Tag Archives: christmas

Dec. 4 – The Adventures of Sam & Max: Freelance Police – “Christmas Bloody Christmas”

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Original Air Date December 20, 1997

Come 1997 I was moving away from what is largely considered “kid’s stuff.” I was in my teens and gearing up for high school and the Fox Kids I had grown up with was changing. My beloved X-Men came to an end that year and with it came my disinterest in Saturday morning cartoons. I preferred to stay up late on a Friday and sleep in till near noon on Saturday, and when I did wake, I often went straight for the computer or my PlayStation. As a result, I totally missed out on The Adventures of Sam & Max:  Freelance Police. It views like the heir apparent to Fox’s previous version of The Tick. Both are rather offbeat, comedy, comics geared towards a slightly more mature audience than the conventional super hero books and both had to be toned down in order to work on network television. How they both got to where they ended up was quite different though.

Sam & Max were largely created by artist/writer Steve Purcell. They actually originated in a comic his brother Dave created as a kid. He’d leave his unfinished works around the house and Steve would playfully finish them often completely changing the tone and poking fun at what his brother started. Eventually he started coming up with his own stories for the duo and as a birthday present in the 70s his brother signed over rights to the characters for Steve so that he could explore an official way to distribute his stories.

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Sam & Max’s foray into television only lasted one season despite being well received.

Sam is an anthropomorphic dog in detective clothing. He’s sort of the straight man in the pair and takes his work seriously, but is also prone to his natural canine instincts making him excitable and, at times, a touch vicious. Max is an undefined rabbit-like creature who prefers to be called a lagomorph. Where Sam is more straight-laced and serious about their work as police officers, Max is not. He’s violent, crazy, and possesses a very short attention span. The two debuted in 1987 as a counterpart to Fish Police, but when Purcell was hired by LucasArts his characters came with him where they enjoyed their greatest success.

It was at LucasArts that Sam & Max made the leap to video games. They first appeared as comics in a newsletter and due to their success they were given a starring role in their own adventure title. Sam & Max Hit the Road was a point and click adventure for PC in 1995 and it was quite successful. Despite that success though, attempts to create a sequel fizzled and were never released. This was largely due to the genre of game they helped refine falling out of favor with gamers, or at least the publisher losing confidence in the format. When the rights expired in 2005, Purcell took his talents to Telltale Games which had resurrected the adventure game and would find great success with episodic titles for the next decade+, until it eventually closed in 2018. Sam & Max starred in several Telltale titles and pretty much all of them were well received.

In 1997, the duo made the leap to television. The Adventures of Sam & Max is a toned-down take on the pair that strives to maintain the core beats of the source material. The violence is largely absent and the profanity as well, but Sam is still a pretty straight and narrow, albeit ignorant, detective while Max still has a touch of that homicidal nature to him. Neither character was allowed to wield a gun though, but at least the show does a faithful job in adapting the look of the comic. Twenty-four episodes were produced for the first season, with only the first and final episode being a standard half-hour format. The other 22 were approximately ten minutes each and shown in pairs.

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A cozy, Christmasy, setting gets things started.

For the 10th episode, one half was devoted to Christmas. “Christmas Bloody Christmas” is written by Purcell himself and isn’t as violent as the episode title would suggest. It involves Sam reuniting with his grandmother for a trip to Blood Island Maximum Security Penitentiary to bring Christmas cheer to those needing it most:  inmates. What could possibly go wrong?

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That feeling of calm is quickly abandoned.

The episode opens with Sam and Max in a cozy, festive, setting dressed in their pajamas. Max (Rob Tinkler doing a pretty decent Roger Rabbit impression) casually smashes a little music-playing Santa and remarks how Christmas with Sam’s granny will be different from most. Or rather, how each year he wishes it would be different and better and each year he’s let down. Since Max speaks with that diabolical grin at all times it gives all of his lines a bit of dryness to them that’s part of the show’s charm. Sam (Harvey Atkin) informs Max that instead of spending Christmas in front of the TV that Grannie has something special planned for them.

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Grannie Ruth is going to take the lead in this episode.

Just then, a commotion and bright lights appear outside the cozy cabin. Max thinks it’s the mothership of his species finally returning to bring him home, while Sam thinks it’s an ambush. Grabbing Max, he flees for cover instructing the lagomorph that he’ll have to use his endearing charms to distract their attackers so that he can ensure Grannie’s safety. The door bursts open and it’s Grannie (Pam Hyatt). She curtly orders the boys to suit-up because they’re heading out which takes us into the credits.

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I love the festive attire, in particular Max’s three hats.

After the credits conclude, we see Sam, Max, and Grannie are aboard a helicopter being piloted by the old girl. Sam and Max are dressed in festive holiday attire, with Max adorably sporting a Santa hat on each ear. Sam takes the time to inform Max that Grannie was once the warden at Blood Island, and they’re going to bring some holiday cheer to the folks there. Max reacts to this news by declaring he always hoped his last Christmas would be spent as an elf-shaped holiday appetizer. Sam assures him that they’ll be fine since all of the inmates loved his grandmother referring to her as The Iron Maiden.

As the helicopter touches down in the prison yard, the inmates rush it. The guards are prepared to act, but the warden instructs them to stand down – they just love that old girl. They cheer as Grannie and her “elves” emerge from the chopper with Sam and Max tossing candy canes to the prisoners. Off to the side, some tough looking inmates remark this could screw up their plans while a blonde Russian inmate with a wild-looking neck (the thing looks like an elbow) remarks that this might actually work out for them.

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Grannie should really be dressed-up too if she’s going to play Mrs. Claus.

Inside the prison, the inmates are lined up to meet Mrs. Claus who is just Grannie in her normal attire. Sam and Max make quips at the expense of the inmates, and one rather large looking fellow informs the pair he’s in jail because he ate his parole officer with some fava beans and seltzer, an obvious reference to The Silence of the Lambs that may not have been so obvious to the show’s target audience. It’s then that Grannie takes note of the Russian fellow from earlier. She’s not happy to see him and references his 43 escape attempts. She also calls him by his name, but I have no idea how to spell it. It sounds like Hurt-Sock. We’ll just call him Russian guy.

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That is one amazing neck.

Russian guy drops to his knees and begs for forgiveness for his past deeds from Grannie. He claims to be a changed man, and in the spirit of the holidays Grannie accepts. Max then gifts him with the most obvious, and tired, of Christmas gags:  a fruit cake. It’s incredibly heavy as the inmate nearly drops it upon receiving it. The music then gets sinister, and one of the other inmates from earlier is now sporting a baseball glove and making it clear to the Russian dude that he wants the “ball.” He tosses the cake to him who then pitches it to the third inmate from earlier. This guys grabs Max and swings him like a baseball bat, bashing the cake into an electrical switch on the wall and knocking out the power causing the room to go dark. Sam states the obvious in that this can’t be good, while Max sarcastically remarks that nothing could go wrong in a dark room full of violent offenders as he lights a candle.

After a break, Grannie, Sam, and Max are shown running through a hallway. They’re in the underbelly of the prison and Grannie assures the boys she knows this place like the liver spots on the back of her hand. Max breaks the fourth wall to make a dated SNL reference as Grannie leads them to a spot in the wall. Max uses his very large ears to listen for activity, and finding it, he punches a small hole in the stone wall and yanks the inmate who swung him like a bat earlier through the impossibly small hole.

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Max, ever eager to climb insane a human body.

Once the inmate is pulled into the hallway, he claims he won’t talk. Max enthusiastically requests that Grannie let him jump down the man’s throat and prepares to climb inside him, but he’s denied. Grannie then reprimands the man, telling him that his mother would not appreciate him back-talking old Grannie. Sam is then shown calling the guy’s mother on the phone and this causes him to break. He confesses that the Russian guy is planning on taking the warden hostage. With no further use for him, Grannie pinches the fella’s neck causing him to pass out. Max remarks this is a helpful maneuver all parents should know for bedtime.

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The characters are allowed to behave like classic toons when needed.

The trio then apparently head deeper into the prison as they’re shown traveling through the darkened hall by hanging from some pipes. Grannie suspects their target will use the prison’s pipes to get to the warden which is what they’re doing as they enter the pipes. The pipes start off large enough for them to crawl through, but eventually become too small. That doesn’t stop them though, considering they’re cartoons and all, and they eventually emerge from the shower heads. The show then makes a mild prison rape joke as Sam appears to be in awe and wonders aloud what the room would tell them if these walls could talk. Max remarks it’s probably best that they didn’t with a look of disgust on his face.

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Let’s get silly.

Outside the room, the sound of talking and laughter can be heard. Grannie instructs the boys to turn on the hot water making the room steamy. The bad guys enter and are surprised to find Grannie. They’re probably more surprised when Sam and Max emerge from the steam wearing towels and snapping additional towels in a threatening manner. The henchmen inmates, including the one previously knocked out by Grannie’s neck pinch, scream like girls and run away slipping on some stray soap. They crash into a wall and are rendered unconscious. Grannie then beckons the Russian guy to come at her, but he opts to flee by flushing himself down a toilet. Max requests he not be asked to chase after him, while Grannie becomes worried as she concedes he now knows this place better than her. As Sam reassures her, Max’s feet stick out from the toilet.

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No one told Max he had to do that, but he did it anyway.

The trio return to the pipes and are shown above a whirling fan in the ventilation system. They jump in, and the air causes them to hover as if they’re in a wind tunnel. Sam seems to enjoy the blast of cold air on his genitals, though he states it in a PG manner. Grannie instructs them to hang on as she throws a switch on the wall which causes them to get sucked out of the tunnel and into the night air.

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They make this stuff look easy. No wonder why Fox felt like they didn’t need guns.

In the warden’s office, the warden is unable to reach anyone by phone. The three inmates emerge and they have a hostage too. Before they can issue their threats, the Russian guy says he hears something. Just then, Max and Sam burst out of a vent and collide with the two underlings knocking them out, hopefully once and for all. As the Russian guy turns his gun on the pair, Grannie pops up and disarms him. Seeing no alternative, he takes a swing at Grannie, but she produces another fruit cake and his hand smashes into it. While he’s reeling from the blow, Grannie drops the cake on his foot and apparently the pain causes him to pass out.

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You’ve probably heard about your brain on drugs, well this is your fist on fruit cake.

As the gang soak up their victory, some big, red, butt cheeks pop out of a fireplace. They could only belong to Santa, and he surveys the room and confirms who’s been naughty and who’s been nice. He makes Sam sign-off on his naughty and nice list before departing. While they’re distracted by Santa, the Russian prisoner taunts them from a window. He’s got an inflatable kiddie float and laughs as he flees. The warden remarks there’s nothing but open water out there and that he’s most likely shark bait at this point. The others seem unconcerned, and Sam reminds everyone there’s a big spread down in the mess hall.

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I suppose it’s better than solitary.

In the mess hall, we see a gigantic Christmas tree. The two prisoners who were working with the Russian are tied up and hung like ornaments from the tree while Sam and Max reflect on the Christmas they just experienced. Sam is thankful for being able to bond with his dear old grandma for the holidays. Meanwhile, with a tear in his eye, the warden thanks Grannie for bringing some holiday cheer to this old prison. She accepts his thanks, but is disappointed she couldn’t hang that old “Hurt Sock” from the tree too. On cue, Max finds a present under the tree addressed to Grannie. Sam opens it for her and out comes the Russian guy all tied up and bound with wrapping paper. As they all gasp and wonder how this happened, Max gives a “You don’t suppose,” as the camera cuts to a silhouette of Santa flying by the moon with a “Ho, ho, ho! Merry Christmas!” Max then finishes his line with another fourth-wall breaking joke, “we’d even think of employing such a sugary ending!” Sam and Max then do the customary wishing the audience a merry Christmas as well. The camera pans out to end as it started, with a Christmas card and some festive music to take us out.

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Grannie gets her Christmas wish.

“Christmas Bloody Christmas” isn’t as crazy as the title seems to suggest it will be. I knew going in this was a Saturday morning affair, but I did have some expectations of at least mild, cartoon, violence and the episode is actually fairly light on that. Despite that though, I found it rather entertaining. Sam’s matter-of-fact delivery of often bad news is endearing, and Max’s sarcasm was also amusing. Nothing made me laugh out loud, but I did find the whole thing pretty charming. Jokes about fruit cake and prison rape are certainly dated and overdone, but at least they didn’t make me cringe. And the fruit cake bit at least paid off in the end with a pretty comical shot of the inmate’s hand breaking as he struck it.

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Obligatory holiday message.

Visually the episode does a great job with its characters. In particular, Sam and Max. They look just as they should and I’m quite happy the artists opted to put them in festive attire for the episode. Max’s manic grin really helps sell his lines, and the few times his mouth changes stands out to help accentuate those scenes as well. The secondary characters are a bit cheaper looking, though I liked the main villain’s elbow neck which remained consistent throughout the episode. It was a nice, personal, touch for the character. The backgrounds look pretty good as well, though are a bit lifeless at times as well. When the characters first burst into the catacombs of the prison it looks like they forgot to animate a door too. I enjoy the cartoon aesthetic and properties of the show, such as the exaggerated actions of the characters or the very cartoony way they emerged from the shower heads.

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The show’s take on Santa is fine. He’s plump, but not ugly, and gets right down to business.

As a Christmas special, this one is predictably light on holiday sentiment. Sam does remark that he was happy to get a little closer to his grandmother, which is about as far as the episode goes. The warden’s tears of happiness are not at all heartwarming and I think it’s supposed to be played for laughs. And obviously, Santa’s gift for Grannie is intended to be humorous as well and a play on how many a sincere holiday special end. Bringing Christmas to inmates is actually surprisingly noble, but it’s not intended to be here at all. It’s a joke to the writers, and I suppose it’s fine. Some who have more experience with the real thing might view it as being distasteful, but the show does make sure to portray all of these particular inmates as exceptionally violent offenders that are probably hopeless to begin with.

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Santa is, however, missing some reindeer and that is something I cannot forgive.

I’d say overall I enjoyed this one. It’s lack of earnestness and the fact that it isn’t truly hilarious make it an unlikely annual viewing, but a once in a while viewing is certainly acceptable. If you want to view this one yourself this year, the complete series is still available on DVD brand new for about 20 bucks. If you’re willing to settle for a used copy then you can find it for considerably less. It’s a Shout Factory release which tend to be of acceptable quality but light on special features. You can also easily find this one via the usual means online and stream it for free. If you want to indulge in other Sam & Max media, there’s always graphic novels and such. A favorite toy maker of mine, Boss Fight Studio, is set to release action figures of the titular characters. I’m not a big enough fan of the property to indulge in such, but they’re certainly tempting given how well they turned out.


Dec. 3 – Mega Babies – “A Mega Christmas”

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“A Mega Christmas” first aired on November 24, 1999.

Considering how gross a lot of cartoons had become in the 90s, it should come as no surprise that the decade concluded with Mega Babies, a cartoon about literal snot-nosed, super-powered, babies featuring diapers overflowing with excrement in the opening title. Mega Babies was a short-lived production from the Tremblay brothers, Christian and Yvon, who are probably best known from their work on SWAT Kats: The Radical Squadron, a perfectly cromulent action-adventure cartoon from Hanna-Barbera. Mega Babies is quite different from that production, opting for a shorter format (roughly 11 minutes an episode) and taking a comedy bent. The premise strikes me as Rugrats, but crass, and the kids have super powers.

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The show ran from October 1999 through April 2000 on Teletoon (Canada) and the Fox Family Channel.

Mega Babies stars three colorful babies in Derrick (Laura Teasdale), Buck (Sonja Ball), and Meg (Jaclyn Linetsky). All three babies are voiced by female actresses, but only Meg is female in the show. This is fairly common in animation as all of the babies in Rugrats were voiced by women. The babies are orphans granted super powers when the planets aligned, or some such nonsense quickly established by the opening credits. Their caretaker is Nurse Lazlo (Bronwen Mantel), an old lady the babies simply refer to as Nursie, who appears to be of Russian descent and was also granted super intelligence by the same planet thing as the babies. The only other credited members of the cast are Richard M. Dumont, who is an announcer on the program, and Dean Hagopian who is credited on IMDB as simply handling various male voices. Wikipedia lists many other actors who likely handled bit roles on the show, but were frustratingly not credited in the actual program. Since the show isn’t exactly well-remembered, maybe they preferred to not be credited.

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The show is known for being rather gross. Expect lots of boogers and poop.

Mega Babies is a joint US and Canadian production which was common in the 90s as Canadian voice actors famously did not belong to any union. They were often cheaper to employ and studios love saving a buck or two when possible. The production company is CinéGroupe which had been in the business since 1974. A lot of the productions have been Canadian in nature, so your place of origin may impact what you feel is the company’s most notable work, but for me I best know it from Heavy Metal 2000. This particular show has the look of a lot of cartoons from this era. It’s likely digital in nature at a time when animators were struggling to produce digital art on par with traditional hand-drawn animation. It’s a bit cheap looking in places, and also fluid and experimental in others. It has a post 90s vibe to it in that it shares a lot of similarities with other shows of the era, namely contemporary Ed, Edd, n Eddy, but it’s also struggling to push this style further and beyond what’s been done before.

When this show debuted on the Fox Family Channel I was in high school. Cartoon Network was somewhat on my radar due to its programming towards teen audiences, so I was tangentially aware of some its more straight-forward kids entertainment. Fox Family Channel, on the other hand, was pretty far from my mind and I never knew this thing existed. It’s yet another program I’ve discovered via this project of mine as I’m always on the hunt for Christmas shows. The premise is somewhat attractive as I enjoy shows where the main characters are ignorant children. And Rugrats is a show I find mostly charming, so a show that’s basically a mash-up of Rugrats with the gross humor of my favorite Nicktoon Ren & Stimpy sounds more than a little intriguing.

Which brings us to “A Mega Christmas.” This is the 18th episode of the show’s inaugural season, first airing November 24, 1999. Interestingly, the first season would stretch on to contain 26 episodes with the finale airing on Boxing Day, December 26th. I’m a bit surprised this episode wasn’t pushed a little further into the year, but there is a 2-week gap in the episode airing found on the internet so my guess is it was rebroadcast on December 15. This is also the Teletoon airing schedule, so who knows what Fox Family did. I purposely did not watch any other episodes of this show, preferring to see how weird it is going in cold turkey, so let’s see what one can glean from one episode.

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Everyone loves a snot-coated Christmas tree.

The episode opens at the home of the Mega Babies. “Joy to the World” is playing us in, as it so often does with Christmas themed episodes of cartoons. The babies are decorating their tree, and one is stringing brownish-green snot around it like garland. Meg, from atop a ladder, calls down to Derrick (the yellow one) that he’ll ruin the tree if he adds canned snow and the two bicker momentarily. Meg calls for Nursie, and her lips grow to gargantuan proportions as she does, while Nursie simply calls back to the babies to be nice. Derrick interprets this as permission to cover the living room in fake snow before all three babies argue who gets to put the “perfect” angel on top of the tree.

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It would be a nice, traditional, Christmas image if not for the boogers.

Nursie then comes into the room baring presents, but they’re to go under the tree. She tells the kids not to peek as she heads off to the kitchen to continue cooking a traditional Christmas goose. The kids then commence with the peeking until they’re distracted by the TV. Booger Ranger is coming on, and I assume this is a program they watch often in other episodes. The character basically looks like a giant nose with limbs and a mouth with green snot constantly dripping. Plus he’s got a cowboy hat and boots. Lovely.

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These aliens are rather wild looking, but sadly will spend the majority of the episode in disguise.

Meanwhile, at the North Pole Santa Claus is getting ready to board his sleigh to go do his thing. There is no official credit I can find, but this Santa is definitely voiced by John Stocker who you may recall as Toad from the Super Mario Bros Super Show and Graydon Creed from X-Men. As he gets ready to depart, four aliens drop from the sky. They’re hideous, scaly, horned, drooling, aliens and their leader goes by the name of Claw (who I assume is Dean Hagopian doing his best Cam Clarke impression). As such, it seems only natural for him to want to assume the mantle of Santa “Claws.” I get the impression these guys are frequent antagonists in this show, but I could be mistaken.

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Imposter Santa ready to spread bad tidings.

These aliens apparently have a limited ability to shape-shift. They can assume another form, but their skin always remains green. Claws assumes the form of Santa, and his underlings take on the shape of elves. They want to spread chaos and genuinely cause a bad time across the world, and by taking over for Santa that seems like a pretty solid way to accomplish their goal. The fake Santa looks at his list and the first destination is Your City, USA which is home to the Mega Babies, but he’s apparently unaware of that. He declares it’s time to go make kids cry and departs in a sleigh pulled by two, fat, reindeer. This is your first reminder for 2019 that my Christmas special pet peeve is when Santa’s sleigh is pulled by fewer than 8 reindeer (I don’t demand it be 9 to include Rudolph, but there damn well better be 8!).

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Christmas:  the magical time of year when alien Santa turns a lifeless nutcracker into a rampaging goblin.

At the home of the Mega Babies, Booger Ranger has reached its disgusting conclusion. It’s a bit of a tear-jerker apparently, as the babies empty their snot receptacles into some once clean hankies when it’s over. The doorbell then rings as Nursie grapples with the raw goose, and who could it be?! Meg orders Buck to open it stating it could be Santa, but instead it’s a bunch of carolers and Buck promptly slams the door in their face. Meg then seems to correct herself and says Santa only comes down the chimney, and seemingly on cue who drops in? It’s Santa! Only it’s not Santa as the fake one has arrived. After being smothered with affection by the babies, and then Nurse Lazlo, he makes for the tree and magically turns Meg’s nutcracker into some kind of troll-monster that destroys all of the other presents which then drops dead.

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Mrs. Claus says the children caused Santa to “go postal.” I’m surprised they got away with that one.

Santa departs with a “Scary Christmas!” leaving the children confused. Why did he show up just to destroy all of their presents? Nurse Lazlo leads the children to another area where she intends to contact Santa from. Lazlo has a giant telescope from which she can see Santa’s home and a large black hole above it. She produces a comically large rocket with a phone inside it and shoots it off to the North Pole via slingshot. There it crashes into the home of Santa and Mrs. Claus, where Mrs. Claus answers it surrounded by her alien captors dressed as elves. She assures Nurse Lazlo that everything is fine, and excuses Santa’s odd behavior as him “going postal” on account of being screamed at by 2 billion children. The old bird isn’t convinced. She and the babies set off to find out what’s going on with Santa, fearing the worst.

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It’s extra funny since Santa’s VA once voiced Toad who was ga-ga for a snowboard in the Mario Christmas special.

At the North Pole, Mrs. Claus asks her captors if they’re hungry and they reply in the affirmative. She grabs a fruit cake and smashes them in the face with it, given it’s basically a brick. She then frees Santa, referring to him affectionately as Sweet Cheeks,  and tells him to go fix this situation. Without his sleigh though, Santa is at a loss for how he can track down the aliens. She then tells him that all of the kids complain he isn’t hip enough, and tosses him a snowboard. I do not know where she is receiving this information, but I can assure you I have never once questioned Santa’s “hipness.” Apparently a snowboard in the hands of a magical being like Santa, even if he looks a bit disheveled, is more than enough as Santa flies around on it tossing out some bad slang in the process.

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I’m pretty sure it was in the series’ bible that one baby must always have snot visibly dangling from a nose when all three are in the same shot.

Santa soon winds up in Your City where he crosses paths with Nurse Lazlo and the babies. He recognizes Lazlo and even refers to her as Sweet Lips. They went to college together and I guess they shared some good times (and the two appear to be open to sharing some more) during those years. The babies need some convincing though that this is the real Santa, and Derrick orders him to prove his identity by telling them what they want for Christmas. He predictably aces this test, and it’s revealed that Buck adorably just wants a hug from Santa (aww!).

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This is apparently what makes them “mega” babies.

With that out of the way, Santa now has some willing and able super-powered babies to help him save Christmas. He heads back to the North Pole for replacement presents, while the babies enthusiastically prepare to kick some alien ass. As demonstration of their enthusiasm, their arms swell-up to gargantuan proportions and become veiny and beefy (Trogdor!). They head for a nearby toy store where they find the imposter aliens up to no good. With their cover blown, Claws bursts forth from his costume in gross fashion to demonstrate his hideousness.

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One alien gets pressed through a shopping cart. The art directors apparently liked the gag so much they immediately went to it again when another is forced through a net.

The babies then do battle with the aliens and a series of bland visual gags and even worse puns take place. With the visual style of the show being so exaggerated, I had some large expectations for the type of violence we would see, but felt let down. Two aliens get shredded in almost identical fashion as they’re turned into strings of goo similar to Playdoh spaghetti (it sounds a lot more gross than it really is). Claws is saved for last, and the babies just punch into space with their oversized arms.

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These two totally just fucked.

As the babies were doing their job, Santa and Nurse Lazlo were getting cozy on Santa’s reclaimed sleigh. Really, Santa? Your wife beat back some aliens to save you and you repay her by cheating on her with some old flame from college?! The two are fully clothed, but the implication is almost one of post-sex cuddling. The babies then show-up with a shopping cart full of alien parts. They boot that into space as Santa and Nurse Lazlo praise them. Santa then informs them that he still needs their help if they’re going to save Christmas. Too much time has elapsed for him to deliver all of the presents, and Nursie says she has an idea.

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Aww, the little babies fell asleep!

A quick wipe-effect lets us know some more time has past and Nursie and the babies are returning to Santa in their rocket car. She informs Santa that they’ll take the southern hemisphere leaving him the northern one and they’ll meet in Rio when the job’s done. Santa is delighted to have their aid, and thanks them as he departs once again referring to Lazlo as “Hot Lips.” He’s picked up one reindeer during all of this, but that still leaves him five short, as he takes off. Nursie remarks that she loves that man before turning to the babies to tell them they’ve got work to do. She finds the babies are fast asleep on the pile of toys, prompting her to close out this show with a “Merry Christmas to all, and to my babies a good night.”

“A Mega Christmas” is a Christmas special with a pretty loud visual style. The over-exaggerated mannerisms of the characters combined with their pliable anatomy and abundance of snot certainly garners attention. What does not is the bland plot and dialogue and pedestrian visual gags. The art directors seem to think boogers alone are enough to create laughter. The booger garland on the tree felt predictable to me, and I’ve never even watched this show before! The only moment I found genuinely funny was when Buck answered the door to find carolers. Otherwise, I appreciate the show’s embracing of chaos as the plot is nonsensical and no one seems to care about how weird the world around them is, but without quality jokes backing up that randomness it just feels lazy.

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The show’s only attempt at being traditionally heartwarming is when it’s revealed that the number one item on Buck’s Christmas list was a hug from Santa.

Aside from the gags, the visual elements of the show are a mixed bag. Often times the babies are practically inanimate to draw attention to how wild their arms are. They move all over the place stretching when needed. It’s far more elegant than say the George & Junior cartoon I covered two years ago, but it also feels a touch overdone. The mouth animations on the babies are pretty fun though, and Lazlo is well-animated and at-times even takes on a hand-drawn quality. The backgrounds though are fairly bland often populated with large swaths of solid colors and little detail. There’s little warmth to find in what should be the cozy confines of the living room setting, and also no real coldness to find in the outdoor scenes. The world just exists without feeling alive.

The aliens, on the other hand, are a bit more interesting to look at. Perhaps they proved too interesting and complicated since they spend most of the episode in simpler forms disguised as elves and Santa. When they’re not, their design is quite evocative of old MTV interstills or Ed Roth’s Rat Fink. The smooth-talking leader is an interesting subject since his voice does not match his appearance. I don’t know if these guys are reoccurring villains, the babies certainly don’t act like they know who they are, but they at least seemed interesting.

As such, I can’t really recommend “A Mega Christmas.” It’s supposed to be a funny and offbeat Christmas special that is only partially successful in the presentation department, but lacks much in the way of humor. The best thing I can say about it is that if you want to watch it you totally can and it’s free. The Mega Babies YouTube channel has most or all of the episodes available including this one and if you’re curious about it after reading this then I have more good news as it will only consume about 11 minutes of your life, less if you skip the credits.


Dec. 25 – A Jetson Christmas Carol

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Original air date December 13, 1985

Merry Christmas! We have reached the end on our advent calendar celebration of the holiday season. This is the third complete 25 day advent calendar here at The Nostalgia Spot and fourth overall. For this year, I managed to shy away from the tropiest of the tropes when it comes to Christmas television specials – adaptations of A Christmas Carol and It’s a Wonderful Life. For this final feature though, I’ve decided to go traditional. I like to weigh these features by visibility, so if I’m covering a special that might actually air on TV during the countdown I try to put that up front. For the ones that have no shot, I tend to save them for the end. In the case of “A Jetson Christmas Carol,” I saved it for last since it’s a conventional holiday special that many people have probably seen. While it’s unlikely to be broadcast on a major cable channel, it’s easy enough to find in the wild and it’s a perfectly satisfying take on the classic Christmas tale.

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The Jetsons first preiered September 23, 1962

The Jetsons was Hanna-Barbera’s logical next step following the success of The Flintstones. Where The Flintstones depicted a fictional family of prehistory, The Jetsons focuses on a family of the future. It premiered on September 23, 1962 in prime time on ABC and was the first show broadcast on that network in color. It would last one season with the final new episode airing in March and reruns taking it all the way around the calendar where it was removed from the lineup in September of 1963. It was then moved to Saturday mornings where reruns were shown for the younger audience. It’s popularity endured though into the 1980s and with cable now expanding television lineups Hanna-Barbera would return to the series to bring the total episode count to 65. A third season of ten episodes would follow and the series was essentially capped-off by the 1990 animated feature film. The Jetsons would continue to have a presence in syndication, along with a lot of Hanna-Barbera’s works, for much of the 90s before eventually being ousted by newer programs.

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In the future, everyone has terribly ugly laser trees.

The Jetsons may have seemed derivative of The Flintstones, but it’s take on the common nuclear family played well for audiences. Where The Flintstones focused more on the adult problems of Fred, The Jetsons was more confident in spreading things around. The family, as introduced by the very catchy and lavishly produced theme song by Hoyt Curtin, consists of George Jetson (George O’Hanlon), his wife Jane (Penny Singleton), teenaged daughter Judy (Janet Waldo), son Elroy (Daws Butler) and they’re also joined by the family dog Astro (Don Messick) and robot maid Rosie (Jean Vander Pyl). For the second season, the little alien Orbitty (Frank Welker) was added to the cast as another pet, of sorts. George is a typical working man who has a job at Spacely Sprockets working for Mr. Spacely (Mel Blanc), a short man with a big temper who often is at odds with his employee. They live in a future as envisioned by folks in the 60s so Jane is a stay-at-home mom while George is the bread-winner. Their lives are made easier by technology with Jane’s housework largely automated or falling to Rosie while George just pushes buttons from a console at work. They have flying cars, video phones, and a host of other contraptions some of which have since become reality while others remain just fantasy.

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What would the Jetsons be like if they were rich? Well, we’re going to find out.

“A Jetson Christmas Carol” is from the show’s second season and it first aired on Friday the 13th in December of 1985. As the title implies, this is a re-telling of A Christmas Carol. In the place of Scrooge we have Mr. Spacely with George serving as the Bob Cratchit of the tale. In the role of Tiny Tim is surprisingly not Elroy, but Astro the dog who’s very life depends on the actions of Mr. Spacely.

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George is a bit concerned with the size of the Christmas shopping list this year.

The episode opens with the family sitting at the table while machines feed them breakfast. Jane is talking about how she needs to finish the Christmas shopping while the kids are eager to hit the mall. Astro is off in the corner sneaking a peek at Jane’s Christmas list until she snatches it from him. When George sees it he asks aloud how they can afford so many gifts and Jane matter-of-factly informs him that they can’t, but also that they can’t worry about such things at Christmas (what an awful sentiment). George, surprisingly cheerful, leaves for work while Jane hopes he can get out early for Christmas Eve. She and the kids leave for the mall, though not before Judy expresses some indecision on what to wear (all the while using space puns or 80s teen lingo) before just settling on the same outfit she always wears. Once they’re gone, Astro heads for the neon Christmas tree with hovering ornaments and starts snooping around.

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The mall on Christmas Eve is crowded no matter what year it is.

While the kids shop at a very crowded mall, George hosts an office Christmas party attended entirely by robots, other than himself. He jokes with his computer partner RUDI (Messick) who shares a corny joke until Spacely catches them via video monitor and orders everyone back to work while also declaring he hates Christmas. After Elroy gets a lesson on “want” at the mall, we head home to find Rosie whipping up some eggnog (ingredients:  one egg and one nog). Astro helps Elroy hang up some mistletoe and then goes back to gift-snooping. Orbitty calls Astro out and Jane catches him opening his gift. When she tells him it’s supposed to be a surprise, he insists he is surprised (Astro is on the same level as Scooby Doo in terms of communication skills) and finds a toy cat inside. The robot cat (Welker) rolls around on a wheel while Astro gives chase and seems to be enjoying himself.

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And you thought Futurama was the first to depict drunk robots.

Back at Spacely Sprockets, George is literally counting down the seconds until quitting time, but just as that time arrives Spacely pops-up on the video monitor to tell him he’s working late. George, sullen, doesn’t really offer up a fight and turns back to his console. Jane soon phones in and gets the bad news, while George returns to work wishing some ghosts would visit Spacely like they did Scrooge.

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This is unfortunate for Astro, but what about the obviously sentient robot cat?

At the Jetson residence, Astro continues to chase his toy while the family seems to be getting along all right without their patriarch. Astro ends up catching his toy leading to a crash. The robot explodes and as Astro is left lying on his back a single sprocket lands in his mouth and is ingested. The family runs over to him with worry, while Astro’s fur takes on a greenish hue. They bring him over to the couch for a look and all are worried. Elroy wants to call a vet, but Jane isn’t certain they can find one on Christmas Eve. As he and Judy head out to find one, Astro wails that he’s dying. This is actually kind of dark.

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Hopefully there’s some booze leftover from that office party.

At the office, an exhausted George is finishing up the orders as he lays on the terminal pushing the last button. Spacely pops back in on the monitor to ridicule George for working too slow. He tells him he’ll see him in the morning, but George at least stands up for himself a little by reminding Spacely that tomorrow is Christmas and it’s a day off, to which Spacely remarks “Too bad,” to himself. George beats a hasty retreat only to emerge in a snowstorm. Remarking he’ll be lucky to get home by Groundhog’s Day, his car seems to have little trouble lifting itself out of the snow. At home, Astro is running a fever of 102 as Elroy and Judy return home with bad news:  they couldn’t find a vet open at Christmas. Jane tells them things are looking grim, as George makes his triumphant entrance. He’s in a celebratory mood, but finds the family is not. He takes a look at Astro and arrives at the same conclusion as his wife, though when he finds out Astro got hurt chasing his toy he admonishes him for opening his gift early. He then questions if he’s faking it while Judy scolds him.

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That’s what you get for peeking, Astro – death!

At Spacely Sprockets, Mr. Spacely is seated in his office enjoying his money. Since it’s too late to deposit it at a bank, he decides he better spend the night with his money at the office. Upon falling asleep he’s greeted by the ghost of his former business partner, Marsley (Blanc). Marsley gives him the usual Jacob Marley talk while Spacely angrily insists he’s dreaming and orders Marsley to go away before remarking he was always a bit of a sicko. He goes back to sleep only to be awakened by a weird, floating, robot (Messick). It’s the Ghost of Christmas Past, and he takes Spacely back to his days on the playground where he had little Georgie Jetson run his lemonade stand. A young Spacely (Welker) flies in to find George counting the cash and snatches it from his hands returning only a penny. When George questions this arrangement the young Spacely tells him to not be greedy before taking off. They then journey to a fly-in movie theater where a college-aged (and bald) Spacely (Welker again) is watching The Flintstones with his future wife. When she questions if he loves money more than her he insists that of course he loves money more! He promises to take half a day off for their wedding, which is apparently good enough.

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Jacob Marsley – not one of the show’s better puns.

Spacely is returned to his office in quite a happy mood. He saw nothing wrong with the actions of his past as he resumes his sleeping only to be roused by yet another ghost (Welker). This one is a giant Christmas present, a too on the nose joke on the Ghost of Christmas Present. The giant box with extendable arms takes Spacely to the home of the Jetsons where they look at the family as they worry over Astro. Spacely is unmoved by the family’s plight, insisting he’s a business man and not a dog-father. He’s returned to his office, but he’s not alone for very long.

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That would be ghost robot number one.

A giant, black-green, robot with red buttons looms over him. Spacely is a bit unnerved by this silent third ghost who soon zaps him to the future. There they arrive at a mansion and Spacely is over-joyed to see what he assumes is his future home. Instead though they find the Jetsons inside happily discussing how fabulously wealthy they are. Spacely is annoyed to see this and demands to know how they got so rich, and even though George can’t hear him, he’s happy to fill him in. They attained their wealth thanks to a lawsuit against Spacely after Astro’s death as a result of swallowing that sprocket. The family is sad recalling their old dog, though if they’d give up this new lifestyle to bring him back I’m not sure. George then elaborates on what became of Spacely as Spacely questions how George could sue his beloved boss, thus proving he has no concept of how people really feel about him. After the suit, his company went under and his wife left him. Last anyone knew, he was on skid row. As Spacely turns to the ghost to ask if this is all set in stone or just a vision of what might be, the ghost zaps him back to his office.

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Did I say Marsley was bad? Okay, this one is worse.

Spacely wakes up on his hands and knees begging for another chance. When he realizes where he is, he immediately perks up and sets out for the home of the Jetsons. For now it’s Christmas morning, and the family is still worried about their dog who at least made it through the night. Spacely arrives with his personal vet whom he dragged out of bed (this is still Spacely, after all, who will absolutely force a man to work on Christmas if it means saving his money) to treat Astro. He demonstrates some neat future tech when he whips out a portable X-Ray to spot the sprocket in Astro’s stomach. Then he demonstrates that vet technology has only come so far as he simply reaches down Astro’s throat to remove the obstruction. Astro immediately feels better and Spacely also announces he’s brought gifts for the whole family. Elroy gets the rocket guitar he was eyeing while Judy gets some nuclear roller skates. He departs by telling George he’s getting a big, fat, raise as he heads home to spend Christmas with his wife. George and the family then join arms to sing “We Wish You a Merry Christmas” with Astro and Orbitty getting the honors of the last line as our holiday special comes to an end.

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Simple yet fearsome. I like ghost number three.

That last act gives this special an interesting wrinkle. Spacely’s motivation for acting “good” is purely to save his money, unlike Scrooge who is motivated to save Tiny Tim out of the goodness of his heart. Had Spacely not acted, Astro would have died, but the Jetsons would have been thrust into an easy life. No more crappy job for George while Elroy and Judy would find their higher education not limited by financials. The kids are a bit spoiled in the future vision, so perhaps their character suffers, but George is also quick to remind them of how they ended up in this position so it isn’t as if they’ve lost sight of what the costs were for this new life. There aren’t many episodes to follow, but for what it’s worth Mr. Spacely remains unchanged following this one so he didn’t really learn anything.

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Spacely to the rescue!

Being one of the 80s episodes of the show, it actually is animated a little better in places than it was in the 60s. There’s less of characters just standing around, and best of all, no laugh track. There are a few instances of that canned running sound Hanna-Barbera was so fond of, but the voice acting is overall quite good. It’s pretty neat that the studio was able to return the entire original cast for the relaunch of the show, though O’Hanlon and Blanc would eventually both pass away during production on The Jetsons Movie. Some of the backgrounds are a bit abstract or even empty, and the trip through time with the ghosts and Spacely is surprisingly static. I suppose in most versions of the story there is little depicting the change in time between past, present, and future so I suppose I can’t really deduct points here. The plight of Astro is actually genuinely sad. The poor dog knows he’s dying and is borderline hysterical. The show is quite honest in how grim his outlook is.

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An early joke about Judy taking forever to pick an outfit even though she can change outfits literally in an instant.

A lot of the humor in this show stems from essentially the same joke. A character complains about something, then we see how trivial the complaint is. For example, Elroy complains about how long it’s going to take Judy to get changed, when she literally steps into a machine that can instantaneously change her outfit. The joke is basically “Ha, they have no idea how easy they have it!” There’s also a lot of material meant to appeal to working class folks with the greedy Spacely lording over Jetson. He makes Jetson do all of the work while he sits back and takes in all of the money. This feels like a mainstream attitude back then that has some-what shifted, and that shift seemed to begin in the 80s where wealth became the be-all end-all measurement of success. If you’re not rich then it’s because you didn’t work hard enough. It’s preposterous, but it seems to permeate our culture today and a leading cause of current clash division. Then there’s also the dated jokes at Jane’s expense where she’s characterized as a do-nothing housewife. In her case, times have obviously changed as fewer and fewer women can even afford to be stay-at-home mothers and housewives. It’s not as if the show though portrays George as some work-a-holic though as he often gripes about work while being shown doing actually very little. Though in his defense, many people now have jobs where they just sit and push buttons, and while it may not be manual labor, it’s strenuous and ultimately still a job that keeps us from doing things we’d rather do.

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Hey! A Flintstones cameo!

It’s a bit surprising how dated a show about the far-off future can seem, but there’s no predicting where society is truly heading when looking so far ahead. The Jetsons is actually fine entertainment and I would probably prefer to watch it over The Flintstones. Neither show is as good as some of the prime time animation that followed, but for its time it was good enough. This version of A Christmas Carol can be described in similar terms – good enough. It has a few laughs, some down moments, and ultimately a happy ending. It’s a fine ending for the 2018 version of The Christmas Spot.

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This one isn’t afraid to get a little grim.

If you’re hoping to sneak in a viewing of “A Jetson Christmas Carol” before the holiday is through then you’re in a relatively good spot. The Jetsons are available on DVD and there are even special holiday editions of Hanna-Barbera cartoons sold separately likely destined for the discount bin tomorrow. Season Two of the show was a manufacture on-demand release so it’s a little tricky to come by, but hardly impossible. While the show isn’t presently streaming on a major service in 2018, episodes of this show (including this one) can be found online for free rather painlessly.

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In the end though everyone is pretty happy.

Well, that about does it. I hope you enjoyed 25 days of 25 blog posts on 25 pieces of Christmas media. For me, it’s a great way to really bask in the season both writing and reading similar pieces, not to mention actually consuming all of this media either again or for the first time. Even though it’s a lot of work, I always enjoy doing it so I have no plans on stopping. I hope to see everyone back again next year when we do 25 more. As always, thanks for reading and I hope you have a very, merry, Christmas and a happy new year!


Dec. 24 – Ren & Stimpy’s Crock O’ Christmas

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Released by Sony Wonder on September 21, 1993

In 2018, it feels like the novelty music genre is mostly dead. Back in the day when radio was the primary vehicle for delivering new music the novelty song had a place. Usually they would be part of commutes or morning shows when producers thought a laugh was in order. I know where I grew up the local rock station had the Free-ride Funnies in the late afternoon when novelty tracks would be played along with stand-up routines and prank calls. Weird Al had a place on MTV along with other novelty acts and songs (remember Green Jelly’s rendition of The Three Little Pigs?) that would be played along with more “legitimate” music. As such, novelty albums were more popular though I feel like the general experience with novelty albums was hearing a funny song on the radio, buying the record, then kind of regretting it. Even some Weird Al albums couldn’t shake that feeling.

It should come as no surprise, or maybe a little surprise, that The Ren & Stimpy Show got in on the novelty Christmas album game when it released Ren & Stimpy’s Crock O’ Christmas in 1993. This album arrived during the height of Ren and Stimpy’s popularity and after the departure of series creator Jon K. It was the second album attributed to the dog and cat duo following You Eediot! which was released just a month prior. That album contained mostly music from the show, while this one was all new.

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A brief bit from the show called Yak Shaving Day is the originator for all of this extra content.

The album is called Crock O’ Christmas, but it’s not really about Christmas and is instead about the fictional holiday of Yaksmas, which was referenced in a prior episode. Many of the songs are parodies of popular Christmas songs and usually just reading the title will clue you in on what the song is going to parody. As the voice of both Ren and Stimpy, Billy West is called upon to do the heavy-lifting in both singing and speaking roles. Bob Camp illustrated the cover which depicts Stinky Wizzleteats and the Gilded Yak piloting Stinky’s sausage cart while Ren and Stimpy pull it dressed as reindeer. This album is a precursor to the “Scooter for Yaksmas” episode, which we covered last year, and a lot of the lore for the holiday found in that episode originates here. Bob Camp and Jim Gomez provided the lyrics for most of the music while the whole thing was overseen by Vanessa Coffey and Charlie Brissette.

Since the format of this advent calendar styled journey through Christmas media is to provide a synopsis and walk the reader through the episode, we might as well just go with a song by song breakdown of this interesting piece of largely forgotten media.

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The reverse cover for the original release.

The first track is “Fleck the Walls,” and it’s to the tune of “Deck the Halls” as Stimpy and Ren introduce the listener to Yaksmas Eve. They talk about flecking the walls with dirty diapers and detail the events of Yaksmas Eve such as filling your uncle’s boots with coleslaw, wearing rubber nipples, and licking up shaving scum left behind by the Gilded Yak. It’s quite gross, but par for the course with The Ren & Stimpy Show which really started to double-down on the gross aspects of the characters during the Games Animation era.

The second track is “Cat Hairballs” which is a parody of “Jingle Bells.” It’s basically Stimpy bragging about the wonders of his hairballs and how useful they are. Ren chimes in he has had enough hairballs which provokes Stimpy into coming up with more uses for them like making cigars and underwear from them. Gross. They then venture to their neighbor’s house to sing for them, and because the guy who lives there owes Ren five bucks. They encounter the husband and wife (Cheryl Chase) and wish them a Merry Cobbday so we apparently have two holidays to celebrate. They then are introduced to a goat, who is the pet I suppose of the neighbors. The husband then confesses he’s depressed because he never gets what he wants for Yaksmas. When Ren asks what it is he wants, he replies “a hairy chest.”

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The album was re-released in 97 with re-arranged artwork.

This takes us into song three, “We Wish You a Hairy Chestwig” (“We Wish You a Merry Christmas”) as Ren and Stimpy wish a chestwig for their neighbor. Shelly Williams takes over as the wife as the duo sing with Ren and Stimpy (Billy West is the husband) about wishing for a chestwig. It’s the most simple of the parodies so far and not very disgusting, just silly. At the end of the song they find themselves at The West Pole which is where Stinky Wizzleteats lives. They knock on the door and meet the old man, but find he’s not too kind. He demands Ren act like a dog then calls for his wife to get his dog wallopin’ 2×4. When Ren explains they want to sing him a Yaksmas carol, he calls for his dog wallopin’ guitar.

This takes us into the next song, “It’s a Wizzleteats Kind of Christmas” which is an original tune. It explains Stinky’s role in the holiday introducing us to his sausage cart and detailing the traditions of the holiday including falling down the stairs and eating pre-chewed gum. It will be recycled for the Yaksmas episode of the show and it’s amusing enough and it’s nice to have some added visuals in that case. When Stimpy finishes the song, Stinky gives him some praise then goes into a song of his own about a chicken getting eaten by giant worms. It seems to unnerve Stimpy and the two slip away deciding to go to the mall.

That’s where our next song takes place, “We’re Going Shopping” which is another original song, though it’s pretty dialogue heavy. Stimpy has dragged Ren to the mall and is a compulsive shopper. We also get a circus midget joke which is a reference to the fire chief from the show; a joke that hasn’t ages well. Ren doesn’t want to shop and complains about his feet hurting while Stimpy tries to sell him on a glass diaper pale (“You can not only do your duty, you can see it too!”), but he’s not interested. The song ends with them arriving at the Royal Order of Yaks where Stimpy explains how the Gilded Yaks are selected to pilot the enchanted canoes on Yaksmas Eve.

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Back cover of the 97 re-release.

This leads into “Yak Shaving Day,” where the characters sing about, what else, Yak Shaving Day. If you saw the bit in the show then you know what to expect. It might be the most basic song so far and least entertaining. It’s also an original tune. It ends with Ren and Stimpy back home to welcome Stinky (the fart, not to be confused with Stinky Wizzleteats) and his bride Cora from “Son of Stimpy.” Stinky and Stimpy then recount how they spent their first Christmas after thumbing through a photo album which brings us to…

“What is Christmas?” where Stimpy and Stinky basically refresh us on the events from Stinky’s debut episode. The song (another original) is actually rather sweet, even if it’s about a cat’s affection for its fart. Because it’s actually executed quite well as a sentimental track, it’s not very funny. The humor really needs the visuals of Stimpy hugging his fart cloud to work. Interestingly, our characters are now openly singing about celebrating Christmas making this whole holiday season really confusing

That song ends with dialogue about Stimpy introducing All Cobb’s Eve. It apparently coincides with Yaksmas Eve and it’s a custom from Stimpy’s native Gibberland. He then sings “Cobb to the World” (“Joy to the World”) detailing how Wilbur Cobb visits you in the night to pass out on your lawn (a trait that will be given to Stinky Wizzleteats later). The song describes Wilbur Cobb, a character from the show, in all of his gruesome glory. It’s all about how his body parts fall off with some other old man traits described as grossly as possible. The parody nature of the song limits it, but it gets its message across. Meat, corn, and cheese logs are apparently all part of this “holiday’s” celebration.

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Wilbur Cobb is the subject of his own holiday, though it may be one only celebrated by Stimpy.

After that lesson on All Cobb’s Eve, Ren just wants to go to bed, but Stimpy reminds him they have somewhere to be. It’s Muddy Mudskipper’s Holiday Hop, which is the subject of “Happy Holiday Hop,” a fun little rockabilly jam. Ren and Stimpy aren’t on the guest list, but they politely ask to crash the party while singing about Muddy. It’s not a direct parody of anything, but it’s pretty generic 50’s rock in its presentation which makes it probably the most danceable of the album so far. It’s just about a party so there isn’t anything gross. If you wanted to add a track from this album to a generic Christmas mix, this is probably the song you’d go for.

Our next song is “I Hate Christmas” where Ren acts more like the Ren we know from the show as he confesses his disdain for all of this holiday stuff. He does it after Stimpy goes to bed who recounts all of their Yaksmas Eve activities thus far before doing so. He playfully asks Ren if he’ll be joining him in bed, a some-what subtle gay joke. Ren says he’s going to “tickle the ivories” instead which is a metaphor for playing the piano I had never heard before and is rather clever. Ren’s song starts off kind of mopey, then he gets angry, as it turns into more of a lounge type of song. He particularly hates Christmas music, which is deliberately ironic, I presume. It’s the most relatable track so far if you find yourself getting run down by the holiday.

Our penultimate track is the “The Twelve Days of Yaksmas,” and I assume you can figure out what it is a parody of. It begins with Ren getting a package in the mail (“Wow, that’s the biggest package I’ve ever seen!”) from Ignoramia, home to cousin Sven. The song is them going through the package of gifts from Sven which is mostly gross stuff:  jars of spit, used bandages, golden hairballs, etc. “The Twelve Days of Christmas” is quite possibly the worst of the traditional Christmas songs and it’s pretty annoying. They manage to run through it in about 4 minutes, so this isn’t too bad, but it still over-stays its welcome.

Our final track is “Decorate Yourself,” another original tune. The title is rather self-explanatory. It’s basically a rock ballad and comes in at over 5 minutes making it the longest song on the album. It has some silly lines, but isn’t very gross and the prior forty minutes of sillier stuff dampen the comedy element of the song. It mostly feels like putting a bow on the whole album. It ends with the duo saying goodbye to the audience as Stimpy tries to wish a happy holiday for every made-up holiday they cited on this album as well as some new ones prompting Ren to just tell him to shut up so they can leave. An appropriate ending for a Ren and Stimpy production.

So you want to get a novelty Christmas album to spin at your party this year? This would probably work out all right if your audience is familiar with The Ren & Stimpy Show. It’s more childish in its humor than other novelty albums, so it might only work on nostalgia really. If you’re counting on it being a memorable part of your holiday then you may be let down. As a little supplement to the show and its other holiday episodes, it’s kind of fun. If my kids ever get into the show I’ll probably try this on them and see what they think, though it is somewhat handicapped by the fact that the show skews a bit older than this probably would.

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An interview disk was distributed with the promo version of the album.

The album was first released by Sony on its Sony Wonder label. The production is actually really well done and there’s a band, choir, and orchestra utilized. Some talented people put some time into the compositions and it shows. The lyrics could be better as there is perhaps too much that is just nonsensical. A 90s trait of Nicktoons was just to make something like cheese funny all by itself, when it never really was in the first place. It’s a tactic that works on kids (just watch the show All That which is almost entirely what I call unhumor that somehow worked on children of the era) but less so on older audiences. The booklet is pretty nice and includes original art on the cover as well as stills from the show inside. It’s festive, and there are lyrics printed inside as well along with transcripts of the character dialogue. West does a nice job with what he’s given and his level of performance is on par with the producers and musicians who participated. The album was re-released by Kid Rhino in 1997. It features some cosmetic differences like re-arranged artwork and a different layout for the booklet, though content wise it’s the same. I’d say the presentation is a bit louder visually, though not necessarily better or worse.

If you want to hear Ren & Stimpy’s Crock O’ Christmas in 2018 your best bet is to just head to eBay. There the CD version of the album will only set you back a few bucks with the Kid Rhino re-release apparently commanding a bit more money. There is a cassette version as well if you want to go that route. If you consider yourself a big fan of the show and you like Christmas then I think this is probably worth a look considering it’s relatively cheap to acquire. If a Christmas album by Ren and Stimpy sounds like something you would not like then you should probably trust your instincts there. You can hear most of this stuff on YouTube if you’re just curious and not eager to add any physical media to your Ren & Stimpy collection. If you’re expecting this to be the funniest Christmas album you’ve ever heard, then once again you may be let down. It’s just okay, but very much in the spirit of the show which makes it charming for fans.


Dec. 23 – A Very Woody Christmas

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A Very Woody Christmas/It’s A Chilly Christmas After All/Yule Get Yours all from The New Woody Woodpecker Show first aired December 25, 1999.

If you were a major motion picture studio in the 1940s and you didn’t have a mascot cartoon character then you really weren’t a major motion picture studio. The big ones were at Disney and Warner while Tom and Jerry reigned at MGM. Universal was one of the later entrants, but they struck gold with their own creation of Woody Woodpecker. Woody was the creation of Walter Lantz, and like seemingly every major cartoon character from the era who didn’t originate at Disney, he was originally voiced by the great Mel Blanc. Woody debuted in the cartoon Knock Knock in 1940 and would go on to become a star. And like most cartoon stars of those days, he would make the move to television in the 1950s where his cartoons would be packaged together and shown in a half hour format. These shows were on television in some form or another well into the 1980s and even into the 90s in some places when they eventually faded out for one reason or another.

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Woody’s original and seldom seen first look.

In the late 90s, Woody received a makeover and a new show. The New Woody Woodpecker Show would air from 1999 to 2002 and it typically followed a format similar to the old show of three shorts shown together. Usually you got a new Woody cartoon, a Chilly Willy, and then another Woody cartoon. Woody was now voiced by Billy West and most of his friends and foes returned like Buzz Buzzard (Mark Hamill) and Wally Walrus (West). It tries to capture the spirit of the old cartoons, while also toning down some of the violence. In the first season it produced a Christmas episode among it’s 26 season order and it actually premiered on December 25, 1999. Was this the last new Christmas special to air before the new millennium? I’m not sure, but it must be rather close.

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This is the look most probably associate with the character and his friends.

Like most episodes of the show, this one contains three cartoon shorts and all three are Christmas themed. The first is A Very Woody Christmas which naturally stars Woody Woodpecker himself. It opens with Woody walking down the street talking to himself about what people are getting him for Christmas and what he got them in return. He realizes he forgot to get gifts for Knothead and Splinter, his nieces, or nephews, or something. He dashes into a store just before it closes and snags a couple of robots while passing the owner a few bucks. He then notices a dilapidated looking stand offering free gift-wrapping (too good to be true, Woody).

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And Woody’s redesign for this show, though his feet should be orange.

The stand is being run by Buzz Buzzard and his lackey Tweaky (Hamill). Their scheme is to take the gifts and replace them with rocks as they wrap and then return them to the patron. Woody picks up on this, but Buzz just launches him into a nearby Christmas tree. Decorated as an angel as a result, Woody swings down from the tree in Tarzan style and kicks Buzz into a snowman decoration, causing Tweaky to confuse him for an abominable snowman. The two then jump in their getaway sleigh, leaving Woody behind.

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Tweaky has a pretty crappy tree.

The pair arrive at their warehouse hide-away. Tweaky is worried that Santa won’t come to visit them because they aren’t asleep yet (even though it’s still daylight) while Buzz informs him that they just stole a bunch of gifts so Santa isn’t coming. He takes off to get a celebratory pizza. Outside, Woody was watching from a window and Tweaky’s Christmas spirit gives him an idea. He puts on a Santa costume and enters much to Tweaky’s delight. Woody convinces Tweaky to go to bed, but while he does he lists off all of the stuff he wants for Christmas. If you were feeling bad for Tweaky, since he’s bullied by Buzz, then you don’t have to anymore as all of the stuff he wants from Santa are crime-aiding devices. He knows what’s doing.

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I pretty much assumed Woody would dress-up as Santa at some point in one of these shorts.

As Woody tries to reclaim the goods, Tweaky keeps interrupting him causing Woody to have to put him to bed, only for him to re-emerge and get put to bed in a more comically restrictive fashion. It’s exhausting, and Woody seems like he may lose his tempur and blow his cover, but he’s able to convince Tweaky to pull the sleigh of stolen goods for him. As they’re ready to leave, Buzz returns and is incensed to see what his cohort is up to. Unlike Tweaky, he knows that this isn’t Santa and he tells Tweaky he’ll get him whatever he wants for Christmas if he’ll just stop, but Tweaky isn’t satisfied. Unless the gift is from Santa, he doesn’t want it. He takes off acting as Woody’s lone reindeer while Buzz is eventually run over by the sleigh. As Tweaky pulls the sleigh through town, Woody laughs and tosses out the stolen goods to their rightful owners.

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Penguins apparently are not happy in the cold.

The second cartoon is It’s a Chilly Christmas After All and it stars the mute penguin Chilly Willy. Chilly Willy is a classic cartoon star and he still is here. His segment opens with him freezing in his igloo at the South Pole. He’s watching a weather report remarking how cold it is which also goes into a little detail on Santa’s upcoming voyage that night. The weatherman (Billy West) points out all of the warm climates Santa visits which apparently gives Chilly an idea. He races out of his igloo to the literal South Pole which is poking out of a hole in the ice. He slides down the pole and into the hole and re-emerges at the North Pole! There he finds Santa’s workshop, and inside is old foe Smedley (West doing a pretty good Daws Butler impression) the hound dog. Smedley has apparently taken up a job as Santa’s elf and he’s trying to make sure everything is in tip-top shape for tonight. If all goes well, he hopes to be brought along as Santa’s exclusive Christmas delivery helper.

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Better check it twice, Smedley.

As Smedley narrates his existence for our viewing benefit, Chilly slips in and dashes for Santa’s sack of toys. Smedley intercepts him and lightly admonishes him for trying to sneak a peek in Santa’s sack before tossing him outside. Chilly will then make further attempts to get into that sack, only for Smedley to catch him. Chilly in turn uses some violence to escape, at one point dropping a bowling ball on Smedley’s toe. Santa himself then enters and he seems pretty joyful and oblivious to what is going on here. He has Smedley go inspect the toy assembly line in preparation for departure and Smedley obliges. You would think this would present an easy opportunity for Chilly to just jump back into Santa’s sack, but comedy demands that he jump into the toy assembly line. He doesn’t escape Smedley’s notice though and is promptly tossed away.

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It is cartoon law that all toy planes are pilotable provided there is a character small enough to fit in it.

Chilly is forced to sneak back in where he finds Smedley putting the finishing touches on a model airplane. Chilly hops in and takes off forcing Smedley to ground the airplane. Apparently having enough, Smedley then breaks-out a home chemistry set to whip up some kind of adhesive to catch the penguin. As he does his thing, Chilly sneaks in behind dressed in a lab coat and blastshield and mixes up something dangerous looking. As Smedley continues adding ingredients to his concoction, he grabs the beaker containing Chilly’s mixture, informs us it’s nitroglycerine, and casually explodes. Santa sees Smedley all covered in soot and remarks that he looks in need of a rest and tells him to take the night off. Before Smedley can explain he doesn’t want that, Santa takes off (with only two reindeer – preposterous!) with Chilly along for the ride. Smedley tries to hang onto the sleigh, but that just results in him taking a nasty spill. As the sleigh flies away, he shouts for Santa to make sure that Chilly Willy gets nothing but coal!

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Poor Smedley just wanted to be a good elf.

Back at Chilly Willy’s igloo, the little penguin is standing outside bouncing a lump of coal off his flipper while Santa flies away. Don’t feel bad for old Chilly though, he heads back inside and tosses the coal into his fireplace. Santa left him with a mountain of the stuff which is apparently just what he wanted for Christmas.

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That’s a lot of coal.

Our final segment is another Woody Woodpecker cartoon titled Yule Get Yours. It opens with Woody at a toy store waiting in a line to see Santa. He’s impatient and the line is long, so he burrows under the carpet to emerge on Santa’s platform to get the big guy’s ear. This Santa is a lot rounder than the one we just saw in the previous cartoon, and he has an elf attendant voiced by Rob Paulsen. After Santa confirms that Woody is the bird who lives in a tree and laughs obnoxiously (my word, not his), the elf steps in to let him know he’s been very selfish this year. In fact, he’s been so bad he’s not only getting coal but also having his previous Christmas gifts repossessed.

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Woody is a bit of a dick in this one, which I actually prefer.

Dejected, Woody slumps his way down the street until he notices a video camera in a storefront. He decides if he video tapes himself doing good deeds tonight, it will be enough for Santa to put him on the good list. We then jump to Woody outside his neighbor Wally’s house where he removes a panel from Wally’s fence. He then turns the camera on to show him repairing the fence, but he ends up knocking the whole thing over by accident. Moving along, he heads to his other neighbor’s house, a Ms. Mimi, and tries to get himself on tape clearing her walkway of snow. As he uses a snowblower to tidy up, a delivery man shows up with a package. Seeing another opportunity for a good deed, Woody films himself signing for it. The package turns out to be a giant, decorated, Christmas tree and as  Woody carries it to the house he accidentally turns on the snowblower. It goes haywire and chases Woody around the yard. Eventually, he turns to smash it with the tree, but the snowblower just grinds the tree up.

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I don’t recommend using your own snowblower as a substitute wood chipper.

Failing once again to do a good deed, Woody decides to decorate Wally’s house with more lights. In order to do so he steals lights from the other houses in the neighborhood. When he turns on the lights, the circuitry gets overloaded and Wally’s house catches fire. Woody then grabs a hose from Ms. Mimi’s yard and races to her roof to water Wally’s house and put out the fire. Once the fire is out, he loses track of the hose which covers Ms. Mimi’s house in water. It freezes, then crumbles, and Woody is left under a pile of ice. The elf from earlier then walks in to point out the obvious – Woody is just trying to look good without actually being good, and in doing so he’s done a lot of harm. As Woody tries to plead his case, the elf tells him Santa will be by in five minutes and he can take it up with him.

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I hope Wally isn’t home.

Woody realizes he has to act fast if he wants to save his own Christmas. He scoops up the wood from Wally’s ruined fence and hastily reconstructs both houses out of it. They look like shit, and Santa soon arrives (still with two measly reindeer). He tries to land on one of the houses, but the wood breaks under the weight of the reindeer causing Santa to tumble out of the sky. Woody races to catch him and succeeds, but of course gets flattened by the bulbous man in the process. Nonetheless, Santa thanks him and is impressed with Woody’s selfless act. He goes on a bit about how wonderful an act it was or something before remarking he was wrong about Woody. As he flies away, he puts a finger to his nose. Suddenly, the houses are rebuilt and Woody’s house is flush with presents causing Woody to proclaim that Santa is “da man.” As Santa flies past the moon, he calls out a merry Christmas and laughs in a manner similar to Woody, who waves and returns the laughter. The end.

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This elf seems to delight in Woody’s failure.

I have some conflicting emotions about this one. First of all, I think it’s great Universal tried to bring Woody and the gang back in a new show. Woody mostly looks pretty good, and West is fine in the role. His voice may be pitched a touch too high, but the character is supposed to be annoying. The look of the show is pleasing enough. There are lots of bright, solid, colors on simple backgrounds. The animation is largely fine, save for maybe the reindeer which looked kind of shitty. My main issues are more with the creative direction. The first cartoon just wasn’t very funny and none of the gags were memorable. The second Woody cartoon was a bit more interesting, and I prefer a more rascally Woody, but the resolution was pretty stupid. Santa even says Woody’s heart was in the right place – no, it wasn’t, you dope! I probably liked the Chilly Willy segment the best. It didn’t contain any physical comedy bits that haven’t been done before, but the general look was better and the format lended itself well to the gag-centered pace.

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You were bad and you should feel bad, Woody!

Before this I had never watched this show for more than a minute. I don’t feel like I missed out, but it does make me want to revisit some classic Woody shorts as I haven’t seen those in decades. I’ve never really heard anybody talk about this show, and I can kind of see why. I don’t want to judge it on one episode, but it didn’t leave me with a great impression.

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Needs more deer.

The New Woody Woodpecker Show hasn’t received a home video release outside of the first 13 episodes. It was on Netflix for a time, but now is not. If you want to watch this one though, there’s an official Woody Woodpecker Show channel on YouTube and it streams a lot of content for free, including this one. There are a bunch of ads inserted into it, but you get what you (don’t) pay for.


Dec. 22 – Eek! The Cat – It’s a Wonderful Nine Lives

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Original air date December 19, 1992

For the second year in a row we are returning to Eek! The Cat, a Fox Kids property that’s probably not remembered by many. At least I never encounter anybody who has anything to say about Eek! The Cat, be it positive or negative. My lack of foresight means we’re working backwards in relation to last year’s post as this episode comes from season one and it’s the first Christmas special the show made.

If you’re unfamiliar with Eek, he’s basically a good-natured character that is always able to look on the bright side. He always tries to do the right thing and is unfailing in his optimism, and since this show existed during the very cynical 90s, it means misfortune befalls Eek at every turn. This is one of those loud cartoons where characters often scream as a result of intense pain being inflicted upon them. For the sake of voice actor Bill Kopp I hope they were able to re-use his screams as Eek for several episodes rather than force him to repeat them. Eek is otherwise a house cat, and his family largely doesn’t seem to care about him. He has a girlfriend named Annabelle who has a pet shark-dog that hates him, even though he tries to befriend the dog whenever he can. It’s a world where animals are able to communicate with humans when needed, though they still remain subservient to them.

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Eek! The Cat had a solid run of 76 episodes on Fox Kids from 1992-1997

“It’s a Wonderful Nine Lives” sounds like it’s going to be a parody of a rather famous Christmas movie, but I’m happy to report it’s not. Instead it’s a story about Eek coming across a gift intended for an orphan named Joey and his quest to make sure it reaches him for Christmas. Along the way he’ll meet some new faces and also lots, and lots, of misfortune.

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The subject of today’s episode, a little green gift bound for Little Orphan Joey.

The episode opens with a narrator. This show is terrible with its credits, so I don’t know who is voicing this narrator as they just list a principal cast at the end of each show. Needless to say, he introduces the story with a few call backs to other classic Christmas tales. The camera then settles on Eek looking up at the sky from inside his home as he sees Santa come speeding by. He has seven reindeer, including Rudolph, which is a Christmas tragedy. He has to swerve to avoid a 747, and as he does so a present falls from his sleigh to land in Eek’s front lawn.

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Eek has a neurotic appearance, but he’s actually a constant optimist who just happens to get hurt a lot.

So far, the narration and dialogue from Eek is following a rhyming scheme. Note to television producers, if you want to make sure your Christmas special is considered annoying and not re-watchable, have everyone speak in rhyme. Eek retrieves the gift, and seeing it’s bound for an orphan named Joey in Dudd City, he sadly imagines the poor lad waking up on Christmas morning to find Santa passed him over. This breaks Eek’s heart and he vows to make sure this present gets to Joey. He tries to go back inside the house first, but finds the window and door locked. When he tries to climb through an open window, Mom (Elinor Donahue) doesn’t notice him because she’s engrossed in some language learning tape and shuts the window on his fingers. At ground level, children Wendy Elizabeth (Elizabeth Daily) and J.B. (Charlie Adler) can’t pull themselves away from the television to notice Eek’s plight.

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Eek winds up on an out-of-control sleigh to get his journey started.

Eek is forced to set off on his own, and immediately he somehow winds up on a sleigh speeding through the snowy streets. He’s going to collide with skiers and attract the attention of a polar bear and even encounter a penguin on a ski jump. It’s an elongated scene meant to soak up time and allow Eek plenty of opportunities to scream. He loses the present for a bit, but it finds him when his sleigh comes to a stop eventually.

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Poor kitty.

Once that business is done, Eek dawns a festive Christmas outfit that’s very Dickens in its style. He boards a train traveling through, but not in a conventional sense and actually ends up on top of the train. The present gets jostled and comes to rest over a box car that is full of shark-infested waters. Why would a train be carrying such cargo? I don’t know – it’s a cartoon, dummy! Eek is forced to tightrope across the opening and, of course, he falls in, but actually jumps out rather unscathed. He retrieves the gift, only to be clothes-lined by a water tower. He winds up on the roof of a traveling truck and wonders where he is. He needs to find Dudd City, which he promptly smashes into a sign for. Unconscious, he slides off the sign to land in the back of a farmer’s pickup on a soft bed of hay.

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Oslo Piggy, who’s plight is far worse than Joey’s.

Eek wakes up in the same truck in a barn, and he overhears a pig playing a sad song on his harmonica. The pig is named Oslo (I think), and he’s pretty bummed that he’s on the menu for Christmas the next day. Eek decides to help him out by fetching the key to the shackles that bind him, but before they can leave the barn they’re met by the farmer himself (Brad Garret, who sounds like he’s doing a Rodney Dangerfield impression) who is brandishing a double-barreled shotgun. He’s not about to let Eek leave with his pig, but Eek takes notice of the farmers torn shoes and offers to trade his boots for the pig. The farmer tries on Eek’s red boots and finds them to his liking, but rather than let Eek leave with the pig, he decides he’d rather have ham the next day and a cat to make a new hat out of. The duo are forced to flee, and Eek pulls on a rope that opens a compartment in the ceiling for hay to fall from and crush the farmer, a rare act of (justified) violence on the part of our protagonist.

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I’m a bit down on the visuals in this show, but that’s a nice looking scream.

Free from the farmer, Eek and Oslo are walking alone on a long, empty, road. Oslo is thankful for Eek’s help and seems interested in Eek’s mission to make sure this gift gets to Joey. Oslo is concerned though that they won’t be able to find this Joey, but Eek assures him that if they have faith, and wish upon the Christmas star, they’re sure to find their way. Oslo alerts Eek that it isn’t a star he’s wishing upon, but the headlights from a truck! It’s the farmer, and he runs the two off the road. Eek comes to land on a block of ice in a fast-moving river. The present for Joey is floating in the same river, and Oslo jumps in to grab it. Eek winds up on the precipice of a waterfall, basically a repeat of a gag with the sleigh on a cliff from earlier, and Oslo and the gift smack into him knocking them over. Eek is able to grab onto a branch, but Oslo ends up in the water below. Wishing him well and a merry Christmas, Oslo tosses Eek the present as he goes over another waterfall. Eek catches it, but in doing so he releases his hold on the branch and ends up in the water too. He’s still rather upbeat, even though Oslo might be dead, as he gets sucked into a pipe and sent through the stinky sewers to arrive in (presumably) Dudd City.

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Worth pointing out that The Simpsons and Eek did share a network.

Once Eek emerges from the sewers, he encounters a mother dachshund who bares a strong, stylistic, resemblance to Santa’s Little Helper from The Simpsons. She has three puppies and a problem. She was supposed to spend Christmas with her sister but lost the address. Now she and her pups are out in the cold. Eek gives them his top-hat and scarf to sleep in, which is more than adequate. He wishes them well then resumes his search for Joey.

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This is where we say good bye to that jerk-ass farmer.

Now naked, Eek seeks out what everyone in the 90s would seek when lost – a phone booth! And lo and behold, Little Oprhan Joey is listed and Eek is overjoyed to finally have an address. When he turns to leave though he’s met by the farmer, who now without a pig because of Eek decides to take the gift instead. He chases him around, and arms himself with a swordfish (they’re on a dock). Things look bad for Eek, as Santa-hat wearing sharks roam the waters below. As the farmer closes in, he’s felled by some garbage and a banana peel. It’s Oslo! And he’s on a garbage barge eating and enjoying being a filthy pig. The farmer winds up in the water, where the sharks apparently gobble him up.

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Are cartoons still doing the rabies gag in 2018?

With that out of the way, Oslo and Eek bid each other farewell at a bus station. Only Oslo is riding in the back of a garbage truck. While Eek waves goodbye, the present goes missing. A line of people waiting for a bus all have gifts that look identical to Joey’s. Eek starts frantically searching each one which attracts the attention of a guard who kicks him out. He is sent flying into a root beer bar and collides with a woman, leaving root beer foam all over his face. She screams “Rabies!” and within seconds Eek is on the streets and fliers depicting his foam covered face are all over the city and the hunt is on. Eek is forced to take shelter in a dumpster where he sadly hopes for a Christmas miracle that gets that gift to little Joey before falling asleep.

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So that’s Little Joey.

Eek is woken when a garbage truck dumps a bunch of garbage on him (isn’t it supposed to work the other way around?) which just so happens to contain the present for Joey! Eek is delighted to be reunited with the package as he sets out for the Our Lady of Really Really Dumped On Children Orphanage. He gets hit by a few cars along the way, but he finds it. It’s Christmas morning though, so he has to be quick. He finds that inside the children have not awoken to find their gifts yet so he sneaks in. He gets caught in the window, and he’ll get squished by a door too, but he succeeds in placing the gift under the tree. He sees all of the children come running in and out like a tornado. One child is left, who looks just like how Eek imagined Joey earlier. Only, it’s not Joey and he calls for the real Joey to come get his gift. Enter Joey (Cam Clarke), who’s not a little orphan boy at all but a rat. He’s in clothes and stuff, so it’s kind of weird how he fits in socially, but whatever. The present ended up containing his family, so he’s not an orphan at all!

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And that’s what was in the present. They’re certainly a colorful looking bunch.

Eek is happy to have brought Christmas joy to Joey. As he readies to leave he runs into the big man himself – Santa Claus! Santa thanks Eek for delivering that gift for him. Now that Eek’s job is done, he succumbs to the trials of his long, long night and falls asleep in Santa’s arms. He then wakes up back at home, and assumes it was all a dream. He mistakenly moves over to the door to the livingroom and the kids Wendy Elizabeth and J.B. slam the door on him (really Eek, avoid doors) as they attack their tree and leave it barren and beaten. Having retrieved their gifts, they head for the TV while Eek notices a gift underneath the tree addressed to him. It has a letter from Santa affixed to it which thanks him once again for his efforts the prior night. Inside the box is another note which orders him to “open the door.” When he does he’s greeted by all of his friends, including Oslo, who are there to wish him a merry Christmas. Eek got what he wanted for Christmas as well, a Christmas with friends and family – how swell!

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We have to give Santa a little screen time.

So that’s Eek! The Cat’s “It’s a Wonderful Nine Live” Christmas episode. The title is certainly misleading, but I suppose Eek went through most of his nine lives during his harrowing night. The rhyming in the episode is certainly annoying, but at least Eek is so likeable it makes it hard to get mad at him or the show. More annoying is the script’s over-reliance on Eek’s catch phrase “Kumbaya!” which I could do without ever hearing again. In comparison with the other Christmas episode from this series, I feel like this one is a lot uglier. There’s not a lot of detail to the characters and everything looks really cheap. The reveal of Joey I suppose is supposed to be both surprising and funny, but I was mostly indifferent. The voice acting is good though, and the show has a real rock and guitar driven soundtrack which is probably its signature distinction when measured with its peers.

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Eek did a good thing and wound up having a merry Christmas. Mission accomplished?

Is this a good Christmas special? Eh. I suppose if you have fond memories of Eek! The Cat then you’ll probably enjoy revisiting it. I was never a regular viewer of the show, though I must be less cynical with old age as I don’t find the character as annoying as I did when I was younger. The show is not available really anywhere and it absolutely will not be shown on television this holiday season. If you want to give this one a look yourself, it’s easy to find on YouTube and elsewhere since no one seems to care about old Eek the Cat.


Dec. 19 – Stich and Santa!

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Originally aired in Japan on December 24, 2008

Stitch, of Lilo & Stitch fame, is apparently quite popular in Japan. Disney is popular in general over there, but it seems like Stitch struck a chord. He has a lot of Japan exclusive merchandise and his popularity has extended well past the movie from which he originated. In the US, Stitch and his pal Lilo did get an animated series as well as multiple direct-to-video films so it’s not as if he isn’t popular domestically as well. He’s just so popular in Japan that he’s received multiple anime series that ran from 2008-2011. Following that, a series of specials aired with the newest released as recently as 2015. Since then, Stitch has actually switched markets in Asia and gone to China, where a new series launched in 2017.

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Stitch! premiered just over 10 years ago in Japan.

The first of these anime was the Madhouse produced Stitch!. It premiered on October 8, 2008 so happy ten year anniversary to Stitch!. Unlike the American cartoon series, Stitch! is not a continuation of the story started in the film but a reinterpretation. Stitch (Ben Diskin) fell to Earth and is accompanied by Dr. Jumba (Jess Winfield) and Pleakley (Ted Biaselli). He ended up on the island of Izayoi which is near Okinawa where he encounters The Spiritual Stone. He befriends a young girl named Yuna (Eden Riegel), the Lilo of our story, and is promised by The Spiritual Stone to be made the strongest in the universe if he can complete 43 good deeds. Stitch is quite mischievous though, so completing these deeds will not be easy because a bad deed takes away from his total. Pleakley crafts him a counter to keep track of his deeds, and together with Yuna, they set out to complete the task.

Standing in Stitch’s way are other experiments of Dr. Jumba gone rogue. The main villain is Dr. Jacques von Hamsterviel (Kirk Thornton), who looks like a cross between a hamster and a rabbit. He attended college with Jumba and seems to just want more power and he sees a way to attain that via Stitch’s good deed counter, or something. He’s also not a new villain as he premiered in the direct-to-video sequel to the original movie, Stitch. Gantu (Keith Silverstein) from the film works for him after he was dishonorably discharged from the Galactic Federation for bad karaoke and he’s rather incompetent. He has an obsession with an Earth soap opera called The Young and the Stupid, in particular with its lead actress. Also joining them is Reuben (Dave Wittenberg), Experiment 625, who basically just makes comments and sandwiches. He loves sandwiches and he also previously debuted in Stitch.

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Stitch is quite excited about this whole Christmas thing.

Stitch! was first run in Japan, but was also dubbed in English for other regions, though surprisingly the US was not really one of them. Only five episodes aired in the US on Toon Disney before the show was abruptly pulled. It’s possible Disney just felt it was too different from the franchise that is featured here and didn’t want to confuse audiences. Or someone just didn’t like it. The main English cast also was not utilized for the show, but that’s not surprising. As you can imagine, the show has not been released in the US as a result.

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That’s quite a Christmas tree.

The episode opens with Yuna getting ready for Christmas. Stitch has no idea what Christmas is, but Pleakley is happy to inform him since he is an Earth expert and all. He confuses basically all of Earth’s holidays as one and even thinks part of Christmas is the consumption of red-nosed reindeer, which gets Stich quite excited. Venison and presents! His excitement messes up Yuna’s tree decorating, but he refashions it into a facsimile of himself. It’s an improvement. Pleakley did at least get the Santa stuff mostly right, giving Stitch something to look forward to that night. Yuna also gifts her alien friends stockings of their own so that Santa can leave them a present tonight.

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The villains of the show with really only Hamsterviel being an actual villain. Gantu only cares about a soap opera while Reuben is just really into sandwiches.

In space, Hamsterviel is plotting to utilize Christmas to get rid of Stitch. He is planning on masquerading as Santa Claus to gain the trust of the Earth children and Stitch, and launch a plan from there. Reuben and Gantu are expected to help, with Gantu to just seeing this scheme as a means to stop his favorite actress on The Young and the Stupid from getting married. On Earth, Yuna receives a letter from Santa instructing her to meet him in the forest for her Christmas present. She and Stitch are so excited they don’t notice the obvious Hamsterviel stamp on the envelope.

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These kids want their present!

Turns out, more than just Yuna received a letter from Santa as the island’s children are shown heading for the designated spot. Along the way they talk amongst themselves trying to figure out why Santa would change things up. A particularly bratty girl named Penny (Meghan Strange) is the most vocal. When they arrive at the area, Hamsterviel is there floating in an egg-like device dressed as Santa. Gantu is dressed as a reindeer and is playing music while Reuben is just there making sandwiches. Santa Hamsterviel offers the children a cookie, and when they eat it they grow whiskers and buck teeth. It becomes clear they’re under Hamsterviel’s control, but he does still give them presents – sandwiches and plush versions of he and Gantu.

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These kids aren’t very smart if they think that’s Santa.

Not present at the gift ceremony is Yuna, who with Stitch is running late. They’re hopeful that all of the presents aren’t gone. They’re intercepted by Kijimunaa, a little yokai who’s basically a mouth and a pair of nostrils with a mop of hair on top. He witnessed what happened with the kids and warns Yuna and Stitch that it isn’t Santa who’s giving out gifts. They confront Hamsterviel and see the transformed children who threaten to bite them and tickle them with their whiskers. Seeing there isn’t much they can do, Yuna and Stitch retreat to seek the help of Jumba. He’s irate to find out Hamsterviel stole his idea for mind-control cookies so he’s happy to help foil his scheme. He quickly builds a little, golden, cat idol that spits out cookies. These cookies should reverse the mind control Hamsterviel inflicted upon the children.

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Yuna and Stitch are not putting up with this crap, especially not on Christmas Eve!

Armed with the statue, Stitch and Yuna return to the forest where apparently Hamsterviel was content to just hang out and have the kids massage his feet. Stitch jumps around and fires cookies out of the idol at the children who consume them and return to normal. With the spell on them broken, Hamsterviel and company are forced to retreat. As the kids walk back to town, they’re all a bit dismayed they fell for such a scheme. It leads them back to the topic of Santa Claus, and Penny is that kid who wants to spoil everyone’s fun and insists that Santa is their fathers. Stitch is shocked to hear such a thing, but Yuna insists Santa is not their dads. Penny’s response is to point out that of course Santa isn’t Yuna’s dad because her dad is never home (unlike Lilo, Yuna’s dad is alive, he’s just always working so while this is a vicious burn it isn’t as vicious as it would be if she and Lilo shared the same origin) which upsets Yuna and causes her to stop dead in her tracks. She then sadly remarks, mostly to herself, that’s how she knows Santa isn’t her dad because he is never around.

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Santa apparently doesn’t dress lighter when delivering gifts in Hawaii.

At home, Yuna is a bit more upbeat than she was following her encounter with Penny. She writes a letter to Santa, but won’t tell Stitch what’s in it, that she places beside her pillow as she goes to bed. Stitch seems a bit thoughtful, but he too lays down to sleep but is soon awoken by a sound on the roof. He heads outside to find the big man himself, Santa Claus (Dave Wittenberg), on the roof. He thanks Stitch for what he did in stopping Hamsterviel earlier and also asks for his help. Stitch is very eager to help Santa, and the jolly old elf outfits him with his own Santa suit (Stitchy Claus!) and a tiny, one-deer, sleigh. Stitch surprisingly doesn’t seem tempted to eat his lone reindeer and Santa hands him a sack of toys to deliver throughout the island.

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All right, that’s pretty damn cute.

Stitch sets forth and the action unfolds as a montage. He visits most of the kids we saw earlier and places a gift in their stocking, which most seem to hang from their bed (a Hawaiian tradition?). He even gives that jerk Penny a gift, and saves Yuna for last. In the morning, the kids are gathered at Yuna’s house to show off their presents. Yuna got exactly what she wanted, while Penny got a book on how to be nice. Even Hamsterviel is shown as having received a gift – a giant hamster wheel because he’s out of shape. Gantu received a costume from his favorite soap opera, which brings him to tears, while Reuben has decorated their tree with nothing but sandwiches. On Earth, Kijimunaa asks Stitch what Santa got him, which causes Stitch to realise he didn’t receive a gift! He heads back to his room and finds a letter from Santa thanking him for all he’s done. Stitch then checks his good deed counter and watches it increase by five deeds. This excites him quite a bit as he looks to the heavens and the episode ends.

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But this is actually cuter.

“Stitch and Santa” was a pretty charming way for me to get acquainted with this series. Prior to this, I knew it existed but had never sought it out. It looks like a fairly typical anime, while the character designs of the characters we know from the films largely look the same. The voice cast is fine and Hawaii is still a lavish setting. I enjoyed the design of Hamsterviel who is so cute he isn’t threatening and it was interesting to see the new interpretation of Gantu. A lot happens in the 20 minutes the episode lasts to build up to the climax of Stitch helping Santa. There’s something really charming and cute about that whole sequence making it a really nice pay-off following the rather breezy scheme plot.

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Stitch saying “Thank you, Santa” is also pretty adorable. I can’t handle the cuteness!

Since the lore of the show is so different from the film it makes it a bit difficult to just drop-in. Stitch being friendly with Jumba and Pleakley isn’t too odd since that’s basically how the movie ended, though the presence of Yuna is confusing. I at first thought she was just an anime version of Lilo, but obviously I was mistaken. I had no idea about the deed counter though, so Stitch’s ultimate present was a bit of a head-scratcher until I read-up on the series. I’m a little disappointed this didn’t get a US broadcast and release as it seems like it has potential. Because it wasn’t released, it would seem Disney doesn’t care about protecting its asset so this was exceptionally easy to find streaming online. If you like Stitch and want to see a different take on him, go ahead and check it out. There’s enough Christmas feels here to make it a worthwhile holiday viewing experience.


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