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Dec. 17 – Family Guy – “Don’t Be a Dickens at Christmas”

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Christmas comes to Quahog.

So it’s come to this. We’re doing Family Guy. I don’t mean to come across as a snob or some animation elitist (after all, we already did Robot Chicken), but I don’t care for most of Family Guy. That wasn’t always the case. When the show originally aired on Fox I actually liked it quite a bit. And when it came to Cartoon Network I watched it almost every night. The absurdist humor, often relying on shock or surprise, was refreshing for a moment. It came at a good time as The Simpsons was coming off of its high and network animation was kind of flailing. The show was rather ugly and that first season was a bit rough, but I have mostly positive memories of seasons two and three and I have the DVD sets somewhere in my house.

Then, of course, the show made a surprising comeback. DVD sales and Cartoon Network ratings gave Fox enough confidence to order a new season. That new season premiered in 2005, and 14 years later Family Guy appears to be going strong. What changed for me over the years? Well, shock and random humor gets old. The show fell into the trap where it needed to top itself. Have Peter unexpectedly fight a chicken for five minutes? Well, then you to need bring him back and have the fight last for eight minutes! The characters gradually got meaner and less likable. Everyone dumps on Meg to the point where it’s not funny and it feels like there is no joke that is too low. The cut-away gags have become parody at this point as the show apparently decided to double-down when South Park called them out on how lazy those jokes were way back when.

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Like probably a lot of folks, there was a time when Family Guy really appealed to me, but those days are long gone.

It’s not all terrible though. The Stewie and Brian pairing still seems to work and often brings out the best of the show. I’ll give those a watch anytime I notice them. I also still really enjoy the show’s inaugural Christmas episode, “A Very Special Family Guy Freakin’ Christmas” and the double-length “Road to the North Pole” has its moments as well. That gives me some reason for optimism as we tackle today’s episode, “Don’t Be a Dickens at Christmas.” This episode is pretty modern having premiered as part of Season 16 on December 10, 2017. There’s still a chance this could go very wrong, and the title implies yet another parody of A Christmas Carol. I suppose I shouldn’t be surprised that one of television’s least imaginative comedy series would turn to Dickens for a Christmas special, and I’m not. The only surprise is that they held off until Season 16 to do it.

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The Pawtucket Brewery all covered in smog and snow for Christmas.

The episode opens with the standard credits, so this one isn’t scoring any bonus points for a festive intro. We’re immediately taken to the Pawtucket Brewery where Peter (Seth MacFarlane) works. Angela (Carrie Fisher, in her final appearance on the show) is trying to inform the workers that they’re getting out early on account of Christmas, but Peter keeps interrupting her by playing Alice Cooper’s “School’s Out” on an old boom box. This happens three times before Angela just gives up on her speech and tells everyone to go home. As Peter races out, his coworkers turn into the cast of Dazed and Confused. The Matthew McConaughey character is present. When Peter inquires what he’s doing for Christmas, it leads him into a parody of McConaughey’s Lincoln car commercials (remember those?) immediately dating this episode. In the parody, he’s driving around aimlessly with two teens tied up in his backseat (he’s embarking on a “slay” ride). The joke ends with a voiceover saying “Lincoln – What are we doing?” which is a typical way too on the nose joke that this show is frequently guilty of.

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The family is rolling with nontraditional clothes, always a plus.

The setting shifts to the home of the Griffins and everyone is decorating while they await the return of their patriarch. Lois (Alex Borstein) is hanging stockings and points out they always hang a stocking for son Chris’s stillborn twin who was to be named Tmas (thud). Brian (MacFarlane) takes this opportunity to inform the family what he got them all for Christmas – volunteering at a homeless shelter. Chris (Seth Green) and Meg (Mila Kunis) immediately protest while Stewie (MacFarlane) is surprisingly chill with it. Lois resumes her old identity of thoughtful parent and says it’s a lovely gift and will be good for the kids, then punctuates it with a tasteless remark about watching the homeless shit through their pants. Meg fills stockings with Kanye Canes, and it’s another joke that goes on way too long and was never funny. The voiceover from the Lincoln commercial returns to announce the “Family Guy Christmas Special” and again asks “What are we thinking?” I’m thinking you’re having trouble filling out 22 minutes.

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Peter never fails to disappoint his unloved ones.

The family then moves to the lawn when Chris spots Peter’s car speeding towards home. They’re surprisingly giddy about him coming home, but he just speeds by spraying mud on them. Lois lets us know he’s heading for the bar, while Stewie points out he actually had to go out of his way to do this.

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This Norm MacDonald bit is probably the best sequence of the episode.

At the bar, Peter is enjoying some cold ones with his pals Quagmire (MacFarlane), Cleveland (Mike Henry), and Joe (Patrick Warburton) and watching Norm MacDonald (himself) read ‘Twas the Night Before Christmas on television. MacDonald gets hung up on the word ‘Twas and keeps getting sidetracked as he tries to read the story. This is actually solid writing for MacDonald which makes me wonder if he did it himself or if the writers just know Norm well enough to do him right. The bit ends with Norm getting fired and goes into a joke about what Cleveland is doing for Christmas (it’s bad, and will pop up again). Peter then announces he wants to get home before the over-enthusiastic carolers arrive. He’s too late as the carolers enter and quickly overrun the bar, converting Quagmire in the process. They’re depicted almost like a singing horde of zombies. It’s not very funny, but at least it’s not offensive, and that’s basically the bar we’ve established here.

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A gag that’s pretty similar to one from the first Christmas special in which Lois keeps asking Peter to do stuff he doesn’t want to do.

At the Griffin home, we’re “treated” to a long fake commercial for those laser lights people project on their homes at Christmas. This feels like low-hanging fruit. The commercial doesn’t really make fun of the product and instead turns into a joke about blind people. Peter then arrives home and is eager to watch some Patrick Swayze movie, but before his ass hits the couch Lois informs him he has some chores to get done. He literally freezes in place in mid-sitting motion as she reads of a list that begins rather mundanely, and then ventures into absurd territories finishing with her requesting he move the house a few inches. Peter groans and asks if he can do some of it tomorrow, but Lois tells him he can’t because they’re volunteering at the homeless shelter. Peter is angry when he finds out he’s expected to go leading to a fight between the two and Chris fearful that the divorce is finally coming. Lois tells Peter she’s sick of his selfishness and then takes the kids to Newport to spend Christmas with her parents leaving Peter home alone with his Swayze movie. He then does a cut-away about taking a too full bath which doesn’t even come close to landing.

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That’s no Marley.

After a rather lovely exterior shot of the Griffen house in the snow, we find Peter inebriated on his couch watching a Patrick Swayze Christmas movie of some kind. He confesses his love for Swayze, then passes out. As he does, a burst of light fills the room and moves beside the Christmas tree. An ethereal voice beckons him to wake up. Peter opens his eyes and questions if the voice belongs to Santa, only to find out it belongs to Patrick Swayze (Don Swayze, Patrick’s real life brother, provides his voice). Peter is confused as this is 2017 and Swayze is long dead prompting Swayze to ask him if he ever saw Ghost? Swayze tells him he’s here to restore Peter’s Christmas spirit. Peter then goes into his Roadhouse gag from many episodes ago, and Swayze joins him.

After the break, Peter is shown gushing over the ghost of Patrick Swayze and even remarks he wants to run through his hair. Swayze indulges him and Peter is shown prancing like a deer through a brown meadow. He comes out of it to find himself at his home in the year 1970-80-90 when President Richard-Reagan-Clinton was in office. This is actually a clever joke at how these long-running animated series in which the characters are frozen in time have to keep reevaluating when they were born.

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“Look how thin I was!”

Inside the home, Peter and Patrick watch as a young Peter wakes up on Christmas morning. He plays with his new toys, and his mom brings him a plate of cookies for breakfast. Peter remarks how he really had the Christmas spirit back then and wonders how he lost it. He then directs our attention to his friend Holden who enters the room. Peter makes a comments that this is when he could talk, then ponders what happened. We then see him later in life at an airport trying to get to a bathroom. A little girl keeps shouting “Hold it in” and he eventually collapses  on Peter’s floor repeating the phrase until it becomes “Holden.” Peter tells Swayze this is a Game of Thrones joke and says he’d think it’s funny if he hadn’t died before the show premiered.

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Carter’s house is looking pretty nice. Why wouldn’t Peter want to spend Christmas here?

Patrick then takes Peter to the present, as he is playing the role of all of the ghosts apparently. First stop is weather man Ollie Willaims’ (Phil LaMarr) home who just yells at his kid. Next up is the home of Opie (Mark Hentemen), Peter’s co-worker with a severe speech impediment and possible brain injury that results in him mostly being unintelligible. He’s dressed up as Santa and gives his kids presents, then leaves and reappears with his kids apparently completely unaware it was him despite how preposterous that is. He then moves to the window and watches an old man reunite with his family as the theme from Home Alone plays. He then starts to sing it and subtitles appear that just say “Home Alone Theme – We think,” – isn’t making fun of brain damage fun? They then go to Cleveland’s house where Cleveland and his family revisit the joke from earlier of them listening to an R&B record in which it takes the African American singer a ridiculously long amount of time to get through a single syllable. It’s still not funny. Peter remarks that at least they’re together as a family, and Swayze informs him he knows one family that is not.

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Lois probably slept with the butler this night.

We’re taken to Newport, where the rest of Peter’s family is enjoying a meal from Boston Market. Lois’s Dad, Carter (MacFarlane), then mocks the family for doubting the quality of Boston Market, which I guess is a complement to the venerable chain? He then tells them they need to call his grandmother, Nana Pewderschmidt. He puts her on speaker phone and she’s speaking in German. I bet you know where this is going. Carter ends the call once she predictably starts complaining about Jews and then declares it’s time for figgy pudding. As they sit down for dessert, Meg questions her brother if they should call Dirt. Chris thinks she means Dad, but she corrects him that she means Dirt who she describes as some fat guy that sleeps with Lois. Lois is shown having an awkward exchange with a butler, and Peter informs Swayze that she’s using her flirty laugh. He tells Swayze it’s a subtle laugh, and you need to really know her to notice it. We then cut back to Lois who is now grabbing the butler by the face and demanding to see his penis. Cut back to Peter who is still trying to explain the subtlety of the situation. Before he can get more upset he shouts “Oh no, they got Joe!” and the carolers from earlier burst in and now they have both Joe and Quagmire in their ranks.

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I think we all expected this, or something like it, at some point.

Peter is then returned to his home, alone. He declares that Swayze hasn’t scared him, and he soon finds himself transported into the movie Ghost. It’s the infamous pottery wheel scene, only Peter isn’t playing Demi Moore’s part, but is actually the pottery. Swayze is there and tells him he’s now the Ghost of Christmas Yet to Come as he handles Peter’s malleable anatomy. And then we’re off to the future to find Quagmire, Joe, and Cleveland seated at the bar mourning the loss of their friend. Quagmire informs us that Lois had to sell everything to afford the funeral, and he unhappily displays the underwear he bought off of her. Peter is oblivious to who they’re mourning and for some reason assumes it’s a guy named Benjamin.

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Meet Lance. They don’t really do anything with him so there isn’t really a joke here. Lois just found someone a lot more attractive than Peter once he was out of the way.

Patrick then takes Peter to former Griffin household to drive the point home. Lois calls up to her husband to come downstairs pointing out how he’s out of frame. This allows Peter to get excited thinking he may have finally lost weight, but when a guy named Lance comes down instead he declares he must have finally worked up the courage to leave Lois. We now get to see the kids and the first to come downstairs is Chris who declares he’s going to Colombia. He doesn’t mean the school and means the country where he’ll be smuggling drugs in his rectum. Meg then comes downstairs and declares she’s going to Yale and Peter surprisingly gets ahead of the joke and knows she got a job with a lock maker. A very plump Stewie emerges to say he’s going to brown…some sausages for breakfast. Peter is happy his kids got Ivy League puns, but he wants to know where Brian is.

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Peter as a ghost dog fart. You read that correctly.

Swayze then takes Peter to a cemetery where a very old Brian is sleeping beside a tombstone. Peter still doesn’t get it and Patrick has to point out it’s his grave. The born date on the tombstone references the previous 1970-80-90 joke from earlier. He died five years before this moment when his Milf on a Shelf accidentally set his Christmas tree on fire with her cigarette. A ghost Peter then appears and we find out that this ghost is actually a dog fart. You see, people who lose their Christmas spirit and then die become dog farts for all eternity. He then disappears, but Swayze assures him he’ll reappear soon since Brian is a dog of 13. And sure enough, the ghost of Peter does return and warns Peter about his fate. More ghosts appear and they all have something gross to tell him about Brian’s rectum. They surround Peter and spin around causing him to collapse to the ground crying out he doesn’t want this to be.

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Peter using Instagram porn stars as a way of telling what day it is definitely works. He’s the type of guy that probably sends lots of awkward messages to such girls on a daily basis.

Peter then finds himself back at home on Christmas morning. He checks his phone to find that all of the porn girls he follows on Instagram are wearing Santa hats in their pictures which is how he knows it’s Christmas. He names a few of them and refers to them as thirst traps.

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There’s a pair of additional surprises under the tree this year.

We then return to Newport where everyone is opening presents. Meg declares everything is perfect, while Lois seems a bit blue. Chris informs us that every time Carter bends over they can see his genitals which horrifies Stewie. Peter then bursts in looking a bit disheveled carrying a sack full of hastily bought presents. Meg reacts by calling him Dirt, so that clears up some confusion from earlier. He distributes a bunch of awful gifts which his family actually enjoy. Meg is shocked to be given a gift of any kind from her father, who apparently has never bought her anything. Peter and Lois embrace, and then the ghost of Patrick Swayze appears. Peter asks him if there’s anything he can do for him, and Swayze says “Well, there’s one thing in Heaven that Chris Farley won’t do for me,” which leads into Peter and Swayze reenacting the Saturday Night Live bit where he and Farley danced to “Everybody’s Working for the Weekend” as part of the infamous Chippendales sketch.

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This pretty much had to happen.

As the two gyrate and Peter loses his clothes, we see the rest of the family can’t see Patrick or hear the music. Lois instructs them all to just keep opening presents as Peter will eventually tire himself out. Carter then resumes handing out the gifts and everyone grimaces when he bends over. The licensed track returns as we move to an exterior shot of the Pewderschmidt compound. In an effort to fill time, a subtitle appears confessing the writers unironically enjoy the song. They then confirm this is being done to fill time as the episode ends with a festive rendition of “Jingle Bells” over the credits.

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The family’s reaction to Peter’s nearly nude dancing seems a bit overdone. This type of behavior from Peter should be expected.

I had the lowest expectations going into this one. Not only is it an episode of Family Guy, but it’s also a parody of A Christmas Carol. That should mean disaster, but it’s mostly fine. The vast majority of the jokes don’t land. This is a show that believes in quantity over quality as it’s just joke after joke after joke. And there’s no subtlety to any of it. Some of the jokes made me groan, but there were at least a few clever ones. I don’t think anything made me laugh out loud, but there were at least a few that made me smile. The show loves returning to jokes from earlier in the episode and even from previous episodes. This approach can be rewarding, but when the joke wasn’t very funny to begin with it doesn’t really work.

One thing I did enjoy was the use of Patrick Swayze. I was a bit alarmed when he showed up initially as I expected some really tasteless dead celebrity jokes to follow, but they really didn’t go for any of that. Since he was voiced by Swayze’s brother, it’s reasonable to assume that nothing in this episode would have offended the actor. It felt more like a love letter to Swayze as the character of Peter has shown an affection for him in the past. The ending scene of the duo reenacting the Chippendale’s sketch from SNL was actually more sweet than funny, which I enjoyed. It was a rather nice way to end the episode.

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This is a rather fun shot for the episode to go out on.

Family Guy has never been a show that’s all that enjoyable to actually look at, but I do like the seasonal settings in this one. The show has an honesty in how it portrays snow, which is more gray than white as it quickly gets dirtied by the environment. The homes of both the Griffins and Pewderschmidts are tastefully lit and the interior shots are warm and festive.

“Don’t Be a Dickens at Christmas” was merely all right. If I were to find myself in front of the TV watching a lineup of Christmas episodes on Adult Swim I’d probably watch this one. If I were actually seeking out a Christmas episode of Family Guy then I’d still definitely turn to the one from Season 3. My expectations for this show are so low at this point that when an episode doesn’t leave me disgusted it feels like a victory. I suppose that’s not a glowing recommendation, but you could do worse.

If you wish to catch this one on television this year, just keep your eyes open. Family Guy airs all of the time on cable and one of the many networks that airs the show will likely show this one multiple times this month. Of course, we’re getting late in the game here so if you missed it, well there’s always Hulu or various streaming services where you can either rent or buy the episode. I wouldn’t pay money for it, but I’m also not you. I suppose if you’re a fan of Family Guy then you probably like this episode just fine and you’re also probably irritated with me at this point. And that too, is fine.


#14 – A Very Special Family Guy Freakin’ Christmas

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Family Guy: “A Very Special Family Guy Freakin’ Christmas” (2001)

Family Guy might be the first show to be cancelled and then brought back to television a few years later. Shows have gone off the air and come back in different forms or as a sequel series but I don’t know many that were outright cancelled and then brought back really without any changes. The story of Family Guy’s unwillingness to die is probably more interesting than the show itself. When people complain to me about how bad The Simpsons have become I like to point out just how long that show was good and how quickly a show like Family Guy went down the toilet.

The post cancellation seasons for Family Guy seem to get worse each year. Outside of the Simpsons cross-over I really haven’t watched it much over the past few years because it’s just not funny. The first three seasons, however, were pretty damn good. They sustained themselves mostly because the show’s gags had not become overdone just yet and the cut-away bits just felt like a random piece of humor. One of the standout episodes of season 3 is “A Very Special Family Guy Freakin’ Christmas” in which the show is able to tell a Christmas tale without betraying the show’s tone of voice.

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Merry Christmas Stewie!

The episode has a few different plots intertwining with each other. There’s Lois, who’s just trying to make sure her family has a great Christmas (this was before her character was changed to an unlikable, terrible, mother) by doing all of the heavy lifting mothers so often get stuck with. Stewie is trying to wrap his head around the concept of Santa Claus and seems to regard him as a foe, though one who could potentially provide him plutonium. And Peter, who’s just trying to catch his favorite Christmas specials on television (in particular, “Kiss Saves Santa”) but keeps getting roped into doing things he doesn’t want to do. Peter, and the kids, are basically blind to Lois’s plight and take her for granted. When Brian nearly burns the house down (in part due to Peter’s negligence) she snaps and has a nervous breakdown that makes her act like some kind of cross between an ape and The Incredible Hulk. This leads to the climactic scene at the Christmas pageant where Stewie’s Linus moment thaws Lois’s heart, and the police fill her with a bunch of tranquilizers.

Stewie is, of course, acting in his own self interest to get on Santa’s good side and is rewarded in the end. The Griffen family ends up having a merry Christmas in a very Family Guy sort of way. “A Very Special Family Guy Freakin’ Christmas” has enough heart but not at the expense of the laughs. This is a comedy special first and foremost. It’s a bit surprising the show didn’t go into full-on cynic mode with its special, but it’s also probably for the better considering how mean-spirited the show has become in recent years. This special is Family Guy at its best. Peter is a boob but not overly so, Stewie still has some edge, Lois is a good person, and Brian provides some dry humor.

“A Very Special Family Guy Freakin’ Christmas” will probably be shown multiple times on television this year, either on TBS or Cartoon Network. Fox will probably show a more recent, and inferior, Christmas special from the show. The episode is also readily available on DVD as part of Season 3 and as a stand-alone release.


The Best in Televised Animation – Introduction

ARCHIVAL PHOTOProbably 90% of the posts here could be separated into two broad categories:  video games and animation. Thus it would come as no surprise to anyone who has spent even a small sum of time browsing this blog that I love animation, especially the classic hand-drawn kind. I’ve never given much thought as to why I enjoy animation so much. I would guess it’s because animation can do anything, even things live-action cannot. It can imitate real life or do the exact opposite. It’s often a haven for comedy and a natural destination for characters who began life as a comic book.

Animation has spent considerable time on the big screen and on television. As film, animation often takes the form of a general audience picture running around ninety minutes. It of course began life as a short subject often pre-empting a more traditional picture, then Walt Disney came along and decided animation could go feature-length. On television, animation often occupies children’s programming, but select shows have broken through as animated sitcoms and adults-only comedy acts. Trying to narrow down the best animated films and television shows is quite a tall task, which is why this feature is going to concern itself with television for now. This I envision will be a long-running feature. I’ve settled on what I consider to be the ten best animated programs, but there’s always the possibility I could continue to add to it even after I do a write-up on my ten favorites. It’s also possible I never finish. The possibilities are endless!

Before getting to my top 10, I wanted to make an introductory post on the feature and use it as an opportunity to highlight the shows that just missed the cut. My list does not exclude the animation aimed at children and my top ten is almost half kid’s shows and half adult programs. I tried to approach all of them with the same basic questions:  Is the show entertaining? Is the medium used well? Is the artwork pleasing to the eye while suiting the show’s needs? Naturally, the list will be influenced by the era I grew up in, the 80’s and 90’s, so the shows that came before that time are unfairly penalized (though in my opinion, most of the cartoons from that era are garbage). I also didn’t include the package shows like Looney Tunes. I loved those cartoons growing up, but they’re theatrical shorts

With that out of the way, it’s time to hit on the ones that just missed my list. One of the first cartoons I can remember watching daily as a kid is DuckTales. DuckTales was extremely pleasing to the eyes, like just about all of the Disney cartoons from that era, and featured a fun, engaging plot with likable characters and a catchy soundtrack. It holds up pretty well today, but is obviously aimed at children. The show could get redundant as well as the premise for most episodes was Scrooge having to thwart the Beagle Boys, but as far as children’s entertainment goes, it’s hard to beat DuckTales.

Spider-Man has made numerous appearances on television, but the oddest looking is probably the best.

Spider-Man has made numerous appearances on television, but the oddest looking is probably the best.

DuckTales was an adventure program, and another adventure program that’s still fun to this day is Dragon Ball. Hailing from Japan, Dragon Ball tells the tale of Goku who travels the world in search of the seven magic dragon balls. The plot gets more complicated than that as the show moves along, but it’s packed with equal parts action and humor. Since it arrived in the states after its sequel series, Dragon Ball Z, anime dubbing was able to improve and english speaking audiences were treated to a wonderful dub, something that was rare during the 90’s. Dragon Ball Z is the more popular show, but it doesn’t hold a candle to the quality of Dragon Ball.

Superheroes have seen a great many takes on their comics in the world of televised animation. One such character has received numerous adaptations: Marvel’s Amazing Spider-Man. Two adaptations stand-out for the wall crawler, the simply titled Spider-Man from the 1990’s and the more recent Spectacular Spider-Man. The 90’s Spider-Man was a great introduction for kids unfamiliar with the character. It hit on lots of Spidey’s most famous stories from the comics, and even though it was for children, it took itself very seriously. Sometimes too seriously. Spectacular Spider-Man distinguished itself with a unique look. It’s style was a bit off-putting at first, but the animation was crisp and the show packed a ton of energy. Sadly, it was a casualty of the Marvel purchase by Disney and an inferior Spider-Man program took its place.

Superhero shows were quite popular in the 90’s, but one stood out amongst the crowd for its satirical take on the genre. I am, of course, talking about The Tick. The Tick closed out the mega-popular Fox Saturday Morning block of programming and was a particularly zany take on the superhero genre. It was probably too weird and too out there for a lot of kids, but it’s definitely a show that works better on older audiences. So obvious was this fact that Fox attempted a live-action sitcom starring the dim-witted blue hero starring Patrick Warburton. It was not a success.

The Tick was a breath of fresh air coming on the heels of numerous melodramatic superhero cartoons.

The Tick was a breath of fresh air coming on the heels of numerous melodramatic superhero cartoons.

In the world of adult cartoons, Family Guy is pretty popular these days. It was roughly animated when it first showed up, but the increased ratings lead to better production and the show looks much better these days. Unfortunately, like another very famous adult cartoon that I’ll get to much later, its current output is far less creative than the first couple of seasons. Family Guy really only had 2 and a half seasons of good content before the formula became too obvious and the characters unlikable. An even more vulgar program for older audiences, Beavis and Butt-head dominated a small chunk of the 90’s. It was impossible to find a teen that didn’t know who those two were. The show was a lot sharper than most gave it credit for, though the animation was as crude as it comes. It would make a Hell of a nice time capsule kind of show.

When it comes to cartoons not aimed primarily at children though, all present cartoons owe a great deal to The Flintstones. The Flintstones were basically a stone-aged take on The Honeymooners and the first primetime cartoon. It’s premise is clever, and the setting is a good example of one that works far better in animation that it ever could have as live-action (just watch The Flintstones movie if you’re not convinced of that). It’s also a show hurt by the age of your humble writer. I grew up watching The Flintstones in syndication when it aired as just another cartoon among many others. I enjoy it for what it is, but it doesn’t engage me enough to make my top ten. It very nearly did though just on its laurels, but I wanted to go with the programs that I personally enjoy the most, because after all, it is my list.

All of those shows I just mentioned were good at one point or another, though truthfully, other than The Flintstones, it wasn’t hard for me to leave any of them off my list. The ten I have picked as the best really are ten shows I enjoy quite a lot and I look forward to doing write-ups on them as I find time. And now, a few others I considered for this post:  Rugrats, Teenage Mutant Ninja Turtles (2012, 2003), Rocko’s Modern Life, Sealab 2021, Batman Beyond, and Bob’s Burgers.


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