account for the lengthy delay? Maybe, maybe not, I don’t know. All I know is that the Turtle Van is here and I’m going to tell you how I think it turned out.

The Turtle Van was one of my favorite toys back in the day. Of course, then it was referred to as The Party Wagon by Playmates, but I don’t think any of my friends referred to it as such because on TV they called it the Turtle Van. Like a lot of characters and playsets in the vintage line, the toy wasn’t modeled to look exactly like the one on TV. The Party Wagon was pretty close, but had more of a VW bus design to it. I still loved it, and the Christmas it came out it was a very hot item. I have an old home movie from Easter the following year where my grandmother can be overheard saying how impossible it was to find the Turtle Van at Christmas, which is why I received it as an Easter present (don’t weep for me, I got the sewer lair from her for Christmas). It was a big deal to a kid, right up there with the Ecto-1 and the Batmobile. It was hard to have an assortment of TMNT action figures and no Turtle Van. The thing was a necessity.

Ready to launch.

As an adult, vehicles for my action figures have limited appeal. I’m no longer a kid looking to actually play with my toys, so everything is purchased for posing and display. Vehicles rarely offer much in the posing department and they often take up a lot of real estate and come at a much larger price tag. This item was $250 plus $15 shipping since it was sold exclusively on NECA’s webstore, and for me, that price was basically right at the tipping point. I was hoping for $200 and assumed that wishing for less than that was a waste of time and $250 was about the most I was willing to pay. At the same time, I felt like I owed it to the kid in me who always wanted a Turtle Van that resembled the one from the cartoon to get this, and NECA’s seemed sure to deliver.

The Turtle Van comes in a giant box adorned with original artwork by Tim Lattie. The box itself measures 13″ x 17.25″ x 11.75″ and inside is a big clamshell held together by some tape. The van comes almost fully assembled, only the laser canons need to be inserted into the top, and there are no decals required. The van is approximately 7″ x 14″ x 11″ at the highest/widest points (excepting the canons). It’s a big vehicle and it will take up quite a bit of space wherever you plan to place it. The body is a matte, pale, yellow with a green bumper and roof. The tires are rubber with the inner rim a flat gray. All of the paint details in the bumper, on the tire cover on the front, and the roof look great. They are applied very well. The only paint imperfection I could find on mine is a tiny nick on the corner of the rear door. The windshield is transparent plastic or plexiglass as are the windows. The lights on the front and rear are LED lights which can be activated via a switch on the underside of the vehicle. There’s a dome light on the inside that sadly does not turn on as well. It very much looks the part and I really like how it turned out. The only critique I have is that the scale seems a touch off. It’s probably bigger than it should be and that seems most obvious when figures are placed in the front, bench, seat as they get kind of lost in this thing. I’m guessing the scale of the vehicle in the show wasn’t the most consistent, and it’s better to be too big than too small, but it is something I’ve noticed.

The Turtle Van has numerous features to it which help replicate how the vehicle behaves on TV. The roof opens up just like it did in the opening, though there’s nothing inside to launch them out. The interior has a bunch of generic electronics built into the walls so you can have Donatello messing around with stuff in there, though there aren’t any working levers or anything that intense. The driver’s side flips down to reveal a platform as it did on the show for Leonardo to take a stance and slice at some enemies. The opposite side swings open with a little half door below it that flips down similar to the Playmates version. For that side, there’s an included seat and laser canon that has to be snapped together, but then can be plugged in. By making it removable, it creates more space inside and I honestly can’t remember how often the turret showed up in the show after its first appearance. Sometimes, a collapsed version appears on the wall and NECA included what’s basically a plastic brick of the same which snaps onto the driver’s side platform.

Speaking of show inconsistencies, the wall behind the front seat seemed to change constantly. Sometimes it was wide open which is the default look for the Turtle Van. Other times, there was a brown hip wall which NECA included which can be plugged into the back of the bench seat. And then on other occasions there was basically a full wall which, for some reason, featured a ladder. I remember seeing that ladder as a kid and wondering where the heck it came from. I think there was, on occasion, an opening in the top for the turtles to emerge from, but my memory could very easily be faulty at this point. Nonetheless, the ladder wall is also included so you can have the Turtle Van resemble basically whatever version shown on TV that you want. It’s the type of attention to detail that I think collectors appreciate of a company like NECA and it’s something other companies just don’t seem to care about.

This thing is big!

In order to make use of these modular elements, NECA needed to make sure the inside of the van is accessible. We have the openings on the sides of the vehicle and the top and also the rear doors swing open too. The front of the roof can be removed as it’s just tabbed in and you’ll may need to do so in order to insert the optional wall parts. This is where some criticism can come in. The plastic feels a bit thin when it comes to the roof and removing that portion is definitely uncomfortable. The front doors, as well as the passenger side swing-open door for the canon, are attached via a lone, small, hinge each. It’s not the most reassuring design and I worry about displaying a figure behind the turret for a long time and what kind of stress that may place on said hinge. The driver’s side platform feels more secure, though the hinge could have been tighter as it basically needs to hit the surface of whatever you have the van on to support the weight of a figure when really it should be off the ground. The rear doors feel more secure, though are a tad finicky to get closed properly. The weight of the entire package feels fine though so this isn’t a cheap feeling product by any means, but there are some design decisions that aren’t as well thought out as I’d like. I would describe this as fragile, and if there’s one last thing I wouldn’t have minded to see included would have been some kind of stand to prevent accidental rolling of the wheels. A shelf drive would likely be catastrophic for this thing so plan accordingly.

NECA’s take on the Turtle Van easily qualifies as the definitive take on the vehicle from the show. It looks great, displays well, and even has some variety too in how it’s displayed. It may be a touch oversized, but at least that means you can fit a whole bunch of characters in it/on it which helps justify the amount of shelf space needed to display it. The only real bummer about the product is that it was pretty expensive and presently is not available to purchase at MSRP for those who wanted to wait and see how it turned out. I especially feel for anyone who disliked the hump in the original design, only to see NECA correct that after the preorder window had closed. Chances are, NECA will offer this again for purchase and it was even suggested by NECA that they may have extra after preorders are fulfilled. I guess keep your eyes open. At $250 (plus shipping), this thing is certainly in the luxury good category. No one needs it and your display of TMNT characters probably looks great without it, but there’s no denying it can also look pretty damn awesome with it.

Damn, this collection just got a lot bigger!

Well, if you want a Turtle Van, you’re going to need some figures to go with it:

NECA TMNT Turtles in Disguise

When NECA started on this journey into the Teenage Mutant Ninja Turtles cartoon it first began with a video game. An adaptation of a video game, to be more precise. The 2016 San Diego Comic Con exclusive contained a four pack of the famous, green, pizza destroyers in a pixel deco. They were the first…

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NECA TMNT Toon “Mutant Interest Story” – Deluxe April O’Neil

Whenever I approach my rankings for NECA’s now long-running action figure series based on the 1987 cartoon Teenage Mutant Ninja Turtles, I don’t always just pick the objectively best or worst toy in the line to slot them into the rankings. It’s a combination of the figure’s quality and the character’s importance. A great figure…

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NECA TMNT Toon “Colossus of the Swamps!” Deluxe Napoleon Bonafrog

NECA’s line of Teenage Mutant Ninja Turtles action figures based on the animated series which debuted in 1987 has had some big figures. Most of these are what NECA terms “deluxe” releases and have included the likes of Krang in his android body, Chrome Dome, and the more recently released REX-1. The latest addition to…

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The Christmas Spot 2023

Behold! My crappy photoshop!

We have done it. We have made it through another year and another holiday season is upon us. That means it’s time for another installment of The Christmas Spot! This will be the ninth year that this blog has undergone a re-theming as December rolls around to celebrate, or demonize, a Christmas special from the past. The past is often several years, even decades, prior to, but some are far more recent because when it comes to a daily Christmas special you can’t be too choosey.

For the past couple of years, I have taken it upon myself to expand on a Christmas special I had briefly covered in the past as one of the greatest of all time in more depth. That continues this year as The Christmas Spot Redo posts will start on December 5th and follow every fifth day thereafter. If you wanted to figure out which specials will go live on those dates it wouldn’t be too hard as only five remain to be covered in depth from that list of The Top 25. After this year is done, all of the specials on that list will have full posts up which means I won’t have anymore to take a second look at next year, but maybe I’ll go all the way back to my very first The Christmas Spot to look at the specials I booted off the list some years later.

Is this the best Christmas moment from Bugs Bunny? Maybe.

This year I also had a few other goals in mind. I wanted to really dig deep into any and all things Looney Tunes in a quest to find a good Christmas special. In particular, I want to see the great Bugs Bunny have a good Christmas special because Bugs Bunny’s Looney Christmas Tales ain’t that. I also decided to comb the depths of the Nicktoons. I was around for the early days of the Nicktoon, but kind of trailed off over the years. Really, anything past Rocko is a show I haven’t watched that much. There’s a lot there, and as I mentioned before, I can’t be choosey or else I won’t have anything to talk about!

The real crossover we’ve always wanted?

The Christmas Spot may run only from December 1 through December 25, but for me it’s basically a full year commitment. I start work on the next year pretty much right after it finishes. Spreading it out during the year also helps to prevent burnout and if I tried to fit all 25 into a short window of time I’d go nuts. This year was the first where I started to think about my exit plan. It’s a lot, and it’s something I really do for myself since this isn’t a monetized blog or anything. How many more years do I want to keep doing this? I’m not sure, but after nine years, I’m definitely closer to my last version of The Christmas Spot than I am the first. I feel like 2023 probably isn’t the last installment, but who knows? We’ll see.

I don’t want to end this on a downer though as we have 25 Christmas posts to look forward to this year alone! On December 1st, the first will go live and one each day will follow. These are all scheduled to go live just after midnight EST, so wherever you are in the world, check back then. We’ll dive into a special, decide if it’s good or not, and I’ll even tell you where to go if you want to experience it for yourself. This season only comes once a year, so lets enjoy it as much as we can before it’s gone!

Are you not excited? Maybe some of these hype posts from yesteryear will get your Christmas spirit flowing:

The Christmas Spot is Back for 2022!

We’re nearly through another year, which means another holiday season is upon us. For some, this started once Halloween was over while for others it seemingly never ended. And like years past, we’re going all-in at The Nostalgia Spot. Every day in December through Christmas Day, join us as we take a look at a…

The Christmas Spot Returns for 2021!

It’s that time of year again! Every year since 2015 when the calendar hits December 1 this blog turns into The Christmas Spot; a place to countdown the days until Christmas while basking in a festive, holiday, special of some kind. It will be 25 days of 25 posts, most of which will feature a…

The Christmas Spot Returns for 2020!

Tomorrow is December 1st, and it’s that time of year when this blog goes Christmas! Yes, 2020 has been a horrendously shitty year so Christmas can’t come soon enough. Of course, it’s a Christmas tinged with disease this year as we’re almost certainly going to be asked to quarantine for another holiday as the world…


X-Men: The Animated Series – The Adaptations

I can’t seem to get enough X-Men merch based on the 90s cartoon series.

Halloween 1992 was when things really changed for the X-Men. A high-selling comic book was about to blow open and enter the mainstream with a hit new Saturday morning cartoon series. Spearheaded by Eric Lewald for Saban Entertainment, X-Men would become the highest rated children’s program on the Fox Network and the overall highest rated children’s program in 1993. At least, until a little show called Mighty Morphin Power Rangers came along. Even following that, the show remained a hit for the network and it’s likely that without the success of the cartoon we never would have had the film series that followed.

When Fox agreed to bring the spandex-clad mutants to network television it did so with Saban and Graz Entertainment who had their own ideas for the show. Lewald was the showrunner who oversaw a team of writers that crafted the inaugural season, most of whom were unfamiliar with the comic from which their characters were taken from. As a result, the first season was largely unique. It was not pulled from the comics with the exception of the “Days of Future Past” arc. Sure, the characters largely acted and behaved like their comic book counterparts, but the plots and character history were pretty much all new. I don’t think this necessarily played a huge role in what followed, but if the new show wasn’t just copying and pasting what the comic books had done then it made sense for a comic companion to tag along. Enter X-Men Adventures, a comic book adaptation of the animated series. Writer Ralph Macchio (no, not that Ralph Macchio) was handed the teleplays for the first season and was paired with varying teams of artists to bring the show to the pages. The first issue arrived in November 1993 and would run until March 1996 concluding with the “Dark Phoenix” arc. After that, the book split away from the cartoon series rather than adapt what was dubbed Season 4 and beyond, but up to that point, it had largely remained in lockstep with the show.

The two covers available for this collection.

As a kid, I didn’t bother with X-Men Adventures despite my love for the cartoon. In my mind, it felt redundant. Why buy a comic version of something I already saw on TV when I could get a comic book that told a whole, new, story? Now that I’m older and fond of reminiscing on things I enjoyed as a child, I’m more curious about something like X-Men Adventures. Surely, the comic would present opportunities to frame things differently. How would it handle something like the death of Morph? Would the characterizations be the same? Would some characters assume more of a spotlight or less of one? I probably could have answered such questions with relative ease and not much of an expense. Being a 90s comic, X-Men Adventures isn’t terribly hard to come by secondhand, especially if you’re one who is unconcerned with condition.

Rather than scour the back issues at a local comic shop, I turned to a new publication: X-Men: The Animated Series – The Adaptations. That mouthful of a title was released earlier this year. It’s a hardcover collection of X-Men Adventures totaling the first 41 issues, or said another way, all of the issues that mirrored the show. It’s a heavy, meaty, tome that’s nearly 1,000 pages with most of them devoted to the old issues. The paper is a nice white, though it has some transparency and isn’t as thick as it could be. The main cover illustration is the same as the very first issue of X-Men Adventures by Steve Lightle. The version I have is the variant cover which depicts Wolverine battling Sabretooth in the War Room and it’s done by Kerry Gammill and Greg Adams. The collection is expensive with an MSRP of $125. That was too rich for me so I played the waiting game eventually scoring one for less than $60 off of eBay. This one had bent corners that likely had been damaged during the shipping process. The eBay listing also had a typo in the title which may have helped to keep it on the site long enough for me to notice. Either way, I was willing to accept some cosmetic damage in exchange for a price that was more than half off. Now several weeks later, I’ve read this thing cover to cover and am ready to share my thoughts.

This one isn’t going to shy away from Morph’s death.

X-Men Adventures volume 1, which is thought of as the first season, spanned 15 issues which is longer than the show’s 13 episode first season. As such, the first season of books is more expansive than that season and also more expansive when compared with the seasons that followed. My guess would be that with the show being new, and being tinkered with practically right up until air date, there was a lot less that was nailed down and thus there was more room for Macchio’s own interpretation. It’s also interesting that the characterizations of the book’s characters are far more reliant on their comic history. This is seen most with Magneto who is very much a villain in these books as opposed to a friendly rival. He’s not going to team-up with these X-Men to take down the Sentinels and he’s far more willing to inflict pain upon them as well. The costumes for the characters also all mirror the comics. Jean is more yellow and blue with long hair, Apocalypse isn’t purple, and Sabretooth doesn’t have the massive physique of his animated counterpart. Fights, like Wolverine vs Sabretooth, can be more violent with actual blood spilled and our boy Wolverine is also free to smoke cigars and drink beer.

By far, the thing I was most interested in seeing was how the books handled the death of Morph. In the show, his death is essentially offscreen, though the characters deal with it in a pretty realistic manner. It wasn’t some Saturday morning “zapped to another dimension” sort of end for old Morph. In the books, it’s foreshadowed with a rather grizzly depiction of Morph with half of his face burned off. I’m not sure the character needed to have these visions, but it was an interesting way to go about it. When the time comes for him to actually die, it’s handled in a far more personal manner with Beast cradling Morph in his arms as he draws his dying breath. Of course, the character would be brought back in Season Two which was never the plan at the time. It does muddy things a bit since his death was so final in the books. Did the Mutant Control people haul Beast away and just leave Morph’s corpse behind for Sinister to come along and swipe? Apparently so, because no other explanation is offered.

Wolverine is allowed to fight like, well, Wolverine!

Morph’s death was one area where the books could go into more detail and be a bit more showy than the cartoon. It’s also pretty unique as the rest of the issues largely unfold in a more expedited fashion after the first season. The first 15 issues are far more dense and interesting as a result, while the rest are still enjoyable, but missing that extra component. Some stories, like the Omega Red confrontation or Wolverine’s parlay with Alpha Flight, end far too abruptly to feel satisfying. If you didn’t like how the X-Men defeated Omega Red in the show, then you really won’t like it here. And since comics always seem to operate with the idea that any issue could be someone’s first, there’s a lot of needless exposition from characters explaining their thoughts, motivations, powers, etc. too plainly. It feels demeaning to the reader and like a dumbing down of the material at times, something the show seems careful to avoid.

The other aspect of these stories that threw me the most was just the changing art styles. These books never seemed to have a single vision for very long when it came to the art. Andrew Wildman was the penciler for the first six issues. He had a slightly more realistic style than some, but it’s not bad. Chris Batista then takes over for two issues and he has a more streamlined approach which actually might suit the animated look a bit better, though I think I still prefer Wildman. Wildman would return for the 9th issue and hang around through issue 13 and then back again for the final issue of the first season. In between is an issue by Nick Napalitano. All three pencilers for that first season complement each other well, but later seasons have more divergent takes, some of which I like and some of which I don’t. By the end, Ben Herrera was handling a lot of the load and I’m just not into his style. It’s very reflective of what the 90s comics were producing at the time, and even then, it wasn’t a style I enjoyed. My least favorite issues were the ones done by Hector Collazo. He seemed to take to heart that this comic was an adaptation of a cartoon because his style could best be described as toony. I’d enjoy it on a Looney Tunes or Animaniacs book, but not an X-Men one.

The art style isn’t consistent for all 40+ issues so readers are likely to enjoy some more than others.

Reading through this book basically gave me what I was looking for: familiar stories told through a different lens. The only downside for me was how the second and third seasons were more streamlined with less room for freelancing, if you will. The first season was by far the most enjoyable part of the book, though I am curious about the issues not included. Following the third season, Macchio basically was allowed to continue writing stories for this version of the X-Men, but ones that didn’t follow the show. Those works are collected in another trade paperback that I should probably give some thought to acquiring. If you’re someone like me curious about what another interpretation of the beloved show could look like, this isn’t a bad experience. I don’t think it’s worth the asking price so I’d recommend getting it used or on sale. The actual quality of the book is pretty nice, though there are the occasional page that came out slightly blurry from the printer. It seems to be an issue that becomes more frequent further into the book. It may also be something that’s not consistent from copy to copy. Either way, it’s a tough ask at full price. A lot of places have it marked down to around 80 dollars, which is still a lot, but better than $125. I’m not sure I’d even recommend it at that price, but definitely consider a look if you ever find it closer to 50 bucks.

Interested in living in the world of X-Men as established by the animated series?

Previously on X-Men: The Making of an Animated Series

A lot of cartoons made an impact on me as a child. My first love was The Real Ghostbusters. Its goofy cast of characters and excitement were plenty of fun and there were interesting toys to supplement the series with, which was pretty much the goal of all cartoons in the 80s. The Teenage Mutant…

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X-Men: The Art and Making of the Animated Series

A few years ago, I talked about my love of X-Men, the animated series, via a book review of Previously…on X-Men by Eric Lewald. That book chronicled the development of the 92 animated series that helped propel the Fox Kids Network to the top of the Saturday morning leaderboards through notes from the author and…

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Dec. 18 – X-Men – “Have Yourself a Morlock Little X-Mas”

Today, The Christmas Spot temporarily alters it’s name to The X-Mas Spot. As a sort-of celebration for the animated series X-Men turning 30 this past Halloween we’re going to look at the show’s lone holiday special – “Have Yourself a Morlock Little X-Mas.” The show X-Men was a pretty serious affair as far as kid…

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Super7 Super Size Disney’s Scrooge McDuck as Ebenezer Scrooge

“Ehhbenezer Scoooooooge!”

Before Christmas and The Christmas Spot can begin, we have another Christmas toy to look at. This one comes courtesy of Super7 and its Super Size line. The Super Size line is a line of vinyl figures that stand around 17″ in height. These are big figures, and being that they’re vinyl, they’re not really articulated. They’re kind of like jumbo versions of their ReAction figures and some of them are basically direct adaptations of that line. They’re also really expensive and when you combine that with how much real estate they take up it makes it a hard line to truly collect.

Last year, Super7 went after my heart by adding Scrooge McDuck to their line of Super Size offerings. And it wasn’t just Scrooge McDuck in his adventuring attire, it’s Scrooge as Ebenezer Scrooge from Mickey’s Christmas Carol, one of the greatest Christmas specials of all-time. How could I resist? Well, there were two-hundred and ninety-five reasons for me to resist that temptation. The MSRP basically made this one a nonstarter, even if I wanted it badly. I just couldn’t see myself spending three-hundred bucks on a vinyl statue. It just wasn’t going to happen. Lucky for me, waiting paid off. Recently, Amazon had a sale on this particular figure and it dropped to a tick over half-off. At under $150 bucks, now we’re talking. I even gave it some thought overnight, while also allowing the wife to maybe consider it as a Christmas gift, before pouncing. Now I have a new Christmas decoration for 2023 and, I have to say, I’m pretty pleased with my decision.

Not quite.

Scrooge arrived in a massive, brown, shipper. On it lists the product and it would appear this figure is one of 1,004. For a $300 vinyl toy of a cartoon duck, a thousand units is probably all that was made and it’s not really that surprising that some made it to the clearance section. Inside that brown shipper was a plain, white, box and inside that was the product’s box. It’s a glossy, deep, purple box with shiny gold trim. On the front and back is a silhouette of Scrooge from when he’s searching his room for spirits before going to bed and it’s done in a glossy rose gold. On the top is a simple Disney logo and on the sides it reads Mickey’s Christmas Carol. Actually, on one side it says that, on the other side it reads Alice in Wonderland Queen of Hearts. Whoops! I’m assuming all of the boxes feature this misprint and that mine isn’t unique. It’s definitely the type of goof few companies would spend money to fix.

Inside this box is the actual figure. Scrooge is in a blister bubble with one zip-tie at the right arm. Getting him out is rather painless, and once removed he stands with relative ease on a flat surface. Scrooge is depicted as he was before retiring for the evening so he has his purple cap and gown on. To the top of the feathers on his brow, he’s just a tick under 17″ and pretty dense so he has a nice weight to him. The cap and gown are done with soft goods and it’s a plush material so it brings in its own texture. It doesn’t really match the look of the animation as a result, but it does add a little more prestige to the presentation than just a flat material. The hat is removable and it just rests on his head. There is a stiff insert sewn into the front of it to help it maintain its shape and it sits on his head just fine. There’s no easy way to remove the gown if you would rather Scrooge be naked or if you wanted to dress him up in something else. You would have to attempt to disassemble the figure to get it off, or cut it.

It would have been nice if this doll were in-scale with Scrooge. Oh well.

This is a vinyl figure, so the presentation is pretty simple as a result. Most of it is done with colored vinyl. The eyes might be the only area that’s actually painted. Even so, it looks really nice. There’s a softness to the finish which is customary with vinyl and since it’s a matte finish it works really well. Scrooge has a scowl on his face which is befitting the character and the hair on the back of his head is done in gray which is consistent with his presentation in the short. The glasses are glued in place and have clear, plastic, lenses and look great. The right hand is in a gripping pose while the left is open and flat. If I have any criticism to levy here, maybe I’d have shaped that left hand in a more natural, relaxed, position, but it’s fine. And he looks good with the hat on or off so take your pick.

Excepting the clothing, the only accessory here is a lit candlestick and holder. For what it is, it looks great. The flame is a translucent yellow and the holder is bronze in color. It fits over Scrooge’s index finger with relative ease and it’s not too heavy either. As for the articulation, if you’ve ever bought a vinyl figure before then you know there isn’t much to be found. Scrooge actually has more than I would have expected. Every joint is a simple swivel and he has one in the neck, shoulders, wrists, diaphragm, legs, and ankles. The diaphragm is actually surprising and nice to have. It’s the only spot that allows for some nuance as you can make Scrooge look like he’s peering around the corner or something. Rotating at the legs will pitch the figure forward or back if you want him more hunched or not. The ankles aren’t particularly useful though to the point that I’m surprised they bothered as it’s the one joint you can’t hide. The rest are either hidden by the clothing or just not plainly visible.

He’s definitely “Super Sized” compared with the Funko Scrooge McDuck.

This Super Size version of Scrooge is really one of those “what you see is what you get” type of releases. I will say, pictures don’t really do the figure’s size justice. It’s pretty damn big and feels big, even if it’s not much bigger than some quarter scale figures I have. Mostly, it just looks really nice. I love this thing. Would I have loved it at 300 bucks? Maybe, after the sting of paying for it subsided. The price I paid for it puts it in the range of a lot of quarter scale stuff. It’s even a lot less than the sixth scale Mondo figures I love. Those figures are true action figures with a lot of paint, accessories, and articulation. The comparison to a quarter scale figure, like a NECA TMNT release, feels more apt though. While those figures have more stuff and more articulation, they’re pretty heavy and I basically find a pose they can handle and leave them.

You’ll be able to tell when I took this thanks to the Christmas countdown.

This is a figure that doesn’t need a whole lot of articulation. The vinyl toy approach is what works, and it turned out really well. It reminds me of the old store display characters, some which still exist in Disney World, that would be motorized where just their head rotates and an arm might go up and down or something. My mom even has one of Winnie the Pooh, somewhat ironically, in a nightshirt with a lit candle. I love that aesthetic and if I had more resources (and more space) I’d go after vintage items like that. I’d also probably have the Super Size Brave Little Tailor Mickey Mouse, but I truly have no where to put such a thing. With Scrooge, he’s a Christmas decoration so I can find somewhere to place him for a month out of the year, even if it’s a bit cumbersome. I basically do the same thing with a Christmas tree each year. If you’re like me and a have love for the cartoon this character is taken from then you’ll probably love this item. I can’t really recommend it at full price, but I definitely endorse it while it’s available for around the price I got it. Aye Super7, you drive a hard bargain.

Check out more from Mickey’s Christmas Carol and Scrooge McDuck:

Dec. 25 – Mickey’s Christmas Carol

We made it! Another year in the books, and another Christmas has come. Indulge in it. Bask in it, for it only comes once a year, and not to get too dramatic, but you never know how many you’re going to get. And we’re ending this year’s edition of The Christmas Spot with another throwback…

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PhatMojo DuckTales – Scrooge McDuck and Donald Duck

It’s been nearly a year since DuckTales returned to television airwaves. Scrooge McDuck, along with his nephews and surrogate niece Webby are back to solve mysteries and rewrite history. It’s a fun show that adheres more to the work of Carl Barks than to the series that ran in the 1980s while also doing its…

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Dec. 1 – DuckTales – “Last Christmas!”

It’s that time of year once again! Every day goods are a little pricier, egg nog is invading the dairy case at every grocery store, and red and green versions of every candy in existence flourish in the seasonal section of department stores. Yes, it is Christmas time and it would be obnoxious if it…

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Super7 TMNT Ultimates! Robotic Rocksteady

Looks like old Rocksteady got an upgrade.

Last week, it was Space Cadet Raphael’s turn to be put through the ringer by me. Super7 didn’t really impress with that offering, but I did tease at the end of that lukewarm review that a more positive one was on the horizon. This is that more positive review. Robotic Rocksteady is the latest villain from Super7’s line of TMNT Ultimates!. It’s another figure that’s essentially a scaled-up reproduction of a toy originally released by Playmates Toys, but given a new coat of paint, a bunch of accessories, and some beefed up articulation. And, spoiler warning, it may be the best in the line.

The robotic version is roughly the same size as its biological counterpart.

Robotic Rocksteady was originally released in 1993 which was year 6 for the vintage toyline. By the time this figure arrived, I had moved on. 1992 saw the release of X-Men on Fox and by 1993 it had totally sunk its teeth into me. I think I bought only one TMNT action figure that year, Ninja Action Raphael, which was the last figure I purchased in the toyline I once loved as much as life itself. I did also get the TMNT Turtle Trolls, but they felt like a whole other line to me. Robotic Rocksteady was one I missed, though I do recall seeing it on the pegs. I remembered the character from the cartoon, which I was still watching on Saturday mornings, and because of that there was a desire to pick him up. I never did though, but now Super7 is giving me another chance at the figure I let pass me by.

They very nearly see eye-to-eye.
Even from the back he looks pretty nice.

Rocksteady stands right at the 8″ mark to the top of his head. Being a robot, he’s predominantly a metallic silver with hits of black, red, and purple sprinkled throughout the sculpt. Just about every bit of this guy is textured to some degree. There’s wires and rivets to be found throughout and in true Playmates fashion there is some asymmetry at play. Surpsingly, not with the feet, but with the hands as the right hand has wires that arc over the back and onto the fingers while the left hand appears to have guns built into them. They look like the channels on Wolverine’s gloves and there’s even three of them. There’s definitely a heft to this guy that wasn’t present with Raph and he’s pretty similar to Bebop in that department. The top of the head and the eyes inside are handled with translucent, orange, plastic to give the figure a light piping feature similar to what we saw with Metalhead. The paint is handled well and pretty clean. It’s not some incredible, super-detailed, approach, but it feels appropriate for this subject matter.

The turtles, on the other hand, will be looking up to this guy.

Robotic Rocksteady is just a fun figure to look at. The size, sculpt, and colors really give it the shelf presence that I felt the Wave 3 Rocksteady lacked. That wasn’t really the fault of Super7 (though they could have taken some steps to mitigate that), but a reflection of what I always felt was a pretty bland character design. This figure is definitely not that and I really love how this guy turned out. When it comes to the actual sculpt and paint, the only thing I don’t like is the panel in the middle of his torso. It looks like it’s supposed to be a screen of some kind with a soundwave on it, but it’s entirely cast in silver like most of the body so it just looks kind of odd. It’s reminiscent of the many unpainted details that were found in the vintage line. It’s a minor quibble, but it is unfortunate that this one deficiency that I find with the figure is right, smack, dab, in the center where it can’t hide.

I do wish this canon could be rotated in a straight-away manner as opposed to off to the side.
NECA’s version of the character taken from the cartoon series can position its forearm canon the way I want this one to.

Super7 loaded Rocksteady up with a bunch of suitable accessories, most of which could be found with the vintage release. He has two, shoulder-mounted canons which are non-removable, but come with optional blast effects. They’re a cloudy, translucent, orange, plastic and they slide in and out easily and look pretty good. He also has his forearm canon intended for his left arm. It might not be clear to those who don’t recall the vintage figure because it doesn’t really snap on. It just fits over this coil piece that’s part of the sculpt. It’s not the most secure attachment, but it seems to stay on well enough. And since it doesn’t peg into anything really, the arm looks like it’s not missing anything if you opt not to display the figure with it. My one real grip with the accessory is that the fin on mine is warped. I don’t know if it’s supposed to be, I don’t think it is, but it looks off and I may try to straighten it out. The canon also can’t accept the blast effects that the shoulder canons make use of which feels like a missed opportunity. Or it could have just included its own – that would have been better.

Not all of the accessories are offensive in nature.

Rocksteady also has a pair of weapon attachments in place of hands and the usual assortment of extra hands as well. For said hands, we get fists, gripping, and open hands. They go on and off easy enough and look pretty good too. If you find traditional hands too boring, Rocksteady also has a chainsaw sword attachment. This is from the original figure (which I think held it) and it’s a rather nasty looking weapon. The main blade of the sword looks like a chainsaw and there are two circular saw blades on either side. They don’t spin, unfortunately, but it’s still fun looking. The other hand attachment is a fire, or beam sword which just pegs in (same with the chainsaw sword, neither has a hinge or anything) and is made of the same translucent orange plastic as the blast effects. It’s a cool thing to have, but I think I prefer it as an attachment to the forearm canon. It’s a tight fit which is why I don’t necessarily think it was intentional, but once inserted it makes that weapon look like a flamethrower. The final accessory is a defensive one and unique to Super7’s version. It’s a futuristic take on Rocksteady’s manhole cover shield. Like the wave 2 Rocksteady, the manhole cover has a reverse side that’s more like Bebop’s trashcan lid shield, but otherwise it’s a translucent, purple, device with some silver accents. He kind of grips it awkwardly since it has a full handle as opposed to being one he could strap to his forearm. It has a channel in the underside of the handle that you can fit his fingertips into which helps him to hold it in a more defensive position, though it also slides around. I find it’s easier to just use the open hands instead and slide them through the handle.

You’re in trouble now, toitle!

Articulation is never Super7’s strong suit and it’s probably not going to be for a chunky, robotic, rhinoceros. Even so, Rocksteady moves well enough. His head feels like it’s on a ball joint of some kind so there’s some tilt and rotation is fine. Like the original Rocksteady figure, his “neck” is positioned forward a bit so it limits the practical up and down range, but you get some. The hinged ball pegs for the shoulders work find and he can raise his arms out to the side and rotate. The biceps swivel isn’t great though due to how the arm is shaped. The bicep sits inside the outline of the shoulder so it butts against it and limits the range, which is unfortunate and avoidable. The elbows though bend a full 90 degrees, but the way the forearms are shaped limits the swivel there as well. It’s really only an issue because with the left arm he can’t position the canon as well as I’d like. It can never be perpendicular with the ground, it’s always at an angle due to the limitations of the swivels at the bicep and elbow. The wrists rotate fine and all of the hinges are horizontal. The shoulder canons also swivel.

Flame swords – ignite!

In the torso, we do have a waist twist. Because the black piece in the middle of the abdomen hangs over the waist, the range is limited. The crotch area is done with a softer overlay so there’s less worry about scratching the plastic when rotating at this joint. This hips are hinged ball pegs and this robot can essentially do a full split. He kicks forward better than 45 degrees. At that point, the sculpted wires start to hit the hips, but if you rotate at the thigh joint that’s there to clear it, he can raise his leg out a full 90 degrees. He kicks back a bit, and the knee joint is the typical Super7 single hinge with rotation. It bends just about 90 degrees, though like the biceps, the pointed kneecap limits the swivel. If you bend the knee first, you can swivel a bit more. At the ankle is a hinge which works pretty well forward and back and there is the usual ankle rocker. It’s a bit more limited than some, but you still get some usable range there.

I think I prefer the flame sword as a flame-thrower.

This action figure of Robotic Rocksteady is not exactly “super” articulated, but it works well enough for the character. I think it’s better than Space Cadet Raph in that department which is something I would not have guessed going in. It has limitations, but they’re limitations that can be worked around. If the left bicep could rotate far enough to better position the forearm canon, I’d be more than happy with what this figure can do. That’s really the only blemish for me when it comes to the articulation. The only way to get that canon as level and forward-facing as I’d like it to be is to basically pose him like he has a bird sitting on his forearm. That means the arm all the way out to the side and elbow bent 90 degrees. It’s not perfect, but at least he can indeed bend his elbows. None of the joints are loose and few were overly tight. No heat was needed to get every joint working.. The only other critique I have is I wish he had a hinged jaw. It’s sculpted like he has one, so why not go the extra mile? It would just make him a touch more expressive, which is my main critique of both Bebop and Rocksteady figures we’ve received thus far.

Your turtles will have their hands full with this foe.

Robotic Rocksteady might be my new favorite figure in this line. He looks awesome and he’s pretty damn fun to mess around with, something I can’t say for many figures in this line. All of his accessories have purpose and I like displaying him with everything. I even like how the hands look which makes it hard to decide if I want to use the chainsaw sword or something else. This is just a cool looking figure that I’m quite happy with and the only true negative is the $65 MSRP. Yeah, he’s even more expensive than usual which is a bummer. Robotic Bebop, who is part of Wave 7 which is somehow arriving after both Waves 8 and 9, was $55 and apparently that was an error or something they felt needed revision. At $55, this figure would be a no brainer for me and even at $65 it’s pretty close. Sixty-five bucks is just a lot for an action figure, even a good one. We’re basically at S.H.Figuarts prices here, but the quality of this figure is also pretty damn high. I think it’s the rare Super7 figure that earns it’s original price so I’m going to give it a recommend. The more savvy shoppers probably will benefit from being patient, but the early adopters will also get to enjoy a pretty cool figure while those ones wait it out.

There’s plenty more Super7 and Rocksteady content to be found on this blog if that’s your thing:

Super7 TMNT Ultimates! Rocksteady

We saved the big boy for last! The lone villain of wave 3 of Super7’s Teenage Mutant Ninja Turtles Ultimates! line is the mutant rhino, Rocksteady. He follows in the footsteps of the monstrous Bebop who was released in wave 2 and is the crown jewel of the young line for many collectors so far.…

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NECA TMNT Cartoon Super Bebop and Mighty Rocksteady

2021 introduced a lot of good things for collectors of NECA’s Teenage Mutant Ninja Turtles line of action figures based on the classic cartoon. The toy maker still kept the line a Target exclusive when it came to brick and mortar, but it also started selling a lot of it online to coincide with each…

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Super7 TMNT Ultimates! Metalhead

This post marks number 800 for this blog! Now, when I hit a nice, round, number like that I usually try to find a special topic of some kind, but also one representative of the content on this blog. Well, we certainly look at a lot of toys on this space, and there have definitely…

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