Tag Archives: christmas specials

Dec. 20 – Futurama – “A Tale of Two Santas”

Original air date December 23, 2001.

It was right here in this spot one year ago today that Futurama‘s “Xmas Story” was inducted into the very prestigious Christmas Spot Top 25 Christmas Specials of All-time. Well, it was named as such a few years prior, but last year is when it got the full write-up treatment. And while I selected that Christmas episode for inclusion, it really is a toss-up for me over which Futurama Christmas special I enjoy most: “Xmas Story” or its sequel “A Tale of Two Santas.”

“Xmas Story” is our introduction to Christmas in the year 3000. Philip J. Fry (Billy West), the time-displaced protagonist of the series, gets to learn how much Christmas has changed over a thousand years and we, the viewer, get to experience the same. Turns out, a robotic Santa Claus had been invented several decades prior to that story which went crazy. Its standards for niceness were too high and thus everyone was deemed naughty. Santa, apparently no longer content to hand out coal to naughty children, decided that it would prefer to kill the naughty instead making Christmas one of the worst days of the year.

That tidbit about Santa is basically just a third act story in that episode. Prior to that, the episode is a bit more light-hearted with some conventional Christmas episode drama and it’s purposefully done that way to highlight the drastic change in tone once Santa shows up. This sequel episode, which took a long time to see the air, doesn’t dawdle and instead gets right to Santa. Seeing that the robot is the big source of conflict for the holiday and the most unique aspect of Future Xmas, the episode doesn’t see a reason to delay the robot’s arrival until the final act once again. Though Santa is going to be put on ice, as it were, for a sizable portion of the episode.

“There were no survivors.”

The episode begins in a typical manner. Our tagline is “This episode performed entirely by sock puppets.” which is a damn lie! The snippet of an old, public domain cartoon just before the Planet Express ship crashes is some screaming, black, dog character (Bosko? – Yes, according to Wikipedia it’s Box Car Blues which is a Bosko short). When the episode begins, we find the Planet Express crew watching television, a familiar sight on Futurama. The news is on and our lovely anchor, Linda (Tress MacNeille) is sharing a story about a futuristic version of a Polar Plunge. You know, those charity events where people dive into frigid waters at Christmas time sometimes dressed in festive attire? Well, in this version the people are jumping into a river of ammonia and we get to see it happen live on television! As Morbo (Maurice LaMarche) informs us after, there were no survivors.

Lock your kids in the closet and say goodbye to your pets – there’s no stopping Santa’s brutal rampage each year.

It’s now time to hear a holiday message from the head of Walter Cronkite (Frank Welker). He is here to offer up a warning about Santa Claus. As he details the danger this menace presents, we’re treated to images of the robot’s exploits from the prior episode. The message is concluded with Cronkite telling the viewer, “Remember, I told you so.” And as he finishes, the screen gets covered by planks of wood. Hermes (Phil LaMarr) is apparently pretty frightened by the prospect of Santa to the point where he feels the need to cover the television. Fry is fine with it since he’s tired of this wood show. We cut to the crew trying in vain to install the fireplace cover to keep Santa at bay. The Professor (West) is there to scold them for taking too long saying he only has a few years left to live and doesn’t want to spend them dead! Leela (Katey Sagal) encourages Fry and Bender (John DiMaggio) to push harder prompting Bender to say, “Oh? Push!” Once the robot is pushing instead of pulling the giant shield slams into place causing Fry and Leela to get tossed aside.

This basically the “Season’s Greetings” of the year 3001.

With the shield in place, the Professor seems no happier. Declaring they’re doomed, he takes a seat and remarks he’s thankful that he installed some blast shields for shutters. He presses a button on the chair and we see his idea of defensive shutters are more like the shields on the 1989 Batmobile. Steel plats cover the entirety of the Planet Express building. Unfortunately for Amy (Lauren Tom), no one told her the Professor was going to be activating them as she was busy boarding up the windows. The blast shields knock her off of her ladder. There were no survivors. Actually, she’s fine, I just couldn’t resist going back to Morbo for a second. Once the shields are in place, we can also see the Professor’s holiday greeting spelled out in Xmas lights on the roof of the building: Trespassers Will Be Shot.

Naturally, the crew has to undertake a mission that will surely endanger their lives.

The Professor shouts a challenge to Santa calling him a cadaver junkie in the process. Even so, with the shields in place the Professor surmises that they’re all likely to make it through the holidays alive so long as they’re not dumb enough to leave the very spot they occupy. Fry, Leela, and Bender all cheer at this declaration, until the Professor remarks that they have a delivery to make: letters to Santa addressed to his death fortress on Neptune. We cut to the Planet Express ship leaving the building, getting some of its landing gear stuck in the blast shields which are very eager to close up. On the ship, the three seem to be in decent spirits and Fry is even reading some of the letters to Santa. One is from a little girl (credit to MacNeille, but I would have guessed it was Lauren Tom) expressing her desire to not want Santa to bring her any gifts this year because the bicycle he shot at her from his bicycle gun really hurt. She’s still sporting a cast in the cutaway. Leela remarks, “How awful! Let’s read another!” The next one is from a little boy (MacNeille) and he’s writing to ask Santa for a coffin for his grandfather. He goes on to point out that Santa choked him with a chestnut last year and his corpse is really starting to stink. The camera even pans to poor, dead, grandpa in a shadowy corner.

These elves are a pretty sorry looking bunch.

Fry is dismayed at all of these letters. Xmas was a time for bringing families together in the 20th century and he wants to bring that kind of Xmas back for the people of this era. Bender questions who would be willing to do such a thing and Fry confirms that they are! Leela is in agreement as the ship speeds towards the north pole of Neptune. Upon landing, we meet the Neptunians of Jolly Junction which looks more like a war zone than a happy, Santa, village as the sound of gunfire and barking dogs fills the air. The Neptunians are dressed like elves and seem to always come in pairs which are always holding hands. A welcome party, as Leela dubs it, comes over to greet them. The first one (West) offers to sell them a kidney while his companion (David Herman) invites Fry to punch him for a buck. Leela refers to them as elves which is when they explain they’re Neptunians (I think Elzar is one too, a four-armed alien race, basically) that are just small because Santa doesn’t feed them. His companion then grabs Fry’s hand and makes him slap him demanding a dollar in return.

At least they have something to look forward to.

As the gang walks through Jolly Junction we get to see how the elves live. It’s not pretty. Some are being massacred by wolves while another pair is trying to stab each other with broken bottles. When the crew walks past a house with two Neptunians each holding a baby (the babies are in turn holding hands) they beg for any morsel of food that they could provide. When Fry points out that they live in a gingerbread house, one of the elves retorts “Hey! It’s food or shelter – not both.” Fair enough. Bender calls them lazy and assumes that they should have money from all of the toy making that goes on. Just the mention of toys causes all of the elves within earshot to gasp and raise their heads. A helpful one points out that the toy factory has been closed for years since Santa judges everyone to be naughty. We see the closed toy shop which has a “Coming Soon: Crack House” banner on it. Fry has his blood angried up at this and vows to shove his foot up Santa’s chimney! He informs the elves that he just needs directions on how to get into Santa’s ice fortress. The first elf to greet them volunteers and his companion takes one look at their hands which are joined together and remarks, “Aww, phooey!”

On Neptune it’s eat or be eaten.

The eager elf and his unwilling companion lead the crew into Santa’s fortress as promised. They’ve hidden them in the sack of letters they’re to deliver and stuck them in a sleigh. This allows the elves to transport their guests past Santa’s traps, which are basically buzzsaws designed to take out anyone taller than an elf and some guard dogs (Welker) who bark “Jingle Bells.” A poor, wayward bird comes into lethal contact with one of Santa’s lasers which drops at the feet of the elves. The pessimistic one remarks, “An omen?” while the more cheerful of the two just shouts, “Dinner!” and stuffs the carcass into his pocket.

He seems excited to bask in the world’s naughtiness.

We cut to inside the fortress to find Robot Santa (DiMaggio, taking over the role from John Goodman) seated at a large console. It’s apparently his way of spying on the people of Earth to see who is being naughty and who is being…naughty. He’s viewing two robots from the robot mafia wailing on some poor guy in the street. Santa declares that beating up a shop owner for protection money is very naughty, but that not paying the mobsters their protection money is equally as naughty! Satisfied with himself, Robot Santa changes the display and it’s Scruffy, the janitor, seated on a stoop doing nothing. He runs his finger across the underside of his nose and Santa accusingly shouts “I saw that!” and appears to write Scruffy’s name on the naughty list. His standards really are set too high, there wasn’t even any nostril penetration!

Leela is the type to think she has the solution to a problem that’s plagued humanity for generations.

Santa is interrupted by the elves delivering the sack of letters. Santa is angry they failed to knock reminding them he could have been watching something really naughty on his device (“I get New Orleans on this thing!”). The elves, clearly terrified, apologize and run off before Santa can say anything else. Inside the letter sack, Leela informs the others of her plan to confuse Santa with a logical paradox and issues a warning to Bender. The three emerge from the sack and Santa is understandably surprised. He whips out a very large gun preparing to blow them away, but surprisingly responds in kind when Leela asks him to stop. He listens as she introduces her paradox (while Bender covers his ears and hops up and down) which claims that Santa is designed to punish the naughty, but is too naughty, and therefore he should have to destroy himself. The robot’s head begins to smoke and spin before finally exploding. Wow, that was easy. Why didn’t anyone think of that before?

Maybe all of the explosive stuff was in the back?

Because Santa had a head built with paradox absorbing crumple zones – that’s why! A new head just pops up to take the old one’s place forcing Fry and Leela to bail. Bender, because he was covering his ears, is a bit slow to pick up on what’s going on, but upon seeing Santa pointing his massive bazooka his way he gets the right idea to run. Santa fires as the trio duck into an elevator and the doors close right on the missile. It’s stuck there, blinking and beeping, while the elevator goes down. The tip of the warhead gets cut off, but we soon see Fry, Bender, and Leela emerging from the elevator at the base of the mountain, only Leela is carrying the explosive for some reason. She pauses, remarks “Wait! This is what we’re running from!” then tosses it back into the elevator. Fry hops onto a toboggan with Bender behind and Leela in the rear. They just sit in place with Fry shouting “Faster! Faster!” The bomb in the elevator then explodes and the force of the explosion sends the crew shooting down the mountainside.

No one gets away from Santa Claus!

The trio go fast enough down the mountain that they’re able to avoid the many security towers raining gunfire down upon them. They zoom through the elf town even passing by the pair that helped them sneak in tossing a bunch of snow up in their wake which covers them. At least the bird they were roasting on a spit was spared! The crew crashes into the Planet Express ship and frantically races abord to try and get the hell out of there. As Leela tries to take off, the ship refuses to respond. She doesn’t understand the problem, but we soon cut to outside the ship and see Santa has a grasp of the rear thrusters. The situation seems dire, but the burning engines cause the ice below Santa to melt. He slips into the water and when Leela powers down the engines the water immediately refreezes burying Santa up to his chin in ice.

Looks like they fall ass backwards into a way to imprison Santa.

The crew comes out to survey the situation, as do the elves. With Santa literally on ice, Xmas can go on as it was always intended! Fry announces that he can be the one to deliver the presents, but Santa scoffs at him and points out that no human could deliver billions of toys in a single night. Fry objects and argues Evel Knievel could, but Bender chimes in that only a robot could do it. Then he realizes that by pointing that out he’s basically volunteered himself and regrets it immediately. The elves, for their part, all cheer in unison tossing all manner of clothing into the air in celebration!

These guys need a better union.

After a break, we find Bender with Santa’s hat on outside the ship still. Santa declares that Bender can’t do the job since he wasn’t built to Yuletide specifications. Bender retorts that he wasn’t built to steal Leela’s purse either, but that didn’t stop him. He produces her purse from inside his jacket and Leela immediately grabs it from him. Bender then orders the elves to bow before their new master, which they seem happy to do. This takes us into a musical section where the elves, along with the Planet Express crew, sing a song welcoming the elves back to work. It’s a rather cheerful sounding melody with dark and bleak lyrics. The elves proudly announce they’ll do the job for free and expect to be horribly maimed in the process. One elf gets a toy lodged in his brain. There’s a spot where Leela sings about turning up the controls to super speed, which she does, causing even the song to get faster in response which is pretty clever. The elves make some pretty shitty toys while Bender gets spray-painted red to look the part of Santa Claus. When the song is over, it’s time to get Xmas underway!

Bender knows what to do with a flying sleigh.

The song concludes with the elves getting their drink on celebrating their adequate gorillas. Bender takes flight and passes by the moon before circling the area and dropping gifts that explode like fireworks. Poor Robot Santa can only issue threats from his icy prison. Bender arrives on Earth and encounters his first home. The chimney has a grate across it which Bender bends easily before entering. Upon landing in the fireplace, he comes face to face with a mother and her kids. She (MacNeille) declares that this is the end and frantically instructs her children to take their suicide pills. Bender stops her telling her he’s the good Santa and he comes baring gifts – at reasonable prices! This is when the father (Herman) pops his head up telling his kids not to believe Santa for he is the father of all lies and the uncle of all tricks. Not even Bender producing a box of Tri-Ominos can sway them and he’s forced to bail. As he does, the entire family wails on his legs with fireplace tools. Bender is able to escape though quite the worse for ware.

You have to admire the woman’s confidence to think she could seduce a robot.

His next stop sees him popping out of the chimney to a well-lit room which startles him. It’s the home of the, shall we say, loose old lady character? She (MacNeille) is perched in a doorway rather seductively, though her charms are unlikely to affect Bender. She saunters over to the mechanical man and offers him a cookie from her cookie jar. Bender is receptive to the idea and sticks his hand in only for an old-fashioned mouse trap to snap across his fingers. As he regals the trap, he asks “What’s in these things?” The old lady them suggests he slip into something…fiery, and she pulls out a flamethrower and lights him up. Poor Bender is then shown emerging from the chimney charred and broken.

Poor Kwanzaa-bot.

We next catch Bender flying in the sleigh his body reflecting the punishment he has endured this evening. He is soon approached by Kwanzaa-bot (Coolio) who is in some sort of rocket powered canoe. He’s alarmed to see “Kringle,” as he calls him, in such a sorry state, and Bender just bemoans the fact that everyone hates him. Kwanzaa-bot counters with an at least everyone understands you. Bender asks if he wouldn’t mind helping him out with these toys, but Kwanzaa-bot has his own work to do tonight: handing out the traditional Kwanzaa book “What the Hell is Kwanza?(sic)” Kwanzaa-bot then hangs his head and sighs, “I’ve been giving these out for 647 years.”

Fry should probably look more disgusted than he is here.

It’s time to check-in on the rest of the Planet Express crew at their headquarters. Amy, looking no worse for ware following her earlier accident, is using a jetpack to spray Xmas lights onto the traditional Xmas tree. They come out of a can like silly string. Leela is decorating a bush with candy canes which Nibbler promptly eats off. Fry has moved an old-fashioned clawed bathtub into the living room to make eggnog in – just liked Grandma used to drink (even though in the prior Xmas episode we found out his idea of eggnog was just bourbon and ice cubes)! Hermes looks on as Fry tastes it immediately spitting it out declaring it’s gone sour. Zoidberg (West) then emerges from the nog requesting privacy while he takes a scented bath. Leela is at the side of the Professor’s chair reminding him that Bender is Santa so they don’t have to hurt him. He angrily shouts back at her “Yes! Yes! Yes! You sound like a broken mp3!” and waves her off.

It’s hard being Santa Claus.

At that moment, Bender drops in with an unenthusiastic “Ho. Ho. Ho.” The Professor immediately produces a shotgun and blasts the poor robot in the chest knocking him down. Leela cries out, “Professor! Don’t you remember what I just told you?” He just shouts, “No!” in response and blasts Bender again who had been assisted to his feet by Amy and Hermes. We cut to the roof Planet Express HQ where Bender is seated crossing off the Professor’s name on his list. He moans that there’s got to be a better way. We then cut to a street view with a Toys for Tots bin in clear view. Bender walks by it with his sack of toys and then just dumps them in the sewer. He declares himself a genius then walks off laughing his usual evil laugh. A sewer mutant (Vyolet, voiced by Tress MacNeille) pops up waving one of the Barbie-like dolls Bender just dumped in the sewer crying out that it creates an unfair standard of beauty.

What a world.

With the toys “delivered,” Bender ducks into an alley to unscrew his present – a bottle of booze. As he enjoys it, New New York’s finest beat cops Smitty (West) and URL (DiMaggio) happen upon him. They both reason that bagging Santa on Xmas Eve would do wonders for their careers, earning URL a promotion and getting Smitty back onto the force (he’s apparently not an actual cop in this moment). They approach Santa Bender who looks alarmed to see them. There’s no struggle, apparently, as there’s a camera shutter and then a copy of the New New York Post is superimposed on the screen with a picture of Bender and the headline “Suspect Nabbed in Santa Case!” And below that, “Chanukah Zombie Still at Large.”

The Professor is now a man who just carries a shotgun everywhere he goes.

We then find our defendant at Famous Original Ray’s Superior Court where Bender is being brought before the Honorable Judge Whitey (West). His crime? Being Santa Claus! When the judge asks him to enter a plea, Bender stands up and announces “Not Santa,” at which point the Professor rises from the crowd to shout, “There he is again!” and blasts him in the back with his shotgun. The Hyper-Chicken (LaMarche), a frequent lawyer character on the show, is addressing young Premula on the witness stand. He tells her she need not fear him and then promptly pecks at her. He apologizes for mistaking her as corn, then politely asks her to point at Bender. She does, the crowd gasps, and the Hyper-Chicken has no further questions. Bender, apparently representing himself, then gets his chance to cross-examine the young girl (who appears to be the same girl injured by the bicycle gun from earlier). He points out that she was paid for her testimony today. She confesses that it’s true as Bender gave her a dollar and some candy causing Bender to scream back at her, “And yet you haven’t said what I told you to say! How can any of us trust you?!” The girls breaks down into tears causing the judge to order Bender to stop badgering the witness. The mere mention of a badger gets the Hyper-Chicken all flustered as he starts looking about for danger.

Maybe one day he’ll be a judge.

Judge Whitey gavels the room to get the Hyper-Chicken to stop freaking out over imaginary badgers. He’s apparently heard enough as he tells everyone in the court he has a ham dinner with mayonnaise waiting for him back at his mansion, so he finds Bender guilty. He sentences him to death which will take place at sundown (wow, the future moves fast). Bender is lead out in handcuffs while Leela is left to remark she hopes that dumb chicken feels bad about what he’s done. We cut to the chicken at the top of the courthouse crowing to the heavens.

He apparently gets a lot of the same messages.

After a break, we find our hero (villain?) Bender being lead to his cell by Smitty, URL, the mayor and the robot preacher while Smitty calls out “Deactivated robot walking. We’ve got a deactivated robot walking.” When Bender comes to a cell with some gangster looking robot in it, he (DiMaggio) calls out to Bender that when he sees the Robot Devil to tell him he’s a coming for him! One cell down the hallway is where Bender finds the Robot Devil (LaMarche), but before he can tell him what the other guy said he just says “I heard him!”

That wasn’t part of the plan.

Fry and Leela apparently aren’t going to give up without a fight. We find them on Neptune where the elves are dressed in summer casual attire and happy to see the two return. Leela doesn’t care about them though as they’re here for one thing and one thing only: Santa. Leela reasons that if they return to Earth with the real Santa the courts will have to spare Bender. She uses a chainsaw to free him from the ice while still leaving him stuck in a cube. Santa taunts her the whole time over who will get the last “ho.” Once Santa has been extracted, everyone soon realizes that they have a problem. The heat from the factory has caused a greenhouse effect and the cube starts melting immediately. Santa is soon free forcing Fry and Leela to bail on this idea. There’s a brief chase sequence through the toy factory which includes on animation goof where Santa suddenly has his hat back on, even though Bender stole it. He also gets his ass impaled on a toy solider. Fry and Leela reach the ship without much trouble and as they fly away trying to devise another way to free Bender, the camera pans to find Santa clinging to the ship and hitching a ride to Earth.

Bender already hates magnets so this is probably the absolute worst way for him to die.

Back on Earth, Bender has been strapped to a table in-between two gigantic magnets. Mayor Poopenmeyer (Herman) is there to explain to Bender how these two magnets will rip him to shreds in the most humane way possible. When Bender points out how that doesn’t sound very humane, the mayor confirms that it is for the witnesses since it’s not boring! He then dawns an executioner’s hood and takes his place by the switch. When a random number generator hits zero, he’ll throw the switch. Since the number generator is random, it just spits random numbers that aren’t zero, for the time being.

Jesus must have been their ace in the hole in case the Spartacus routine failed.

This allows the others to attempt to free Bender. Leela comes running in ordering the mayor to stop the execution on account of the fact that he has the wrong Santa. He just keeps calling out numbers though while the “real” Santa is brought in. It’s Fry dressed in a Santa suit which causes the witnesses to all gasp and the mayor to cry out “What?” Then Hermes enters in a Santa suit declaring that he’s the real Santa, followed by Amy (in a much more revealing outfit) and the Professor. And in the rear is Santa’s friend Jesus, which is Zoidberg in a Jesus costume. Fry tells the mayor that he’ll have to execute all of them. The mayor tells them they’re not Santa and points out that they’re not even robots, then gets in the line of the episode, “How dare you lie in front of Jesus!”

Is Santa looking out for a fellow robot? Or does he just need something from Bender?

The random number generator then hits zero and the mayor gleefully throws the switch. Bender immediately feels the effects of the magnets, which as you may or may not know, causes Bender to sing folk songs, “Swing low sweet chariot coming forth to carry me home!” Fry can’t bare to see Bender suffer, while the Professor happily points out that at least it’s not boring! At that moment, the real Santa finally comes crashing through the wall in his sleigh. Doing so destroys one of the gigantic magnets though Bender still appears to be in some distress since he is attached to the board he’s on. Santa also has his hat back, so I guess he found a spare somewhere. Santa opens fire on everyone in the room and destroys the other magnet. The mayor cries out to Jesus for help, but Zoidberg informs him that he helps those who help themselves and then makes a retreat.

Is Robot Santa going to turn over a new leaf? Is this the heartfelt Xmas special conclusion we’ve been waiting for?!

Santa then approaches Bender who immediately thanks him for saving his life then begs him not to kill him. Santa laughs and tells Bender he’s not here to kill him, but he does need his help to save Xmas. Sappy music chimes in and Bender remarks, “Gee whiz, Santa, you want me to help you save Xmas?” Fry then cries out, “Don’t do it! He’s evil,” and it’s Santa who turns to Fry and says “I know he is, but I have no choice!” Robot Santa needs Bender to help him complete his brutal rampage, because without that it just wouldn’t feel like Xmas. He the turns to Bender and says, “Bender, won’t you join my slaying tonight?” All Bender can muster is a, “Well, ’tis the season!”

Of course not! Now there’s two of them for twice the carnage and mayhem!

It’s time for a holiday montage! It begins with Santa and Bender flying through the city streets while Bender smashes light poles with a baseball bat set to the tune of “Jingle Bells.” Santa then fires a missile into a diaper truck, one that apparently picks up dirty diapers? It rains diapers on the people of New New York causing Robot Santa to cry out, “Let it snow!” Bender then gets to hurl dolls through windows and brick walls and poor, little, Premula gets shot with a bicycle gun once again. It just wouldn’t be Xmas without that poor girl getting shot with a bicycle gun.

Fear: The Magic of Xmas.

At Planet Express HQ, fire is raging all around while the crew is huddled in the darkened living room. Leela is miserable because all of the trouble they went through just lead to an Xmas just as horrible as before. Then it dawns on Fry that this terrible future version of Xmas still does retain some of the magic of the one he left behind for it’s fear that has brought them together. The Professor is ready to tell him how stupid he thinks that sentiment is, then an explosion goes off and he meekly requests, “Hold me!” The whole crew are then left embracing each other in terror on the sofa as somber music plays.

Bender doing his best Hans Gruber.

We’re not done though, as we need to check-in with Bender and Santa one more time. We learn that Santa’s reindeer are Smasher and Thrasher as Bender calls out to them while also whipping them. Kwanzaa-bot pulls up alongside them to inform them Chanukah Zombie is throwing a party and they should come check it out, Bender just responds with “Word.” With Kwanzaa-bot gone, Santa tells Bender he wanted to give him something for covering for him while he was trapped in the ice. Bender greedily accepts the present, but is surprised to find that the box is empty. When Bender informs the big guy he made a mistake, Santa turns to him and says “Oh it might appear empty, but I think the message is clear: Play Santa again and I’ll kill you next year!” And with that, Santa swats Bender out of his sleigh where he falls to a fiery end. Laughing, the robot turns and heads off towards a gold-tinged moon laughing all the way. Merry Xmas, everyone!

Merry Xmas, Santa!

I’ve watched my fair share of dark or bleak Christmas specials over the years. I tend to find most of them funny when they’re done well. As a result, I’m pretty used to them and sometimes it takes me doing one of these write-ups to notice just how bleak an episode like this one is. Santa is a murderer. He inflicts violence upon children and misery upon the “elves” of Neptune. I can see why some at Fox would find this depiction of Christmas distasteful. There’s a perverse message in it that Xmas is supposed to bring people together in fear and we see our beloved main characters all in a fetal position grasping at each other. The darkest joke may have been the family Bender drops in on and the mother ordering her children to take their suicide pills. Does that count as a suicide joke? I suppose not in the traditional sense, but there’s no way to frame a mother ordering her children to kill themselves in order to spare them a long, torturous, death as anything but bleak.

Was the darkest joke in this one the family suicide pact? The little girl getting repeatedly attacked with a bicycle? The kid asking Santa for a coffin for his grandfather’s rotting corpse?!

Despite all of that, the episode is very funny. There are way too many lines in this one to quote them all. I might as well just post the script. Some of them don’t even read as well as they come out like the Professor’s “No!” in response to Leela asking him if he remembers what they just talked about. Billy West’s delivery is just so perfect. Pretty much every line the Professor has in this episode gets a chuckle out of me and it’s largely because of the performance of West. John DiMaggio does a lot of heavy lifting as well voicing Bender and some of his usual incidentals while also taking over the role of Robot Santa. He sounds surprisingly similar to John Goodman’s version of the character enough so that if you weren’t watching these close together you may not even notice the change. DiMaggio would continue to voice Robot Santa in his various appearances on the show. None of which really compare to the first two. I enjoy the other Futurama holiday specials to some degree, but the first two stand head and shoulders above the pack.

Professor Farnsworth is my pick for episode MVP. Every line he has is gold.

If you’re interested in this dystopian Xmas of the future then you can check out Futurama on either Hulu or Disney+, depending on your subscription and residency. Futurama still airs on cable in syndication as well and this episode is probably airing somewhere, perhaps even right this very minute! The series has also been released on physical media and is available to purchase digitally. Futurama is an easy show to find, and a worthwhile one as well.

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

Dec. 20 – Futurama – “Xmas Story”

Welcome, to the world of tomorrow! Today! We’re looking forward while we look back on one of the best animated Christmas episodes of all time – Futurama’s “Xmas Story.” Have you ever wondered what Christmas could be like in the 31st century? Well, now you don’t have to. Turns out, it’s pretty bad, but the…

Dec. 20 – A Charlie Brown Christmas

Let’s continue our look at the best of the best in the field of Christmas specials with perhaps the most quoted, parodied, and maybe even beloved special of all time: A Charlie Brown Christmas. This is the special that shouldn’t exist. It’s one if you are able to separate your nostalgia for the special itself…

Dec. 20 – Toy Tinkers

We’re rounding the corner to Christmas. With just five days left until the big day, that means we have time for just five more specials after this one! And since we’ve hit another multiple of five, it’s time to do another retro-lookback (or whatever I’m calling these things) at an all-time classic: Toy Tinkers. Toy…


Dec. 19 – Life with Louie – “Family Portrait”

Original air date December 20, 1997.

If you were a mid-tier comedian in the 90s looking to breakthrough into television then Fox was the network for you. Whether it was via sitcom or cartoon, Fox seemed to think this was a winning strategy which is apparently why comedian Louie Anderson got his own show called Life with Louie. Life with Louie was pretty unique when compared with the rest of the Fox Kids lineup in the mid 90s. Most of the shows were either superhero cartoons or some kind of wacky offering. Life with Louie was a more grounded show and was basically a slice of life animated sitcom. It was slightly autobiographical as it starred a kid version of Louie (voiced by himself) and just followed his day-to-day life dealing with typical kid problems. It was a show that was allowed to have more heart than the rest of the lineup which is perhaps why it managed to attract critical acclaim.

I don’t know if Life with Louie was popular in spite of its unique approach. I watched it, but I can’t recall ever having a conversation about the show with another kid. It also wasn’t appointment viewing for me, but I was a pretty loyal Fox Kids watcher on Saturday morning so I saw a lot of the show. It’s a show that probably would have felt more at home as part of the ABC One Saturday Morning lineup, but at least on Fox it got to stand out a bit. As I got older, Saturday morning stopped being appointment viewing for me. I probably slept through most of the programming including Life with Louie. As a result, I’m far more familiar with the first season as opposed to the later ones.

They know what they’re doing when it comes to Christmas.

The show basically followed in the footsteps of The Simpsons and premiered with a Christmas episode. We’ve already looked at that one, and it was an episode that was featured in primetime. Fox liked to pull that trick with its animated shows. The calendar in December was often where most shows took time off for reruns. Holiday specials worked their way into lineups because back then most people didn’t own physical copies of those shows so they were like appointment viewing. Miss it, and you had to wait a whole year to see it again. Life with Louie‘s second Christmas episode didn’t get the same treatment. By then, the show was in its third and final season and would only air three more episodes after it. It must not have been a big hit for Fox since the final episode count ended up being 39. In other words, it never got that full series order most animated shows strive for (usually 52 episodes, sometimes 65). Still, 39 episodes isn’t a bad run and the first Christmas special was pretty good so I’m feeling relatively confident going into this one which I have never seen.

Louie and Tommy are not thrilled to find out that Santa has a five dollar limit.

The episode begins with the typical song, but all of the clips used in the intro are Christmas or winter related. Since the show only had two Christmas episodes, they’re basically all taken from the first episode and the one we’re about to watch. The episode begins with a narration by Anderson, as all do. No live-action segment as we go straight to animation. It’s Louie, his brother Tommy (Miko Hughes), and his mother Ora (Edie McClurg) and dad Andy (Anderson) strolling through downtown Cedar Knoll. As the narration explains, winter in Wisconsin lasted a long time, but Christmas was like the relief from that long, cold, winter. Unfortunately for Louie, he’s one of 11 children to Ora and Andy so his dad informs him that there’s a five dollar limit on Christmas. Louie is pretty glum about this and responds with a healthy dose of sarcasm suggesting he and Tommy each ask for half of the alphabet and then maybe next year they’ll get a board they can spell out “Thank you” on. Anderson, as narrator, does explain that five bucks went a lot further when he was a kid than it did in the mid 90s, but not far enough to get something really cool. This is demonstrated when a shopkeeper changes the price on a window display of a remote-controlled Jeep from five bucks to seven.

I should also get it out of the way now, that despite Louie having so many siblings, Tommy is really the only one we see featured much. I guess the cast just would have been too massive otherwise so they’re usually offscreen and mentioned only in passing. I also find it funny that for kid Louie, Anderson does a deeper voice than his natural one, and for his dad he does a higher, nasally, one. Having never heard the real Andy Anderson speak I can only assume this is what he sounded like. Or Louie just decided this was way funnier.

This kid is most definitely an orphan or something.

We next find Louie at school getting lunch and discussing Christmas presents with his friends. He’s pretty mopey about this imposed five dollar limit (the subject of Santa is not discussed so I take it these kids are all non-believers, or Santa just fills stockings and parents get the good stuff) while most of his buddies are all expecting something more extravagant. Everyone that is, except Teako (Jer Adrianne Lelliott). I don’t think Teako is a regular character and is someone introduced for this episode, which means he’s definitely part of the plot. He’s not joining in with the other kids eating lunch and is instead shooting a basketball since the cafeteria doubles as a gymnasium. My schools all did the same, but we were never allowed to shoot hoops at lunch. Anyway, he indicates he doesn’t know what he’s asking his parents for Christmas and doesn’t really have much to say about the holiday in general. Instead, he seems like he wants to change the subject and asks if anyone wants to play HORSE. Toddler (Justin Jon Ross), offers to play with him and the subject is seemingly dropped. Teako is definitely either poor or an orphan or both – I’m calling it now.

Judging by his expression, I’m guessing playing Santa for Tommy’s class wasn’t Andy’s idea.

In Tommy’s classroom, the teacher (possibly Samantha Dean) is eager to welcome Santa Claus to entertain the kids today. And playing Santa is none other than Mr. Anderson. He looks the part well enough and the kids seem pretty excited to have him there, but when the teacher suggest he sing some Christmas carols he balks. His schtick in this show is that he basically doesn’t want to do anything, but despite whatever protest he musters he basically goes along with it anyway which is exactly what happens here. Andy isn’t much of a singer though, so the kids aren’t exactly enjoying his rendition of “Deck the Halls.” He’s also changing the words as he goes to make it a song about kids driving their fathers nuts around Christmas. He may not be much of a singer, but he’s a pretty good ad-libber. Tommy started off enjoying seeing his father in some state of misery, but is now more embarrassed than anything. And the other kids staring at him would seem to indicate they all know who this Santa really is. When Andy is finished with his song, Tommy decides to, I guess, get even in a way by asking where all of the presents are? This sets off a stampede of kindergarteners who soon overwhelm Andy who acts like he’s under siege in a war situation.

Those kids are mongrels!

Andy and Tommy return home and his Santa suit is in tatters. Andy refers to the children as demented demons as he holds up what remains of his suit for his wife Ora, who downplays the abuse. He casually strips down into his long underwear and approaches his recliner, which Louie is presently occupying. I like how it’s basically understood that Louie is expected to vacate the chair for his old man and he does so. Andy collapses into the chair vowing to never play Santa again, but Ora has some bad news for him: she already signed him up to play Santa at the local orphanage (told you, Teako is definitely a resident) and Andy complains about it, but you know he’s going to go along with it. Louie, enjoying his father’s misery, asks him what happened to his heart and Andy replies “I gave it to the Tin Man.” Pretty good comeback, Anderson.

Teako is the kind of friend that allows Louie to feel good about himself. We all need friends like that.

The next day, we find Louie and his classmates engaged in a good old-fashioned game of dodgeball. The bully characters, lead by chief rival Glen Glenn (Justin Shenkarow), are all on one side while Louie and friends are on the other. They’re not doing so hot, but Teako is on their team and he’s pretty damn good. Louie, on the other hand, is trying his best to avoid getting nailed by a rubber ball including hiding behind Toddler, who as you may have guessed based on his nickname, is a pretty small kid on his own. Eventually, it’s down to just Teako and Louie versus Glen. When Glen misses, Teako asks Louie if he’s ready and hands him a ball. Louie is reluctant, but seems to trust Teako. Teako tosses his ball in a high arc, like he’s shooting hoops. Glen laughs at what he feels is a wimpy throw, but it’s just a diversion. Teako tells Louie “Now!” and he runs, trips, but still manages to get his shot off. He hits Glen right in the belly while Teako’s ball hits him in the head for added insult. As the kids rain praise down on Louie and Teako, Louie explains that “It’s all in the wrist.”

Please note, I am not fat-shaming when I say that is an unhealthy amount of cookies for one kid to consume. Andy, Ora, you gotta set some limits here.

We return to the Anderson residence where Andy is still grouchy about having to play Santa. He’s standing on an ottoman while Ora repairs the Santa suit as he wears it. He’s now irritated because he doesn’t think he’s fat enough to play Santa, and yet he always gets asked to do it. As he says it, he undermines his own argument by complaining that the suit is too tight. Ora then has more bad news for him: his mother and brother Eric are coming for Christmas dinner. He winces as she accidentally sticks him with the needle she’s using to sew up the costume, but when she apologizes for doing so he corrects her and says he was wincing from the pain of finding out his relatives were coming, not the needle in his side. Louie then enters from the kitchen with a glass of milk and a massive plate of cookies. His mom wants to know if he’s decided on what he wants for Christmas, but Louie just complains about the dollar limit once again. This just earns him a lecture from his dad, one of those “In my day,” talks where his dad says he was lucky to get a lump of coal which he then had to rely on for warmth all winter long. As Louie disappears upstairs to consume an unhealthy amount of cookies in his room, his mother remarks that Christmas isn’t just about getting presents. Andy agrees and notes it’s also the time when annoying relatives invade your house and ruin your holiday.

The fear of serious bodily harm just adds to the fun!

The next day, Louie and his friends are out sledding. They have one, large, toboggan style sled and they’re on a large hill overlooking the orphanage. Louie makes a somewhat callous remark how it must be great to be an orphan and not have a family, which Teako tries to brush off. Louie wants to sled down that side of the hill, but Teako suggests the other side which the other kids refer to as Concussion Corridor. Local lore says that only Glen Glenn has survived such an attempt and Louie points out how that must have worked out for him considering his present disposition. Teako likes a challenge and encourages Louie to try it insisting that his steering will see them through. The others just kind of go along with Teako, albeit apprehensively, and soon they’re off! Despite Teako’s confidence, Louie’s piloting skills appear to be lacking some polish as they crash into a rock. Everyone is sent flying and Toddler momentarily thinks his legs were separated from his body, but it was just the legs of Mike who landed headfirst in the snow. Despite the crash, everyone seems all right and, best of all, they had a blast! Louie insists they head to his house next where they’ll almost certainly be able to score some hot chocolate.

Louie is not very appreciative of what he has, which is pretty typical of all children.

The kids enter the Anderson home to find Louie’s mom setting up the Christmas tree and listening to Christmas music. The second they enter she asks if anyone wants hot chocolate and Louie points out that she’s a mind reader. As the kids settle on the floor to drink hot chocolate, Teako is in awe of all of Louie’s comic books. Mike (Justin Shenkarow) asks Louie if his electric football game is hanging around which draws more awe from Teako. And when Mike opens a closet to retrieve said game, he can hardly believe how much stuff is in there. Louie dismisses it as all junk completely oblivious to the trials of his new friend. Tommy then comes over because he’s seen Teako playing basketball at school and thinks he’s amazing. He even wants the kid to sign his ball, but Louie ushers him away. When he complains about how annoying little brothers are, Teako suggests that the kid seems fine to him. Louie’s mom then delivers a plate full of homemade Christmas cookies which draws more awe from Teako. As they settle in to play the electric football game, Louie laments having a large family and wishes he was an only child. Teako tries to tell him that being an only child isn’t so great and that he wishes he had a big family like Louie’s, but Mike just corrects him by saying he has yet to meet “Corporal Keister.”

I love Louie’s mom, she’s do damn cute. I hope he was nice to her during his teenage years.

Evening arrives and the kids all go their separate ways, but not without thanking Mrs. Anderson for a lovely time. She’s pretty impressed with Teako and Louie shares her sentiment pointing out that he’s handsome, popular, good at sports, and he’s an only child. Who wouldn’t want to be him? Ora doesn’t try to change her son’s opinion, just offers up some classic Mom talk by saying he must be a smart kid too since he’s chosen Louie as a friend. She’s so cute and earnest that this sweet stuff is working like a charm on me.

What can a kid get for five bucks? There must be something since when I was a kid I could at least get an action figure for that kind of money.

The next day, Louie, Teako, and Mike are roaming the streets of town since Louie has yet to figure out what to ask Santa for Christmas. Mike can’t believe that Louie can’t find something worthwhile for five bucks. Louie is still pretty sullen and as they look at the remote control Jeep from earlier he opines that five bucks probably couldn’t even get him the batteries that power the thing. Teako tries to be helpful and suggests a book, but Michael looks at him like he’s got two heads at the mere suggestion of such. He then pivots to a gumball machine as they’re in a store that has one for five bucks. Mike is quick to point out that it doesn’t come with gum. Louie then allows himself a moment of panic for if he can’t find something then he’s sure to get something terrible. Teako seems dubious of such, but Louie tells him that’s how he got a flywheel for his birthday.

Heh.

At the Anderson house, it’s time for the old man to get ready for his star turn as Santa Claus for the orphans. He’s about as happy as you would expect. Ora is very supportive and reminds him that all of the gifts will be labeled with each kids name. He just snaps back at her that he knows how to read, but asks where the gifts are? Speak of the devil as the doorbell rings and some delivery men show up with a trio of massive sacks of presents. Andy has no idea how he’s supposed to manage such a volume, but Louie and Tommy laughing at him gives him an idea. We then cut to Louie dressed as an elf and Tommy a reindeer. Andy is pretty proud of his solution and if I’m not mistaken I think he rather likes the fact that his boys get to share in his misery this evening. Ora, naturally, thinks they’re adorable resulting in Louie asking if he can be adorable in his regular clothes?

This is a terrible idea.

Louie’s concerns are dismissed as the boys set out with three sacks of gifts strapped to the roof of Andy’s station wagon, The Rambler. He backs into his neighbor’s garbage cans and serenades the boys with his own rendition of “Silent Night” as they head for the orphanage. In between each line he inserts his own comments, such as “Silent Night (not if you have 11 kids). Holy night (What? Did they see my boxers?).” At the orphanage, Ora is there passing out snacks and such when her boys show up. Andy is ready to haul the gifts inside, but Louie and Tommy see this as an opportunity to get back at their father for making them dress up. Louie insists that he can’t enter through the front door as Santa, he has to go down the chimney. This has “bad idea” written all over it and Andy knows, but in typical Andy fashion, he whines and complains, but ultimately does as suggested. I don’t know how they got to the roof, but they did and Louie and Tommy help stuff their father down the chimney. It’s a little more than a tight fit, but where there’s a will there’s a way! Andy lands hard on his rump and then mistakenly calls for the presents which follow close behind. As for Louie and Tommy, well, they’re not Santa so they waltz in through the front door!

You know, I think he actually likes this Santa thing.

The kids are pretty happy to see Santa and Ora makes the mistake of mentioning presents. Poor Andy gets assaulted just as he did in Tommy’s class and he points that out by crying, “Deja vu!” After things settle down, Santa Andy starts handing out gifts. As kids come up to retrieve them, Louie calls out the price on each item since they’re all well above five bucks. Andy actually seems like he’s enjoying himself, though probably not his son’s quips. He tells Louie to do him a favor and go brush the snow off his car, of course, catching himself in the moment and correcting it to “sleigh.”

Louie may be shocked, but I am not.

We then come to the last gift which is for a kid named Russell. Andy calls the name out a few times, and then, predictably, from the shadows emerges Teako. Louie gasps when he sees his friend, who just cheerfully says “Hi Louie,” as he walks by to receive his present. Louie asks why everyone calls him Teako when his name is Russell and, get ready for more sadness, he explains it’s because it’s short for “Antique.” Being the oldest kid in the orphanage, he acquired a nickname which has been shortened overtime to Teak or Teako. God damn, it’s getting dusty in here. Ora then suggests to Teako that he open his gift and so he does. To Louie’s surprise it’s an electric train set which he’s quick to call out to his dad costs $29.99! Teako ignores him and asks if he’d like to help him set it up and Louie agrees on account of the fact that he’ll never get one.

Look at that adorable little rascal!

With the train setup, Teako and Louie are able to play and have a little heart-to-heart. Louie asks him why he never mentioned he was an orphan and Teako confesses he’s a little embarrassed by it. He tells Louie that he’s lucky to have parents and siblings and for once Louie agrees with him, though not all that convinced by the sound of things. He also refers to his dad sarcastically as Dean Martin since he’s busy leading the kids in a horrible version of “Jingle Bells,” one that ends with him wishing he was on the frontlines of war instead of here. Andy then makes for the snack table and boasts to Ora that these kids are totally buying into him as Santa Claus. Then some kid calls him Mr. Anderson and he’s forced to concede that maybe his performance isn’t that impressive. Louie comes over and tells his parents he finally knows what he wants for Christmas: for Teako to be able to spend Christmas with the Andersons! Andy is predictably aghast and complains about having another mouth to feed, but he should probably shut his yap since I bet he’s coming out ahead on this one. Louie’s mom asks him if he’s sure he wouldn’t want a real present, but Louie just returns her sentiment that Christmas isn’t only about getting stuff which is music to a mom’s ears. As she turns her attention to Andy, Louie’s smiling, elf, face gets smushed between his parents in what is almost certainly going to be the featured image of this post.

By far, the most cartoony moment of this otherwise relatively grounded show.

Christmas comes, and as requested, Teako is there to spend it with Louie’s family. And so are Louie’s relatives who his father isn’t exactly thrilled to have over. Before they go in for dinner, Louie, Tommy, and Teako are shown playing tag outside and Louie takes a tumble. When he enters the house, he’s literally a snowball. His grandmother (Inga Swenson) is there and she has what sounds like a Swedish accent. I’m guessing Louie’s grandfather didn’t have the same since Anderson is about as vanilla a name as it gets. Andy can soon be heard asking his wife for his vice grips as he’s having some difficulty with a jar of something. This just invites a scolding from his mother who opens it without a fuss.

Let’s see how the old man handles this one.

Louie and Teako take a seat at one of the three tables setup in the Anderson living room. One of Louie’s seldom seen older siblings pops in and asks if Teako is some cousin he’s never met. When Louie tells him that Teako is his friend his brother laughs and suggests the kid must have lost a bet. Louie is ready for a comeback though as he tells Teako this is the brother who’s never had a date. Grandma Helga then suggests to her son that he should say the blessing before dinner. Andy does his best, and his best isn’t very good, “If you’re listening, big guy, thanks for the viddles. And thanks for bringing our family together,” followed by something unintelligible to my ear. His brother, Eric (Stephen Tobolowsky), tells Andy his blessing was very nice and Andy is quick to point out “I didn’t mean you!”

I think Teako is having a good time.

Ora then encourages everyone to dig in and a free for all ensues. Teako is aghast at how quickly the food is flying around, but he basically just sticks his plate out and it gets passed around and loaded up with all kinds of stuff. The same is true for Louie and the two share a smile as they dig in. We then cut to the kids watching TV. It’s the original version of Miracle on 34th Street and it’s the scene where the little, Dutch, orphan is introduced to Santa Claus. They use the actual footage, which is something they also did in the first Christmas special only then it was It’s a Wonderful Life. The movie is interrupted by Eric asking his brother if he’s still driving the same car. Andy happily declares he still is listing all of the stuff that’s basically wrong with it, but it has 750,000 miles on it (but is also on its fourth engine). Eric tells him he needs to upgrade to a luxury car, but Andy just sort of growls in response.

I guess he kind of had that one coming.

Eric takes the opportunity to flaunt his new camera in his brother’s face noting it cost him a pretty penny. Andy is unimpressed, but has nothing to throw back in his brother’s face, that is until his own flesh and blood approaches with a gift for their dear old dad. Louie and Tommy present a present to their father and he tries to rub it in his brother’s face how much his kids appreciate him. Then he opens it to find a lump of coal which gives everyone a good laugh. Andy is a little pissed at first, but then starts to suggest it can keep the family warm into February, then under his breath whispers “Or start a fire under Eric’s car.”

Such a lovely family.

Eric either doesn’t hear that part or takes it in stride and instead declares that they should take a family photo. Teako offers to take the picture, but of course Louie wants his friend to join in the picture. No problem, as Eric points out they can use the timer feature on this fancy, new, camera of his. He sets it on the television and everyone takes their place. Then they wait, and wait, and by the time the camera goes off they have all started doing something else.

He sure knows how to clear a room.

It’s time to pass out stockings and there’s even one for Teako. Or should I say Teco? The credits on IMDB list him as Teako, but the stocking says Teco. I’m not changing it now. Andy reaches under the tree, now back in his Santa threads, and mentions he has “a surprise for you, son.” Louie is indeed surprised when the gift is for Teako, and the moment is captured by Uncle Eric’s camera. The real Louie’s voice enters to wrap things up. As we see Louie and Teako playing checkers (I guess that was his gift?), Louie tells us sometimes the best gift you can get is spending time with the people you like the most. We see quick cuts of the pair making cookies and the family being lead in song by Andy. “The Twelve Days of Christmas,” which no one seems to be enjoying except for Andy. It’s his own version which highlights his unfortunate existence. Everyone walks away, but the song ends on a rather sweet note with Andy concluding “And a wife who stands by me throughout it all!” He mumbles that he should have been a singer as we fade out.

As expected, “Family Portrait” was a sweet and earnest Christmas episode from Life with Louie. I could see the plot beats coming a mile away and I ate it all up. It was cute. Louie’s obliviousness to how good he has it, Teako’s genuine good heart, and even old man Anderson who despite the grumbling and protesting seems to always do the right thing. Louie Anderson turned his father into a comedic figure, but you can also tell the guy must really love and respect his old man. And his mom is portrayed in such a positive manner too that I just keep coming back to the fact that it’s all just sweet. Very, very, sweet.

If there is a touch of cynicism to this thing it wouldn’t work. It lets the characters and the moment get just touching and sappy enough and knows when to ease up. It would have probably been over-the-top if the Andersons announced they were adopting Teako. They have 11 kids already and seem to basically just get by, adding a twelfth would probably be unwise. And Teako, despite some embarrassment at being an orphan, seems to be a well-adjusted kid. He may not have a family of his own, but he has a pretty strong group of friends and a good support system. If the kid was ever in trouble or needed anything you know Louie’s mom wouldn’t hesitate to make it happen.

I hope Louie’s parents lived long enough to see this show because his affection for them shines pretty bright.

I’m left wishing that this wasn’t basically the end of Life with Louie. These characters are interesting to me and it would have been nice to see how everything turned out. I know the show is somewhat autobiographical, but I don’t think it is down to the plot. As in, I don’t think Louie Anderson ever had an orphan boy over for Christmas as his Christmas gift. I could be wrong, and I don’t know if it was ever asked of him. He’s unfortunately no longer with us, though I’m assuming some of his 10 siblings are so maybe they could recall?

It’s not important though. This is a perfectly fine Christmas special whether the events depicted happened or not. And it is indeed one I recommend along with the other Christmas episode of Life with Louie. They’re both feel good Christmas stories that manage to feel sentimental and heartfelt, but without crossing over into corny territory. I don’t know how they pulled it off and if I did I’d write a hundred Christmas specials of my own. It’s not an easy thing. Life with Louie sadly never got the full DVD or Blu Ray release Louie Anderson seemed to think was imminent making it a lot like some of the other Fox Kids originals. On the plus side, that means it’s readily available online streaming for free and since the show did air on digital cable at one time the transfers are pretty good. You just have to deal with the stupid JETIX logo that channel superimposed over everything. Their program director had no sense of taste.

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

Dec. 19 – Aaahh!!! Real Monster – “Gone Shopp’n”

Whenever I approach another year of The Christmas Spot I usually have some kind of goal in mind. Maybe one could even think of it as a theme. The past few years I’ve made it a point to highlight some of the best Christmas specials I covered in the past, but felt I had short-changed…

Keep reading

Dec. 19 – American Dad! – “Minstrel Krampus”

I’m quite surprised to have made it all the way to December 19 without resorting to The Simpsons, American Dad!, Bob’s Burgers, or some other animated sitcom that has an annual, or near annual, Christmas episode. Not that I have been avoiding such shows, and I may turn to one again before this is all…

Keep reading

Dec. 19 – Krazy Kat – “Krazy’s Krismas”

One of the most celebrated comic strips of all time is Krazy Kat by George Herriman. Krazy Kat debuted in the New York Evening Journal in 1913 and concluded its run in 1944. It contained a fairly simply premise where a cat named Krazy pined for a mouse named Ignatz, only the mouse hated the…

Keep reading

Dec. 18 – Pillow People Save Christmas

Original air date December 21, 1988.

Yesterday, we took a look at an obscure Christmas special I had no familiarity with. Today, we’re looking at an obscure Christmas special that I do have some familiarity with. Pillow People were a line of pillows with faces created by Penny Ekstein-Lieberman (you can see a commercial here, if you’re curious). According to the website Mental Floss, Ekstein-Lieberman created the dolls in response to a nightmare her kid had thinking a friendly face would be some comfort after such a traumatic event for a child. The dolls were basically just throw pillows with faces and there were stuffed limbs added to them. Despite their simplicity, Pillow People ended up being a pretty big deal. They must have been hard to come by because I can remember my mom being pretty jazzed to find one for my sister and I. My Pillow People was Punky, the sunglasses wearing pillow holding a record. I can’t remember what my sister had. I can recall not being that impressed with the toy and I may have even responded in a bratty way, “I wanted a toy, not a pillow!” I wasn’t very attached to old Punky, but he may still be spinning records in my parents’ attic for all I know.

The logo for the Pillow People with Sweet Dreams serving as the “O” in pillow. That thing was supposed to help prevent nightmares…

Pillow People were big and big in the 80s which meant an animated TV special was practically a certainty. Animation was so cheap back then that companies were willing to commission them basically as an advertisement. And in 1988, the Pillow People made the jump to television with a Christmas special. If you’re into animation, then you know the name TMS. Tokyo Movie Shinsha is one of the premier animation studios out of Japan. They worked on various Warner Bros. series and were pretty much always the best looking episodes for those shows. Remember Clayface from Batman: The Animated Series? That climactic scene of Clayface’s visage distorting and warping between looks was TMS. Ever see Akira? That’s TMS. By the mid 90’s, they were firmly established to the point where they didn’t need American television jobs, but in 1988 they weren’t there yet and actually were in position to take on a project like Pillow People Save Christmas. I’m curious if TMS proper actually animated this thing. Sometimes big studios basically sublet their projects to smaller places and maybe that happened here. It’s still a Hell of a get for Pillow People and it’s my primary motivation for checking out this otherwise forgotten television special.

The voices bringing these characters to life. Who they voice is a mystery.

Pillow People Save Christmas is so unimportant that it doesn’t even have an entry at IMDB.com. That’s truly remarkable and I think it’s a first for me with this blog. I’ve looked at some dumb stuff and some of them have entries on that database that basically just say “This is a thing that existed and we have no other information on it.” With this special we don’t even get that so I can’t include voice credits like I normally would as we get to each character. The special itself does of course feature credits at the end, but they’re not detailed. It’s basically just a list of names, some of which are quite familiar.

“Go to bed, you idiot!”

This one begins with a skyward look at a small town. The Pillow People logo pops in, but it’s missing some letters. That’s because they’re going to be provided by the actual Pillow People and they soon drop in. How cute? We then head for a home where a kid named Billy is getting ready to go to sleep on Christmas Eve. He’s worried about monsters under his bed even though Billy looks like he’s at an age where such concerns should have long faded. His parents assure him that no monsters are going to appear, but not because they don’t exist, but because they don’t attack kids on Christmas. Maybe this lack of denial is why Billy is still fearful at an advanced age. His parents are assholes. Billy thinks they might be dumb monsters though who have no idea it’s Christmas and he makes a good point, though if they’re dumb then he should be able to outsmart them, no?

A Santa sighting?! No way!

Dad reminds Billy that the quicker he gets to sleep the quicker he gets to presents and that’s basically all the motivation Billy needs to put monsters out of his mind. He’s also wondering if he can catch Santa in the act as his parents leave the room as he lays down to go to sleep. I can recall doing the same on Christmas Eve which is why i know this kid isn’t real because he actually does fall asleep. The worst sleep sessions of my life have probably all been on Christmas Eve, and here’s some advice for you would-be parents, it doesn’t get that much easier! Anyway, Billy is soon roused from his slumber by a sound downstairs. He creeps to the stairs and sees the shadow of Santa on the wall. Score! Then he hears some scary noises and the cackle of what sounds like a witch as the shadow morphs into something sinister. Then his Christmas gets sucked up like someone is running a super-powered vacuum. Billy gets a look at the culprits, which in addition to the creepy witch shadow, are Pillow People! I thought they were the good guys? The witch notices Billy and orders her minions to grab him. Billy runs back into his room for safety, but when he dives under the covers a hand reaches out and grabs him!

Welcome to Pillow Valley, Billy. It sucks here.

Billy wakes up to find he is no longer in his room. It’s a bright, sunny, place and it’s populated by living pillows. The two beside him seem to know who he is. One is a boxing pillow named Pillow Fighter and the other is a girl pillow named Sweet Dreams. Both were part of the initial wave of Pillow People released to stores. Sweet Dreams introduces them as Pillow People and even adds, “Your huggable, lovable, friends!” You have to get that marketing in there. Above them in a tree is a baby pillow rocking in a cradle – seems safe. The two pillows take Billy on a little tour of the place and I’m not going to name everyone they introduce him to because this is basically a commercial. It would appear they were pushing new Pillow People with a face on one side and a different expression on the other, like sleeping and awake. It’s so cynical.

My boy Punky only gets a cameo in this one.

This leads into a brief musical number about the Pillow People that is just another commercial. It’s horrible, but it is the only place where my boy Punky is featured. Plus it contains the most ambitious animation we’re going to see with these wild tracking shots. This is too good for Pillow People. When the song is over we find an inspector pillow guy who speaks with a French accent snooping about. He’s clearly based on Inspector Clouseau. Nearby is Mr. Sandman Pillow sleeping on the curb who Sweet Dreams is eager to point out. Then a Dr. Z goes skating by with something called 40 Winks. There are these little pillow guys bounding after him and I don’t know if 40 Winks refers to one or all of them. Either way, he’s the typical professor character who probably has all of the good ideas that advance the plot or something. Or he would if this became a series (it did not). There’s a bell ringing in his laboratory or something and apparently he knows right away that it’s Santa Claus. Billy is rightly surprised to hear that the real Santa would be in Pillow Valley, but Sweet Dreams just replies matter-of-factly with an “Of course,” when he asks if it’s really him. She’s so smug.

Dr. Z is another 80s character perpetually on roller skates. You can tell he’s an 80’s character because they’re roller skates and not roller blades.

When we see Dr. Z get to the lab we see how he knew it was Santa. He has some big machine in there that’s like a video phone and that must have been the special Santa ring. Santa is calling because The Noises in the Night are keeping he and his elves awake and without rest they can’t finish all of the toys they need to make for Christmas. The Noises in the Night are basically the Pillow People we saw in Billy’s house. One looks like a door, one a window, a thundercloud and…I don’t really know what the fourth one is supposed to be. He sort of looks like an egg with clown shoes. They were toys too and I specifically remember the window guy as he was in the background a lot in Full House. I think my neighbor had him too. They obviously represent noises that might keep kids away at night and we soon find out they’re followers of someone called Nightmara (Night-mare-ah). She’s some evil being that can’t sleep so she makes it her mission to keep kids awake at night to spread misery, I guess.

Santa and his elves just lay back and take the abuse. What chumps!

Dr. Z suggests to Santa that he move his base of operations from the North Pole to some secret Santa hideout in Pillow Valley called North Pillow. That’s pretty convenient that he has a satellite operation there. Santa agrees with the suggestion and soon he and his elves arrive in Pillow Valley. We check-in with them to find Santa and the elves all asleep at their work bench. You would think Santa would allow his workers to retreat to actual beds, but no. Unfortunately for them their sleep is soon interrupted once again by the Noises in the Night. They come barging in, go up and down the work benches being kind of loud, and then depart satisfied in a job well done. They also warn that now it’s Nightmara’s turn to do whatever her job is. Santa can only bemoan the fact that the Noises tracked them down. No one seems to consider just, I don’t know, kicking their asses? These guys are strictly pacifists it would seem. It also probably wouldn’t hurt to lock the door. Or get ear plugs. All I’m saying is this seems like a real minor problem with a variety of simple solutions.

This Nightmara sure casts a menacing shadow. Can she possibly live up to it?

Billy and the others soon drop by only to find out that the elves have hit such a state of exhaustion that they’re now in a deep sleep. The problem now is that they’re too close to Christmas and can’t possibly finish all of the toys in time. Billy has the bright idea to suggest that they assist in making the last of the toys. Everyone seems to think this is a great idea so I guess they all have experience making toys? They get to work and we see that it’s okay for the boxing pillow to punch stuff that isn’t alive, but I guess he can’t punch one of the Noises in the Night. Everything seems to be going well until Nightmara’s shadow falls across the land. More evil laughter is heard as soon all of the presents get sucked away. There doesn’t appear to be some massive vacuum device, it just sort of happens like it’s a property of the shadow she creates. And that shadow kind of looks like a dragon and I’m actually eager to see what this being looks like. With the presents all gone Nightmara takes her leave and Santa, the funny guy that he is, announces that it’s “Ho, ho, hopeless,” and that Christmas is cancelled. Where have I heard that before?

The answer is, “Eh, sort of.”

In a sinister looking castle with a giant dragon’s maw for an opening, we find the Noises in the Night apparently enjoying the gifts their master stole. We then get our first look at this Nightmara as she descends a staircase with what appears to be a raven on her shoulder. She’s…unimpressive. She has a visage like Mother Brain from the Captain N show and a body like Venger from the Dungeons & Dragons cartoon, only it’s purple instead of red. Maybe they date? She has either a cape or bat wings and she’s just all together some creepy old lady. Not really scary or imposing, though certainly ugly. She’s pissed at her minions for playing with the toys and making a bunch of noise, but making noise is essentially all that they do.

Where are the stolen presents go. Very efficient.

Upon seeing Nightmara, the ugly pillow with the big feet collides with Thunderclap. He was on a skateboard and Thunderclap was playing marbles. The two then smash into a toy train being driven by the other two, the squeeky door and window. Nightmara then gets a chance to explain her rationale here which is that she stole Christmas from the kids so they couldn’t sleep? Okay, she reasons that kids go to bed early on Christmas to wake up early and open gifts and since she can’t sleep no one can. I get the last part, but the promise of presents in the morning is what makes kids NOT sleep on Christmas Eve. Her plan should have something to do with that. No presents means kids are just going to be sad (which probably doesn’t bother her), but they’re just going to go to sleep again. Her plan should be somehow to prolong Christmas. Anyway, we do finally get to see what she’s using to suck up the toys. It’s a tiny, black, chest and she uses it to suck up all of the toys in her castle so that the Noises in the Night can’t play with them. I’d say she’s a mean boss, but I suppose they had it coming when they decided to work for someone who refers to herself as The Queen of Nightmares.

Oh great, these two are coming along.

Back in Pillow Valley, Santa informs the others that there isn’t enough time to make new toys to save Christmas. Pillow Fighter finally makes a useful suggestion which is to just go kick Nightmara’s ass. Billy likes that idea, until Pillow Fighter informs him that Nightmara can turn into basically any horrible creature she can think of. Still, the others apparently agree as they start to head out. First, we need to highlight Rockabye, the little baby pillow, who wants to go too, but Sweet Dreams informs her this mission is too dangerous and puts her in her cradle and rocks her to sleep. Before they can leave, Detective Peter Pillow returns (he was the inspector guy from earlier) and he’s also bringing a dog pillow guy with him because we need to advertise the Pillow People Pets! He’s bringing along Drowsy Dog because a narcoleptic canine is sure to be useful in tracking down an evil sorceress. At least the rest of the gang look bewildered at the thought of bringing these two clowns along.

If you hang out with the Sandman you have to be ready to cover your eyes at a moment’s notice.

Drowsy Dog, who walks like any other bipedal Pillow Person, leads them to a random spot on the ground and then goes to sleep. The detective seems to think this is all part of his plan, while Mr. Sandman thinks going to sleep is just a good idea. He tosses his magic sand in the air and Sweet Dreams is quick to remind everyone to cover their eyes unless they too want to fall into a deep slumber. Billy wonders how they’ll ever reach Noisy Canyon (that’s apparently where they’re going) at this rate, but Pillow Fighter tells him to cheer up and scoops up Mr. Sandman as they all just walk off apparently leaving Dr. Z behind, the coward. At no point does anyone speculate how long this journey is going to take. We’ve seen where Nightmara lives and it doesn’t look anything like Pillow Valley which leads me to believe it’s quite a haul. I guess they don’t have Pillow Trucks or planes.

Looks like Billy found a safe place to hide.

Well, wherever this place is it apparently wasn’t far because our…heroes…are already in Noisy Canyon. Billy is the first to note that it’s pretty quiet despite it’s name, but then of course it gets loud. He runs away screaming while the others try to tell him they’re just noises that can’t hurt him. Santa even calls after him to come back because they need his help to save Christmas. Just what are they relying on this kid for, exactly? Billy then runs into the other Noises in the Night and both sides are scared of the other. The Noises regroup and quickly realize what’s going, while Billy reunites with the others by running right into Santa’s big, red, ass. Peter Pillow takes the credit for this reunion because he sucks, while the others take this opportunity to remind Billy that noises can’t hurt him. It all goes back to the reason for the Pillow People’s creation. At least they’re good at staying on message.

If this were a 90s cartoon there would definitely be a piss joke here.

The group resumes it’s search for Nightmara’s castle by traversing Noisy Canyon. They’re soon confronted by the Noises once again who block their passage. Thunderclap, clearly the leader, tells them to turn back or else. When he’s challenged on the “or else” part, he does what his name implies: claps. A dark cloud appears over him and it crackles with lightning. Maybe we’re about to get some actual conflict?! Then the cloud rains and all it does is soak Thunderclap. Billy laughs at how lame he is and points out that noises can’t hurt him. And that apparently applies to the Noises in the Night.

Guys! She’s right above you!

The group is then shown walking once again. I guess once they realized the Noises couldn’t hurt them they just pushed past them? The orange glow of the background would suggest that they’re nearing the castle which was surrounded by lava. They are indeed there and as they approach the dragon maw entrance we can see Nightmara lurking above. Peter Pillow again takes credit for leading them here and suggests that he and Drowsy Dog will be able to deduce a way inside. The dog, to my surprise, actually appears to sniff out a loose brick in the wall. Peter Pillow pushes it, but rather than opening a secret entrance it opens a trap door and our heroes fall into a long, dark, chasm, possibly to their death. Well, I guess the pillows will be fine, but Santa and Billy might die. I guess if this pit is full of spikes then the pillows will die too. I doubt we’re that lucky.

Surrounded by corpses.

Of course, no one dies and the group just lands in a jail cell of some kind. Around them are inanimate pillows. Are these the corpses of Pillow People who were locked up until death? No one seems unnerved by them, so I guess not. Nightmara enters to basically just laugh at everyone before disappearing causing Santa to turn to his apparent catchphrase once again of “Ho, ho, hopeless.” He’s really a downer. Pillow Fighter thinks he can punch his way out, but all that does is reveal he can’t even count to 4. Mr. Sandman wakes up and upon seeing that they’re locked in a dungeon basically says, “Screw this,” and tosses more sand in his eyes. Doing so gives Sweet Dreams the idea that maybe they can use the sand on Nightmara? Problem is, they first need to break out of this dungeon and to do that they’re going to need a diversion.

This inspector pillow is so damn useless.

And what is their diversion? A pillow fight! That’s why all of those pillow corpses are strewn about. The gang breaks into a fight and I’m curious what this will accomplish, but apparently the Noises in the Night are far dumber than expected. They come barging in to break up the fight for some reason, Nightmara too. These guys are seriously bad at being villains. They basically join in on the pillow fight and during the “melee” the Pillow People use the magic sand to put each of the Noises in the Night to sleep one by one. Sweet Dreams takes care of Window Rattler while Peter Pillow is left to take on the egg guy, who we find out is called Big Foot Steps. Only, Peter sucks at everything and tosses the sand at his nose causing Big Foot Steps to sneeze. By doing so, he blows sand into Peter’s eyes, who sneezes, and blows sand into the eyes of Big Foot Steps causing both to fall asleep.

The confrontation we’ve been waiting for?

Billy is left to take down Nightmara herself. She’s surprised to see that Billy has the courage to face her, but I guess she’s a lot like the noises or something so he’s fine. She’s also not very observant and seems to have no idea what Billy is up to. He doesn’t take any chances and tosses the entire pouch of sand in her face. At first she has no idea what’s going on, and this is actually a good chance for this thing to have a little fun with a character who has literally never experienced sleep before be overcome by it. It’s nothing special though. She and her raven basically just yawn and collapse in a heap. So much for that.

Somehow, the one that’s always sleeping is the most useful of the Pillow People.

With Nightmara down for the count, her magic treasure chest falls to the floor and breaks open. All of the presents she stole spring out and litter the castle. Some of them look absolutely massive, bigger than Santa! No one is apparently worried about getting these back to North Pillow and instead it just sort of happens. Fill in the blanks however you want, I guess. A rightly exhausted Santa is unsure of how he’s going to deliver all of the gifts in time since it’s practically Christmas morning. Mr. Sandman knows when he’s needed, and with a wink he’s off! The little guy rides a star through the early morning sky leaving a blanket of magic sand dust in his wake. We see kids rising out of bed and, for some reason, heading for their bedroom windows only to get hit with the sand and return to bed.

When Billy isn’t onscreen we should always be asking, “Where’s Billy?”

With the kids back in bed, Santa is free to deliver the presents. With his five trusty reindeer (boo!), he’s off and the Pillow People are coming along to help deliver the gifts. And Billy too. When they’re all done and gathered around a Christmas tree, Santa thanks the Pillow People and asks where’s Billy? That Billy is fast asleep in the corner. I guess they saved his house for last. They put him to bed and Sweet Dreams tells him, wait, I bet you can’t guess – “Sweet dreams, Billy.”

Oh! Great! More product placement!

With Billy in bed the Pillow People depart. Soon, the early morning sun creeps through his bedroom window causing him to spring from his bed and run down to the tree. Everything is as it should be and Billy suspects it was all just a dream. A tap on the shoulder reveals it most certainly was not. Sweet Dreams is there and she has a special present for Billy. It’s basically a Santa Pillow People that Santa wanted him to have so that he’d always remember this night. The other Pillow People are there as well and give Billy a wave before they all depart. Billy’s parents enter and his dad takes note of the doll in his son’s hands and remarks that he finally caught Santa. Billy confirms that he did and says it was all thanks to the Pillow People! His parents look at each other with bewildered expressions and rightly so. Under the tree, a box moves out of the way and one of the little pillow guys pops out (40 Winks?), winks, and runs away.

“What the hell did our son just say?!”

Well, that was pretty terrible. A commercial masquerading as a Christmas special. I suppose it’s not a surprise to encounter such a thing, but this one is just so bad at disguising its true intentions. The part where Sweet Dreams just basically takes Billy on a tour of their products had me chuckling aloud – thanks Reagan! The whole concept of Pillow People is very boring to me. It was then, it is now. They’re not terrible, it’s just mind-boggling that they caught on in such a big way. I suppose I can applaud its commitment to the lore of basically being nightmare salves, but I always thought they were a bit creepy looking. Punky was okay for me because he had shades, but Sweet Dreams? She’s frightening. These things weren’t nightmare salves, they were nightmare fuel.

They tried so hard to make the ending cute.

Since this is a TMS production the look and animation is way better than it should be. It’s not impressive, by any means, but it’s far from awful. This thing probably cost more to make than the Garfield holiday specials. The art direction is a bit on the bland side. I was fine with Noisy Canyon and Nightmara’s castle, but Pillow Valley is like the home of the Care Bears, but even less interesting. The voice cast, on the other hand, is full of quality actors. Some were easy to pick out for me, like Cree Summer, others were not. Jim Cummings is in this one and I’m not sure who he is. Ken Samson, who played Rabbit in The New Adventures of Winnie the Pooh, was easy to pick out as Dr. Z. Russi Taylor is in this one too, but I’m not sure who she is. Maybe one of the babies? I don’t think she was Sweet Dreams. The most fun one could probably have with this special is watching it with a list of the voice actors in front of them and trying to figure out who voiced who.

And that’s really the only reason to watch it, other than sheer curiosity. The story sucks and it’s not entertaining. The music isn’t good and the animation is merely adequate. There aren’t any flourishes to the animation aside from the rotating, tracking, shots during the crappy song. It’s mostly just fine. If you ever had a Pillow People doll or saw one and wondered what was up with it, I guess this might answer some of your questions? If you’d rather not take my word for it and wish to see for yourself, you can find this thing online for free in various states of quality. I don’t know if this thing was ever released on VHS. I want to say “probably,” but I couldn’t find anything. I did find the Pillow People Santa so if you find yourself jealous of Billy’s Christmas present, you could get your very own. I don’t know why you would be though.

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

Dec. 18 – Batman: The Brave and the Bold – “Invasion of the Secret Santas!”

Come 2008, the DC Animated Universe had been dead for 2 years. Justice League Unlimited aired its final episode in 2006 bringing an end to something that had been ongoing since 1992. As I touched on earlier in this year’s countdown, the DCAU wasn’t something I was particularly invested in so it’s end went unnoticed…

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…

Dec. 18 – The Legend of Prince Valiant – “Peace on Earth”

The early 90s saw an influx of cartoons produced solely with the intent to sell to cable networks. Previously, most cartoons were packaged from film or created for broadcast networks which would get the first run on major network affiliates and then gradually migrate to smaller stations. With cable becoming more affordable, it was fast…


Dec. 17 – A Cosmic Christmas

Original release date December 4, 1977.

If you watched a lot of cartoons in the 80s and 90s then you probably remember Nelvana. Their cartoons, like many others, would end with their own production logo which was a polar bear, I think. It was all one color and white and since Nelvana is Canadian it would certainly make a lot of sense for that bear to indeed be a polar bear. That polar bear logo was conceived sometime in 1978 first appearing alongside the television special The Devil and Daniel Mouse. What most probably don’t know, or really even thought about, is that the polar bear logo wasn’t around for Nelvana’s very first animated television special which is the subject of today’s post.

A Cosmic Christmas is an animated television special first released in 1977. It was Nelvana’s first and was a production headed by co-founder Patrick Loubert and directed by fellow founder Clive A. Smith. It’s from the subgenre of Christmas specials where aliens come to Earth to experience the holiday, a subgenre that is often not utilized. It’s an original tale, and for this blog it’s a slightly more secular take on the holiday. Being that I did my growing up in the United States, A Cosmic Christmas isn’t something I ever encountered before. It’s animation is a bit crude and clearly dated with just a cursory look. That coupled with its original story and lack of recognizable characters probably gave this one a pretty short shelf life on television. Sometimes a company can strike gold with an original Christmas special (like Disney’s Prep & Landing), but most of the time the ones that hang around feature popular characters or adapt familiar stories.

This one doesn’t waste any time getting to the “cosmic” part.

That doesn’t mean that a production like A Cosmic Christmas is destined for failure or need to settle for mediocrity. Plenty of animated stories lack polish and are still well received, and an original tale is certainly better than yet another version of A Christmas Carol. This one begins with a very alien looking image. It’s apparently the navigation system for a spaceship and a wacky (for lack of a better word) sounding voice alerts us that this ship is nearing the planet Earth and that it’s December 24th.

There’s a bit of a Schoolhouse Rock vibe to the presentation.

We then cut to a crowded town setting. A young boy, Peter (Joey Davidson), is roaming the streets in search of someone named Lucy. There are quick cuts to very angry looking people, a woman ordering some clerk to wrap a gift faster while her poodle barks, and more abstract crowd images. The style is very flat, but colorful. The more abstract people are a solid color such as blue or purple while Peter is always drawn in detail. Though what detail there is to him is a bit limited to mostly just solid colors without shading. Sometimes there’s some cross-hatching added to the edges of models, but that’s it. The people are also moving in a squirmy sort of way. It’s not to the same degree as squiggle vision popularized by shows like Dr. Katz or early episodes of Home Movies, but it’s similar. I’m not sure if this is a stylistic choice or if the animation team just lacks experience and wasn’t able to properly time the animation. The audio is a bit loud, but not distorted. It’s certainly dated and lacking in polish, but the presentation isn’t altogether off-putting. I don’t know that I’d call it charming, but there is at least a unique element at play.

I wish we had more characters that looked as good as Santa Joe here, but he’s kind of it.

We soon find out that Lucy is not a person, but a goose. And it’s a goose that is wearing what looks like pink pajamas. Why? I don’t know, but don’t expect to find out. We then cut to a very tired looking individual dressed as Santa Claus (Martin Lavut). He’s ringing a bell and trying to raise money for the less fortunate. Peter comes running up to him and refers to him as Santa Joe. He asks him how’s it going and Joe replies not so well. Peter doesn’t have much to say in return, but wishes him a merry Christmas and takes off with his goose at his side. Some kids then show up to claim they’re the less fortunate he’s looking to help. They appear to be something akin to the local riff raff. They mock him, while the apparent leader of this troupe, Marvin (Greg Rogers), gets a little more face time. He’s an oddly designed character. He has shaggy bangs which his eyes are drawn over and these pants that sort of resemble bell bottoms (it was the 70s, after all) that are purple and covered in stars. The pants don’t really end in shoes though, a trait also shared by Peter. Compare him to Santa Joe who looks like a more conventional and real person, albeit stylized for a cartoon, and you would think they’re from two different productions.

This cop could not be bothered with stars on Christmas Eve.

Peter stops at a store window which has a nativity display in it. He just stares at it until a light catches his eye. It looks like a star and it’s reflected in the window back at him right where the Star of Bethlehem is in the display. Peter turns around and sees that the star is moving – it’s a spaceship! Nearby, the local chief of Police, Snerk (Marvin Goldhar), is writing a ticket and Peter races over to point out the weird object in the sky. The guy is apparently one of those very jaded cops who doesn’t believe much. He takes one look and finds nothing remarkable about a star in the sky. Other people in the street ignore the boy as well because who has time to turn their head?

These cartoon dust clouds must be a real pain. Do you think they’re on cartoon weather reports and stuff?

Someone else then calls out to Peter that they see it too, but when he turns his head he gets hit in the face with a snowball. It’s blue in color and more resembles the consistency of mud, but we’re dealing with limited animation here. The culprit was Marvin and he and his gang take to mocking Peter. They’re not very original as they all claim to be something they’re not (“Look Peter I’m a green martian and I’m gonna eat you!”) in a mocking, playful, way. None of them have any real zingers, and when the female taps the head of one of the other goons acting out her role as a fairy the kid throws himself back and lands on Lucy. This sets off a classic cartoon dust cloud brawl! The other guys jump into this entity as they apparently have some bone to pick with the goose. Peter cautiously approaches the cloud and yanks his goose out. The two run off leaving Marvin to glare at the pair because the goose bit his nose during the melee. They are now enemies.

If this scene is hinting at the goose being some sort of angel then that’s a swerve I’m here for. Let’s get weird!

Peter and Lucy run off into the woods and while the animation isn’t doing much for me, I will say the setting looks appropriately cold. Cold enough that I catch myself telling Peter to just go home assuming he has a home. He clearly is short on friends since he hangs around with a goose in pajamas. It’s time for a musical montage where we see Peter and Lucy doing winter things like making snow angels and looking at the stars, which is appropriate as the song would seem to be called something like “Why Don’t They Look to the Sky?” At least, the vocalist punctuates every verse with that question. I suppose now is a good time to mention that the music is credited to Sylvia Tyson and since the vocalist is feminine sounding, it may even be her that’s singing.

We have visitors!

The song ends with Peter and Lucy coming upon that light again, only now it’s descending closer and closer to the Earth. There’s an actual attempt at lighting as this thing turns into a sphere. It’s probably the closest thing to special effects as we’re going to get as this circular object lands. It has an almost realistic texture as if this were a model, but it’s still very flat so if it is then it’s just paper. It turns all black and then the outline of a pentagon with rounded corners appears. It then falls like it’s made out of paper before forming into stairs. A pretty horrid sounding bit of synthesized music accompanies this dramatic reveal as the silhouettes of three tall individuals materialize in the glowing light.

Their robot resembling a sperm makes me think this is some alien mission to impregnate a human with some sort of evil, alien, spawn. I’m probably setting myself up for disappointment with that one.

Peter and Lucy are shown to be pretty alarmed by this as they cower behind a stump. The three individuals emerge and they’re animated in this very jittery fashion. They’re tall with two possessing long faces with the third featuring a rounded one and the colors in use for them are mostly of the cool variety – whites and blues. This weird little yellow android buzzes around them. He kind of looks like a robotic, yellow, sperm. Sperm-bot is apparently quite curious as it flutters around and soon finds Peter and Lucy. He make some noises and it’s clear that this thing was what we heard at the very beginning of the show. Peter and Lucy sort of awkwardly jump with fright and roll over the stump they had been hiding behind.

Could they be the three wise men and this whole time those guys were just aliens? Again, probably setting myself up for some disappointment.

Now that they’re no longer hidden, the three alien beings approach. The credits seem to list these individuals as Plutox (Lavut), Lexicon (Richard Davidson), and Amalthor (Duncan Regehr). I have no idea which is which and the sperm thing doesn’t appear to be credited anywhere as anything. Peter is understandably alarmed to be face-to-face with bonafide aliens, and he’s even more surprised to find out they both understand him and can speak English. One of them basically brushes this aside by saying they essentially know every language which is remarkably convenient. He then asks Peter “How do you do? I am fine,” which is something he’ll repeat a lot. They’re not here for any sort of nefarious reason (though that’s exactly what an alien out to destroy the planet probably would at first claim), but rather to observe. They’re sort of like the Galactic Inquisitor from The Venture Brothers and even kind of resemble that character. Perhaps these were an inspiration?

Not the most elaborate of spaceships, but I guess they prioritize function over form.

Anyway, they noticed something unusual appeared in the sky 2,000 years ago on this night. The one with the round face uses a whole bunch of nonsense words to describe the event while one of the others offers a more plain explanation for Peter’s benefit. In the process, he refers to the round-faced one as Plutox so we’ve at least figured out the name for one of these guys. Peter is only too cheerful to reveal they must be referring to the Star of Bethlehem. They have no idea what Peter is talking about so for as intelligent as these guys are, they apparently do not study otherworldly religions. They want to understand the meaning of this star, which Peter explains appeared when Jesus Christ was born and basically just says that he was a real important guy and leaves it at that. He name-drops Christmas and that’s what the focus of everyone shifts to: the meaning of Christmas.

George is quite flummoxed by this Christmas wreath.

Peter, being a rather helpful and enthusiastic kid, decides to take these three wise aliens to the same local store display we saw him staring at earlier. As the four look at the display once again, the store’s owner, George, emerges from the door. A bunch of stuff is apparently being held back by said door and as he exits a wreath gets stuck on his head. Another fellow approaches (I can’t find a credit for George or this unnamed guy that sounds like Droopy, but Nick Nichols is credited as a townie so maybe he’s one, both, or neither guy) with a “Gee George, did you see the alien spaceship?” George is really wrestling with this wreath that ended up over his head and is having an unusually hard time removing it. He’s pretty irritated and dismisses that so-called spaceship as some marketing blitz by a new store trying to run him out of business. The wreath then practically explodes giving him the appearance of a green, shaggy, beard with pinecones for a mouth. He storms off into the darkness presumably heading home for Christmas.

Here’s a character I didn’t need to meet: the mayor.

One of the aliens ask Peter if this is “love” and he has no response. We pan to a clock that shows it’s 8:30 as Peter leads the trio to the local town hall reasoning the people there know something about Christmas. There we meet the mayor (Chris Wiggins), a large man dressed like an ear of corn with hair that resembles sea kelp. We’ve already met the chief and he’s seen taking calls about the alien spaceship which he still seems doubtful of. The mayor is a bit more excitable and wants the chief’s entire force on the case, but he gave them the night off for Christmas. One of the aliens asks if this is Christmas as the mayor instructs the chief to go check it out. The chief agrees to do so, but casually remarks that they may come around here which causes the mayor to get startled. He decides to go with the chief instead as one of the aliens asks Peter if this is peace? The camera zooms in on his face and he looks worried, but really, what’s to be worried about? Wouldn’t you expect the local police to go check out an alien spaceship?

This kid may not have money, but he sure has style.

Peter then takes the group to a rundown looking house. He was drawn in by the sound of laughter, but when he looks through the window he sees Marvin and the other bullies inside. They’re basically mocking the wealthy by pretending to eat fancy dishes, even though they have nothing. The female of the group (Marian Waldman is credited as a townie, so maybe her?) mentions roast goose which gets Marvin’s attention. He sits up and pulls out what appears to be a switchblade, but it’s one of those novelty switchblade combs. What’s a poor kid doing with one of those stupid things? Anyway, he runs it through his hair and remarks how he’d love some roast goose. We cut to Lucy and sperm-bot looking horrified and disgusted at the thought, but it does leave me to wonder what Peter’s family has planned for Lucy. My own great-grandmother would raise pigs as if they were her pet, only for them to be slaughtered once fattened. It was a much harsher world back then.

This is a rather interesting pairing. I’m kind of curious to see where it goes.

As Lucy turns up her beak and walks away, little tears run down her face. One of the aliens asks if this is “caring” while Peter tries to convince Lucy that those kids were only kidding (nice try). The sperm bot then follows Lucy close behind and appears to really be sizing up her caboose as if it may be pondering what roast goose tastes like (in my experience, bad). Does this thing eat? Or is this just a fake-out? Or could it be a lustful gaze? Maybe that as we go into another musical bit. It’s a piano medley and as it goes along the robot demonstrates its ability to shapeshift. It even sprouts arms and legs and does a Michigan J. Frog type of dance. The robot looks almost longingly at Lucy and now I’m thinking it’s not looking to eat Lucy. Or, well, maybe it is in a different kind of manner. Lucy plays hard to get, but relents and the two dance together. They end by slamming butts together and having a hearty laugh. I am now rooting for this pair to become an item by the time this is over just for the sheer absurdity of it. Also, I’m left thinking it’s weird that this shape-shifting robot can apparently be anything, but it chooses to resemble a floating sperm.

Granny has some rather sage advice when it comes to Christmas, though her idea of what an eight year old boy would like for Christmas needs some work.

We next find the gang standing on a snowy hill which overlooks a small house. One of the aliens asks if they have finally come to find Christmas yet, and Peter explains they have one more place to check. We zoom in on the house and find it belongs to Peter’s family. His mother (Patricia Moffett) is setting up the tree which is this tiny, little, thing that hardly seems worth it. A voice from offscreen asks if she’s done yet which belongs to Peter’s father (Lavut) who dumps a bunch of wrapped gifts at the base of the tree. He then asks Granny (Jane Mallett) if she’s done making something. We pan to her and see she’s making an angel. It looks like a doll of some sort and I guess she’s making the clothes for it. She also demonstrates that its wings open and it would appear to be a gift for Peter. She refers to the pair as Walter and Martha, very boring parental names. Martha tells Granny she doesn’t need to make things for Christmas anymore – you buy them! Granny retorts that you can’t buy Christmas as she goes to place this angel on the mantle. I thought it was a tree topper. Walter wonders where Peter is and the two hope he hasn’t gotten involved with the space man rumors while Granny dismisses the whole thing as nonsense.

It’s been awhile since old Granny had a gentlemen caller so she’s practically salivating when the three men from Mars enter.

Peter then enters the home. He tells them he brought visitors and describes them as strangers in town. His parents are alarmed and his dad even angry that Peter would talk to strangers, but they’re soon taken aback when the three wise aliens enter. The tallest introduces himself in the same manner as he did with Peter while the others explain their mission. The parents are speechless, but Granny is wide-eyed with an “Oh my, men from Mars!” I think Granny is getting some ideas here. Sexy ideas. She then tells Peter to go get some firewood and he does as he’s told. Lucy tags along and when Peter removes some logs from the pile some evil looking eyes are shown to be lurking behind. Lucy is shown just standing there and looking around, then the weird, little, robot comes up behind her and blows a raspberry at her ass scaring her. What is up with this thing? First it wants to eat her, then it wants to mate with her, and now it wants to torment the poor goose? This thing sucks!

When ghostly gingerbread men start emerging from your pipe, maybe it’s time to drop the habit?

Back inside, Peter adds the logs to the poorly animated fire and asks his grandmother to explain what Christmas was like in the old days. She chuckles and takes a seat with her knitting and explains how her dad used to get a big tree and they’d decorate it with homemade ornaments. One of the alien men then remarks, “You mean, like this?” Round faced guy’s face then glows and a bunch of stars emerge. They form a large light as another song begins, this one a somber tune about the passage of time. The light comes together and forms the shape of a tree. A bunch of ornaments and decorations come into being carried by turtle doves and ribbon as the tree is magically decorated. There are angels and gingerbread men dancing and one even emerges from the dad’s pipe. As they flitter about the tree, Granny also remarks how they always had a big, silver, star for the top of the tree, so naturally one appears. She goes on to add that branches of fir would be placed on the mantle, so they too appear along with a skinny looking rabbit. He’s pretty alarmed to find himself here and jumps off giving everyone a laugh. Granny then talks about the food her mother would prepare, so that appears as well. These alien dudes are pretty convenient to have around. The creations are all animated in a wavy manner so perhaps these are just apparitions.

Someone felt we really needed to see what became of the rabbit, who apparently wasn’t an apparition like the other stuff.

The sound of Lucy honking outside ends the sequence. All of that stuff disappears so I guess these guys are just big teases. Peter runs outside to check on Lucy, but the goose is gone and hopefully not cooked. Peter gets there just in time to see Marvin taking off on his bike with the goose. Everyone in the house gives chase, except for the aliens. Well, the little robot chases after Marvin, but perhaps is not permitted to interfere because it seems like it would be easy for the robot to stop the bike, but it chooses not to. Marvin rides over a rabbit hole and the bunny we saw on the mantle earlier pops his head out. When the robot goes by it knocks him over. He dizzily lifts his head up and just manages to duck under Peter. He then pops up, now bruised for some reason, sporting a top hat and suitcase apparently done with living in this particular hole.

When the police chief puts on his siren hat, you know shit is about to get real.

At the spaceship, the mayor, chief, and other townsfolk have gathered around. The chief has a megaphone and is ordering the aliens to come out. When nothing happens, a rather dimwitted townie remarks that maybe they don’t have ears? The mayor gets angry at this suggestion and gets all in this guy’s face for making a perfectly valid suggestion. The chief announces that he’s going to count to ten, and the mayor gets all giddy and decides that he’ll do the same. I don’t like this guy. As the chief counts, the mayor looks absolutely terrified. Marvin them goes zooming through the crowd and few seem to take notice. Then Peter runs by shouting for everyone to stop him and the chief kind of cocks his head. When Peter’s dad runs by shouting “Thief!” then the chief springs into action! He quickly abandons the alien spaceship thing, puts a siren on his head like he’s Inspector Gadget, and takes off. The rest of the townies follow leaving the mayor all alone. When he realizes that everyone left he too runs off, but once he’s a safe distance away from the ship finishes counting to ten.

Hey, at least he’s trying. Nice to see the kid doesn’t seem to think goose-napping is worthy of a death sentence.

Everyone is now chasing after Marvin, including Granny who at some point acquired a snowboard. Marvin’s run from Peter’s family ends on a frozen lake where, wouldn’t you know, the kid crashes through the ice. Lucy is able to fly to safety, but poor Marvin is stuck in the water. Peter, always the good kid, doesn’t hesitate to run to Marvin’s aid. He unfortunately can’t get the boy out and soon he too falls through the ice. We’ve also added thunder and lightning to heighten the drama. Sperm robot decides to get involved and blows itself up like a balloon. Peter tries to grab on, but then the robot lets all the air out and does exactly as a balloon would when the same happens to it. This thing can shapeshift into anything, was a balloon really the most helpful?

“I think we should help the humans rescue the children.” “Aww, but I wanted to see them drown!”

By now, the rest of the townies are at the edge of the pond. The ice is cracking under their weight so the chief announces that they need to form a chain. Everyone grabs hands, with the mayor being safely the furthest away from danger because he sucks, but the problem is there isn’t enough of them to reach the kids. Now we have a dilemma. The aliens, who are sworn to only observe and report, must ponder if they should get involved. As the humans call out for help, they ponder the meaning of help, and arrive at the proper definition. The brown-faced one decides that perhaps by helping they can understand the meaning of Christmas. The other one reminds him that they aren’t supposed to get involved and in doing so calls him Amalthor, so we have finally figured out who is who. Not that I’ll remember.

These guys are so hard to screen grab because of how they’re animated. I give up.

The other two seem to follow Amalthor’s lead and join the chain. When the chief called on them to help, he had no idea who they were, but now everyone can see that they are the aliens. No one recoils or tries to run and the three wise aliens grasp hands with the humans which allows Amalthor to reach Peter and Marvin. Once the boys are safe, the mayor tries to basically take credit for the rescue, but once he comes face to face with Amalthor (who, once again, asks “How do you do?”) he faints.

Let’s hope the aliens aren’t relying on this guy to teach them the meaning of Christmas.

Now, the mob turns its gaze to Marvin. While people are asking Peter if he’s all right and draping coats over his shoulders, Marvin is left shivering in the cold. They call him no good and want him thrown in jail for stealing the goose. Lexicon interrupts to ask why the boy wanted the goose? He is answered by shouts of the kid being no good, but granny sticks up for him and offers the most logical explanation: because he was hungry. Now it’s Plutox’s turn to be confused for he doesn’t understand why a child would be left to go hungry at Christmas. Granny explains it’s because they lost sight of what’s important, and in doing so, lost the meaning of Christmas. Peter then does the only logical thing and extends an invite to Marvin to join his family for Christmas. Marvin is skeptical, but Peter’s mom reassures him that they’d love to have him. The other townsfolk start offering up food and decorations and someone has even placed a blanket on Marvin. The chief then asks if there are any more questions (surprisingly, he’s not insisting on locking up the delinquent) and Amalthor confirms there are none. They now understand Christmas.

I was hoping something would jump out of his pipe again. Maybe that rabbit?

Back at Peter’s house, everyone has gathered for a big Christmas party. Marvin’s friends are there, and even the rabbit who nearly got squished shows up. The other riff raff kids are shown fixing a giant sandwich, while that flying robot still seems intent on tormenting Lucy. Or sleeping with her. I don’t know, but they share food with each other and it’s almost a Lady and the Tramp spaghetti moment. Peter’s grandma hands him the angel she made which he in turn gifts to Amalthor. I knew he wouldn’t like that thing. The girl from Marvin’s gang rather seductively asks to see the chief’s badge. I don’t know why she needed to ask in such a manner since he has no reaction to basically anything or anyone, he just hands it over and Peter places it atop a massive tree. Where it came from, who knows, but it certainly isn’t the tree his mother setup. Santa Joe then arrives to wish the kids who were constructing the massive sandwich a merry Christmas and to remind them to help the less fortunate. He being the less fortunate as he makes off with their sandwich.

A gift from the aliens, I suppose.

Peter’s mom then asks where the boys went? Well Martha, I think we’re about to find out. Peter’s dad pokes his head out the door to find Peter, Marvin, and Lucy standing in the yard. An instrumental version of “The Twelve Days of Christmas” is our soundtrack and man is that song way better without words. The boys are watching the spaceship take off and they’re soon joined by Peter’s parents and Granny. As they watch it rise into the night sky, it takes on the form of the angel granny made. Then the wings sprout out from it and we can hear Peter calling “Thank you” to the alien lifeforms onboard. The mayor and chief are out there as well and as the mayor nudges the chief we see he’s actually crying at the beautiful sight. The mayor waves and calls out “Merry Christmas, whoever you are!” The camera pulls back to show all of the gathered folks outside, as the spaceship contracts and takes on the form of a star once again and that’s how it ends.

If you’re going to do a crowd shot, always a good idea to set the camera far back so you don’t have to draw-in all of the details.

A Cosmic Christmas is certainly a unique experience. The animation is so rough and oddly timed that it definitely has its own feel. A lot of the characters feel like archetypes and simple ones at that so it’s hard to really feel much for them. I wasn’t invested in the quest of the three aliens, clearly stand-ins for the three wise men, nor did I feel any worry for Lucy. This is the kind of story that has some rather predictable beats to it, but so are a lot of Christmas stories.

There was an attempt by Nelvana to make this a more secular holiday special. It doesn’t really dive too deep there as it basically just name drops Jesus and makes a few Bible references and leaves it at that. The message just becomes one of focusing on what truly matters. It’s not the gifts, parties, decorations, or anything like that. Christmas is a time to reflect and appreciate each other. To take care of one another. In an era where we have priests overseeing mega churches that flaunt their incredible wealth I suppose it doesn’t hurt to be reminded that we should be looking out for the less fortunate and not ignoring them. Or worse, condemning them.

A thirsty grandmother and a robot lusty for goose ass was not on my bingo card going into this one, but I guess they should have been.

The attempts at humor in this one weren’t particularly successful. Almost all of them revolved around the robot character which I grew to dislike. The thing is just pointless. It’s not funny or interesting and feels forced. As does the goose. Marvin could have stolen anything, though I suppose it adds to the drama if the thing is something living. Peter is even shown to have a cat, but I guess he prefers hanging out with the goose. The mayor character also felt forced upon us and is another I could do without. He had an arche, but not one that really had time to feel meaningful.

I’m left with lukewarm feelings on A Cosmic Christmas. I have no nostalgia for it, but I’m guessing for people that do it’s something they return to annually. It’s not bad or anything, it just fits into that mid tier Christmas special ranking. I grew up on ‘Twas the Night Before Christmas from Rankin Bass and I can appreciate it on that level, but I probably wouldn’t think much of it if I saw it for the first time in my 40’s. Though I will go to bat for the songs in that one always. The songs in this particular special are just okay. No bangers, but nothing that’s offensive to the ears.

If you want to view A Cosmic Christmas for yourself, then it probably comes as no surprise that it can be found very easily online. According to Wikipedia, the last physical release of this thing came on VHS so you can imagine how protective of this thing Nelvana is today. I can’t really recommend it for those looking for a hidden gem, but if you feel like you just need something different this holiday season then you could certainly do worse than A Cosmic Christmas.

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

Dec. 17 – We Bare Bears – “Christmas Parties”

This year, I’ve taken some time out to watch Christmas episodes of shows I’m pretty unfamiliar with. This is yet another one of those posts, only with this show I did make an attempt to get into it. A mild one. We Bare Bears is a show created by Daniel Chong that aired on Cartoon…

Keep reading

Dec. 17 – Peace on Earth (1939)

Hugh Harman was one of the early stars in the field of animation. In fact, we talked about one of his shorts already this year, but perhaps his most famous and most celebrated is the 1939 anti-war film Peace on Earth. According to Harman, the short subject was nominated for The Nobel Peace Prize, but…

Keep reading

Dec. 17 – Popeye the Sailor – “Spinach Greetings”

One of the big, early, cartoon stars was Popeye the Sailor. Popeye starred in newspaper strips, radio plays, and theatrical shorts with contemporaries like Mickey Mouse and Bugs Bunny. His star has faded over the years, but few would deny Popeye’s place among the greatest cartoon stars of all-time. Come the 1960s though, Popeye and…

Keep reading

Dec. 16 – The Cleveland Show – “A Cleveland Brown Christmas”

Original air date December 13, 2009.

We’ve taken a look at a lot of animated sitcoms this year and so far they’ve all been repeat visitors to The Christmas Spot. It feels like it’s time for something new, though it has a very familiar feel. The Cleveland Show is a 2009 spin-off of Family Guy created by Seth MacFarlane, Richard Appel, and Mike Henry. Spin-offs of animated shows are quite rare, but Fox must have been so pleased with Family Guy and American Dad! at the time that another MacFarlane animated show was needed. Never mind that The Simpsons helped build the Fox network and never got a spin-off. Simpsons creator Matt Groening had to practically beg them to let him do Futurama, which Fox treated even worse than it did Family Guy in its original run.

Taking the soft spoken and mild mannered character of Cleveland Brown (Mike Henry) and giving him his own show felt like an odd move at the time. The character did have a divorce angle in Family Guy which left him a single parent and perhaps made him too similar to Quagmire. Whatever the reason, the decision was made to take Cleveland and move him out of Quahog and down to his hometown of Stoolbend, Virginia. There he reconnects with an old friend from high school, Donna (Sanaa Lathan), sparks fly and they get married, and Cleveland inherits two step-children: the teenaged Roberta (Reagan Gomez-Preston) and preschooler Rallo (Henry). Also in tow is Cleveland Jr. (Kevin Michael Richardson) who was previously depicted as an elementary school-aged boy with a very hyperactive personality. Now, he’s 14, overweight, and speaks slowly and is, for all intents and purposes, a completely different character from what we saw on Family Guy.

I guess it’s better than The Quagmire Show.

That’s the premise of the show: a dad, a mom, and three kids consisting of two boys and a girl with the girl being the oldest. All that’s missing is a talking dog and you basically have the Griffin family, which is probably why Cleveland has a talking bear for a neighbor. The show is also referred to as a Black Sitcom because the family is quite obviously black. Only, the three co-creators of the show as well as the voice of Cleveland are all very much not black. The late 2000s was probably the last time a show could get away with this. Most of the writers appear to be non-black as well. The show did at least cast people of color to play most of the new roles, but even Henry was still handed Rallo. And no, having Kevin Michael Richardson voice white character Lester doesn’t make up for that.

The Cleveland Show has long since been cancelled and is mostly looked at now as a failure. That’s probably way too harsh a word to describe a show that ran for four years and totaled 88 episodes. It’s ratings were solid for the first two seasons, but if you’re not The Simpsons then Fox has a tendency to jerk you around when it comes to time slots. The Cleveland Show got kicked around the Sunday night lineup, probably being the chosen show to suffer most if baseball or football ran too long. Ratings slipped in the third season and basically continued to decline through the end of the fourth season. Fox initially seemed open to bringing it back for a fifth season, but the show was eventually cancelled and the Brown family packed their bags and moved to Rhode Island to rejoin the cast of Family Guy. Not a bad fallback plan, all things considered.

Personally, I didn’t really care that much for The Cleveland Show. I gave it a shot when it first premiered, but honestly don’t recall how many episodes I actually watched. I didn’t think it was terrible, it just felt too similar to Family Guy. It does at least feature a cast that seems to like each other. Or at least, they want to like each other and, in turn, want to be liked. The Griffin family is basically self-admitted trash and kind of hate each other. Cleveland is at least trying to figure out how to be a good father to his new step kids while also being a good husband to Donna. There’s more heart here so from that angle I can definitely understand why someone might actually like The Cleveland Show a lot more than they do Family Guy, though in general, I think if you like one then you’ll probably like the other. Perhaps with Cleveland, we’re less likely to get a bunch of suicide jokes.

Even on Cleveland’s show, Meg still gets treated like shit.

One compliment I can levy at the show is that it has an earworm of a theme song. It’s reminiscent of an 80s children’s cartoon in that the song basically lays out the plot. It’s sung by Cleveland who just sounds really tickled by the idea that he has his own show. Unfortunately, this being a Christmas episode we don’t get to hear it. Instead, the show opts for a holiday title card set to Christmas music which is Cleveland singing “Here Comes Santa Claus.” Normally, this is something I very much endorse when it comes to Christmas specials, but I was kind of looking forward to hearing the song since I so rarely watch the show.

The tree lust is weird, but it’s kind of sweet that Cleveland and Donna seem to be really into each other.

When the intro is finished we open on a tree lot. Lester, his wife Kendra (Aseem Batra), and son Ernie (Glenn Howerton) are all trying to attract customers to what I suppose is their lot. Lester is a typically designed redneck type while Kendra is a morbidly obese woman on a motor scooter and they live next door to the Browns. Kendra tries luring in customers by urging them to get a tree so that their neighbors don’t mistake them for Muslims. We then find Cleveland and Donna looking over a tree. Cleveland is excited for their first Christmas together and wants to get a perfect tree. He’s eyeballing this one for it is full on top and has a big old bottom. When he turns to ask Donna for her approval she adds “Don’t forget bushy in the front!” This seems to excite Cleveland who starts grinding on the tree and mimes like he’s slapping a big ole booty while quoting Sir Mix-a-Lot with “My anaconda don’t want none unless you got buns, hun!” Donna appears to be getting pretty excited too and warns her husband she may just jump in there to make it a “tree way.” These two really like trees.

Cleveland is right to dislike the tree, though his reasoning is beyond suspect.

Rallo interrupts the festivities by kicking his step dad in the shin. Apparently Rallo is used to being the one who picks out the tree and Donna confirms as much saying she let him do it after his dad, Robert (Corey Holcomb), bailed on the family. Cleveland begrudgingly accepts this, until Rallo shows him the tree he has selected. It’s an itty, bitty, little tree about the size of what Charlie Brown would select, though far less sickly. Cleveland is not impressed and he picks it up by the tip and remarks how it’s not full enough for him comparing it to an Asian or a little boy or a little Asian boy. That’s pretty gross. Cleveland then goes into his “My anaconda don’t want none,” routine with this tree, but stops in the middle declaring that he feels ridiculous. He should feel like a scumbag since he just compared this tree to a little Asian boy and then tried to slap its…”ass.” Cleveland declares they’re getting the tree he likes so Rallo goes low in return: by comparing him to his real dad. We also learn that Rallo thinks his dad works for the FBI and that’s why he’s too busy to come around and see him. Cleveland asks Donna if this is really the story she had fed Rallo about his daddy and she confirms it. When Cleveland starts to protest, she kicks him in the shin causing him to cry out, “Ow! Bitch!” I said this show had more heart than Family Guy, but I suppose I should stress that it’s no less crude.

Unlike American Dad!, The Cleveland Show is going to embrace the cut-away joke.

At the Brown house, Cleveland and Donna are getting some decorations out of the attic while the conversation from the tree lot continues. Cleveland can’t understand why Donna would lie to her son about his dad being an FBI agent unless FBI stands for “Freeloading Booze Idiot.” Cleveland laughs at himself for the joke he just made on the spot while Donna explains that it was better than the truth. Plus, her ex came up with the lie and she just went along with it. She says that she’ll tell the boy when he’s old enough to understand and, honestly, it’s not the worst idea I’ve ever heard. Cleveland concludes that sometimes a lie is better than the truth, then he sets up a classic Family Guy cutaway complete with “Like that one time…” And the joke is he encountered the star of Entourage, Adrian Grenier (though not voicing himself), on an airplane and, I guess, he was going to not point out how he doesn’t look like a movie star, but did anyway. It’s basically a stock joke at this point.

Why, it looks like one of Stewie’s sexy parties!

It’s time for a company Christmas party! Cleveland has taken the family to the home of his boss, Mr. Waterman (Bruce McGill), who owns the Waterman Cable company which proudly boasts that it’s a monopoly as its slogan. Mr. Waterman is also quite likely to be a homosexual as we see right away that the staff for his holiday party are a bunch of a shirtless muscle dudes in reindeer antlers. Rallo calls attention to these fellas and Cleveland tries to explain his boss’s orientation in a more roundabout way, but Rallo just asks “Oh, is he a gay?” Cleveland confirms as much and Rallo just points out that his boss knows how to celebrate Christmas better than Cleveland.

The Watermans make everything uncomfortable.

Cleveland growls and grabs a flute of champagne from one the serving trays and chugs it, then giggles because the bubbles tickle. The family is then approached by Mr. Waterman and his wife, Lydia (Stockard Channing), who looks a little tipsy already. Waterman sees the Brown family and announces to “hide the silver!” It’s a joke because they’re the only all black family in attendance. He says he’s just kidding then matter-of-factly states “It’s already hidden.” Lydia introduces herself as Lloyd Waterman’s wife and Cleveland laughs in response. He then says to Donna that this is already better than the last homosexual’s Christmas party he went to. It’s a setup for another cut-away, and if you’re a Family Guy regular, you already know who Cleveland is talking about. We’re taken a home where the old man, Herbert (Richardson), is singing “Silent Night” while dressed as Mary in front of a group of young boys and Cleveland. It’s very uncomfortable. When Cleveland tries to leave, Herbert angrily orders him to sit back down and continues the song because you know the writers need him to say the line about virgins. Which he does, and the uncomfortable scene soon ends. I do not like this joke, not because I’ve never laughed at a Herbert joke, but the setup is basically equating homosexuality with pedophilia which is bullshit.

If Fred Flintstone can do it, then so can you, Cleveland.

Back at the party, Waterman asks Cleveland for a favor. He then asks if he remembers a Fred Peterson. Cleveland confirms that he does and then Waterman informs him that he’s not here, but usually he plays Santa at this party. And why isn’t he there this Christmas? He killed himself – I should have known! Waterman then adds that Peterson also raped a bunch of people which shocks Cleveland. A suicide joke, plus a rape joke – they’re topping Family Guy at this point. Cleveland agrees and then Waterman quickly adds that Peterson raped old ladies so that Cleveland can be shocked again. He then takes him to try on the suit, but the beard has seemingly been misplaced. Waterman cries out, “Where’s my beard?” and his wife sidles up to say “Here I am.” Hah!

Waterman may be rich, but he ain’t eight reindeer rich.

We then find Donna and Roberta at a buffet and they run into Tim (the bear, voiced by MacFarlane) and his wife Arianna (also a bear, voiced by Arianna Huffington), and there’s clearly some hostility between she and Donna given how Donna greets her. That’s only amplified when Arianna says she could see her daughter’s cleavage from across the room, which is Tim’s cue to get the hell away from that conversation. Then one of the reindeer men gets everyone’s attention and throws open some doors to reveal Santa Cleveland arriving on a one reindeer open sleigh. Roberta is both shocked and a little impressed that there’s an actual reindeer and asks Lydia if her husband rented it. She confirms that, no, he actually owns it. When Roberta points out how crazy it is to have a living being you only parade around a bunch of people one day a year Lydia sarcastically remarks “I can’t imagine how that feels.”

I don’t it’s one of Santa’s reindeer.

Rallo, on the other hand, is very impressed that Waterman landed Santa for his party. He’s so eager to sit on the big man’s lap he even shoves a little girl down just to get to Santa. Cleveland seems to enjoy having his youngest step child seek his attention for a chance, until Rallo starts trashing him. Cleveland, as Santa, tries to assure Rallo that his step dad is just doing his best, but Rallo politely tells Santa that, no, Cleveland just sucks at Christmas causing Cleveland to call out to one of the reindeer men (“Hey, Prancer!”) to leave an entire tray of eggnogs by his chair. Meanwhile, Roberta is outside livestreaming herself preparing to set the reindeer free. She thinks it’s cruel to keep such a creature locked away 364 days out of the year, plus she wants to get the attention of Tyra Banks and views this as the gateway to her becoming the Gayle to Tyra’s Oprah. Then she adds, “Without the sexual obligations.” A bit of a dated joke even by 2009 standards. We then see Cleveland Jr. setting the reindeer free, and immediately upon doing so the reindeer just thrashes him a whole bunch and runs off.

This interaction is sure to end well.

Back inside, Cleveland has just about finished off all of the eggnogs while Rallo is still sitting on his lap trashing him. He imitates him in a humorous way, and since Mike Henry voices both characters Rallo’s impression is spot on, but Cleveland still angrily retorts “I bet that sounds nothing like him!” Rallo, not sensing Santa’s hostility in the least, then moves onto the subject of his real father. Cleveland can’t stand to hear this kid slander him (especially his moustache) while worshiping a deadbeat dad instead so he uses the opportunity to drop some truth on poor Rallo about his dad. Rallo immediately looks like he’s about to burst into tears while Cleveland gets a death stare from Donna. He turns to the camera and breaks the fourth wall to ask “How am I gonna get out of this one?” before telling us to come back after some loud and off-putting messages. And since I am watching this on Hulu with ads, I can confirm that everything about said messages was very off-putting since the Hulu app on Roku is a horrible piece of shit and the ads seem to break it all of the time. I refuse to give them more money to go ad free though, because that would be rewarding them for their shitty practices.

Rallo is a little asshole, but I do feel sympathy for him.

Following those off-putting messages, we find the Brown family back at home. Donna is trying to soothe her son as he lays in bed while Cleveland pounds water, clearly still feeling the effects of the eggnog. Donna has to come clean about Rallo’s dad and the lie apparently went pretty far with Donna even faking letters to Rallo. He can’t believe his mother would lie to him like that, but the two just leave him to go to sleep. We cut to a Christmas pageant and some kid is doing a performance of “Gloria.” It’s very…theatrical. Apparently, this is Wally (Will Forte) and the Fluffers. Anyway, we’re here because Rallo is supposed to read his letter to Santa Claus which goes, “Dear Santa, Fuck you and fuck Christmas!” Arianna, in the audience, turns to her husband and says “That’s what you get when you put a Jew in charge of a Christmas pageant.” Rallo had been introduced by a very Jewish woman (Alex Borstein) and I am to assume that she was the one who organized this. Arianna is a pretty awful bear.

Looks like the family will be counting on Cleveland to save Christmas. Who could have seen that coming?

Back at home, Donna is laying the blame for Rallo’s offensive letter at the feet of her husband. He counters by saying it’s her fault for lying to him while Roberta announces she’s just happy that the lie is over. She then reveals that it was her job to call Rallo and pretend she’s their dad. She does her impression of him and they dub her with the actual voice actor for Robert, Cory Holcomb, for comedic effect. Cleveland then takes responsibility anyway and vows to help Rallo rediscover the Christmas spirit. Roberta, still speaking as Robert, praises him for standing up for Rallo, but then also calls him dough boy. He can’t win.

Rallo is not emotionally mature enough to be angry with his father so he’s going to take it out on Santa.

Cleveland, in a bid to cheer up Rallo, takes him to the local mall. There’s a giant, toy, train display that he thinks might do the trick on account of it not being as depressing as the real railroad industry. Rallo just sees a stuffed Santa “driving” the train and wants blood. He grabs the doll and referring to Santa as “A waste of a life,” holds him down in the path of another oncoming train. It strikes the doll, which has a frightened expression upon seeing the train, causing a derailment. The doll and train crash through a pile of fake snow and collide with another train resulting in a fiery explosion. A bunch of toy first responders arrive quickly on the scene and it even goes into a full-on toy news broadcast. What the hell is going on?

Every animated sitcom needs a bar crew.

Following the odd tangent, we find Cleveland with his friends Lester, Timothy, and Holt (Jason Sudeikis) at The Broken Stool bar. Outside, we see the escaped reindeer from Waterman’s party chasing some random guy in the street. The boys apparently had a secret Santa thing and Lester has gifted Cleveland a bunch of plain, old, ordinary, pens. Lester saw him using a pen once and assumed he would like enjoy them. Cleveland takes it all in stride, despite the disappointment on his face. Cleveland had Holt and he gives him a can of some Red Bull private reserve which causes him to get very emotional. Holt takes off to enjoy his present while Cleveland turns to Timothy and Lester for help with Rallo. Timothy tells Cleveland the only thing that will help the child at this point is for his father to be there with him on Christmas. Cleveland agrees and feels the need to point out that the most human among them is a bear before gathering up his pens and leaving quietly, for some reason.

Cleveland and his boy need to go see a therapist.

Back at the Brown household, Cleveland is putting his biological son to bed. He tells him he’s lucky to have a dad and shares his plan to find Robert so Rallo can have a dad on Christmas too. They’re having a nice little conversation where Cleveland is showing genuine affection for his boy. Then he makes it weird by continually stroking his face and pointing out that his son went from being an eager and excited toddler to a fat kid who can’t play baseball worth a damn! He points out that Cleveland Jr. still writes letters to Santa Claus at 14 and is especially angry that he’s just laying back and taking this abuse from his own father. His mood then immediately brightens as he says, “Okay! Now I’m going to go find Rallo and Roberta’s dad!” Why? Why do we have to make Cleveland a horrible, emotionally abusive father like Peter? Why?

Do you think they’ll invite him in?

As Cleveland prepares to get in his car to go find Robert, Donna approaches to tell him that she doesn’t want him taking off to go find Robert on Christmas Eve. Cleveland challenges her to try and stop him so she hits him with a stun gun. Cleveland collapses to the ground and lets out a few farts as he passes out. We get a “30 Minutes Letter” title and Cleveland is shown stirring. Donna tells him to just buy Rallo’s love like a normal step dad, but Cleveland vows to get Rallo the only present that can restore his faith in Christmas: his father. Then his eyes widen and he says, “What the hell?” We pan to find the reindeer from earlier has climbed a ladder and is peeping on the neighbors. Inside, Timothy and Arianna are naked in bed getting intimate. Timothy doesn’t see the reindeer, but Arianna does. She locks eyes with the beast and licks her lips and growls softly at him clearly getting a charge out of this reindeer watching.

I guess this fella is just happy to have someone come hang out with him on Christmas Eve and make him laugh.

It’s time for a holiday montage! Cleveland needs to peruse the seedy underbelly of Stoolbend to find Robert while a crooner version of “Sleigh Ride” provides the soundtrack. It sounds like it’s Lou Rawls. His first stop is the morgue where a helpful fella dressed as an elf is happy to show him a corpse that might be Robert. Cleveland snaps a photo of it with his cell phone and sends it to Donna. We see her wake up and look at it while Cleveland uses the corpse like a marionette much to the amusement of the elf guy. When Donna apparently texts back that it’s not Robert, the mortuary worker angrily slams the corpse back into the…cooler?.. and Cleveland moves on.

They’re probably okay with having reindeers inside, this one probably just doesn’t have any money.

His next stop is a place called Spanxxx Gentlemen’s Club where the “Gentlemen” is ironic. Before Cleveland can enter, the door swings open and a bouncer appears tossing out the reindeer. He lands in the street, spits on the ground, and moves on with his night. Cleveland has mostly no reaction. Inside, Cleveland shows a picture of Robert to one of the strippers who points out Robert about to duck into a private room with another woman. Cleveland holds out a bill as thanks and the woman’s thighs begin to shiver and so too does the bill. It jumps into her thong with the power of stripper Force! Cleveland just smiles uneasily and backs away.

Cleveland is going to find out if it’s possible to appeal to a deadbeat’s sense of decency.

Cleveland then enters the room Robert ducked into with the other stripper. Robert is most certainly not happy to see Cleveland here interrupting his lap dance. Cleveland gets the stripper to leave by telling her the Atlanta Falcons just entered. Cleveland tells Robert he wants to bring him home for Christmas to cheer up Rallo, but Robert isn’t interested. He points out how it could be worse and shares a story about Brian Wilson’s dad making him take a crap in a box under the Christmas tree. Cleveland is horrified to hear this, but unmoved. He tells Robert that he’s going to dress as Santa and deliver him to Rallo for Christmas and if he won’t do it then he isn’t worth the box that Brian Wilson may have dropped a little deuce coupe in! Terrific wordplay, Cleveland. I would guess the writers thought up a poop joke from “Little Deuce Coupe” and wrote backwards, but Brian Wilson did claim his dad made him shit on a plate as a form of abuse so it’s hard to say what truly inspired this joke. At any rate, Robert isn’t impressed and leaves. Another stripper pops her head out from behind the wall to tell Cleveland she thought what he had to say was very beautiful. He thanks her, then adds a “Murray Christmas, whore,” which is perhaps his most Peter Griffin line of the episode.

This will definitely make everything right.

It’s Christmas morning at the Brown house and Rallo has just descended the stairs to find his siblings opening their stockings. Donna calls him over to open a present, but Rallo is clearly still depressed. He opens a gift to find the Slinky he asked Santa for, but he just remarks how it makes him think of the old Rallo who thought a new toy could cure anything. As Rallo hangs his head and walks away, Cleveland comes bursting through the door dressed as Santa! Cleveland Jr. runs up and gives him a hug crying out “Santa!” Cleveland just accepts the hug with a grimace while crying out “You’re 14 years old!” Santa then approaches Rallo to apologize for what he said. He pulls Rallo’s little tree out his sack and presents it to him, but that isn’t going to work on Rallo. He throws the tree into the fireplace where it burns in an instant!

Everyone knows a kid who thinks the world of their dad even if the rest of the world can see the man for what he really is.

Cleveland hangs his head in shame, but then another Santa shows up! Cleveland Jr. thinks a warlock has cursed Christmas, but it’s just Robert ripping off Cleveland. Rallo is confused at first, but then Robert removes his beard to reveal it’s him and Rallo runs to him with open arms. Robert scoops him up, calls him “Rollo” by mistake, and then tells him he received some good advice the night before about where he belonged today. Saying that he needs to “see his sperms on Christmas,” he turns to Roberta and asks, “What’s up, Rwanda?” She just says “Merry Christmas, dad,” but in an irritated manner and with her back turned towards him, but Robert doesn’t seem to care. He then tries to tell “Rocko” the truth, but because he’s a lying scumbag, he ends up telling Rallo he can’t come around and see him because he’s Santa Claus!

Time for the customary Christmas sing-a-long!

The rest of the family is shocked as Donna had even remarked that Cleveland appeared to get through to Robert, but clearly he did not. Rallo accepts this lie at face value. He then turns his attention to Cleveland as he hasn’t figured it out yet. He yanks off the beard and seems surprised to find Cleveland under there, but then not as he just adds, “Sorry ass wannabe trying to be as cool as my dad.” Cleveland Jr. sees his dad and asks him if he knew that Rallo and Roberta’s dad was the real Santa Claus? Cleveland looks like he’s about to get angry with his boy, but then his expression softens and he just strokes the kid’s cheek once more remarking “You’re a good boy.” Cleveland Jr. purrs like a cat in response.

Is this the first Christmas special to end on a rape joke?

Donna then confirms with Rallo if this all makes sense to him? He gives an enthusiastic, “Hell yeah! My dad is Santa Claus!” and the rest of the family can only just shrug. Cleveland then breaks into song with “Let It Snow.” The rest of the family joins in, and we soon leave the cozy confines of the Brown’s living room and head out into the front yard where the REAL Santa Claus (MacFarlane) is standing! He turns to the camera and says, “A black Santa Claus,” in a dismissive fashion. Seeming to take offense, the reindeer makes a final appearance to ram this racist Santa and knock him to the ground. Then he proceeds to rape him. Merry Christmas!

Wow, so I was not expecting that. I said as part of the intro that I viewed The Cleveland Show as being Family Guy with more heart. I was also expecting it to be a bit tamer, but this really wasn’t at all. We had suicide jokes, rape jokes, pedophilia, and Cleveland even seems to resent his own son in an unhealthy way. He may not be as bad a father as Peter Griffin, but I don’t think he’s a good one. He’s at least very invested in winning over his step son, Rallo, and making sure he has a good Christmas. He’s more than willing to play second fiddle to his real dad even if he looks down on the guy, though a moment of weakness at the party threatens to ruin Rallo’s Christmas. He’s definitely way more invested in Rallo than his own son or his step daughter. I’m guessing that’s fodder for later episodes. He’s not really a bumbling oaf with his heart in the right place. He’s actually pretty competent, and when he wants to be, that can make him intentionally abusive, so yeah, Cleveland: not a great guy.

And that’s fine, the show can be whatever it wants to be, but it means this Christmas episode is devoid of charm. It’s a comedy and the only way to get Rallo to have a merry Christmas is for his deadbeat dad to show up, lie, and make his step dad look worse for it. And the real Santa needs to scoff at black people playing him. At least with that last bit, Santa gets what’s coming to him via the reindeer. He’s basically the only person who gets any comeuppance for being shitty in this episode. Most of the other characters are just there to be a sounding board or get a line in. The reindeer stuff is a decent gag, though the episode definitely felt like it suffered some pacing issues. The plot is pretty simple and basically the whole scene at the mall felt like padding.

Did I enjoy this holiday themed episode of The Cleveland Show? It had its moments. I liked most of the first act and the general setup. I was fine with the resolution too. Most of the stuff in the middle was of little interest to me and the jokes didn’t land as well either. I definitely don’t need to see anymore jokes with Herbert, that one is overplayed. Overall though it was fine. A perfectly cromulent holiday episode that I probably liked more than most of the Family Guy ones, at least, but it’s definitely not on American Dad!‘s level. If you would like to catch this episode, or any other Christmas episode of The Cleveland Show (it had one each season), then the easiest way to do so is via Hulu or Disney+. The show was still airing in syndication when I had cable as recently as 2022, but I don’t know if that is still the case. Either way, it shouldn’t be too hard to find if you’re really committed to watching it.

Dec. 16 – A Very Solar Holiday Opposites Special

Yesterday, we talked about South Park and its very first holiday special from the late 90s and today we’re talking about the Trey Parker/Matt Stone of the 2010s – Justin Roiland. Roiland was able to hook-up with Dan Harmon in the mid-2000s which put him on the path to comedy writer and actor, usually of…

Keep reading

Dec. 16 – The Pink Panther in: A Pink Christmas

In 1964, MGM released a film titled The Pink Panther. Such a title conjures up a certain image in one’s mind, but the titular pink panther in the film was not an animal, or even alive, but a pink diamond. Someone must have felt though that you can’t have a title like The Pink Panther…

Keep reading

Dec. 15 – Popeye the Sailor – “Seasin’s Greetinks!”

Original release date December 17, 1933.

When it comes to Christmas themed cartoons featuring Popeye, I’ve somehow managed to work backwards. We’ve looked at two previous Popeye cartoons that center around the holiday, but today’s Christmas short is Popeye’s very first. It comes to us all the way from 1933 where it premiered as just the fourth Popeye cartoon. I don’t suppose Popeye is quite the household name he was even as recently as the 1990s. He was always on television in some form or another in fairly prominent timeslots where he would be exposed to kids. I know I saw my share of Popeye cartoons as a kid and he was basically the only reason I’d even consider eating something as nasty as canned spinach. Seriously, what were we thinking? Fresh spinach is just fine by me, but that stuff out of a can is rancid.

Nevertheless, Popeye has probably done wonders for the spinach industry to the point where it’s probably incalculable. And if you’re familiar with Popeye then you’re also probably familiar with why it was spinach that gave him super powers. In 1870, chemist Erich von Wolf misplaced a decimal leading him to publish his findings that spinach contained 35 milligrams of iron per 100 gram serving when in reality it should have been 3.5. That lead people to believe that spinach really was some kind of super food and a terrific and efficient source of iron. It was a discovery that was not corrected for some 70 years which, come then, Popeye was well-established as a comic and film star who gains powers from the wonderful iron-enriched plant. And his choice was always to consume it from the can, sometimes via his pipe, which just adds another dimension of nastiness to the whole thing.

Popeye was pretty much the only reason why kids would even entertain spinach from a can.

Popeye cartoons were always a source of fun for me as a kid because there really wasn’t much to them. Popeye usually ran afoul of his rival Bluto somehow which would lead to fisticuffs. Sometimes they feuded for the attention of Olive Oyl, someone who is not really portrayed as conventionally attractive, but maybe in the world of Popeye she’s quite the catch? It’s not like Popeye is much of a looker. She also gets to be a stand-in for classic rubber hose animation as while Popeye’s dimensions don’t really adhere to that old style, Olive Oyl’s certainly do. Other characters were added to the mix, but for the most part Popeye cartoons are about Popeye and Bluto warring over Olive Oyl with one of the two more than willing to put her in some state of distress when he didn’t get his way. I bet you can guess which one that was.

Not only is Popeye an accomplished ass kicker, but he’s also pretty good on skates.

Seasin’s Greetinks begins with our titular character (William Costello) singing his own theme song as he ice skates through the snow with a wrapped gift under one arm. The snow gets comically deep as he’s up to his neck, but because he’s strong to the finish and all that, he skates through it like nothing. When he breaks through he comes to a house with a farmer’s porch on the front that is absolutely buried in snow. With the final toot of his song through his pipe, Popeye is able to blow all of the snow away clearing the porch and granting him access to the front door. We can see by way of the mailbox that this is Olive’s home. As Popeye stands and knocks on the door he bobs up and down as animated characters often did back then, but his eyes are focuses elsewhere so when Olive (Bonnie Poe) answers the door he doesn’t even notice and wraps his knuckles on her forehead. She angrily kicks him in the butt and maybe it’s this feistiness that Olive possesses that really does it for Popeye?

Olive Oyl, on the other hand, is not very good on skates.

Popeye isn’t bothered and instead presents the Christmas present he brought for Olive. Her mood immediately improves and the gift is opened and shown to be ice skates. They’re the kind that go on the bottom of existing boots and Popeye hammers them onto Olive’s feet as if she were a horse even adding a “Whoa,” as he does so emphasize this comparison. To her credit, Olive does not mind the rough treatment and seems legitimately delighted with the gift. That is, until she tries to stand. Then her rubber hose arms and legs begin flailing and she isn’t even on the ice yet. The background changes without disturbing the characters to replace the porch with a frozen pond. As Olive struggles, Popeye skates effortlessly around her to inspect her form. He grabs her by the waist to steady her and then starts skating and as he does he’s pushing Olive. She begins to relax and starts displaying better form as she enjoys gliding across the ice.

Bluto is just the worst.

Elsewhere, Bluto (William Pennell) is moving along through the snow. The banks are about waist high on the big, round, fella and he’s holding onto some reigns and whipping whatever is in front of him. When he clears the snow banks we see he’s actually holding onto the leash of a comically small dog and whipping it as it pulls him across the ice on his own pair of skates. As he whips the dog he grumbles and cackles like a true villain, but in typical Popeye fashion his mouth doesn’t move at all. Meanwhile, Popeye has let go of Olive without her noticing. She’s skating perfectly fine without assistance, but once she does realize she’s no longer being held onto she starts to flail again. Bluto notices her go by and he lets go of his dog to use his whip to ensnare Olive around the waist and pull her in close. She is not at all interested and immediately starts wailing on the creep.

This is the sort of stuff you tune into a Popeye cartoon for.

Popeye skates over obviously not willing to let this guy manhandle a woman, let alone his woman. Bluto, ever ready for a fight, tosses Olive to the ice to square-off with Popeye. Bluto knocks Popeye right in the chin with an uppercut which knocks off his hat. Popeye stands there slightly punch-drunk a moment, adjusts his hat and pipe, and then uppercuts Bluto right into the snow where he leaves behind a Bluto-shaped hole. Popeye and Olive then skate off arm-in-arm while Bluto is forced to utilize a ladder (where was he keeping that thing?) in order to get out of the hole Popeye left him in. He’s quite literally hopping mad as he announces that Popeye won’t get away with that one.

That’s one way to enjoy the ice.

Popeye and Olive have retreated to another part of the lake where Popeye, perhaps feeling the effects of that blow from Bluto, decides to take a seat on a rock while Olive continues to practice her skating. She loses her balance and falls on the ice and her butt goes right through. Popeye springs into action to help her out, but once she’s standing there shivering with her buttocks literally encased in a cube of ice he starts laughing at her – what an ass! Olive is rightly ticked off by this and turns her back on Popeye and skates away. She’s doing well, but she drops to her bum again only with it now in ice, she glides across the ice with ease. She seems to be enjoying herself with this sort of smug look on her face, but then she starts to panic. We soon see why as she’s approaching rough waters where the ice has ended. She thrusts up her left arm like she’s making a turn signal and, despite how thin her arms are, it works like a sail and she turns away from the edge and comes to a stop.

That Bluto is pretty clever when he wants to inflict harm on folks.

Now it’s time for Bluto to get some revenge. He comes skating over and rather than help Olive to her feet, starts doing cartwheels and stuff all around her. For a big guy, he’s pretty light on his feet, but this isn’t the time to show off. Bluto gives Olive one more chance at a shot of love with him, but she literally turns her nose up towards him. Bluto, not one to take rejection lightly, now has no intention of helping the damsel in distress and instead replaces his traditional ice skates with ones that are saw blades to cut around Olive and turn her loose on the rushing water.

Before there was Bowser, there was Bluto who stood in the way of the hero from rescuing the damsel in distress.

Olive gets to her feet and starts calling for Popeye. And what is our hero doing during all of this? He apparently hasn’t been paying attention as we find him skating serenely making a heart pattern in the ice. He’s made an arrow going through it and appears to be admiring his work when he finally hears Olive’s cries for help. He skates over, but Bluto is there waiting for him. He socks Popeye in the gut which sends him across the ice into a tree which Popeye rebounds off of back into Bluto’s fist where we rinse and repeat. Olive has now taken notice that these rushing waters end with a waterfall causing her to get so hot and bothered the ice on her ass melts away. Popeye then finally ducks a Bluto punch and gives him one of his own which knocks him into an opening in the ice. It’s beside another and from that pops out a Bluto encased in a giant cube of ice. Popeye tosses him aside with an “I’ll be seeing ya,” and sends Bluto all the way back into town where he collides with a random freezer in the street that shatters the ice he was in. It breaks into tiny cubes which land in ice cube trays that impossibly jump into the freezer leaving Bluto to stew in anger.

I’d like to see April O’Neil do that!

Popeye then jumps to the rescue skating across floating chunks of ice towards Olive who is in a full-blown panic at this point. The block of ice she is traveling upon reaches the waterfall where it gets hung-up on an exposed rock. She slides off the front and is able to grab onto it, but since it’s ice, she keeps slipping off and is forced to just keep grabbing. Popeye arrives, but apparently without much of a plan as he skates right off the edge of the waterfall! He lands in the water below without injury as he points out the obvious that this water is pretty cold. The music switches from the Popeye theme to Yankee Doodle, for some reason, as he swims up the waterfall. It switches back as Popeye emerges on a piece of land beside the waterfall. Olive, for her part has made it onto the ice and at Popeye’s beckoning she sends her leg over to him. Since she is indeed a rubber hose character, her leg stretches to a ridiculous length and in an arc. Popeye grabs an ankle, and Olive uses the rest of her leg like a rope to pull herself across.

We’re not quite done with Bluto just yet.

Olive may be out of distress, but we’re clearly not done because we have yet to see Popeye consume his favorite weed. Popeye carries an exhausted Olive over to a nearby clearing with a rock and a pine tree. He drapes her across the rock rather comically (maybe now would be the time to get her home and in front of a fire, Popeye?) and starts rubbing her arms to get her blood going. Unknown to them, Bluto is high above on a cliffside apparently not ready to turn tail and run. He’s rolling a massive snowball he likely intends to dump on the pair, but it gets away from him and Bluto soon finds himself a part of the snowball as he rolls along towards its intended targets.

That is one satisfying punch, but can someone please get poor Olive someplace warm?

Popeye, seeing the incoming object, now turns to that spinach we’ve all been expecting as his theme song thunders triumphantly in the background. He squeezes the top off, but somewhat uncharacteristically uses his hand to reach in and pull the junk out. I’m left wondering why he felt like he needed the power of spinach now as Bluto lands right in front of him and comes to a dead stop. He’s no longer in a snowball though, but resembles a snowman instead. Popeye belts him once to knock the snow off, then a second time to create a bunch of whirling stars around Bluto’s head which soon flee to circle to the pine tree behind. They’re basically magic stars and the tree comes alive as a full blown Christmas tree! Popeye pumps his fist to the music and shouts “Season’s greetings to you all” in the same melody as his own song. Olive is in his arms as he does and the two then turn to face the tree as “Jingle Bells” replaces the Popeye theme while Bluto lays beside the tree likely concussed.

Popeye triumphant!

Popeye’s first dance with Christmas is a pretty basic Popeye cartoon. He and Olive are engaged in an activity until Bluto interrupts them. Olive is put in some form of peril and Popeye is forced to save her. It reserves the use of spinach until the very end. One would think that Popeye would need the stuff to topple Bluto or swim up a waterfall, but he basically just needs that extra pop in his punch to produce the magic stars that bring the tree to life. The bit with the stars is very similar to a gag that will be relied upon in a future Popeye Christmas short and it’s not that surprising as it’s a pretty solid one. And by then decades had past between cartoons.

I feel like these two don’t often get to enjoy a nice, quiet, moment together.

As a Christmas cartoon, this one is pretty light on the subject. We basically just see the exchanging of gifts between Popeye and Olive, or rather, we see Popeye give her a gift. Then the only other Christmas stuff happens at the very end with the Christmas tree and Popeye’s brief little message to the viewer. It’s definitely more of a winter toon and it’s hard not to compare this one to the Mickey Mouse short On Ice. That cartoon comes later so this isn’t a case of Popeye borrowing from Mickey, but the other way around. Mickey spends a chunk of that cartoon teaching Minnie how to skate and then has to save Donald from a similar predicament that Olive found herself in. There’s just no real antagonist (well, Donald is towards Pluto and he gets himself into trouble) nor is there the sort of violence we would see in a Popeye cartoon. Both cartoons also utilize the same song, “Les Patineurs (The Skaters),” though I suppose it’s hardly surprising that two cartoons about ice skating would make use of that particular song.

There’s at least a hint of Christmas attire here and both Popeye and Bluto toss a few Christmas-related lines at each other. You know, before they come to blows.

If you like Popeye and also like Christmas, this is a fine way to spend a few minutes this holiday season. It’s a pretty quick and dirty Popeye cartoon that has all of the elements most enjoy. Perhaps it’s lacking a touch in the gimmick department where the spinach is concerned, but the fast-moving river of ice and the Christmas tree bit seem to make up for that, if you ask me. There’s not a lot of complexity to Popeye and I think that’s how most fans like it. The animation here is quite good for its era. Maybe some won’t like the constant motion of the characters that was typical of the era, but I’ve always felt it works for Popeye as it has a different energy to it than something like Mickey Mouse. It’s also in black and white which I guess is a turn-off for some. It rarely is for me, though I confess the final scene with the tree would have looked more impressive if color were a possibility, but I’m not holding that against it.

If you would like to check this one out for yourself it shouldn’t be too hard to find online. Otherwise, the MeTV program Tune in With Me will likely show it at some point this month and they even have an entire channel dedicated to cartoons now called MeTV Toons which will definitely feature it – probably more than once. If you’re able to get that channel in your area (I can’t seem to get it on my antenna, sadly) then it’s probably a worthwhile thing to check on all month if you like classic Christmas cartoons.

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

Dec. 15 – Beavis and Butt-Head Do Christmas

Today we continue our lookback at the best holiday specials ever sent to television and today’s subject is everyone’s favorite pair of Gen X deadbeats Beavis and Butt-Head. Beavis and Butt-Head were created by Mike Judge and the pair got its start on MTV’s Liquid Television in 1992. There they were a cruel, destructive, pair…

Keep reading

Dec. 15 – South Park – “Mr. Hankey the Christmas Poo”

Today we are continuing our look back at the best of the best when it comes to Christmas specials and today’s entrant comes from the quiet, mountain, town of South Park. South Park burst onto the scene in 1997 and basically transformed the Comedy Central network from the get-go. The show about four foul-mouthed kids…

Keep reading

Dec. 15 – Dr. Seuss’ How the Grinch Stole Christmas!

It’s December 15 which means it’s time for another retro throwback and I bet you’re surprised to see the green guy here. Since I dubbed Dr. Seuss’ How the Grinch Stole Christmas! as the best ever Christmas special not just once, but twice, you may have expected it to appear on this year’s edition in…

Keep reading

Dec. 14 – SpongeBob Squarepants – SpongeBob’s Road to Christmas

Original air date December 10, 2021.

I did not grow up with SpongeBob Squarepants. He is very much a post-Nick show for me as I wasn’t paying much attention to the cable channel when he premiered. Over the years, little has changed for me when it comes to SpongeBob Squarepants save for the fact that I’ve come to appreciate the show’s take on Christmas. SpongeBob Squarepants has two all-timers for Christmas specials on its resume. There may be more than just the two, but as far as I know the little sponge is batting 1.000 when it comes to Christmas. When I found out a new Christmas episode was due to air in 2021 I immediately took notice. I obviously didn’t write about it then, or the year after, or the year after that, but today I am going to remedy that. Can “SpongeBob’s Road to Christmas” possibly live up to the show’s other Christmas specials? Let’s find out.

The episode begins as any other without any extra holiday fanfare. The title card is at least set to an instrumental version of “Deck the Halls.” When the episode begins, we’re shown a traditionally animated (for this era of the show) shot of Bikini Bottom decked out for the holidays. It’s somehow covered in snow or a snow-like substance, but this show has very few rules when it comes to its setting. SpongeBob (Tom Kenny) is in his aforementioned pineapple under the sea preparing for Santa’s arrival. Unlike most people, or sponges, SpongeBob actually has a present for Santa. Either he’s really generous or he’s angling for a little something extra. Either way, it’s a nice gesture that goes beyond the typical cookies and milk.

I don’t think you’re fitting down that chimney, pal.

SpongeBob, along with his pet snail Gary, retire for the evening since Santa doesn’t visit homes with active residents. And soon enough, Santa (Lewis Black in what is a pretty atypical role for him) arrives! It’s a bit weird seeing him animated in a more traditional sense after only seeing him depicted in the stop-motion A SpongeBob Christmas, but his design seems to be more or less the same. He has a rather elven appearance to some of his facial features, but he also has the big, round, belly one would expect of Santa. Initially, he has a little trouble navigating SpongeBob’s home on account of the fact that he’s way too big. I guess we didn’t see this aspect of Santa back in that other special, but he actually needs to shrink himself with magic dust in order to enter the home. Once inside, he’s positively giddy as he dances and prances about SpongeBob’s living room. His jiggling, bulbous, ass knocks the present SpongeBob left out for him behind the couch without him ever noticing it. He places a gift for SpongeBob under the tree and then departs.

This story is a tragedy unlike any other.

Seven months later, we find SpongeBob doing some vacuuming in his home. He moves the couch to vacuum behind it and there he finds the present he left out for Santa all covered in dust and cobwebs. At first, he has almost no reaction to it, but then the realization sets in. Santa didn’t get his present! It’s two-hundred and twelve days late (making this exactly seven months later on July 25th, assuming no leap year) and all SpongeBob can do is clutch the present to his bosom and roll around on the floor sobbing. Roses rain down upon him as he does and they’re from Patrick (Bill Fagerbakke) who thinks SpongeBob is performing or something. SpongeBob rises to his feet and informs Patrick of the situation. He doesn’t see the big deal here and rather matter-of-factly just suggests to SpongeBob that he deliver the present to Santa himself. Sleigh bells ring in SpongeBob’s head at the suggestion which he absolutely loves! Patrick volunteers to go too, but the only issue remaining is how to get there? Patrick suggests they push and shove their way to the North Pole and, wouldn’t you know, SpongeBob loves that idea too. He opens his face like a locker and stores the gift for Santa inside himself for safe-keeping, then Patrick shoves him out the door.

Plankton does make for a pretty convincing booger.

The two idiots, I mean friends, take turns pushing each other down the street laughing all the way. Nearby, Plankton (Mr. Lawrence) emerges from the confines of The Chum Bucket looking rather smug. I don’t know why, or if that’s just his natural disposition, but he soon gets squished by a rolling SpongeBob. SpongeBob pops up from the ground and Patrick mistakes the glob of Plankton on his nose for a booger. He offers SpongeBob his handkerchief who accepts it and delivers a hearty blow leaving behind what Patrick refers to as the ugliest booger he’s ever seen. The booger soon reveals itself to be Plankton who seems to be taking this all in stride. SpongeBob tells him what’s going on and Plankton gets an idea. Ever since he got the phrase “Born to be Naughty” tattooed on his right arm Santa has had him on the Naughty List. If he were to sneak into Santa’s workshop and change his designation on said list then he could finally receive the Krabby Patty secret formula for Christmas! Again!

They’re going to be traveling in style.

Plankton informs the two that he’s coming with which they don’t seem to mind at all. When they ask how he’d like to be shoved, Plankton smugly whips out a remote. Informing the two they’ll travel via other means, he presses a button and out from the Chum Bucket emerges a sort of fishbowl on snowmobile treads and skis. Plankton informs the pair he built it to fly and run over bodies in preparation for the zombie apocalypse. I’m guessing they needed to include the zombie apocalypse bit to please the network censors since they likely couldn’t simply depict Plankton as murderous.

Is that regret I see on Plankton’s face?

The three strap in with Plankton insisting on fastening their seatbelts. SpongeBob does as he’s told while Patrick just pulls his shorts over his head. Plankton is clearly showing some signs of regret in bringing these two along, but the decision has been made. He fires up the vehicle and it rockets off nearly taking out Mr. Krabs as they zoom past the Krabby Patty. SpongeBob and Patrick almost immediately jump out of their seats to look out the window and at all the fish they’re passing over including one farmer fish who mistakes their vehicle for a UFO. Plankton barks at them to return to their seats, but Patrick points out that the seatbelt light has been turned off. Plankton has no retort and the flying machine soars off into the sky. Or undersea. Whatever.

Plankton is only interested in what’s in the box for about five seconds. That’s about as long as I pondered the subject, myself.

Night falls and Plankton is looking beat. Lucky for him, the ship is equipped with autopilot so he’s able to go to bed, but first he needs to pick on SpongeBob. SpongeBob has been polishing his gift (it’s wrapped in a conventional box so he’s just polishing paper) and Plankton decides that he’s entitled to a peek. He snatches it out of SpongeBob’s hands and starts shaking it around wondering what’s inside. SpongeBob isn’t telling, and he turns his own eyeball like the dial of a safe to open his face and stash the gift back inside. Plankton expresses hope that the contents are a stink bomb since he has a hatred of Mr. Claus, which SpongeBob takes offense to when Plankton refers to him as potbellied (“Santa is not potbellied, he just suffers from seasonal bloating”). Plankton doesn’t care enough to argue and heads to bed, which for him is a cot onboard the ship. For SpongeBob and Patrick, it’s the floor.

The North Pole?

When Plankton wakes up in the morning he’s irritated to see SpongeBob and Patrick at the controls of the ship. He demands to know what they’re doing, but they’re happy to inform him that they’ve found the North Pole and way sooner than he said they would. Plankton is skeptical and asks how long he’s been asleep, but there’s no time for that as the ground is rapidly approaching. The ship smacks into the sign for Christmas Land Theme Park and it would appear to be on actual, dry, land. Plankton jumps onto the console to claim his rightful spot as pilot, but the seatbelt light is on so Patrick just slams him into the co-pilot chair and straps him in. Patrick is apparently the one in charge, and when Plankton asks if he even knows how to land this thing he responds with, “I know how to crash land!” The ship, almost gently, crashes into the snow-covered ground and skids to a halt at the actual North Pole. It just barely touches the pole as it comes to a complete stop and naturally this results in an explosion.

They’re certainly convinced.

Despite the explosion, the ship seems to be fine. Well, everything except the navigation system. The boys emerge from the ship (with fishbowls full of water on their heads) to bask in the glory of the North Pole. Plankton is rightly irritated with the damage done to the ship, while Patrick and SpongeBob don’t appear to be phased one bit. As they start walking through the park, Patrick and SpongeBob are captivated by their surroundings. They’re also unable to discern a fake elf or fake reindeer from a real one. Plankton, on the other hand, has taken note of the lack of coldness and the presence of smog in the air, but SpongeBob and Patrick just declare it’s some special “snog” and continue prancing along delighted by their own ignorance while Plankton just looks defeated.

This place has seen better days.

SpongeBob and Patrick then come to the heart of the apparent North Pole: Santa’s workshop. Inside, some barely functioning animatronic elves are working a toy assembly line and, once again, the two knuckleheads think they’re real. SpongeBob finally shows a tiny bit of concern on his face when one of the robot heads falls off the body of the elf and onto the assembly line where the next elf smashes it with a hammer. His concern quickly evaporates though when he takes note of a sign that says “Meet Santa Claus.” The building where this meet n’ greet is to take place is actually one the nicer pieces of scenery so far. SpongeBob and Patrick head in enthusiastically while Plankton is still piecing things together. He hasn’t quite figured out where they are, but he knows it’s a sham. SpongeBob tells him that Christmas is about believing while Patrick either has a different philosophy or mishears him as he chimes in with “Yeah, Christmas is about bleeding.”

Wait! What? Santa?!

The three walk down a dilapidated red carpet (the interior of this place is not the equal of the exterior) until they finally come to him – the big man! Or, well, he is indeed a big man, but he’s also asleep and snoring loudly in a big chair. SpongeBob and Patrick run at him while Plankton can scarcely believe it. The two nitwits each jump onto one of Santa’s knees and sit with giddy anticipation for Santa to wake up. His eyes crack open a tiny bit and he asks them what they want for Christmas. SpongeBob and Patrick immediately start shouting over each other a whole bunch of unintelligible stuff as they must be among the few thinking of Christmas lists in July. Santa’s eyes then finally flutter open to see who is actually on his knee. To my surprise, he knows them by name! Is this guy the real deal after all? He also tells SpongeBob that he’s his biggest fan and SpongeBob is forced to correct him that Patchy the Pirate is actually his biggest fan. Which makes sense, because this ain’t Santa.

Oh, it’s just Patchy! I was wondering if he was going to appear in this one.

It’s Patchy (Tom Kenny)! He pulls off his Santa costume and presents himself to SpongeBob and Patrick. Upon seeing this, SpongeBob and Patrick’s head literally explode. Once reassembled though, they’re pretty happy to see old Patchy, but what they’re not happy about is finding out they’re at an amusement park in Encino and approximately 4,000 miles away from the North Pole. Plankton is pretty pissed they went so far off course while SpongeBob is just bummed that their GPS is busted. Patchy cheerfully offers an alternative to GPS – a map! And don’t forget about Potty (Lawrence), the broken down toy parrot thing, who drops in with a compass which just so happens to land on and subsequently crush Plankton. He shakes his fist at the parrot while asking “Polly want a smacker?!” SpongeBob and Patrick cheerfully hop down off of Patchy’s knees with their map and compass and bid their old fan goodbye. As they depart, Patchy requests they tell Santa “Hi” for him and to let him know that he wants a new parrot for Christmas. Potty smacks him over the head and tells him he’d like a new pirate for Christmas.

The real North Pole is a lot colder than that other one.

The boys set off once again and we see their adventure unfold over the map. They get off to a bad start first traveling across the U.S. all the way to Florida where they’re eaten by an alligator. They escape to Idaho, before getting diverted to Nova Scotia where an angry moose donkey-kicks them up to the North Pole. When they arrive, we see the effects of the cold as Plankton is encased in a block of ice while SpongeBob has turned blue and is shivering beside him. Patrick, who has been asleep, is also blue and wakes up to ask if they’ve arrived yet, only for his eyes to shatter. Patrick and SpongeBob then disembark from the ship to approach the real Santa’s work shop. Plankton is conspicuously absent, or not. He’s actually still in ice and SpongeBob asks Patrick if he’s enjoying his “Plankton Pop.” Patrick, who has Plankton pinned between his face and the glass of the bowl over his head, declares he can’t wait to get to the chewy center. We get a close-up of Plankton which looks rather horrifying.

She may seem nice, but she’s kind of terrible.

SpongeBob and Patrick approach the door with giddy expressions on their faces. SpongeBob then realizes that Plankton has gone missing and asks Patrick where he went. The starfish looks momentarily perplexed, then his jaws are forced open by a very haggard looking Plankton. He’s able to get out of Patrick’s bowl-helmet and tells the guy he needs to do something about his terrible breath. The door to Santa’s work shop is then opened and a female elf (Jill Talley) pokes her head out. She immediately mistakes the pair for trick-or-treaters even though they would be three months early. Plankton, now seeing an open door, vacates the area as he doesn’t care what’s going on with Patrick and SpongeBob. He slaps a pair of elf ears onto his own bowl and heads inside.

I’m not so sure that’s milk.

SpongeBob tells the elf they’re not trick-or-treaters, but are actually here to see Santa. It would probably have been helpful if he explained why, but he doesn’t. The elf has some bad news though: Santa has gone on vacation with his wife in Aruba and isn’t currently here (so that’s what he does during the offseason). She speaks to them in a cheerful, but supremely condescending manner which makes her kind of terrible. She tosses the pair a candy cane each and then bids them farewell with a “Happy Halloween.” SpongeBob is pretty downhearted about the rejection, but Patrick is happy to have some free candy. Really happy. He reacts to eating the candy cane like it’s crack or something. That’s probably not a good thing. The two peer through the window and see the total elf rager going on inside. They’re behaving like drunks, but they’re clearly just drinking milk and eating cookies. Plankton is also in there trying his best not to get stepped on. SpongeBob reasons they need to get inside to leave Santa his present. Patrick has an idea for how to get in, but SpongeBob decides they should do it Santa style. Patrick, who can be seen at the controls of a wrecking ball, is disappointed in SpongeBob’s choice.

They have some pretty big reindeer up here.

Meanwhile, Plankton is strolling about the area in search of Santa’s mainframe. He intends to hack it so that he can put himself on the Nice List. Or take himself off the Naughty List. I guess he has to do both. As he walks through the compound, he sees a group of reindeer working out. These reindeer are pretty serious as they pump iron. Their overall shape reminds me of the shaven yak from The Ren & Stimpy Show. Plankton avoids them, but apparently not well enough for he’s soon approached by a rather nasty looking reindeer. He has a round, blue, nose which is probably why he’s called Bludolph (Clancy Brown). I don’t know if the name is ever said in the episode, but it’s how he’s credited. Anyway, he thinks Plankton is up to no good and Plankton certainly doesn’t look like any elf he’s ever seen. Plankton tries to play it cool, but when Bludolph is clearly not fooled he kicks snow in his face and calls him a moose. Bad move, Plankton, as Bludolph summons the other reindeer for some reindeer games. And the game is hacky sack with Plankton serving as the sack. As he’s sent through the air we get a poop joke as he shouts “That better be mud on your hooves,” after getting kicked.

Uh oh, they’ve angered the elves!

We cut to a fireplace and out from it emerges SpongeBob and Patrick. They’re in a rather cozy looking room and before them stands Santa’s Christmas tree. The two are in awe, but despite their reaction I have to say it’s a pretty conventional looking Christmas tree. All that’s left is for SpongeBob to do what he set out to and leave Santa his present, but as they approach the tree with their arms linked an alarm is triggered. The elves burst in and the girl elf from early recognizes the pair of “trick or treaters.” They think they’re hear to steal toys. They’re also too angry to listen to any sort of reason as they burst in forcing SpongeBob and Patrick to escape by climbing up the tree.

Both parties seem to give as good as they get.

It’s at this point that Bludolph and the other reindeer storm in as they were alerted to the break-in as well. This means Plankton’s beating is over, but he gets stepped on by a reindeer for good measure. He pops up wondering if they’ve had enough and calls them a bunch of cariboobs. It’s a good insult since reindeer are indeed caribou. I guess Bludolph and company are kind of like the security up here, but they also seem to have some conflict with the elves. They feel like the reindeer are out of line for coming to their aid and there’s quite a bit of hostility between the two. When a reindeer gets mistakenly hit by a toy the elves were throwing at SpongeBob and Patrick, a brawl breaks out between elves and reindeer. Despite the reindeer being the far larger species, the elves certainly came to play and both sides take on some casualties. Though some of it is self-inflicted on the part of the reindeer. One of them, I think it’s Prancer, manages to get his antlers stuck in a ceiling fan causing him to fall on some elves. Then his snout gets run over by a train.

Looks like Plankton found what he was looking for. Take that, Bono.

SpongeBob is forced to observe the horror from high in the Christmas tree. He blames himself for this since he was the catalyst for the confrontation. He looks to Patrick for support, but he’s enraptured by the aroma of candy canes and of no use to SpongeBob now. A vicious looking elf is also climbing the tree. What he intends to do to SpongeBob should he reach him is anyone’s guess. SpongeBob tries bombarding him with Christmas ornaments, but that only seems to fuel him. Meanwhile, Plankton, having recovered from his own beating, strolls in deftly avoiding the many feet around him. He’s overjoyed when he comes upon the thing that which he seeks: Santa’s mainframe. It’s not issue for him to access it and add himself to the nice list. As he strolls out the door though, he’s once again stepped on.

Don’t worry everyone, Santa will set everything right.

The foot that stepped on Plankton belongs to none other than Santa! He’s none too pleased to have to come back from his vacation early due to the alarm going off in his quarters. He’s less happy to find the elves and reindeer seemingly at war with each other, but he brightens up when he takes notice of SpongeBob who was about to be attacked by the elf from earlier. He even playfully refers to SpongeBob as a menace which the little guy laughs off. He hops down and it’s at this point I’m reminded that Santa had to shrink himself to fit into SpongeBob’s house at the beginning of the episode because now SpongeBob sits in the palm of the big elf’s hand. He explains what’s going on and pulls out the gift he has for Santa. Santa seems touched and he carefully opens the tiny present to find a gloss bottle inside with a piece of parchment within it.

Read it, Plankton!

Plankton, upon seeing the gift, assumes it’s the thing he covets most: the Krabby Patty secret formula! Seeing what he wants before him, he abandons his plan to remain nice until Christmas and instead opts for thievery. He swipes the bottle and taunts Santa for good measure with his tattoo before opening the bottle and taking a look at the message inside. Of course, it’s not the secret formula (why would SpongeBob even have it?) and he sheepishly offers to return the gift to Santa. Seeing an opportunity to punish Plankton a bit, Santa instead demands he read it and Plankton reluctantly does. It’s just a simple message from SpongeBob that notes there’s no present that would be commensurate to what Santa has gifted the world over the years, so instead it’s just a simple message of thanks. Santa gets all teary eyed for no one has ever given him a Christmas present before. No one until SpongeBob Squarepants.

In the next episode, Patrick goes to rehab.

Santa thanks SpongeBob, but the little guy is always looking out for others. He makes sure to point out to Santa that he would never have made it to the North Pole without Plankton’s help. He even tosses in a “he’s not such a bad guy,” to try to sweeten the sentiment. He also credits Patrick to getting him there, which causes him to remember that Patrick is still in the tree! We pan to Patrick in the tree who has managed to get his hands (flippers?) on several candy canes. His eyes are all striped again and he just offers up a “Happy holidays to me!” I think it would have been funnier if he said happy Halloween.

SpongeBob is the king of thoughtful, inexpensive, gifts. I kind of envy him.

Fast forward five months and it’s a Christmas party at the famed The Krusty Krab. SpongeBob and all of his friends are enjoying the festivities as presents are being handed out. Plankton is there as well and we see him cheerlessly open another present which contains a lump of coal. He tosses it aside where it lands amongst a pile of other coal. SpongeBob then sidles on up and gives Plankton a gift as well. It’s a picture of him, Patrick, and Plankton with Patchy the Pirate from their adventure to the North Pole. It also contains a message of encouragement from SpongeBob for Plankton as it says “One day you will destroy us all!”

Though in this case, SpongeBob’s words of encouragement have apparently unleased this thing upon the undersea world.

Upon reading such words of encouragement Plankton appears touched. Then his soft expression is replaced with a hardened one. One of determination and malevolence! He shovels all of that coal immediately into a giant robot which has just been standing there. The coal-powered monster belches fire and we cut to an exterior shot of the restaurant now glowing from the fire within as the sounds of screams (and Plankton’s laugher) coming from inside take us to credits.

SpongeBob’s journey to the North Pole did not surprise me in that it doesn’t quite live up to what’s come before it. That’s not a slight against this Christmas episode, but more an acknowledgement of how good the previous two were. I do like the premise as it’s very much a SpongeBob plot to want to make sure Santa Claus himself gets a present on Christmas. The show does a fine enough job of coming up with something for SpongeBob to hand over to Kris Kringle and it’s not really important, anyway. This episode is about the journey. It’s a road trip for SpongeBob and his best friend plus the odd pairing of Plankton. All good road trip movies include an oil and water dynamic and that’s what inserting Plankton into the plot does here. It also provides the plot a mode of transportation and giving Plankton the goal of getting himself onto the Nice List works well enough.

Plankton carries this one for me. He’s so deliciously evil!

Where things stumble a bit for me is in the actual journey. Every road trip story needs a part where the journey clearly has gone wrong and a wrong destination or a wrong turn is often the device utilized. Here, it’s a dilapidated amusement park which I guess was fine? It’s a way to work in Patchy the Pirate who played a role in past SpongeBob Christmas episodes so I guess it’s kind of his thing. My issue with it is I think we’re denied more time at the North Pole. There are some unusual dynamics going on up there between the elves and reindeer and I’d have appreciated some more context there. Maybe we could have even had time for Mrs. Claus? It all leads to a sensible resolution though and I like the somewhat violent ending with Plankton. It caught me by surprise and that’s a pretty hard trick for a Christmas episode to pull off.

“SpongeBob’s Road to Christmas” is a perfectly charming and entertaining little Christmas episode. It’s unlikely to blow anyone away, but it’s entertaining and not too derivative of other Christmas travel specials. It’s only real failing is not being as good as A SpongeBob Christmas. If you’d like to spend time with the sponge and his friends then you can find this episode streaming on Paramount+. It’s also likely to be shown on Nickelodeon a few times this month and I bet you still have time to find it if you still have a cable subscription.

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

Dec. 14 – All Grown Up! – The Finster Who Stole Christmas

In 2001, Rugrats had the honor of being the first Nicktoon to make it 10 years. The path to that honor was not a smooth one as the show had effectively been cancelled in 1993 with the third season. That appeared to not be performance related, but more strategic on the part of Nickelodeon as…

Keep reading

Dec. 14 – Rugrats – “The Santa Experience”

Yesterday, we took a look at the 1992 Christmas special from the third Nickelodeon Nicktoon The Ren & Stimpy Show. Today, we’re basically working backwards and talking about the second Nicktoon to premiere: Rugrats. The Ren & Stimpy Show is probably the most celebrated of the original Nicktoons when it comes to animation circles, but…

Keep reading

Dec. 14 – Gifts from the Air

For today’s subject, we’re going all the way back to 1937 to talk about the Columbia Pictures Gifts from the Air. This particular cartoon comes from an era dominated by Disney, Warner Bros, and MGM with a tip of the cap to Noveltoons. The Color Rhapsody Theatrical Cartoon Series is not particularly well-remembered outside of…

Keep reading

Dec. 13 – Bob’s Burgers – “Bob Rest Ye Merry Gentle-Mannequins

Original air date December 16, 2012.

We’re going to keep sticking with the animated sitcom Christmas special for another day and this time we turn to Bob. Bob’s Burgers has been a reliable staple for holiday viewing ever since getting a more robust endorsement from the Fox network for its third season. That was the first full season, by television standards, with 23 episodes that contained the show’s first Christmas episode. We’ve looked at a handful of Bob’s best Christmas outings already, but I skipped the very first one for some reason. Perhaps that was a mistake on my part? I guess we’ll soon find out.

Unlike Family Guy, American Dad!, and even The Simpsons, I feel pretty confident that we won’t get a bunch of suicide jokes with this one. Even though Bob Belcher (H. Jon Benjamin), as a struggling restaurant owner with a family to feed, should probably be the most susceptible to seasonal depression out of all of the main characters for these shows. Everything is riding on the success of Bob’s restaurant and that’s a lot of pressure. Unlike some other animated families though, the Belchers are pretty adept at rising above everything life throws at them. There isn’t much cynicism to be found here so I suppose in some way that makes them the best fit for a Christmas special.

This episode of Bob’s Burgers does not feature a special, seasonal, opening title. It does contain the usual sight gags though with the business next door and the utility vehicle that pulls up in front of the restaurant and this time we get Can You Dig It Candy Cane Outlet (No licky-loos!) and Silent Mice Exterminators. I like it!

Nothing says Christmas like festive ninja star window clings.

The episode begins with Linda (John Roberts) decorating the front window of the restaurant while the family looks on. She’s clearly placed snowflakes on the window, but Gene (Eugene Mirman) mistakes them for ninja stars while Tina (Dan Mintz) thinks they’re doilies. It is noted that we are seven days out from Christmas (kind of late with the decorating, Linda) so the children hand over their list of demands, as Louise (Kristen Schaal) describes it. It would seem the kids expect gifts from the parents and if anyone believes in Santa Claus it is not implied. Louise demands her own apartment (no studios), Tina would like a dry erase board to write down her thoughts and then erase them (Penis Fly Trap), while Gene wants the bobsled from the movie Cool Runnings. Bob tells the kids they can’t afford any of that stuff and when Tina asks “Even the dry erase board?” he angrily confirms even that. It’s been a tough year for the Belchers and Bob attributes it to the restaurant being mistakenly classified as a gas station in some local newsletter.

Remember to tip your mail carriers at Christmas, folks.

Sometime later, Mailman Mike (Tim Meadows) enters the restaurant and receives a very enthusiastic “Merry Christmas” from Linda that he responds to in his usual, deadpan manner. We can now see that the burger of the day is the One Horse Open Slaw Burger which comes with coleslaw. Not sure if it’s on the burger, or just a side, but it will set you back about six bucks. Mike hands over the mail and then stands there and awkwardly coughs. Bob picks up on the social cue here that Mike is looking for a holiday tip. Bob confesses to Mike that he never knows what to tip the mailman and Mike confirms that Bob does not. Bob then writes a number on a piece of paper and slides it over to Mike for his approval. He says it would be a good amount – if he delivered the mail once a week! Bob then hands over a wad of cash that is more than the number he wrote. Mike thanks him, then hands him some more mail which Bob has to sign for. When Bob asks if he was going to withhold his mail if he didn’t tip him, Mike assures him that he would have got the letter, just not today. He is a professional, after all.

A letter from a law firm can be good, but it can also be very bad.

Mike leaves and everyone decides to show interest in the letter Bob received. Tina even asks if it’s from Santa, so I guess there is a believer in our midst. The letter is from a law firm informing Bob that he’s been named in the will for dear, old, Uncle Ernie. Bob doesn’t seem to know him very well and the kids know nothing of him. Gene suggests that “Talking to Uncle Ernie,” would be a great metaphor for taking a poop, which Bob objects to. Linda snatches the note before Bob can read what his uncle left him as she wants to have a reading of the will. She says she’ll make punch which is apparently a thing she wants to do often (much to the chagrin of Louise) because she keeps getting samples in the mail. With everyone onboard, Gene announces he’s so excited that he needs to go talk to Uncle Ernie and races off to the bathroom.

Linda Belcher: Punch Enthusiast

In the Belcher living room, punch has been made and the family is ready for Linda to read the will. The children are clearly expecting a windfall here from their great uncle who owned a furniture store, but Bob tries to reset expectations. Linda does a dramatic reading (of sorts) only to find out they have been left whatever is in some storage unit. The family is slightly deflated, but they have to go check it out for themselves. We cut to the Just Stow It Storage facility where the family has resumed letting their imaginations run wild with optimism. Bob, being a bit of a downer here, reminds them they’ll have to pay taxes on whatever is in the storage unit if it’s any good. He lifts up the door to the unit and everyone gasps to find a dude just chilling inside in a tracksuit amongst a ton of boxes. He says “Oh, hi,” and Gene declares triumphantly “We won a cave man!”

Precisely what you don’t want to see when opening a storage unit.

After an act break, we discover that this man is named Chet (Zach Galifianakis) and he’s apparently been living here for some time. He had no idea Ernie died and upon hearing the news gives Bob a reassuring hug that he wants no part of. Gene tries to get in on some of that action, but is rebuked by his father. Chet reveals that he did window displays for Uncle Ernie’s store for 20 years until it closed. When he had no place else to go, Ernie let him stay here in the storage unit. Linda immediately feels bad for him and wants to invite him to live in their basement, but Bob doesn’t see the need to do so. That is, until the owner of the place asks Bob if he’ll be taking over the $150 per month lease on the unit.

Maybe Chet’s presence will at least keep the vermin away?

We smash cut to Chet and the Belchers checking out his new basement home. They’ve moved all of his stuff in and Chet is making himself feel right at home. He remarks that he can’t wait for the carpet to come in and asks if they’re married to the present color of the walls. Bob then has to remind Chet that he’s apparently only welcome to stay through Christmas and Chet has to doublecheck that he means this Christmas. When Bob confirms that he does, Chet doesn’t seem mad and actually says this is the nicest thing anyone has done for him since Sal gave him the tracksuit he’s wearing. He gestures to a nude mannequin indicating that’s Sal and Gene remarks that if Chet wants to do something nice for Sal that he could really use a penis. We may not have suicide jokes, but that’s our second penis joke so far!

It would appear that Chet has a hidden talent.

It is now six days before Christmas and Bob and Linda are woken up on this fine morning by their daughter Louise bursting into their room screaming “Fire!” She then tells them she’s just kidding, but she clearly wants them to come check out something. Downstairs in the restaurant, a festive window display has been erected. Gene remarks that he can’t find Chet and that his pee jar has gone cold, but he clearly made this display which everyone seems most impressed with. Bob remarks he’s glad Chet apparently took off and notes there was something “off” about him and that he smelled. One of the mannequins then turns and gives an awkward cough revealing that it’s Chet and Bob is forced to try and backpedal. Chet doesn’t bring attention to what Bob said and instead asks if the display is “Holi-doing it for ya?” Bob and Linda remark that it is indeed holi-doing it for them. Chet has dubbed his display Class Under Glass, but as Bob starts to ask more questions he just silently retakes his position in the display and says nothing causing Bob to remark that “he’s being weird again.”

Something we don’t get to see too often: Bob happy at Christmas.

The window display seems to be a big hit with the town as lots of people are shown stopping to look at it. An old couple enters the restaurant basically desperate to spend money there. When they find out that Bob doesn’t have any merch he offers to write out a gift certificate on a napkin. When the restaurant closes for the day, Bob is shown to be rather upbeat as he credits the display with really driving a lot of foot traffic. Chet hops down out of his display and informs the family he intends to create a new one each day until Christmas. The kids like the sound of this and indicate that they would like to be a part of them while Bob suggests hanging a big curtain to have an unveiling of the new display each day. Chet remarks that’s a very theatrical idea then asks Bob if he’s gay. Louise answers for him with a “We wish.”

Looks like Chet did find a carpet for the floor.

That night, Chet and the kids are going through all of his stuff in the basement in a bid to come up with an idea for tomorrow’s display. Gene proposes they utilize a toy train he’s found while Louise remarks that the lamp she’s found will look nice in her new apartment. She confesses the request was a joke at first, but indicates that all of this newfound success has her convinced it’s happening. The kids then discover that window displays was something Chet used to do with his ex-wife, Nadine. He seems a little blue, but tries to cheer himself up by suggesting they don’t want to hear about his past relationships and Gene enthusiastically agrees.

I would have saved this display for Christmas Eve, but that’s just me.

A musical montage follows set to “Father Christmas” by The Kinks, an easy top ten Christmas song in my house. This is a way to blast through the various displays that Chet and the kids come up with on the road to Christmas. The first one is set at Santa’s workshop with Chet dressed as the jolly, old, elf and the kids portraying elves. The kids aren’t great at this human mannequin thing as Gene tumbles backwards taking out a wall and Louise turns to hang up a “0 days without a workplace accident” sign. The next display as a Hannukah themed one followed by Chet as a Christmas tree with Louise riding a train around him and Gene and Tina dressed as presents. Louise slaps the faces of her siblings as she rides in circles while we keep getting cuts to the cash register filling with money and a very satisfied Bob.

I wonder what they do when someone has to go talk to Uncle Ernie?

The montage fades out with a local news broadcast drawing attention to the changing displays. In the window, Chet is now a gingerbread man, Tina a sugar plum (or ornament), and Gene a candy cane. Louise is apparently sitting this one out, or she’s in the giant gingerbread house. Mort (Andy Kindler) and Teddy (Larry Murphy) are at the counter and Teddy is very impressed by the fact that he’s on television right now as he waves to the camera. Bob has to tell Gene to stop licking himself since he’s on TV, but Gene just shouts back “Where I belong!” Teddy is eager to find out what tomorrow’s big, Christmas Eve display will be, but can’t make up his mind if he wants to know now or be surprised. Chet doesn’t respond to his pestering anyway since he’s very committed to his craft. Mort is so pumped for it that his mother is coming into town just to see it. He tells Bob to make it big since she has cataracts.

Not everyone is set to have a merry Christmas.

That night, the good vibes continue as Bob and Linda are doing the dishes. Linda is already convinced that this will be the best Christmas ever and Bob, surprisingly, doesn’t disagree. He even thinks they should have enough money to get the kids something nice and suggests that Linda cover for him tomorrow so he can sneak out to do some shopping. She assures him that she’ll tell the kids he needed to go buy something for his mistress. Bob is not amused. In the living room, Gene is wrapping a gift for his dad. It’s the television remote since his dad seems to love it so much. Louise thinks this is a great idea and decides to wrap Linda’s glasses up as a present for her. All the while Chet is there staring longingly out the window at the lightly falling snow.

What could possibly be on that picture?

Bob and Linda enter the room and Linda asks what Chet is doing. He informs her that he’s just zoning out as the song playing was Nadine’s favorite Christmas song. It’s at this point I notice “Silent Night” is playing and as Linda tries to ask who Nadine is Chet starts singing the song. The kids fill her in and then Chet produces a photograph. We can only see the back of it as Linda reacts by saying she’s gorgeous, then gets confused. The rest of the family looks at it in confusion as well and they try to all ask the same question, but in a polite way, for it would appear that Nadine is actually a mannequin. Bob just comes out says it and Chet informs the family that he used to be a mannequin too, complete with overly dramatic musical stings! The kids seem impressed, while Bob is quite uneasy with this revelation. Chet tries to smooth things over by assuring Bob he’s not one of those “murder mannequins,” he’s just a simple store mannequin that came to life. No big deal. Bob can only muster a “So…happy…you’re staying with us…in our basement.” Chet then resumes singing “Silent Night” which has a different aura now that we know “the truth.” Bob tells his family that they need to leave.

Oh…

Following an act break, we resume the living room conversation with Bob asking Linda if she thinks Chet will murder them before or after Christmas. Linda doesn’t seem concerned and points that he said he’s not a murder mannequin. Chet remarks, in a callback to a shared conversation at the storage unit, that the two still need to work on their whispering. Louise decides to test the mannequin theory by kicking Chet in the shin. She has deduced that a mannequin would not feel pain, but Chet made it clear that he was a mannequin and isn’t anymore. Tina can relate as she points out that one day Chet just suddenly became anatomically correct which is something she just went through.

Back when “life” was perfect for Chet and Nadine.

It’s now time to hear Chet’s origin story. He was a mannequin in a sports store and Nadine was too. She didn’t have any nipples and she didn’t need them, per Chet. As the seasons (and fashion) changed from summer to fall casual their relationship became anything but. Chet remarks that one day he took Nadine skiing and we’re shown that they were just covered in skiing attire. An accident happened, a clerk knocked Nadine over smashing her right hand. She was taken away for repairs and when she came back she had two left hands. Chet then tells the family he had to make an important decision. Gene thinks he means what hand to replace with a hook, but Chet corrects him by saying he had to decide which hand to put a ring on. The two are shown in a wedding display apparently getting married. Gene shares this opinion on the resolution with a “Boo!”

Did the pain of loss bring Chet to life or are these just the ravings of a mad man? How can one ever know?

With the flashback over, we return to the living room where Bob is shocked to find his wife in tears. She can’t help it, weddings always get to her. Chet tells the family that everything was perfect, until the mall came. The store closed and during the liquidation sale the two were separated. It’s at this point that Gene wants to go back to earlier in the story by asking Chet why Nadine didn’t require nipples. He ignores the child and continues his story. We see Chet being locked away in the storage unit where Chet theorizes that the pain of his loss caused a transformation to take place. Tina concludes that this is the greatest love story ever told.

Bob’s not winning this one.

Bob remains unconvinced and tells Chet that he was never a mannequin. Chet isn’t hearing it and wants to be reunited with his love. Tina is onboard with finding her as the two theorize she may be in Paris or Milan. Bob tells the kids that they are not going on a mannequin hunt with Chet and suggests she’s probably in a landfill somewhere. Chet can’t take the abuse and runs away in tears. An angry Linda orders the kids to go to bed since she needs to have a word with Bob, but he’s apparently frightened by his wife and orders the kids to stay. This goes into a routine where each parent keeps ordering their kids to do the opposite of the other until finally the kids obey their mom and leave, since they’re taking her side. With the kids gone, Linda scolds Bob for making Chet cry. Bob points out that the man is unstable and suspects many things make him cry. Linda ends the argument by stomping off to bed telling Bob not to bring the mistletoe with him, but do bring her a snack. Chocolate!

Well that’s sure to surprise the onlookers.

The next morning, Gene and Tina come barging into their parents’ bedroom telling them to get up and come see the display. We also see that Bob slept on the floor. They head downstairs to find a rather grisly display: a decapitated reindeer with ground beef in the neck hole, an elf swinging by a noose, and a headless snowman with two bottles of ketchup placed where the head should be squirting “blood.” This obviously won’t be good for business, and unfortunately for the Belchers Chet is nowhere to be found. Oh, wait, he’s actually sitting right there in a booth. The display is a window to his soul, as Chet puts it, which has been severely wounded by Bob’s words the night prior. Louise likes it, but no one else does. Bob insists that Chet replace it with something happy, but Chet’s happiness has been discarded in a dump somewhere. He zings Bob by asking him if his face can catch because he’s throwing his own words back at him! Chet runs off to the basement and the kids decide it’s all up to them to save Christmas with a traditional, mannequin, hunt.

This group is very invested in these window displays.

Our second montage of the episode is now upon us. It’s set to an instrumental I don’t recognize, but sounds jolly enough. The kids are shown handing out fliers with Nadine on them to various side characters from the show. It’s a brief montage which ends at the restaurant where a small crowd has gathered demanding to see the Christmas Eve display. The kids slink back into the store with an important announcement: they’ve found Nadine! Bob scolds them for disobeying his mandate to not go on a hunt for her…it, but Gene seems to not take his father seriously for we get a cutaway of him surprising his dad while he’s in the middle or urinating as an example of other boundaries he ignores. Linda is excited though while threats from outside seem to suggest they need to produce a display and quickly. She informs “Old Saint Dick,” that he’s going to go get this mannequin from the store the kids found her at, but haven’t elaborated on yet. Bob is forced to agree since getting the mannequin is the quickest way to getting Chet to do a kinder display. As Bob moves, we can see that the Christmas Eve burger of the day is The Fifth Day of Christmas Burger which comes with five, golden, onion rings.

Well, I guess it’s a better location to find Nadine than a landfill?

With the family leaving out the back, Linda tries to stall for time by heading outside to deliver a poem she wrote. Or rather, one she’s clearly making up on the spot since the poem is basically just “Christmas, oh Christmas. Christmas. Christmas. Christmas…” Meanwhile, Bob and the kids are at the store where Nadine presently resides in the window display: Spanks A Lot. It’s an erotic store and Nadine is in some light bondage gear and handcuffs. They can tell it’s her though by the presence of two left hands. Bob orders the kids to wait outside as he heads in and speaks to the clerk (Fred Stoller, who must have been identified early for the role because the character even resembles him) where he confirms that Nadine was indeed discarded in a landfill. The clerk has no desire to loan the mannequin out and says this is the biggest sex shopping day of the year. When Bob points that there’s no one in the store, the clerk gestures to the back to confirm where all of the customers are.

As far as diversions go that’s a pretty good one.

The kids, meanwhile, have snuck in because of course they did. Gene is surprised to find limbless finger puppets, which are most certainly not finger puppets. Louise can tell that her dad is getting nowhere with the clerk so she instructs her siblings to create a diversion with the…personal massagers. They turn the sex toys on and toss them on the floor where they vibrate and slither about. The clerk sees them and shouts at them to get out since they’re minors while Bob bolts and grabs Nadine. The kids lay down some lube by the door which the clerk slips and falls on as he tries to chase after them. Bob shouts back that he’ll return her after midnight while the clerk shouts out “Sickos!” A voice from the back thinks he was referring to them, but he calls back, “No, not you guys,” in a defeated tone.

We’re kind of setup to dislike the clerk, but I can’t blame a sex store owner for not wanting to loan out his BDSM mannequin for a few hours on Christmas Eve.

We return to the restaurant to find Linda has switched tactics and is now singing “The Carol of the Bells,” only she doesn’t know any of the words so she just keeps singing “La la-la bells!” Gene lets her know she can come in because they have Nadine and the family races to the basement. Chet has apparently locked himself in the room down there, which I don’t think had a door before, but who cares? He’s apprehensive about seeing Nadine again since the tracksuit is twelve seasons old and he’s got a gut. Louise assures him that Nadine has changed too and Bob pleads with him to come out. He’s forced to apologize to Chet, though he won’t allow himself to go so far as to say he believes him. He tells Chet that what matters now is he’s a man in love with a mannequin and the mannequin that he’s currently holding should be in Chet’s arms, not his. Chet is clearly moved by Bob’s words and agrees to finally open the door.

The reunion we’ve all been waiting for?

Uplifting music plays as Chet gazes upon Nadine for the first time in…seasons. He remarks, “Tough times, huh baby?” upon seeing her new look but assures her that he won’t judge her for what she had to do to get by. They proceed to have a one-sided conversation as Chet mostly makes noises like he’s agreeing with whatever she has to say. Linda remarks that Chet is a good listener and women like that. Bob has to interject that she’s a mannequin with Gene adding, “one that won’t shut up, apparently.” Bob then tries to steer Chet back to the display as he’s pretty concerned about it. Chet confers with Nadine, who apparently had something funny to say. Bob is very concerned about what she had to say, but Chet assures him he wouldn’t get it and agrees to do a new display.

Simple. Traditional. Tasteful. I award this final display an A-.

We cut to upstairs and we’re apparently going with a nativity scene. Chet is Joseph, Nadine is Mary, Tina, Linda, and Louise are kings and Gene is baby Jesus. Chet gives a brief pep talk concluding with “Aaaand no action!” Hah, mannequin humor. Bob heads outside to present the display which goes over well. Mort’s mom is present and remarks it was worth the wait. Teddy offers to take a picture of Mort and his mother and tells Mort to fix the wig. Mort thinks he was referring to the rug on his head, but Teddy informs him he was referring to Mort’s mother who has a weird, pointy, thing going on.

Louise is enjoying this.

The good feelings are short-lived though as almost immediately the sex store clerk shows up demanding the return of his mannequin. He barges into the restaurant and goes for Nadine while Chet informs him “She’s with me now.” The two grapple over the wooden woman while the display gets knocked over and poor baby Jesus finds himself in manger danger. The clerk seems to gain control of the doll and tells everyone they’re lucky he doesn’t call the cops on them and mistakes them for perverts. Well, Chet might be, but Tina asks if they can simply buy Nadine off of him. He tells them she’s not for sale, but Gene correctly points out that every sex shop owner has their price. The clerk counters with five grand and Bob quickly refuses. Louise retrieves a wad of cash from the cash register and counts out $263 bucks. Bob protests and tells her that was the money they were going to use to buy them presents, but Louise laughs since it’s no where near the amount needed for an apartment. Tina tells her father that he can spend her allotted money on Nadine and the others agree with Louise adding she better get one hell of a President’s Day present. The clerk relents and takes their money in exchange for Nadine.

Well now, things have certainly taken an awkward turn.

With Nadine returned to Chet where she belongs, the family is overwhelmed with positive vibes. Chet is beyond happy and Bob is even feeling the warmth as he tells Chet, though somewhat reluctantly, that he can stay through New Years. Everyone is happy, and Chet remarks how he and Bob are so lucky to each have a special lady in their life. Bob just sort of politely agrees, but Chet pushes the sentiment further by suggesting the four of them take a vacation. Linda is onboard, but Bob clearly wants this conversation to end. Tina bails him out by saying they’ve waited long enough and urges Chet to kiss Nadine. Bad move, Tina, as Chet just starts making out with a mannequin in a restaurant window display while dressed as biblical figures. Nadine’s head even falls off, but Chet just picks it up and resumes making out with it. Then he makes the head kiss his neck while moaning. The crowd outside stares with rapt attention while Teddy indicates to Mort’s mom that this is making him hot. Is Teddy making a play for Mort’s mother?

I believe Edith is sincere when she tells the Belchers to go to Hell.

The kiss continues and Tina points out that “It’s happening.” The kiss is turning Nadine into a woman! No, it’s turning Chet back into a mannequin! No, it’s actually doing nothing and Tina seems let down. Mike the Mailman, who is in the crowd, determines they took things too far with this final display and everyone else seems to agree as the crowd disperses. Edith (Murphy), the always grumpy old lady, even tells the Belchers to burn in Hell as she departs.

So…happy ending?

Christmas Day arrives and we’re in the Belcher living room where Linda is declaring that Uncle Ernie’s storage unit had a few treasures in it. Gene opens his gift and thanks Santa for an exit sign. Tina is happy with her shoe sizer while Louise seems thrilled to have a device that removes security tags from merchandise. I can see her getting into some trouble with that as she declares “Next Christmas is on me!” Chet is seated in a lounge chair with Nadine draped across his lap in a sexy Santa outfit. Bob asks what he’s going to do after the new year and Chet just casually remarks he plans to go back to Manhattan. Apparently he owns a loft there which has been in the process of getting renovated. We hear an exasperated Bob shout “WHAT?!” before heading to the credits.

That’s one hell of an ending! We may not have had suicide jokes, but we did get another story of apparent mental illness of a man who misses his ex. Only the ex isn’t really an ex in the traditional sense. Not because she’s a mannequin, but because they never broke up or anything. They were just forcefully separated, if you believe Chet’s story. I would categorize him as an unreliable narrator, at best.

This one has lots of twists and turns. Down on their luck family seems posed to have a Christmas miracle befall them in the form of an unexpected inheritance, only it occurs in the first act so we kind of know that’s probably not where we’re going. Then it turns into a case of a family that has almost nothing taking in a guy who literally has nothing who turns out to be a blessing in disguise. The fact that all of Chet’s exposure he got the restaurant only amounted to $263 really drives home how unsuccessful the business really is. And from there, things get turned on their head when we find out that Chet is a very troubled man who is in love with a mannequin. Bob doesn’t believe him, and yet he and his family do what I guess is the right thing in reuniting Chet with his “wife,” only to have it dropped on us that Chet is apparently a pretty well-off guy with a loft in New York. Or maybe that’s a delusion as well, who can say? All I know is we went on one hell of a ride. It’s a bit unorthodox for Christmas, but the very first Christmas special for Bob’s Burgers never loses sight of the holiday. It’s basically a typical, atypical, holiday special in that the Belchers do something that’s mostly selfless in the spirit of the holiday without any real reward, in the end.

Poor, little, Tina, denied her dry erase board.

As a viewer, we do root for the Belchers so this one can be a bit frustrating to see them throw away what is probably some much-needed money on a mannequin. Especially if Chet is some rich guy. The ending might rattle some nerves since there’s obviously more to the story, but I like how it lands and nothing that follows could be funnier or more satisfying. We don’t need to see Bob angrily throw Chet out or see him have the opposite reaction of depressed acceptance. Chet probably didn’t reward the family any further than his displays did and it would work against the whole selfless act resolution. So many selfless acts in Christmas specials are essentially undone with the protagonist getting rewarded anyway so I like that we just end it right where it did.

This is a very entertaining episode of Bob’s Burgers, Christmas or otherwise. I may like some other Christmas episodes more, but this is one of those episodes that does make me rethink my Bob’s Burgers Christmas hierarchy. If you would like to take this one then you need only turn to Hulu or Disney+. I’ve said that a lot so far this year and I’ll probably say it some more! The episode is also available to purchase in the usual spots and it’s probably airing in syndication if you have cable.

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

Dec. 13 – Bob’s Burgers – “The Bleakening: Part 2”

Well fellow cartoon Christmas enthusiasts, we’re in a new and interesting place today. We’re coming in for the second part of a two-part story we started looking at yesterday. In the first part of “The Bleakening,” the Christmas special from Bob’s Burgers which originally aired in 2017, the children of Bob and Linda Belcher were…

Keep reading

Dec. 12 – King of the Hill – “Pretty, Pretty Dresses”

Original air date December 15, 1998.

The 2024 edition of The Christmas Spot has been a year in which we return to a show we haven’t talked about in a little while. Today’s subject is certainly one such show as we’re heading back to Arlen, TX for a Christmas episode of King of the Hill. Up to now, the only episode of the long-running Fox sitcom included on this countdown was covered back in 2020. This episode has been on my list ever since, if not longer, and is one of my favorite episodes from King of the Hill. It does take place at Christmas, though it’s perhaps not as full of the holiday as some other King of the Hill holiday episodes. What it lacks in Christmas cheer it certainly makes up for with a heaping helping of one Bill Dauterive (Stephen Root).

Bill is one of my favorite characters from the show even if he is one of the saddest. He’s a very depressed man and it all stems back to his divorce which took place before the events of the show. It took several episodes to figure out just how pathetic Bill is, but this episode is going to capture it well. When I think of Bill and the word “pathetic,” I think of him eating spaghetti off of his counter and taking a swig of sauce right from the jar to wash it down. Remember the show Step by Step and the Cody character who would pour milk in his mouth, squirt the chocolate syrup in after, then shake his head all about before swallowing? That was ridiculous and just stupid funny (to an eight year old, anyway), something TGIF featured a lot of. Bill’s spaghetti meal is similar in construction, but almost believably pathetic. I’m pretty sure I imitated the Cody milk trick as a kid, but it would never occur to me to do the same with Bill’s spaghetti.

Nothing sums up how pathetic a man Bill is than this right here.

“Pretty, Pretty Dresses” puts Bill’s mental health at the forefront. I suppose this one comes with a bit of a trigger warning as Bill is suicidal and it is played for laughs. It’s similar to how Moe would be portrayed on The Simpsons, only with Moe there was really no one caring about him to talk him down. Bill does have people who care about him. They don’t really take his suicidal actions with 100% seriousness as some of the actions by Bill are pretty, well, pathetic. That’s the word of the day, apparently. He probably lacks the conviction needed to go through it and it’s the classic “cry for help” we sometimes hear about. I’m also no psychologist and while I’ve had my share of bad days I’ve never gone to a place even remotely close to what one would call suicidal. In other words, this isn’t the sort of stuff that is likely to bother me, but it might bother you. It’s also just dawning on me that I have quite a few animated sitcoms in the countdown this year and just about all of them have a suicide joke. That’s admittedly a bit weird, but maybe not that surprising considering the darker side of Christmas. The most famous Christmas movie of all time even dabbles in suicide so maybe we should be blaming Frank Capra?

Bill is sad, and no one in his life is well-equipped to respond to that fact.

The episode begins with the usual suspects standing in the alley drinking a beer. Hank, Bill, Dale, and Boomhauer look as they do so often in the show, and then Bill just starts sobbing. As he cries, a very jolly, instrumental, rendition of “Sleigh Ride” comes in as Bill continues to sob and his friends continue to ignore him by just staring blankly straight-ahead. This smashes to the intro and when that ends we go right back to the alley. Bill gets ahold of himself and very plainly remarks, “I love Christmas.” Then he continues with the sobbing and we find out that it was at Christmas time his wife, Lenore, left him. He tries to convince himself it was the best thing that ever happened to him, but he just goes back to sobbing. Bill heads home leaving the others behind. Hank (Mike Judge), being the better friend of the three, remarks out loud that he’d like a cookie and can always count on Bill to have cookies in his house. This is his cover to go check on Bill because these men could never admit to one another that they care about each other.

One gets the impression that if Lenore was dead instead of just gone this would get even uglier.

Hank enters the house to a sad scene. There’s a very dead tree in the corner with Lenore’s stocking on it and a bunch of wrapped gifts with her name on them beneath it. Some must be old from when she left, but there also appears to be new ones as Bill was apparently in the middle of wrapping his toaster. Bill enters the room and is surprised to see Hank and starts hiding gifts and shoving the very dead tree in a closet. Hank awkwardly asks if these are all gifts for Lenore and Bill proudly admits that they are and he suspects that she’ll appreciate his saving them when she comes back. Hank then tries to level with his old friend, but he can barely get a word out before Bill starts to whimper. Hank can’t bring himself to do it and just remarks that stranger things have happened. Bill cheers up and thanks him before confirming with Hank that he’ll be attending dinner at their house through the holidays. This is apparently a thing the Hills do each year so that Bill isn’t alone.

Maybe having Bill over dinner every night won’t be so bad?

We are then treated to one of those dinners. Peggy (Kathy Najimy) is excited about a Christmas party they’re hosting and Bill decides to awkwardly steer that subject into a conversation about break-ups. He reminds Luanne (Brittany Murphy) about her dead boyfriend and how it can be hard to find someone else as he reckons there was only one person meant for her. This disarms Luanne and Peggy immediately tries to steer the conversation back to the party and asks Luanne to help out hosting it, but she’s still reeling from Bill. Bobby (Pamela Adlon) is happy to volunteer to host the party, so Bill brings up the girl who dumped him a few episodes prior and he too looks defeated. He then brings up a high school boyfriend of Peggy’s, Cecil, but she insists she didn’t even like him. Bill just reminds her matter-of-factly that she did, but he didn’t like her.

Oh Hank, this should be the least of your concerns when it comes to Bobby.

The next morning, Bobby is serving breakfast which Hank seems to be uncomfortable with (“Shouldn’t you be doing this, Peggy?”), but like a lot of things with his son, Hank is just going to have to roll with it. Peggy is just happy to have an appetite following last night’s dinner and makes a comment that suggests Bill is like that at every dinner. Bobby remarks that he could live without him, which Hank objects to. He takes the time to remind the two that he set Arlen High School’s single season rushing record in football and Bill was his lead blocker. A running back who forgets his frontline is the person Hank could live without, not Bill, and leaves the table without touching his bacon and eggs saying “Shame on you two.”

The addition of a pet has only made things worse. Of course, it’s not helping that the pet is an iguana.

We cut to another dinner scene and Bill is playfully feeding someone off camera that the Hills seem to find…disturbing. When the camera centers on Bill we see that he’s brought an iguana to dinner which he has named Lenore, naturally. Hank carefully asks Bill if the store was all out of puppies, but Bill insists that iguanas are the new trendy pet. He’s trying to get the thing to eat what looks like a carrot and insists that he’s just shy (and it does sound like this is a male iguana that he’s named Lenore) and is probably nervous with all of the new faces. He looks to his right and stares at Luanne as he says this and she picks up on his social cue to ask if she should leave to which Bill responds simply, “Thank you.” He then opens up what looks like a pill bottle and dumps a cricket onto the table. The rest of the family is shocked, but Bill says “Don’t worry, it’s dead.” It then wriggles a bit and everyone gasps as Lenore jumps on the table and scarfs it down.

Dear God, someone might see Hank in his boxer shorts!

That night as Hank and Peggy get ready for bed, Peggy lets Hank know that this thing with Bill has gone far enough. She doesn’t want him at another meal of theirs, but Hank insists that he thinks Bill seemed happier so maybe things are getting better? Peggy just refers to the iguana (which she mispronounces) as a cry for help, but before their argument can go any further they’re interrupted by the door opening. Hank immediately cries out to Luanne to knock first, but it’s Bill. He apparently had a nightmare where Lenore returned and kidnapped Lenore and drove off with him while he chased after the car until his teeth fell out. He informs Peggy that she was there too then requests to sleep on their couch. I was ready for him to ask about sleeping at the foot of their bed. Hank just says “Yes, Bill,” and once the door is closed Peggy delivers an ultimatum, “I’m giving you twenty-four hours to get me out of that man’s dreams!”

Very normal behavior.

The next day, Hank and Bill are pounding beers in the alley with Lenore. Bill chucks an empty into his cooler, pats his belly, then turns to Hank and says “Shall we?” Hank awkwardly delivers the news that he’s not welcome at dinner tonight. Bill takes the news rather well, even adds that he prefers to eat alone, though he’s not exactly convincing anyone of that. The Hills have a nice dinner without Bill, while Bill eats his pathetic spaghetti meal off the counter I talked about earlier. He really chugs that meat sauce. We cut back to the Hills and Hank is apparently pitching a movie to his family about propane that would involve Clint Eastwood. He does a bad Eastwood impression then turns to the family for approval. Bobby, his ever reliably enthusiastic son, tells him it’s a great idea. They all laugh and we see Bill is watching sadly from the street.

Does this count as an attempt?

Bill takes a ladder out of Hank’s open garage, and as he walks off, it gets caught on some string lights and he inadvertently pulls them down. Or he always intended to leave a mark since this gets Hank’s attention from inside. He’s irritated to find his ten foot ladder missing and immediately accuses Dale, then Bill, then Dale again. He then takes his longer ladder (I guess a 12 footer) and heads up to the roof to fix the lights. From there, he sees Bill across the way on his own roof. He asks him what he’s doing and Bill just casually tells him he’s up there to kill himself. He then goes to jump, but instead awkwardly rolls off the side of the house grasping the gutter. He dangles a moment, then the gutter breaks and he falls to the ground below. It’s important to note that Bill’s house is a ranch. Even if he jumped, he’d be at almost zero risk of killing himself. Hank still cries out in horror when Bill falls though as he’s a good friend.

Nancy looks concerned, but it’s probably for show. Hank seems to be the only one who gives a damn about Bill.

The neighborhood is now gathered in front of Bill’s house to discuss what to do with him. In the background, we can see Bill on his own stoop with his arm in a sling so he apparently got hurt a little bit in his fall. Peggy acts like she’s going to say something mildly profound when she says “You know who I feel sorry for the most in all of this? Bill.” Yeah, no kidding, Peggy. She suggests he see a psychiatrist, but Hank snaps “He’s suicidal, Peggy, not crazy.” Hank seems to think they just need to keep a constant surveillance of Bill until he snaps out of it while Dale (Johnny Hardwick) thinks he’s too far gone and they should sit back and watch the bloodbath. Hank is not about to let that happen and lays out the Bill Suicide Watch schedule for all to hear and adhere to. And since it’s nighttime, Hank is up first.

It’s electric, Bill.

Hank leads Bill back into the house and suggests that Bill get to bed. Bill remarks that all he does is sleep and suggests that maybe he’s preparing himself for The Big Sleep. Hank shudders and goes into the kitchen for a beer. Bill declines one on account of beer being a depressant which causes Hank to angrily snap at him, “Don’t go blaming the beer!” As he goes into the fridge to get himself one, Bill comes in and sticks his head in the oven. Hank ignores him as he heads back into the living room then calls over his shoulder to remind Bill it’s an electric stove. When he says that it’s still pretty hot, Hank relents and yanks his head out of the oven and deposits him on his bed face first. Hank is trying to get him some pajamas and is surprised to find silk ones in Bill’s drawer. Bill refuses to go along with this so Hank is basically forced to dress him, then brush his teeth for him, and then he has to sit beside the bed while Bill sleeps. Only Bill isn’t sleeping! He’s just waiting for the right moment to resume his suicide attempts and when Hank nods off he does just that…by trying to slam his own head in the drawer of his nightstand. Hank wakes up with a “Damnit, Bill,” and is forced to take the drawers away while Bill tumbles out of bed.

Bill has lost all ability to function within society.

It’s the next day and we see Bill is on his couch. He goes to get up, but he’s soon ordered back down. It’s Dale’s watch, and he isn’t taking any chances as he sits in front of Bill with a shotgun. Bill just asks to go “tinkle,” but Dale informs him “Not on my watch.” The humor here is Dale is threatening a suicidal person with death so I suppose if the audience wasn’t convinced that Bill’s suicide attempts were lacking conviction they should be now. We then cut to Bill at a bar called Uglys because it’s now apparently Boomhauer’s (Judge) turn. He’s slow dancing with a woman while Bill looks on from the bar looking sad. He remarks to the bartender that he and Lenore used to come here and watch other couples dance indicating that they were never very much in love. He gets up real close on one couple who is making out at the bar, whimpers, then runs out crying. He runs straight into the road intending to have a tractor trailer truck be his end. It’s just careful editing though and when the camera zooms out we see the truck make a harmless left turn as it was more than a full block away from Bill. Boomhauer then appears to just angrily grab Bill by the arm and drag him back inside.

Dale isn’t about to wait and see what Bill left him in his will.

We next see Bill seated on his couch with his head down from a distance. The camera is in the kitchen and it pans to reveal that Hank, Dale, and Boomhauer are having a little conference about their friend. Dale insists he can’t keep doing this because it’s not in his nature to care about others while Boomhauer remarks it’s all “Work. Bill. Work. Bill,” and suggests that it’s making him want to put a bullet in his own head. Hank doesn’t really put forth any argument to try to keep them onboard with Operation Keep Bill Alive and instead says that he’ll take over all shifts, if he can clear it with his boss. He then calls out Dale for wearing Bill’s silk pajama top under his shirt, but Dale sees no harm in doing so since Bill’s as good as dead anyway.

If it’s any consolation, Hank, it’s the end of the year and Bud Strickland doesn’t seem like the sort of boss who lets his workers rollover vacation time year-to-year.

Now, we head to Strickland Propane, Hank’s place of employment, to see how his time off request goes. We find him in the office of his boss, Bud Strickland (Root), as he starts into his request. Bud thinks Hank is requesting time off to get ready for the party he’s hosting, and since he invited their whole client list, he seems to think it’s a good idea. Poor Hank can’t lie to his boss though, and clarifies it’s for a friend and even categorizes it as a matter of life and death. Strickland doesn’t care, and just tells Hank to have the secretary zero-out his vacation days which elicits another, “Damnit, Bill,” from Hank. We then cut to Hank and Peggy at their kitchen table where Hank is bemoaning his current state. He tells her that Bill tried to drown himself in the toilet earlier and then asks her if she can find him a date? Peggy starts into trying to make an excuse for why she can’t since she’d have to invite a woman over and not tell her anything about Bill and Hank just thinks this is Peggy outlining a plan. He thanks her and walks away in what is basically a repeat of the dinner scene between Bill and Luanne. It’s still funny though so I’ll allow it.

Pay no mind to the iguana piss on his uniform, ma’am.

And who did Peggy find to join them for dinner that night? Why that would be Mrs. Tobbis (Janet Waldo), perhaps the stuffiest looking woman character one could draw. She is visibly angry to be at dinner under false pretenses. To Bill’s credit, he put on his old military uniform and looks nicer than usual, but he still brought Lenore who is nestled on his shoulder. He informs Mrs. Tobbis that he isn’t allowed to have a knife at the table because he’s in the middle of killing himself. Tobbis doesn’t even comment on that and instead accuses Peggy of setting her up with this man against her will. Peggy tries to reason with her by saying Bill is a collector of exotic reptilia and she collects throw pillows – they’re practically the same! Tobbis admits to having a few pillows, but justifiably doesn’t see what that has to do with her being there. Bill then asks her if she likes iguanas and she informs him, in no uncertain terms, that she does not calling the thing filthy. Bill takes the criticism lightly and suggests they all could use a bath which is Lenore’s cue to pee all over his shoulder. Bill just dabs at it with a napkin and says “When it’s your own.”

The only thing Bill had left just ran out the window on him.

Mrs. Tobbis informs Bill that he is a gross man so Bill does the expected and proposes to her! Tobbis is rightfully aghast at the suggestion while Luanne shrieks with glee like she’s witnessing something truly romantic going on. Bill starts clinging to her and she demands someone get her coat – for the love of God! Ladybird then enters, the Hill family’s dog, and once Lenore and her lock eyes the iguana goes into flight mode. It scampers down the table and out an open window prompting Bill to cry, “Lenore! Don’t leave me!” As he goes out the window to chase down his pet, Peggy decides now is the right time to tell Mrs. Tobbis that she’s already given Bill her phone number. That poor, poor, woman.

This is the point where Hank runs out of patience with his old friend. Honestly, it took him longer than I would have expected.

Hank goes outside and observes Bill searching through his bushes and even his mailbox for the iguana. He then goes inside, I guess because he thinks the reptile might have went home, and once inside we see Dale emerge from behind the house carrying Bill’s television. Hank yells at him, but Dale insists that Bill would have wanted him to have it. When Hank points that Bill is still alive, Dale just returns with a “Nitpicking ain’t gonna bring him back.” We head inside the house to find Bill searching under couch cushions as Hank enters. Bill grabs onto his legs begging his friend to help him search for Lenore, but Hank has had enough. He gives Bill the dose of reality he declined to give him earlier in the episode. He tells him that it’s his fixation with Lenore that is his problem and she isn’t coming back. To emphasize this he also throws the presents at the wall and stomps on them. Thankfully, he didn’t find the toaster and they were all clothes so it’s not much of a mess. Bill cries out at first, but then just looks shell-shocked. Hank sees this change as an improvement and even thinks Bill is fine. His demeanor shifts and he’s quite happy as he tells Bill he was worried for a bit since he was acting so crazy. Bill can only say “Yes,” in a monotone fashion when asked if he’s all right as Hank leaves. Once out, Bill slumps against the wall and slides to the floor defeated.

Something isn’t right here…

The next morning, Hank is getting what looks like a leftover pork chop out of the fridge while proudly telling Peggy how tough he had to be with Bill. Peggy actually seems worried about Bill, but Hank is not since he asked him twice if he was okay. He then sees Lenore just hanging out on top of the fridge and, rather calmly, just notes it. He brings Lenore over to Bill’s house and lets himself in. As he walks into the kitchen he puts Lenore down for he spies a woman hanging clothes in Bill’s backyard. He angrily goes out the slider and demands to know what she’s doing in Bill’s backyard, but a very, bad, female voice returns “Why Hank? Don’t you recognize me? I’m Lenore!” She turns around and we see that it’s Bill in a long dress and woman’s hat. She (he?) adds that she’s just washing her dress for Hank’s big party which causes Hank to gasp, yet again.

If Hank was at the end of his rope with Bill the night before he is now well past it.

After an act break, we find Hank demanding Bill knock it off. Bill insists that he’s Lenore, though he has trouble keeping his voice high enough to produce his “Lenore” voice. “Lenore” insists that she’s returned because she loves Bill “sooo much!” Hank can’t wrap his head around this one and brings it back around to football. He points out how Bill blocked for him when he set the single season rushing record, but that he also had to help himself by hitting find the running lanes. He says he’s blocking for Bill now, but Bill isn’t even playing the same game. Feeling he needs a sport to complete the metaphor, he just suggests Bill is playing some sort of crazy tennis. As he storms off, “Lenore” just thanks him for coming by and says “See you at the party!” Hank spins around to tell Bill that no, he is not allowed at his party, before walking off. Lenore-Bill isn’t dismayed though and just smiles to herself and notes she was already invited. Technically, Bill was already invited, but not Lenore, though Bill isn’t really in a state where he can be reasoned with right now.

It’s a nice dress, and Bill did coordinate the shoes rather well.

Hank, Dale, and Boomhauer are drinking in their favorite alley, once again, when “Lenore” comes strolling in. She’s ditched the hat, but has a very nice yellow dress instead. Lenore asks if any of these gentlemen can spare a beer for a lady and you just know that Dale cannot go along with this. When Bill insists he’s Lenore, Dale challenges him to produce Bill. “Lenore” says that Bill is in the house and offers to go get him to which Dale responds, “I’m skeptical that you could, but yet intrigued that you may.” Lenore leaves to get Bill and Dale just turns to Hank to remark that Bill has been acting weird as if he thinks no one else has noticed. Hank doesn’t even dignify this observation with a response. Lenore then returns with a sweater and a beer and says that Bill was busy wrapping presents. Then she takes a sip of her beer and does the usual “Yep,” but in the high, Lenore voice. Hank can’t do this and walks off.

Now Hank, don’t go taking out your frustrations on the potatoes.

Hank is shown massacring a potato that he’s supposed to be peeling. Peggy remarks that he’s peeling in anger and Hank confirms as much. He’s pretty sore about blowing his vacation days on Bill and in the process reveals that he had to actually help bathe the guy. Peggy is sympathetic to Bill’s plight remarking that the only way he could get over Lenore was to become her, then adds it must be a psychological thing – a classic Peggy-ism. Luanne admits she isn’t qualified for such a determination, but suggests that what Bill needs is closure adding that’s what her dead boyfriend’s angel told her. No one seems willing to touch that, but Peggy loves the suggestion and decides to invite the real Lenore to the party! Hank seems skeptical while Luanne is just worried that the two might show up in the same dress which would just be a disaster.

This is sure to go over well.

It’s now the evening of the Christmas party we’ve been hearing so much about. The Hill house is hopping and Hank is ladling out punch to his boss. Bud informs Hank that all of their clients have showed up tonight describing them as big fish and little fish and tells Hank it’s his job to pull him out of any conversations with the little fish. Hank tells his boss they should treat all of their clients like big fish and Bud just tells him that’s a good thing to say to the little fish before walking off. Then Bill, as Lenore, enters and everything seems to stop. Bill is wearing a purple, shoulder-less, dress and hat and upon entering Bud demands to know “what that is.” Hank just says he ordered a Santa and that there must be some mistake as he goes over to order Bill to leave. Bill just does what he’s been doing lately and insists he’s Lenore, will not be leaving, and is here to mingle. She then goes over to a table and pours herself a glass of wine while her inner Bill causes her to pick up a beer as well.

If you were hoping to catch a glimpse of the real Lenore sadly this is as close as the episode gets.

Peggy answers the phone in the kitchen and it’s the real Lenore on the other end. She shouts to Bill that Lenore is on the phone and he looks shocked. We don’t hear anything Lenore says, just Peggy’s reaction to whatever it is she is telling her, and it becomes clear that Lenore isn’t coming. Desperate, Peggy asks Lenore if she could just speak to Bill and send her love, but that’s clearly a nonstarter. Lenore hangs up, and Bill hangs his head in sorrow. With tears streaming down his face and his hands trembling, Bill tries to top off his wine glass while the other party goers look on with actual venom in their eyes. Bill turns to face them with his tear-stained face and is told to go back to Hollywood and that this isn’t the Democratic National Convention.

Why Hank Hill, aren’t you just full of surprises?

Hank has left the room at this point seeming to abandon his old friend. When it looks like things are about to get real ugly, Hank reemerges. He’s wearing what I assume is one of Peggy’s dresses and tells everyone enthusiastically, “Yeah, it’s one of those kind of parties!” Dale is both hurt and confused because this wasn’t on his invitation and he asks Hank if he gave Bill a special invitation? Bill just screeches in as high a voice as he can probably go for everyone to stop it before storming out. Hank gives chase while Peggy tries to smooth things over by asking who is up for Boggle, but no one seems interested.

This is Bill having a breakthrough. You’re just going to have to trust me on that.

Hank catches up with Bill out in the alley and tries to play by his rules. He tells Bill that he’s Lenore and he doesn’t love him. Bill still tries to insist that it is he who is Lenore, but Hank just keeps laying into him. He tells him that he’s lazy and no good. Then he adds how they fight all day and all night and that even the neighbors can hear giving us some more insight into how terrible a marriage they had. Bill has not dropped his Lenore persona and is trying to reason with Hank, bargaining, really. Obviously it’s not working, so Bill instead gets angry. He’s pretty upset that he never even got a “Dear John” letter and turns things around by yelling at “Lenore” and insisting he’s worth more than that. He tells her to leave and Hank responds by removing the dress signifying that Lenore is gone.

Merry Christmas, Bill.

Bill says nothing, just removes the dress and shoes he’s been wearing. He must have been practicing to be able to walk so well in those heals. Standing in his shorts, Bill remarks to Hank that he hit rock-bottom there. Hank just confirms that he did and Bill responds that there’s no where else to go but up. Hank agrees and wishes his friend a “Merry Christmas” as the two turn to look at the stars. The camera repositions in front of the two who are just smiling as they look at the neighborhood all covered in Christmas lights. In the background, we see Dale emerge from his house in a purple dress. He sees that Hank and Bill have ditched their own and quickly turns around before the two spot him.

I think Bill looked better in a dress than Dale.

And so ends a Christmas special unlike any I can think of. It’s a pretty complex plot as we go from the uncomfortable reality that is supporting Bill around the holidays, to suicidal Bill, to Bill as Lenore, and ultimately a resolution. I said upfront that it wasn’t the most festive Christmas episode out there, but it never lets the holiday become irrelevant to the plot. It’s always there in the background and we even get to see some festive attire on the main cast during the party scene. I find it amusing that the first Christmas episode of King of Hill involved Hank losing his sight due to mental trauma and here in the second it’s Bill losing his sense of self and becoming his ex. That is, if you believe him. I think the show is pretty clear that Bill knows what he’s doing the whole time. He’s probably more in control than he lets on, but at the same time, he’s also out of answers and willing to try something drastic in order to cling to the memory of his wife.

Oh Bill, we love to watch your pain.

Bill is a very sad man, but one played for laughs. The show is very careful with his portrayal here so that I think we can feel bad for him while also laughing at him. He needs help, but as Hank observed, he also needs to help himself and he’s basically unwilling to do that. Maybe turning to a pet was actually a start, though naming the pet after his ex-wife undermined that. A huge amount of credit needs to go to Stephen Root who is so wonderful as Bill. It’s one of those voice performances where uninformed people are surprised to see who the actor is behind the role. He must be appreciated by Mike Judge given the role he played in Office Space, and like a lot of this cast, it would be hard to imagine anyone else playing Bill as well or as convincing as Root.

I think we witnessed Bill come real close to getting murdered.

What it comes down to with this episode of King of the Hill is are you able to find humor in suicide and depression? If you can’t that is understandable and you will want to avoid this episode of King of the Hill. I think it arguably gets a little darker during the party when it looks like Bill is about to get lynched for presenting as a woman. Transgender rights weren’t as forefront in 1998 as they are now, but this episode did air just over two months after the murder of Matthew Shepard. King of the Hill rarely shows the ugly side of Texas when it comes to such things. Usually, the show delights in playing against expectations, but in that scene they presented a gathering of people who almost all seemed united in wanting to inflict harm on a biological male who dared to identify as a woman. It reads a lot heavier than maybe the show intended.

Even so, I think this is a very funny episode of King of the Hill. I find Bill’s halfhearted attempts at ending his life harmless and the reactions of those around him are also pretty damn amusing. It’s not a typical holly, jolly, Christmas episode, but it does have a happy ending and no one is irreparably harmed. Well, maybe Mrs. Tobbis. It was a real dick move on the part of Peggy to offer up her phone number to Bill. If you want to catch this episode, it’s currently streaming on Hulu with the rest of the series or on Disney+ depending on your location or subscription. If physical media is more your thing then it’s also available with the rest of Season Three on DVD.

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

Dec. 12 – Regular Show – “The Christmas Special”

I have a pretty tremendous blind spot for most animated shows produced between 2005-2015. If it was a show animated and marketed at adults, then I might have checked it out. If it was a show created primarily for kids and not based on some existing IP I knew from my childhood then I almost…

Keep reading

Dec. 12 – A Very Venture Christmas

This one has been a long time coming. One of my all-time favorite television shows is The Venture Bros., but it’s a show I really haven’t spent much time discussing on this blog. I guess because I view it as contemporary, even though the pilot premiered almost 20 years ago now. For most of this…

Keep reading

Dec. 12 – Bob’s Burgers – “The Bleakening”

All right, we’ve been at this for a few years now so you probably don’t need much of a primer on Bob’s Burgers, right? The animated sitcom which is shockingly in its 12th season (shocking because it still feels new to me) has become a reliable spot for Christmas fun each and every year. The…

Keep reading

Dec. 11 – Mickey’s Good Deed (1932)

Original release December 17, 1932.

This year we’re doing not one, but two classic Mickey Mouse shorts set at Christmas time. The first one, Mickey’s Orphans, was a cartoon I had failed to mention years ago when doing a scattershot look at Mickey-related Christmas specials. Today’s subject, Mickey’s Good Deed, was mentioned in that post and is the second Mickey Mouse Christmas cartoon released just a year after Mickey’s Orphans. In that it’s fascinating to see how much the look of the shorts has changed in just a short time. The animation is sharper and Mickey’s features are more rounded making him resemble the corporate overlord he would become. It’s also still in black and white as Mickey’s first color toon was still years away though a colorized version has been released for those who just can’t bare to watch a cartoon devoid of color.

Mickey’s Good Deed has some additional notoriety attached to it. When Disney started releasing its Walt Disney Treasures line in the early 2000s, it wanted to make sure it included all of the short form cartoons that spanned a given era. The problem there is that some cartoons have not aged particularly well when it comes to what is acceptable and what is not. The Donald Duck World War II era shorts are the most famous and most obvious of these as they depict Japanese men with yellow skin and offensive accents. Disney’s solution for its more controversial material was to place them in “The Vault,” which just meant they were sectioned off on the DVDs with a mandatory video explanation from film critic and historian Leonard Maltin. And sure, it’s a little annoying for the adult collector that might have preferred to just watch all of the shorts in chronological order, but in the grand scheme it’s not a big deal. Kids like these cartoons too and if a parent doesn’t want them to see it then that’s fine.

Why do I bring up the subject of this virtual vault? Because today’s subject exists in that very vault on Mickey Mouse in Black and White Volume II. It’s a bit crazy to think of the Mickey Mouse of today doing anything controversial, but he’s had his dances in the past. And with this cartoon the issue that landed Mickey in the vault is a fairly common one for this era: black face. Just look at any of the old cartoon shorts featured here at The Christmas Spot and, more often than not, there’s a black face joke in them. From a modern perspective it’s pretty nuts how prevalent it was with Christmas cartoons and they’re almost all found with toys. On the other hand, this particular instance is almost comical to the point where I didn’t even notice it on first viewing. I had to watch the cartoon again and really pay attention to some of the details. I won’t make you do the same. And I suppose it goes without saying, but just in case, I’m using the original 1932 release in black and white. The colorized version is fine as far as that type of thing goes. It’s not the worst I’ve seen, but it still looks unnatural. Black and white is beautiful too, folks.

Depression era Mickey is not the rich, corporate overlord he is today.

The cartoon begins with Mickey (Walt Disney) playing his cello with his dog Pluto (Pinto Colvig) on a snowy, city, street. There’s a Christmas tree in the background among the subtly lit homes, though the streets are surprisingly absent of life. Mickey is playing “Oh Come, All Ye Faithful” on his cello and soon the streets show some signs of life with horse-drawn sleds zooming by in the distance and people passing by on the sidewalk who appear to be finishing up some Christmas shopping. As they walk past Mickey, they flip a coin into a tin cup Mickey has at his feet. Pluto howls along to the melody pausing to chew on his own ass which causes a flea to get tossed into the snow. Pluto resumes his “singing” while the flea eagerly jumps back into the warmth of Pluto’s fur.

Who is out there stiffing Mickey Mouse?!

Mickey, apparently content with his haul, stops his playing and shakes the cup enthusiastically to excite his dog. They march off to a nearby restaurant and the pair gaze inside at the food on display. Pluto barks his approval at Mickey’s intended purchase, but when Mickey dumps the contents of the cup into his hand he finds nothing but nuts and bolts. He angrily tosses the worthless scraps in the snow and drags his cello behind him as he walks off. Pluto starts to follow, then turns around and returns to the restaurant to lick the window. There appears to be a large ham behind the glass that Pluto is dreaming of enjoying.

Get ready to hate a child!

If it wasn’t clear yet that Mickey is poor in this short, it’s driven a home a little more when we see him turn and face the window of a home. His shorts feature a patch on the back, a telltale sign of a poor character in a cartoon, and the ends of his shorts are little rough looking too. It’s clear Mickey needs to keep performing in order to earn money enough to eat. Mickey looks inside a large home, and then turns around with a smile as he resumes playing the cello with Pluto at his side. Inside the house, we see a wealthy pig (I mean that literally) who is trying to entertain his kid (Disney) with toys, but the kid just keeps crying. The house looks massive with a big central staircase and a large Christmas tree. A butler stands nearby ready to assist his employer with whatever he needs.

Rich people always think they can get their way with a little cash and a little violence.

The guy (Colvig) and the butler (uncredited, but I assume it’s Pinto Colvig) keep handing toys to the little swine who just keeps howling. Apparently, nothing will satisfy him. Nothing, that is, until a sound gets the kid to jump on his feet and run to the window. Outside, he hears Pluto barking and upon seeing the dog declares that he wants it. He immediately goes into a tantrum and his father grabs a wad of cash from his pocket, slams it in the palm of his servant, and demands him to get that dog! The butler does as he’s told and exits the home and calls for Mickey. Mickey, thinking he’s in some sort of trouble, immediately stops playing and goes into a run. The butler chases after him trying to tell him he just wants to buy his dog. Mickey yells back that the dog is his pal and he’s not for sale. The butler, likely knowing that rich guys don’t take “No” for an answer, grabs Mickey by the tail and continues chasing him thinking that this will surely get the mouse to sell his best friend. Pluto helps out his pal by biting the butler on the ass forcing him to let go of Mickey and allowing the two to escape.

A devastating development for a poor street performer.

As Mickey and Pluto share a smile, they hit an icy patch in the road. It looks more like a frozen pond and it causes both to drop to their rears and slide across the ice. Mickey loses his grip on his cello which slides off the ice and into another street where a horse drawn sleigh is there to crush it. Mickey races over to inspect what remains of what was likely his most prized possession as some kids from the sleigh (also pigs) shout a “Merry Christmas!” Read the room, kids.

A far more accurate vision on Christmas than sugar plums.

Mickey barely has time to mourn the loss of his cello as the sound of a woman weeping gets his attention. In a nearby shack, a mother cat (Marcellite Garner) has her head buried in her arms at a kitchen table as she sobs. On the wall is a picture of a cat in jail with the word “Father” below it. The breadbox is empty and crawling with vermin while a fish that’s entirely bones swims circles in a bowl. On the fireplace, there hangs 12 mostly ratty looking stockings and a “Deer (sic) Santa” pinned to the mantle. Above the mantle is a calendar alerting us that it’s Christmas Eve. The camera continues to pan and we see a bed full of nine sleeping kittens. Above them, images of Santa play above. He appears to be a human and his sleigh contains just four reindeer.

What’s a poor mouse to do when confronted with such a sad sight?

Outside, we find Mickey who has witnessed this sorry state. He too is crying and Pluto looks pretty sad as well. He knows that there’s no Christmas morning coming to these kids, at least not the one they’re dreaming of, but what can a poor mouse do about it? One look at Pluto and a smile returns to his face. He grabs the dog and takes off down the street. Oh no, Mickey, don’t do it! Don’t sell your dog to the rich pig with the spoiled son! He’s your best pal! And you would just be helping out a family of cats – your mortal enemies!

Mickey, your heart is in the right place, but don’t sell your best friend!

Despite my pleading, Mickey does just that. He rings the bell at the rich pig’s house and the butler answers the door. Before he does, Mickey gives Pluto a kiss on the nose and then tells the butler he’s willing to sell provided he gives his dog a good home. The butler enthusiastically hands over a few bucks. Mickey then looks at his dog with sadness in his eyes, he starts to tell him “Good bye,” and moves in for a hug, but the butler snatches the dog before he can and slams the door in Mickey’s face causing a bunch of snow to fall off the roof and bury the mouse. He pops his head out and immediately smiles at the fistful of dollars he now possesses and races off.

Don’t fall for it, Pluto, that kid is evil!

Inside, Pluto is introduced to his new master. The little pig is excited for the dog and gestures for him to come close, only when Pluto does the kid wallops him on the head with a mallet. The little shit laughs and then smacks the likely concussed dog in the face with the same mallet causing him to roll backwards. Pluto winds up on some toy train tracks with his head clearly still spinning for the double shot inflicted upon him by the little pig. Laughing, the twerp walks over and switches on the train which crashes into Pluto’s rear causing him to jump. It’s a fairly sizable train which just keeps on truckin’ forcing Pluto to run from it. If you’re thinking the kid’s dad is going to step in and discipline his son well you would be wrong. We instead see him cheerfully shake the hand of the butler for now that the little porker has a doggy to abuse he’ll presumably no longer annoy them.

That little balloon poking out of the top of this stuff is the reason for the controversy. What little there is.

We then cut back to Mickey who is walking through the streets with his arms overburdened by boxes and decorations, including a fully decorated Christmas tree. Emerging from the top of the pile is a single balloon and it would appear to be the reason why this cartoon landed in the dreaded vault. It’s a round balloon that appears to be a blackface design with little, curly, bits emerging from the top for hair. It’s not the most obvious blackface gag I’ve seen in a cartoon. Actually, it’s probably the least obvious. Some of that is due to it being in black and white. If the nose weren’t black one could maybe convince themself it’s a clown, but it is what it is. And if you’re wondering, it’s presented exactly the same way in the colorized version.

I hope you’re prepared for this amount of children, Mickey.

Mickey takes his bundle of gifts and such to the dilapidated little shack. Inside, the mother cat is still at the table crying seemingly resigned to the fact that her kids aren’t waking up to toys and food on Christmas. Mickey, dressed in a Santa hat and false beard, slyly opens the door to the dwelling and quietly drags his bundle into the home. He creeps over to the bed and lifts the covers to find a whole lot more kittens underneath than previously thought. He doesn’t seem dismayed about it as he’s still smiling that trademarked Mickey smile.

Animators back then just loved Jimmy Durante.

Mickey lays the blanket back down and creeps over to the fireplace. Along the way he kicks a little duck toy which quacks and he has to stifle the sound quickly. He steps on the tail of some weird cat creature toy that squeaks which gets Mickey to jump a little and drop the duck toy. He puts a toy cow in a stocking which lets out a moo and it’s clear these kids are heavy sleepers. Or their mom cries really loud and often and they’re used to sleeping through that. A toy doll cries out “Mama” while a Jack-in-the-box pops out to reveal a caricature of comedian Jimmy Durante who gives a “Ha cha cha cha” as Mickey tries to stifle it. Durante got around during this era.

It’s party time, kids!

There’s a pan back over to the kittens and they’re somehow still sleeping. Mickey’s eyes are on them as he creeps away, but naturally slips once again on another toy and crashes into the wall causing a bunch of pots and pans to land on his head. He scrambles out the front door and turns to look through the window as the kittens jump out of bed. They gleefully start playing with their toys and Mickey looks on with a smile. They mostly seem to be playing with the toys as intended with only one appearing to be mildly destructive with a drum. Meanwhile, back at the rich pig house, Pluto is raising Hell because the little brat (I’m assuming) has tied a bunch of stuff to his tail causing him to rampage through the house. On his tail is a whole, roast, turkey, a kettle, fork, and some other stuff I can’t quite identify. The kid is on a counter throwing whatever he can find at the dog while the father stands off to the side with a scowl on his face as he’s clearly lost control of this situation.

I think this is going to hurt the kid more than the father, honestly.

The kid grabs an entire bowl of fruit and hurls it at his dad’s face knocking him to the ground. Pluto beats it into the living room where the butler is standing on a ladder and placing an ornament at the top of the tree. It’s not a star, one of those gaudy, pointy, tree toppers that probably has a proper name, but I don’t know it. Pluto runs by though and knocks the guy off the ladder while the kid picks up a massive cake and lobs it at his father. He’s a pretty good shot as he nails the elder pig in the face and has a good laugh. He then sets his sights on the dog again while Pluto retreats to the top of the tree. The kid grabs some garland and yanks on it, but it causes the tree to rebound and send Pluto flying into the father pig along with the decorations from the tree. The aforementioned pointy tree topper finds its way into the pig’s rather large rear end which has to hurt. He angrily jumps up and orders the butler to throw the dog out. The butler does as he’s told, while the kid starts screaming “I want doggy!” The father pig has had enough though and grabs his son and lays him over a knee and starts wailing on his bare ass. The butler stands by approvingly. Maybe this is part of the reason why this cartoon landed in the vault?

Pluto enjoying the sounds of capital punishment.

Pluto, in a snowbank outside, pops his head out and hears the cries and slapping sounds coming from inside. He smiles and laughs clearly enjoying this display of child abuse. He doesn’t have time to relish in the child’s agony though as he starts sniffing the snow-covered ground clearly in search of his best friend. His sniffing takes him right into a curb though and the poor dog whacks his head again. He’s going to have some permanent damage.

A sad, beautiful, shot of Mickey Mouse.

We cut to Mickey sitting by a fire in the cold snow roasting a sausage on a stick. He must have saved a little money for some food, but he doesn’t look happy. On the other side of the fire, a snow Pluto sits as a reminder of the friend he’s missing. Mickey looks positively miserable, and I suppose he should considering it’s Christmas, he’s alone, and has no home. Pluto’s nose leads him to his pal and he burrows into the snow to climb the hill to where Mickey sits. Mickey pulls his hot dog from the fire to take a bite, then holds it out to the snow Pluto as if to offer it a bite as well. At the same time, Pluto emerges from the snow popping out of the snow effigy of himself and gleefully takes a massive bite of the hot dog. The music quickly shifts from somber to jaunty as Mickey cries out “Pluto!” and the dog leaps into his arms. If you were worried about Mickey going hungry after Pluto ate the rest of his sausage, worry not, for Pluto still has a whole turkey tied to his tail. Mickey sees the turkey and scoops it up. He rips a drumstick off and hands it to his best friend who gobbles it up bone and all while Mickey takes a bite out of the rest of the bird. He says “Merry Christmas, Pluto!” who barks in return, though there’s no audio for his bark so it’s kind of weird.

At least Mickey is not alone (or hungry) for very long.

And that’s the end! A bummer we ended on an audio hiccup like that, but at least it’s a happy moment. I don’t know how I feel about his one. Mickey does do a good deed by helping to give some poor kittens a happy Christmas. They get a lot of toys, but they definitely need some food. I guess we can assume Mickey included some food among those packages too. At least, I hope he did. It’s more of the cost of the deed that I take issue with. Selling your dog, your only companion, just to buy toys for some kids? It’s noble, but shortsighted. I guess we can reason it that by selling Pluto to a rich pig Mickey thinks he’s doing right by his pal. He has a hard enough time providing for himself, let alone a dog too. Maybe it’s the responsible choice to give the dog a good home. After all, he has no idea how terrible that home will turn out to be for Pluto.

Enjoy that meal, fellas, because who knows when you’ll be having another?

The other aspect of this short that’s a downer is thinking about what’s next for Mickey and Pluto. They have no money, no home, and no cello to make money with. Sure, they have a turkey, but that’s only going to last so long. I guess Mickey has that Santa hat and beard still so he can sell it, but there’s probably not much of a market for that on December 25th. I guess the simple solution here is to not think about what would come next. And as a Christmas short, it’s fine. I just think the feel good aspect of Mickey’s good deed is undermined by the tragedy of him having to sell Pluto to make that deed happen. It all worked out in the end way better than Mickey could have predicted, but the ride to get there doesn’t work that well. Perhaps because this was released during the Great Depression, the studio couldn’t make it too syrupy. They apparently wanted to keep this semi-realistic by not having a mythical being like Santa Claus provide for these kids. He doesn’t exist in this cartoon. I guess it’s bad for the kids of 1932, but perhaps more era appropriate as delivered.

At least visually I think this short still holds up. There’s plenty of good character animation as this one goes more for that than outright gags. It’s actually short on those and they’re mostly limited to Mickey and the toys. None of the gags are memorable and there’s not really a laugh out loud moment. There’s satisfying moments with the most satisfying being perhaps the spoiled kid getting spanked. I’m not ashamed to admit I enjoyed seeing that kid get what was coming to him even if I’d never strike a child myself. Maybe a more elegant form of comeuppance could have befallen the kid that wasn’t so direct. The climactic embrace between Mickey and Pluto is probably as equally satisfying. It’s an embrace I’ve seen countless times as it was featured as a clip in the NBC broadcast of Mickey’s Christmas Carol back in the 80s. I think this was the last cartoon from that broadcast featured in clip form that I had to track down. It was a mission of mine once upon a time to see all of the cartoons featured there so mission accomplished.

Mickey’s Good Deed is not a Christmas classic, but it is a better Christmas cartoon than Mickey’s Orphans. As a short form, it gets a recommend from me just because it doesn’t require much of an investment in time and I enjoy the visuals. The snow, especially, looks so cold and appropriately miserable. There’s no real cozy moments to be found, instead this one is just harsh. The warm confines of the rich guy’s house are juxtaposed with chaos and animal cruelty making them anything but cozy. And if you want to watch this cartoon you can easily do so via YouTube. Disney is not protective of its classic shorts, especially those in black and white that will never be added to Disney+, so you have options. Even the colorized version can be found easily enough. If you prefer to go legitimate, it is on the set Mickey Mouse In Black and White Volume II, but that’s probably not cheap since it’s been out of print for about 20 years now. It was also released on VHS way back in 1986 on Jiminy Cricket’s Christmas and the colorized version was released on DVD in 2005 as part of Holiday Celebration with Mickey & Pals collection. That last one is not a bad collection of shorts, but few of them are actually Christmas cartoons. And it too is long out of print, but if you’re a collector of classic cartoons, it might be worth owning just to have the colorized version of this cartoon even if it doesn’t look as good. And if you like Mickey, be sure to keep coming back each day because we’re not done yet with the famous mouse this year!

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

Dec. 11 – Be Cool, Scooby-Doo! – “Scary Christmas”

I don’t think there’s much debate that the most popular and enduring character churned out by the Hanna-Barbera factory during its hey-day is none other than Scooby Doo. About the only franchise that even competes with the big dog is The Flintstones, which hasn’t been relevant for ages. Scoob has basically had an omnipresence ever…

Keep reading

Dec. 11 – The Berenstain Bears’ Christmas Tree

When I was a kid growing up in the 80s The Berenstain Bears was a popular series of books that usually imparted a simple, clear, message. I seem to recall a fire safety book being a go-to in school for fire safety week and I know I got a copy of one about not eating…

Keep reading

Dec. 11 – One Ham’s Family (1943)

Tex Avery is one of the most influential animators in cartoon history. Beginning his career at Universal, he would make the jump to Warner Bros. when he famously convinced producer Leon Schlesinger he was an animation director when he actually had little or no experience at such. While working under Schlesinger, Avery was influential in…

Keep reading