You could suggest it to @THE KINGFISH. If you ask me, his animation skills are improving.
Best TV Episodes Never Made
- Thread starter CountDVB
- Start date
Does he know how to do the Seven Arts artstyle, or at least a sort of Rocky and Bullwinkle or Hanna Barbera-esque limited animation artstyle?
THE KINGFISH
Gone Fishin'
Could I receive a basic drawing of what you guys want that way I get it right the first time?
Well, judging from the short in question, I assume the design should be like this:
But in the artstyle of either one of these:
Would this be a good concept?
Leaning slightly more towards this prototype design, though I prefer the lower lids of the finalized one. Maybe you could even do her more like an actual loon, with black feathers and a darker beak and all that.
This was the general art style of W7 at the time, though the HB and Ward styles could serve as inspiration. Though McKimson’s characters he introduced (read: side characters) were slightly more in the traditional LT art style.
THE KINGFISH
Gone Fishin'
Isn’t the W7 art style the Alex Lovy art style? Because after checking out all the Walter Lantz shorts - even the ones made after 1955 - Lovy had an art style similar to W7 but at Lantz a decade prior.View attachment 900468
Leaning slightly more towards this prototype design, though I prefer the lower lids of the finalized one. Maybe you could even do her more like an actual loon, with black feathers and a darker beak and all that.
This was the general art style of W7 at the time, though the HB and Ward styles could serve as inspiration. Though McKimson’s characters he introduced (read: side characters) were slightly more in the traditional LT art style.
I mean, I guess it is? But I just saw the style. I also said the few McKimson originated characters in this time period were slightly more resembling of the classic style. Slightly.
The Beary Family
Short #29: "TV Teen Scene"
Junior Beary has developed a crush on the newest television starlet, Goldie Locks, and Charlie begrudgingly invites her over on Junior's behalf. Unbeknownst to the two of them, Goldie has a fear of bears, which was spurned by Charlie himself ten years ago.
The premise of this penultimate cartoon came about in 1967, when Paul J. Smith asked Walter Lantz why they don't have Goldilocks in a short starring a family of three bears. Unfortunately, this short is rarely seen nowadays, even on MeTV's rotation, due to the negative connotations it has with stars like Jake Lloyd and Jeanette McCurdy.
Short #29: "TV Teen Scene"
Junior Beary has developed a crush on the newest television starlet, Goldie Locks, and Charlie begrudgingly invites her over on Junior's behalf. Unbeknownst to the two of them, Goldie has a fear of bears, which was spurned by Charlie himself ten years ago.
The premise of this penultimate cartoon came about in 1967, when Paul J. Smith asked Walter Lantz why they don't have Goldilocks in a short starring a family of three bears. Unfortunately, this short is rarely seen nowadays, even on MeTV's rotation, due to the negative connotations it has with stars like Jake Lloyd and Jeanette McCurdy.
The Muppet Show: Jim Henson
Aired: September 1981
Network: CBS
ITTL, the proper finale of the original Muppet Show, and they decide to go out with a bang with a special episode not only seperate from the others, not only airing on CBS rather than syndication, but featuring an EXTRA special guest star. Ironically, he's the inverse of the usual celebrities the show gets, in that he's not only not someone usually seen in front of the camera, not quite a household name, but also someone who's been on EVERY episode of the show... just unseen. That's right, it's the Muppet mega mac daddy himself, none other than Jim Henson, in a complete annihalation of the fourth wall. Included are images and videos that, while they might be less accurate or longer than in here, do give you the jist.
Network: CBS
ITTL, the proper finale of the original Muppet Show, and they decide to go out with a bang with a special episode not only seperate from the others, not only airing on CBS rather than syndication, but featuring an EXTRA special guest star. Ironically, he's the inverse of the usual celebrities the show gets, in that he's not only not someone usually seen in front of the camera, not quite a household name, but also someone who's been on EVERY episode of the show... just unseen. That's right, it's the Muppet mega mac daddy himself, none other than Jim Henson, in a complete annihalation of the fourth wall. Included are images and videos that, while they might be less accurate or longer than in here, do give you the jist.
Cold Open
Pops the doorman, from the season 5 cold opens, patiently waits for the guest star... and waits... and waits. We cut to Scooter, shifting to the season 2-4 type cold open... sort of. Instead of going in the dressing room to announce how many seconds to curtain, he rushes up to Kermit in a panic.
SCOOTER
"Kermit! Kermit! It's fifteen seconds to curtain on the final show and our guest is nowhere to be found!"
KERMIT
"Fifteen seconds?"
Suddenly, Kermit rises into the air, held aloft by none other than his puppeteer, Jim Henson.
JIM HENSON
"We better get a move on, then!"
Jim rushes off with Kermit in tow, leaving Scooter baffled.
This is followed by an extra special extended opening theme, rolling through mainly the season 5 intro beats before heading into Fozzie's comedy act and Kermit's "to introduce our guest star" verse from season 1. And the big finish (which, like season 1, is done in C# major rather than the usual C major of most of the theme) is preceeded by an extra half-verse, straight from the unaired pilot (an early version of the Juliet Prowse episode, not to be confused with The Muppet Valentine Show or Sex and Violence)...
JIM HENSON
"It's very nice to be here, I'm pleased to say hello!"
KERMIT
"But now let's get things started..."
In addition to their verse, Statler and Waldorf get a riff in before the final chorus, like in seasons 2-4.
WALDORF
"We're really gonna miss these guys, aren't we?"
STATLER
"Yeah..." (pulls out a crossbow and shoots it, narrowly missing one of the Muppets offscreen) "But my aim is getting better!"
And for the final note, Gonzo plays the trumpet perfectly for once! He's oddly disappointed. (This is reused from the John Cleese episode, but it seems fitting here for a finale.)
SCOOTER
"Kermit! Kermit! It's fifteen seconds to curtain on the final show and our guest is nowhere to be found!"
KERMIT
"Fifteen seconds?"
Suddenly, Kermit rises into the air, held aloft by none other than his puppeteer, Jim Henson.
JIM HENSON
"We better get a move on, then!"
Jim rushes off with Kermit in tow, leaving Scooter baffled.
This is followed by an extra special extended opening theme, rolling through mainly the season 5 intro beats before heading into Fozzie's comedy act and Kermit's "to introduce our guest star" verse from season 1. And the big finish (which, like season 1, is done in C# major rather than the usual C major of most of the theme) is preceeded by an extra half-verse, straight from the unaired pilot (an early version of the Juliet Prowse episode, not to be confused with The Muppet Valentine Show or Sex and Violence)...
JIM HENSON
"It's very nice to be here, I'm pleased to say hello!"
KERMIT
"But now let's get things started..."
In addition to their verse, Statler and Waldorf get a riff in before the final chorus, like in seasons 2-4.
WALDORF
"We're really gonna miss these guys, aren't we?"
STATLER
"Yeah..." (pulls out a crossbow and shoots it, narrowly missing one of the Muppets offscreen) "But my aim is getting better!"
And for the final note, Gonzo plays the trumpet perfectly for once! He's oddly disappointed. (This is reused from the John Cleese episode, but it seems fitting here for a finale.)
Fozzie Bear
For an opening act, Kermit brings on Fozzie for his comedy. All goes well, and by well I mean poorly. He gets heckled by Statler and Waldorf as per usual, and all in all bombs. And just when he thinks things can't get any worse... he looks down. He's shocked, and looks back to the audience to tell the audience the bad news.
FOZZIE
"There is somebody underneath me."
He then calls Kermit and tells him what he's seen. But he then sees someone under Kermit, too.
FOZZIE
"And you know what, you know what? He's got a beard."
Kermit is unfazed, and informs Fozzie that those are puppeteers, and that they're puppets. Backstage...
GONZO
"He said the P word!"
Everyone flies into a panic at the mention of them being puppets. Back on stage, Kermit and Fozzie continue their chat, Fozzie briefly thinks that the puppeteers "working" them means working FOR them. Kermit sets the record straight, and mentions that's kind of what the show is about tonight. Fozzie walks off in the middle of an existential crisis, and Kermit rises up to reveal Jim Henson once again.
JIM HENSON
"Well, so much for my plans."
Statler and Waldorf feel that things are getting weird, even for them, and decide to leave. However, they're stopped by Jim and Richard Hunt, their performers! (Richard performing Statler and Jim performing Waldorf, respectively.)
JIM HENSON
"I don't think so, guys."
WALDORF
"...this explains a lot."
(Specifically, about how they keep coming back to the theater if they hate the show so much.)
With plans for tonight having to change, Kermit shares his hosting job with Jim (not like he has much of a choice). And since the cat's already out of the bag, Jim decides to move up his intended finale...
Puppet Demonstration
A demonstration on different kinds of puppets, how they’re operated, and even how they’re made. Gonzo and multiple other Muppets trying to derail the demonstration, to no avail.
Afterwards, Jim goes a little into his and Kermit's history, and even bringing out the cast of their debut show, Sam and Friends. Well, three members- Sam himself, Harry the Hipster, and Yorick. Kermit is delighted, until Jim suggests redoing a Sam and Friends sketch. It starts out with Jim bringing up Kermit's old drag persona "Kermeena", which he used in some sketches. Kermit's a little embarrased. Then Jim recalls a sketch with "Kermeena" and Yorick, and gets the idea to have them perform the sketch on the show, much to Kermit's reluctance. This leads into...
I've Grown Accustomed to Your Face
One of multiple times Kermit ISN'T performed by Jim Henson as usual this episode (most spots with Jim and Kermit side by side have Kermit performed by someone else lip syncing to a voiceover of Kermit, for obvious reasons), but this time he doesn't even provide the voice, for the most part. Instead, rather than lip syncing to Rosemary Clooney's recording of the song, Karen Prell performs and voices "Kermeena". While "Kermeena's" singing voice is generally smooth and like Clooney's voice, it does falter and become more Kermit-y when things start going wrong. "Kermeena's" voice continually wavers between beautiful singing voice and Karen Prell's semi-best Kermit impression, before the voice is outright swapped for Jim's Kermit voice as he announces his distaste for the sketch before being pulled away by Yorick, ending the sketch.
Backstage, Miss Piggy has seen the act, and has various conflicting feelings on "Kermeena". Meanwhile, since Kermit is out of the picture, Jim turns his attention to the Whatnots- generic Muppets whose faces can be swapped out to play different roles. This leads into the next sketch…
A Change of Face (UK Spot)
A classic sketch performed on many a variety show to demonstrate the malleability of the Muppets, this is a rare UK spot to not be a song, and to be introduced by the host (in this case Jim). In this version of the sketch, the characters are two live-hand Whatnots- a purple female therapist and her green old man patient (green being selected specifically to fit the “alien” persona near the end of the sketch). And there’s also a different ending- when the therapist realizes she’s reformed her patient’s face upside down, she completely cracks, laughing maniacally and throwing facial features everywhere, including her own.
After the sketch (or the backstage segment in anywhere other than the UK), Fozzie then comes back on stage and attempts to disprove the puppet accusations by pointing out how Kermit rode a bike in The Muppet Movie. Jim then transitions into...
Behind the Scenes
A look behind the scenes of The Muppet Movie, specifically the scenes of Kermit riding a bicycle, as Jim explains how he and his team were able to pull that effect off. He even gives a sneak peek of the bike scene from The Great Muppet Caper, though he refuses to show more or tell how it works. Fozzie is dumbfounded, while Jim introduces the next sketch while Kermit recovers from the last one.
The Swedish Chef
Before this sketch, Jim points out how the Swedish Chef is a type of puppet where one person controls the head and another controls the hands- in this case, a pair of REAL hands! In the sketch, the Swedish Chef is preparing... something slimy and gross. His hands become increasingly uncooperative, to the point where the Chef has to move his hands to their destination with his mouth, and Jim's hands (Jim performing the Chef's head) also have to pitch in, until Frank Oz (who performs the hands) up and quits the sketch, to the confusion and helplessness of the Chef.
Afterwards, Jim talks some about rod-hand puppets, the opposite of live-hand puppets like Swedish Chef, using Gonzo as an example.
Gonzo's Demonstration
Screenshot of a similar demonstration as done on the "Secrets of the Muppets" episode of the Jim Henson Hour.
Gonzo gets a call on the phone, answers it, and then hangs up. Then Jim points out the tape edits and... well, tape required to make that shot work. As Gonzo's hands don't work, they have to cut to another shot and tape Gonzo's hand to the receiver to have him pick up, and do the reverse for the opposite. After several examples of this, Gonzo tried to pick up the receiver, hand up, and then run off in the same shot. This doesn't work, as Gonzo's hand is still stuck.
KERMIT
"Gonzo! You know better than that! Never leave the room while your hand is still taped to the telephone!"
While Kermit laughs as his own joke, Jim sees that Kermit's feeling better. So, he decides to reintroduce an old "friend" to a less-than-willing Kermit...
Mack's Return
This "friend" is Mack, Kermit's old partner from commercials for Claussen's Bread and MacGerry's Sausages. After footage of some of these ads, Mack and Kermit do a similar routine, much to Kermit's dismay. Mack even bullies him when he ACCEPTS the product. But after Kermit falls, Jim points out Mack spent some time with the short end of the stick as well. Mack's mood shifts, as a familiar little girl approaches...
After footage of a Mack and Suzy commercial, Suzy invites Mack to come play. Mack attempts to flee and call the police.
SUZY
"Are you gonna dial one first?"
MACK
"Now, what does that have to do with-" (realization) "Oh no..." (gets struck by lightning)
SUZY
"Strange things happen to people who don't dial one... or people who pick on certain frogs."
"Suzy" takes off her disguise, revealing... Kermit, taking his revenge on Mack! Then Robin comes on stage and asks Jim why The Muppet Show is ending if everyone loves it. Jim explains that it's so they end off on a high note instead of going downhill after runnning for too long. And besides, Jim's working on something else- a passion project of his called...
The Dark Crystal
Jim then shows off some concept art, tells the basic setup, and even shows some footage of The Dark Crystal. Robin finds it a bit creepy...
JIM HENSON
"Well, it's not called The Light Crystal, is it?"
Nobody laughs, and Jim concedes his joke sucked.
Finale
Screenshot of a similar finale scene from the "Secrets of the Muppets" episode of the Jim Henson Hour.
Finally, Gonzo, Miss Piggy, Scooter, and various others all confront Jim and Kermit about the accusations that they're all puppets. Jim responds by telling the cameraman to zoom out, letting the Muppets- and the audience, get a good look at their puppeteers (Dave Goelz in Gonzo's case, Frank Oz for Miss Piggy, Jerry Nelson for the still present Robin, and Richard Hunt for Scooter), who Jim introduces. Of note, Kermit is prophetically handled by Steve Whitmire here- Jim points it out, noting that it's usually him that performs Kermit, as seen earlier in the show, but for shots where Kermit and Jim are next to each other, someone else logically has to work Kermit, with Jim providing prerecorded dialogue.
KERMIT (with Steve Whitmire's Kermit voice)
"Yeah, cause otherwise you could tell I sound a little off."
Then the camera zooms back in again and cuts off the puppeteers. Fozzie comes in and notes he can't see the man underneath him anymore. The others look down and realize the same. Jim points out that with the Muppets, the fantasy always wins.
At the end, Gonzo goes ahead with his initial plans for the finale- BLOW UP THE THEATER (a throwback to the finale of Sam and Friends). While Scooter, Kermit, and Jim object, everyone else agrees with Gonzo's logic- they don't need the set or the equipment anymore, since this is the final episode.
SCOOTER
"My uncle's going to kill me..."
JIM HENSON
"Your uncle? What about my boss? Mr. Grade's gonna be furious!"
The show ends, though not before a final riff from Statler and Waldorf, as their puppets are removed, leaving bare hands.
STATLER
"Y'know, you gotta HAND it to those puppeteers!"
WALDORF
"Yeah, they really come in HANDY!"
~~~
In case you haven't noticed, I got many of these ideas, including the general plotline, from the "Secrets of the Muppets" episode of The Jim Henson Hour, though with other callbacks and my own ideas as well.
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I take it you're a fellow Hensonverse enthusiast? Welcome to the fan club. I myself gave Foghorn Leghorn a revival thanks to Michael Eisner.
The Muppet Show: Jim HensonAired: September 1981
Network: CBS
ITTL, the proper finale of the original Muppet Show, and they decide to go out with a bang with a special episode not only seperate from the others, not only airing on CBS rather than syndication, but featuring an EXTRA special guest star. Ironically, he's the inverse of the usual celebrities the show gets, in that he's not only not someone usually seen in front of the camera, not quite a household name, but also someone who's been on EVERY episode of the show... just unseen. That's right, it's the Muppet mega mac daddy himself, none other than Jim Henson, in a complete annihalation of the fourth wall. Included are images and videos that, while they might be less accurate or longer than in here, do give you the jist.
Cold OpenPops the doorman, from the season 5 cold opens, patiently waits for the guest star... and waits... and waits. We cut to Scooter, shifting to the season 2-4 type cold open... sort of. Instead of going in the dressing room to announce how many seconds to curtain, he rushes up to Kermit in a panic.
SCOOTER
"Kermit! Kermit! It's fifteen seconds to curtain on the final show and our guest is nowhere to be found!"
KERMIT
"Fifteen seconds?"
Suddenly, Kermit rises into the air, held aloft by none other than his puppeteer, Jim Henson.
JIM HENSON
"We better get a move on, then!"
Jim rushes off with Kermit in tow, leaving Scooter baffled.
This is followed by an extra special extended opening theme, rolling through mainly the season 5 intro beats before heading into Fozzie's comedy act and Kermit's "to introduce our guest star" verse from season 1. And the big finish (which, like season 1, is done in C# major rather than the usual C major of most of the theme) is preceeded by an extra half-verse, straight from the unaired pilot (an early version of the Juliet Prowse episode, not to be confused with The Muppet Valentines Show or Sex and Violence)...
JIM HENSON
"It's very nice to be here, I'm pleased to say hello!"
KERMIT
"But now let's get things started..."
In addition to their verse, Statler and Waldorf get a riff in before the final chorus, like in seasons 2-4.
WALDORF
"We're really gonna miss these guys, aren't we?"
STATLER
"Yeah..." (pulls out a crossbow and shoots it, narrowly missing one of the Muppets offscreen) "But my aim is getting better!"
And for the final note, Gonzo plays the trumpet perfectly for once! He's oddly disappointed. (This is reused from the John Cleese episode, but it seems fitting here for a finale.)
Fozzie BearFootage from the World Puppetry Festival, 1980, using a similar routine.
For an opening act, Kermit brings on Fozzie for his comedy. All goes well, and by well I mean poorly. He gets heckled by Statler and Waldorf as per usual, and all in all bombs. And just when he thinks things can't get any worse... he looks down. He's shocked, and looks back to the audience to tell the audience the bad news.
FOZZIE
"There is somebody underneath me."
He then calls Kermit and tells him what he's seen. But he then sees someone under Kermit, too.
FOZZIE
"And you know what, you know what? He's got a beard."
Kermit is unfazed, and informs Fozzie that those are puppeteers, and that they're puppets. Backstage...
GONZO
"He said the P word!"
Everyone flies into a panic at the mention of them being puppets. Back on stage, Kermit and Fozzie continue their chat, Fozzie briefly thinks that the puppeteers "working" them means working FOR them. Kermit sets the record straight, and mentions that's kind of what the show is about tonight. Fozzie walks off in the middle of an existential crisis, and Kermit rises up to reveal Jim Henson once again.
JIM HENSON
"Well, so much for my plans."
Statler and Waldorf feel that things are getting weird, even for them, and decide to leave. However, they're stopped by Jim and Richard Hunt, their performers! (Richard performing Statler and Jim performing Waldorf, respectively.)
JIM HENSON
"I don't think so, guys."
WALDORF
"...this explains a lot."
(Specifically, about how they keep coming back to the theater if they hate the show so much.)
With plans for tonight having to change, Kermit shares his hosting job with Jim (not like he has much of a choice). And since the cat's already out of the bag, Jim decides to move up his intended finale...
Puppet DemonstrationA similar but longer demonstration from 1969.
A demonstration on different kinds of puppets. The main difference from the video, aside from length (2-3 minutes as opposed to 14), is Gonzo and multiple other Muppets trying to derail the demonstration, to no avail.
Afterwards, Jim goes a little into his and Kermit's history, and even bringing out the cast of their debut show, Sam and Friends. Well, three members- Sam himself, Harry the Hipster, and Yorick. Kermit is delighted, until Jim suggests redoing a Sam and Friends sketch. It starts out with Jim bringing up Kermit's old drag persona "Kermeena", which he used in some sketches. Kermit's a little embarrased. Then Jim recalls a sketch with :Kermeena" and Yorick, and gets the idea to have them perform the sketch on the show, much to Kermit's reluctance. This leads into...
I've Grown Accustomed to Your FaceA version of the sketch as performed on the Ed Sullivan Show.
One of multiple times Kermit ISN'T performed by Jim Henson as usual this episode (most spots with Jim and Kermit side by side have Kermit performed by someone else lip syncing to a voiceover of Kermit, for obvious reasons), but this time he doesn't even provide the voice, for the most part. Instead, rather than lip syncing to Rosemary Clooney's recording of the song, Karen Prell performs and voices "Kermeena". While "Kermeena's" singing voice is generally smooth and like Clooney's voice, it does falter and become more Kermit-y when things start going wrong. "Kermeena's" voice continually wavers between beautiful singing voice and Karen Prell's semi-best Kermit impression, before the voice is outright swapped for Jim's Kermit voice as he announces his distaste for the sketch before being pulled away by Yorick, ending the sketch.
Backstage, Miss Piggy has seen the act, and has various conflicting feelings on "Kermeena". On stage, Fozzie attempts to disprove the puppet accusations by pointing out how Kermit rode a bike in The Muppet Movie. Jim then transitions into...
Behind the ScenesOuttakes of The Muppet Movie's bike scene.
A look behind the scenes of The Muppet Movie, specifically the scenes of Kermit riding a bicycle, as Jim explains how he and his team were able to pull that effect off. He even gives a sneak peek of the bike scene from The Great Muppet Caper, though he refuses to show more or tell how it works. Fozzie is dumbfounded, while Jim introduces the next sketch while Kermit recovers from the last one.
The Swedish Chef
Before this sketch, Jim points out how the Swedish Chef is a type of puppet where one person controls the head and another controls the hands- in this case, a pair of REAL hands! In the sketch, the Swedish Chef is preparing... something slimy and gross. His hands become increasingly uncooperative, to the point where the Chef has to move his hands to their destination with his mouth, and Jim's hands (Jim performing the Chef's head) also have to pitch in, until Frank Oz (who performs the hands) up and quits the sketch, to the confusion and helplessness of the Chef.
Afterwards, Jim talks some about rod-hand puppets, the opposite of live-hand puppets like Swedish Chef, using Gonzo as an example.
Gonzo's DemonstrationView attachment 903729
Screenshot of a similar demonstration as done on the "Secrets of the Muppets" episode of the Jim Henson Hour.
Gonzo gets a call on the phone, answers it, and then hangs up. Then Jim points out the tape edits and... well, tape required to make that shot work. As Gonzo's hands don't work, they have to cut to another shot and tape Gonzo's hand to the receiver to have him pick up, and do the reverse for the opposite. After several examples of this, Gonzo tried to pick up the receiver, hand up, and then run off in the same shot. This doesn't work, as Gonzo's hand is still stuck.
KERMIT
"Gonzo! You know better than that! Never leave the room while your hand is still taped to the telephone!"
While Kermit laughs as his own joke, Jim sees that Kermit's feeling better. So, he decides to reintroduce an old "friend" to a less-than-willing Kermit...
Mack's ReturnCommercials with Mack and Kermit.
This "friend" is Mack, Kermit's old partner from commercials for Claussen's Bread and MacGerry's Sausages. After footage of some of these ads, Mack and Kermit do a similar routine, much to Kermit's dismay. Mack even bullies him when he ACCEPTS the product. But after Kermit falls, Jim points out Mack spent some time with the short end of the stick as well. Mack's mood shifts, as a familiar little girl approaches...
Commercials with Mack and Suzy.
Mack and Suzy commercials
There needs to be a commercial where Mack refuses to use the telephone directory or dial 1 and all that, and Suzy refuses to eat Claussen's Bread and McGarry...youtu.be
After footage of a Mack and Suzy commercial, Suzy invites Mack to come play. Mack attempts to flee and call the police.
SUZY
"Are you gonna dial one first?"
MACK
"Now, what does that have to do with-" (realization) "Oh no..." (gets struck by lightning)
SUZY
"Strange things happen to people who don't dial one... or people who pick on certain frogs."
"Suzy" takes off her disguise, revealing... Kermit, taking his revenge on Mack! Then Robin comes on stage and asks Jim why The Muppet Show is ending if everyone loves it. Jim explains that it's so they end off on a high note instead of going downhill after runnning for too long. And besides, Jim's working on something else- a passion project of his called...
The Dark CrystalA special on the making of The Dark Crystal. Obviously not shown in full.
The World of The Dark Crystal (The Making of the Dark Crystal)
The making of The Dark Crystal special feature from the collectors DVD
Jim then shows off some concept art, tells the basic setup, and even shows some footage of The Dark Crystal. Robin finds it a bit creepy...
JIM HENSON
"Well, it's not called The Light Crystal, is it?"
Nobody laughs, and Jim concedes his joke sucked.
FinaleView attachment 903745
Screenshot of a similar finale scene from the "Secrets of the Muppets" episode of the Jim Henson Hour.
Finally, Gonzo, Miss Piggy, Scooter, and various others all confront Jim and Kermit about the accusations that they're all puppets. Jim responds by telling the cameraman to zoom out, letting the Muppets- and the audience, get a good look at their puppeteers (Dave Goelz in Gonzo's case, Frank Oz for Miss Piggy, Jerry Nelson for the still present Robin, and Richard Hunt for Scooter), who Jim introduces. Of note, Kermit is prophetically handled by Steve Whitmire here- Jim points it out, noting that it's usually him that performs Kermit, as seen earlier in the show, but for shots where Kermit and Jim are next to each other, someone else logically has to work Kermit, with Jim providing prerecorded dialogue.
KERMIT (with Steve Whitmire's Kermit voice)
"Yeah, cause otherwise you could tell I sound a little off."
Then the camera zooms back in again and cuts off the puppeteers. Fozzie comes in and notes he can't see the man underneath him anymore. The others look down and realize the same. Jim points out that with the Muppets, the fantasy always wins.
At the end, Gonzo goes ahead with his initial plans for the finale- BLOW UP THE THEATER (a throwback to the finale of Sam and Friends). While Scooter, Kermit, and Jim object, everyone else agrees with Gonzo's logic- they don't need the set or the equipment anymore, since this is the final episode.
SCOOTER
"My uncle's going to kill me..."
JIM HENSON
"Your uncle? What about my boss? Mr. Grade's gonna be furious!"
The show ends, though not before a final riff from Statler and Waldorf, as their puppets are removed, leaving bare hands.
STATLER
"Y'know, you gotta HAND it to those puppeteers!"
WALDORF
"Yeah, they really come in HANDY!"
~~~
In case you haven't noticed, I got many of these ideas, including the general plotline, from the "Secrets of the Muppets" episode of The Jim Henson Hour, though with other callbacks and my own ideas as well.
Yep and that can be a general episode idea not tied in with the hensonverse (since I don’t creatively deal with that anymore)
The Muppet Show: Jim HensonAired: September 1981
Network: CBS
ITTL, the proper finale of the original Muppet Show, and they decide to go out with a bang with a special episode not only seperate from the others, not only airing on CBS rather than syndication, but featuring an EXTRA special guest star. Ironically, he's the inverse of the usual celebrities the show gets, in that he's not only not someone usually seen in front of the camera, not quite a household name, but also someone who's been on EVERY episode of the show... just unseen. That's right, it's the Muppet mega mac daddy himself, none other than Jim Henson, in a complete annihalation of the fourth wall. Included are images and videos that, while they might be less accurate or longer than in here, do give you the jist.
Cold OpenPops the doorman, from the season 5 cold opens, patiently waits for the guest star... and waits... and waits. We cut to Scooter, shifting to the season 2-4 type cold open... sort of. Instead of going in the dressing room to announce how many seconds to curtain, he rushes up to Kermit in a panic.
SCOOTER
"Kermit! Kermit! It's fifteen seconds to curtain on the final show and our guest is nowhere to be found!"
KERMIT
"Fifteen seconds?"
Suddenly, Kermit rises into the air, held aloft by none other than his puppeteer, Jim Henson.
JIM HENSON
"We better get a move on, then!"
Jim rushes off with Kermit in tow, leaving Scooter baffled.
This is followed by an extra special extended opening theme, rolling through mainly the season 5 intro beats before heading into Fozzie's comedy act and Kermit's "to introduce our guest star" verse from season 1. And the big finish (which, like season 1, is done in C# major rather than the usual C major of most of the theme) is preceeded by an extra half-verse, straight from the unaired pilot (an early version of the Juliet Prowse episode, not to be confused with The Muppet Valentines Show or Sex and Violence)...
JIM HENSON
"It's very nice to be here, I'm pleased to say hello!"
KERMIT
"But now let's get things started..."
In addition to their verse, Statler and Waldorf get a riff in before the final chorus, like in seasons 2-4.
WALDORF
"We're really gonna miss these guys, aren't we?"
STATLER
"Yeah..." (pulls out a crossbow and shoots it, narrowly missing one of the Muppets offscreen) "But my aim is getting better!"
And for the final note, Gonzo plays the trumpet perfectly for once! He's oddly disappointed. (This is reused from the John Cleese episode, but it seems fitting here for a finale.)
Fozzie BearFootage from the World Puppetry Festival, 1980, using a similar routine.
For an opening act, Kermit brings on Fozzie for his comedy. All goes well, and by well I mean poorly. He gets heckled by Statler and Waldorf as per usual, and all in all bombs. And just when he thinks things can't get any worse... he looks down. He's shocked, and looks back to the audience to tell the audience the bad news.
FOZZIE
"There is somebody underneath me."
He then calls Kermit and tells him what he's seen. But he then sees someone under Kermit, too.
FOZZIE
"And you know what, you know what? He's got a beard."
Kermit is unfazed, and informs Fozzie that those are puppeteers, and that they're puppets. Backstage...
GONZO
"He said the P word!"
Everyone flies into a panic at the mention of them being puppets. Back on stage, Kermit and Fozzie continue their chat, Fozzie briefly thinks that the puppeteers "working" them means working FOR them. Kermit sets the record straight, and mentions that's kind of what the show is about tonight. Fozzie walks off in the middle of an existential crisis, and Kermit rises up to reveal Jim Henson once again.
JIM HENSON
"Well, so much for my plans."
Statler and Waldorf feel that things are getting weird, even for them, and decide to leave. However, they're stopped by Jim and Richard Hunt, their performers! (Richard performing Statler and Jim performing Waldorf, respectively.)
JIM HENSON
"I don't think so, guys."
WALDORF
"...this explains a lot."
(Specifically, about how they keep coming back to the theater if they hate the show so much.)
With plans for tonight having to change, Kermit shares his hosting job with Jim (not like he has much of a choice). And since the cat's already out of the bag, Jim decides to move up his intended finale...
Puppet DemonstrationA similar but longer demonstration from 1969.
A demonstration on different kinds of puppets. The main difference from the video, aside from length (2-3 minutes as opposed to 14), is Gonzo and multiple other Muppets trying to derail the demonstration, to no avail.
Afterwards, Jim goes a little into his and Kermit's history, and even bringing out the cast of their debut show, Sam and Friends. Well, three members- Sam himself, Harry the Hipster, and Yorick. Kermit is delighted, until Jim suggests redoing a Sam and Friends sketch. It starts out with Jim bringing up Kermit's old drag persona "Kermeena", which he used in some sketches. Kermit's a little embarrased. Then Jim recalls a sketch with :Kermeena" and Yorick, and gets the idea to have them perform the sketch on the show, much to Kermit's reluctance. This leads into...
I've Grown Accustomed to Your FaceA version of the sketch as performed on the Ed Sullivan Show.
One of multiple times Kermit ISN'T performed by Jim Henson as usual this episode (most spots with Jim and Kermit side by side have Kermit performed by someone else lip syncing to a voiceover of Kermit, for obvious reasons), but this time he doesn't even provide the voice, for the most part. Instead, rather than lip syncing to Rosemary Clooney's recording of the song, Karen Prell performs and voices "Kermeena". While "Kermeena's" singing voice is generally smooth and like Clooney's voice, it does falter and become more Kermit-y when things start going wrong. "Kermeena's" voice continually wavers between beautiful singing voice and Karen Prell's semi-best Kermit impression, before the voice is outright swapped for Jim's Kermit voice as he announces his distaste for the sketch before being pulled away by Yorick, ending the sketch.
Backstage, Miss Piggy has seen the act, and has various conflicting feelings on "Kermeena". On stage, Fozzie attempts to disprove the puppet accusations by pointing out how Kermit rode a bike in The Muppet Movie. Jim then transitions into...
Behind the ScenesOuttakes of The Muppet Movie's bike scene.
A look behind the scenes of The Muppet Movie, specifically the scenes of Kermit riding a bicycle, as Jim explains how he and his team were able to pull that effect off. He even gives a sneak peek of the bike scene from The Great Muppet Caper, though he refuses to show more or tell how it works. Fozzie is dumbfounded, while Jim introduces the next sketch while Kermit recovers from the last one.
The Swedish Chef
Before this sketch, Jim points out how the Swedish Chef is a type of puppet where one person controls the head and another controls the hands- in this case, a pair of REAL hands! In the sketch, the Swedish Chef is preparing... something slimy and gross. His hands become increasingly uncooperative, to the point where the Chef has to move his hands to their destination with his mouth, and Jim's hands (Jim performing the Chef's head) also have to pitch in, until Frank Oz (who performs the hands) up and quits the sketch, to the confusion and helplessness of the Chef.
Afterwards, Jim talks some about rod-hand puppets, the opposite of live-hand puppets like Swedish Chef, using Gonzo as an example.
Gonzo's DemonstrationView attachment 903729
Screenshot of a similar demonstration as done on the "Secrets of the Muppets" episode of the Jim Henson Hour.
Gonzo gets a call on the phone, answers it, and then hangs up. Then Jim points out the tape edits and... well, tape required to make that shot work. As Gonzo's hands don't work, they have to cut to another shot and tape Gonzo's hand to the receiver to have him pick up, and do the reverse for the opposite. After several examples of this, Gonzo tried to pick up the receiver, hand up, and then run off in the same shot. This doesn't work, as Gonzo's hand is still stuck.
KERMIT
"Gonzo! You know better than that! Never leave the room while your hand is still taped to the telephone!"
While Kermit laughs as his own joke, Jim sees that Kermit's feeling better. So, he decides to reintroduce an old "friend" to a less-than-willing Kermit...
Mack's ReturnCommercials with Mack and Kermit.
This "friend" is Mack, Kermit's old partner from commercials for Claussen's Bread and MacGerry's Sausages. After footage of some of these ads, Mack and Kermit do a similar routine, much to Kermit's dismay. Mack even bullies him when he ACCEPTS the product. But after Kermit falls, Jim points out Mack spent some time with the short end of the stick as well. Mack's mood shifts, as a familiar little girl approaches...
Commercials with Mack and Suzy.Mack and Suzy commercials
There needs to be a commercial where Mack refuses to use the telephone directory or dial 1 and all that, and Suzy refuses to eat Claussen's Bread and McGarry...
After footage of a Mack and Suzy commercial, Suzy invites Mack to come play. Mack attempts to flee and call the police.
SUZY
"Are you gonna dial one first?"
MACK
"Now, what does that have to do with-" (realization) "Oh no..." (gets struck by lightning)
SUZY
"Strange things happen to people who don't dial one... or people who pick on certain frogs."
"Suzy" takes off her disguise, revealing... Kermit, taking his revenge on Mack! Then Robin comes on stage and asks Jim why The Muppet Show is ending if everyone loves it. Jim explains that it's so they end off on a high note instead of going downhill after runnning for too long. And besides, Jim's working on something else- a passion project of his called...
The Dark CrystalA special on the making of The Dark Crystal. Obviously not shown in full.The World of The Dark Crystal (The Making of the Dark Crystal)
The making of The Dark Crystal special feature from the collectors DVD
Jim then shows off some concept art, tells the basic setup, and even shows some footage of The Dark Crystal. Robin finds it a bit creepy...
JIM HENSON
"Well, it's not called The Light Crystal, is it?"
Nobody laughs, and Jim concedes his joke sucked.
FinaleView attachment 903745
Screenshot of a similar finale scene from the "Secrets of the Muppets" episode of the Jim Henson Hour.
Finally, Gonzo, Miss Piggy, Scooter, and various others all confront Jim and Kermit about the accusations that they're all puppets. Jim responds by telling the cameraman to zoom out, letting the Muppets- and the audience, get a good look at their puppeteers (Dave Goelz in Gonzo's case, Frank Oz for Miss Piggy, Jerry Nelson for the still present Robin, and Richard Hunt for Scooter), who Jim introduces. Of note, Kermit is prophetically handled by Steve Whitmire here- Jim points it out, noting that it's usually him that performs Kermit, as seen earlier in the show, but for shots where Kermit and Jim are next to each other, someone else logically has to work Kermit, with Jim providing prerecorded dialogue.
KERMIT (with Steve Whitmire's Kermit voice)
"Yeah, cause otherwise you could tell I sound a little off."
Then the camera zooms back in again and cuts off the puppeteers. Fozzie comes in and notes he can't see the man underneath him anymore. The others look down and realize the same. Jim points out that with the Muppets, the fantasy always wins.
At the end, Gonzo goes ahead with his initial plans for the finale- BLOW UP THE THEATER (a throwback to the finale of Sam and Friends). While Scooter, Kermit, and Jim object, everyone else agrees with Gonzo's logic- they don't need the set or the equipment anymore, since this is the final episode.
SCOOTER
"My uncle's going to kill me..."
JIM HENSON
"Your uncle? What about my boss? Mr. Grade's gonna be furious!"
The show ends, though not before a final riff from Statler and Waldorf, as their puppets are removed, leaving bare hands.
STATLER
"Y'know, you gotta HAND it to those puppeteers!"
WALDORF
"Yeah, they really come in HANDY!"
~~~
In case you haven't noticed, I got many of these ideas, including the general plotline, from the "Secrets of the Muppets" episode of The Jim Henson Hour, though with other callbacks and my own ideas as well.
Actually, I don’t deal with it much. I had heard of that idea, and even seen a separate fan episode on YT. And really, it’s the perfect idea for a grand finale- a look behind the curtain.
The Jim Henson hour season 2 episode 3 romance (timeline 96)
Camila heads into the studio and clucks a bit looking for gonzo
Gonzo-“Woah Camilla didn’t expect you to see you here honey.-“
Camilla clucks
Gonzo-“Well you’re just in time as well,
because today Kermit put me in charge of the opening so watch this.-“
Gonzo turns his head
Gonzo-“Digit!-“
Digit-“Yeah?
Gonzo-“Cue the intro!-“
Digit-“Will do.-“
the usual intro for the Jim Henson hour plays
Jim Henson-“Hello and welcome to our show for today,
on today is a look into the honeymoon of our most valuable crew member at muppet tv the great Gonzo with his longtime wife Camilla and we look into another blooming romance with our showcase of Wall-E but first Clifford are you and the solid foam ready for the music number?-“
Clifford-“All ready and waiting boss,
Best gather up the guys and get ready before I crash out.-“
*muppet tv section airs as normal with the opening number being a cover of six months in a leaky boat by solid foam the Barbie and Ken parody sketch being a parody of Disney’s reaction to the flop of the black cauldron which Kermit turns off quickly so as to not upset Camilla who afterwards get proposed to by Gonzo which she accepts and the closing bit of muppet tv is the guys planning out Gonzo and Camilla’s wedding and a parody of sixteen candles to name a few
Jim Henson-“Who knew that romance would be a high priority here,
the next bit of the show we actually had to expand in order to accommodate for this story over here the team at Pixar and I were initially hesitant to air this in it’s entirety but when our producer John Lasseter told me the basic premise I was pretty much like why not air it at the cost of an expansion of the second half so here is the cosmically stunning tale of Wall-E and do bring some tissues I know I had to when I watched the rough cut before this episode.-“
*insert the entire timeline 96 version of the Wall-E movie here
Gonzo and Camilla appear before Jim after the airing
Gonzo-“Oo oo oo boss boss.-“
Jim Henson-“Yes Gonzo?
Gonzo-“Camilla and i were just wondering if you and your family would like to attend the wedding?-“
Jim Henson-“For you Gonzo,
I would love to but who is going to host the next episode while i’m…..
*a light bulb appears above his head
Jim Henson-“Join us next week for the storyteller episode the twelve brothers and a special interview done by Bean bunny with Mark Mothersbaugh see you then.-“
*credits roll followed by the Jim Henson productions and Pixar animation studios logos
Camila heads into the studio and clucks a bit looking for gonzo
Gonzo-“Woah Camilla didn’t expect you to see you here honey.-“
Camilla clucks
Gonzo-“Well you’re just in time as well,
because today Kermit put me in charge of the opening so watch this.-“
Gonzo turns his head
Gonzo-“Digit!-“
Digit-“Yeah?
Gonzo-“Cue the intro!-“
Digit-“Will do.-“
the usual intro for the Jim Henson hour plays
Jim Henson-“Hello and welcome to our show for today,
on today is a look into the honeymoon of our most valuable crew member at muppet tv the great Gonzo with his longtime wife Camilla and we look into another blooming romance with our showcase of Wall-E but first Clifford are you and the solid foam ready for the music number?-“
Clifford-“All ready and waiting boss,
Best gather up the guys and get ready before I crash out.-“
*muppet tv section airs as normal with the opening number being a cover of six months in a leaky boat by solid foam the Barbie and Ken parody sketch being a parody of Disney’s reaction to the flop of the black cauldron which Kermit turns off quickly so as to not upset Camilla who afterwards get proposed to by Gonzo which she accepts and the closing bit of muppet tv is the guys planning out Gonzo and Camilla’s wedding and a parody of sixteen candles to name a few
Jim Henson-“Who knew that romance would be a high priority here,
the next bit of the show we actually had to expand in order to accommodate for this story over here the team at Pixar and I were initially hesitant to air this in it’s entirety but when our producer John Lasseter told me the basic premise I was pretty much like why not air it at the cost of an expansion of the second half so here is the cosmically stunning tale of Wall-E and do bring some tissues I know I had to when I watched the rough cut before this episode.-“
*insert the entire timeline 96 version of the Wall-E movie here
Gonzo and Camilla appear before Jim after the airing
Gonzo-“Oo oo oo boss boss.-“
Jim Henson-“Yes Gonzo?
Gonzo-“Camilla and i were just wondering if you and your family would like to attend the wedding?-“
Jim Henson-“For you Gonzo,
I would love to but who is going to host the next episode while i’m…..
*a light bulb appears above his head
Jim Henson-“Join us next week for the storyteller episode the twelve brothers and a special interview done by Bean bunny with Mark Mothersbaugh see you then.-“
*credits roll followed by the Jim Henson productions and Pixar animation studios logos
I did some proofreading and even added a sketch I wanted to add, but forgot. (Since it wasn't in the original, I decided to make it one of the UK spots.)
What's the best segment?
Jeez, I don't know if I can ever pick a favorite. I guess it would be the fifth-wall breaking (because they've done enough fourth-wall breaking this episode) between Jim and Waldorf, the callbacks to Sam and Friends and those even older commercials, and the preview of The Dark Crystal.
As for my favorite fifth-wall break? It would have to be when Jim mentioned Lew Grade by last-name.
All in all, this is a must-watch for any Muppet fan.
Looney Tunes: Kanga Roo (1967-1969)
IOTL, there were two new Looney Tunes characters introduced in 1967- Cool Cat and Merlin the Magic Mouse. But in this timeline, there were three.
Kanga Roo was created during an early brainstorming session for potential new characters. The then-unnamed kangaroo character, initially male, proved a favorite due to the design. However, as the setup proved quite similar to the new Cool Cat series, the decision was made to differentiate the two by making Kanga female. A female cartoon star was a rarity for theatrical animation at the time, but not completely unheard of. Disney had Minnie Mouse and Daisy Duck, distaff counterparts to its major cartoon stars. Warner themselves did the same with Petunia Pig and Honey Bunny (the latter of which never appeared in any cartoons). Paramount had upped the ante with a multitude of female solo cartoons, such as Betty Boop, Little Lulu, Little Audrey, and the new Honey Halfwitch character. Combined with the rise of feminism, and the time was ripe for the next generation of Looney Tunes to feature its own leading lady. And Kanga Roo would go on to become the most beloved of these new W7 characters… though that’s not saying much. That’s essentially saying she has a small cult following and her shorts are mostly seen as okay to decent.
Characters
Kanga Roo - Voiced by Julie Bennett in an attempted Aussie accent that, outside of Australian slang, sounded more like a Cockney accent. She was a generally happy-go-lucky kangaroo, although she could show a Bugs-esque trickster side to her when provoked. Her “gimmick”, aside from being as Australian as Speedy Gonzales was Mexican (“G’day, mate”, “crikey”, “shrimp on the barbie”), was her jumping ability- she could jump either really high up or really far outward. Her landings were also known to shake the ground due to their force. In addition, her shirt pouch was able to store a wide variety of objects, regardless of if they were able to fit inside or not.
Hunter King - Voiced by Daws Butler and later Larry Storch in a similar Aussie-Cockney accent to Kanga’s. The antagonist and, true to form, a hunter. He was basically the same as Colonel Rimfire, but fat, black mustached, and Australian. He looked to snag a kangaroo such as Kanga, but was a terrible hunter who constantly kept getting outwitted.
Karla Koala - Also voiced by Julie Bennett who by this point gave up and gave the character a British accent. While she had existed in prototype form as ”Mrs. Koala” in the first short, she was promoted to recurring character and given more development in later shorts in order to give Kanga another character to bounce off of. Karla was a very feminine character to contrast the more tomboyish Kanga; a sweet and soft spoken individual who nevertheless often displayed an amazing amount of strength. Essentially, Constance Koala from IOTL’s Taz-Mania, though less stout and more short.
Hunter King - Voiced by Daws Butler and later Larry Storch in a similar Aussie-Cockney accent to Kanga’s. The antagonist and, true to form, a hunter. He was basically the same as Colonel Rimfire, but fat, black mustached, and Australian. He looked to snag a kangaroo such as Kanga, but was a terrible hunter who constantly kept getting outwitted.
Karla Koala - Also voiced by Julie Bennett who by this point gave up and gave the character a British accent. While she had existed in prototype form as ”Mrs. Koala” in the first short, she was promoted to recurring character and given more development in later shorts in order to give Kanga another character to bounce off of. Karla was a very feminine character to contrast the more tomboyish Kanga; a sweet and soft spoken individual who nevertheless often displayed an amazing amount of strength. Essentially, Constance Koala from IOTL’s Taz-Mania, though less stout and more short.
Running Gags
Yes, there were plenty of them. A common criticism of these shorts in particular is how often they repeat the same gags in every short.
The Upside Down Beginning - In the beginning of each cartoon, we get a view of the outback landscape, upside down because Land Down Under. Kanga hops on screen smiling, and then the camera rights itself. Kanga then says “G’day, mates!” and introduces herself. In Alex Lovy’s shorts with the character, Kanga does a slightly different action when she appears on screen, or after the camera rights itself. In Robert McKimson’s shorts, meanwhile, a character falls off the upside down ground, only to fall back on it after the camera rights itself.
Boomerang Catch Gag - Hunter “plays catch” with Kanga, throwing a boomerang toward something obviously dangerous in the hopes that Kanga will follow it and either lead her to her doom, or she’ll stop, allowing him to catch her. However, just short of the point of no return, the boomerang changes direction, flying back to Hunter and hitting him in the face, knocking him on his back. Kanga, following the boomerang, then hops onto Hunter and grabs the boomerang.
Pouch Gag - Kanga needs a specific object, so she looks through her shirt pouch to find it. Twice she accidentally grabs the wrong item and tosses it aside, before grabbing the right item the third time.
Crocodile Whistle Gag - When Hunter has Kanga cornered, she whistles and a swarm of crocodiles latch onto Hunter, distracting him and allowing her to escape.
Into the Sunset - Pretty much every cartoon ends with a view of someone or something, usually Kanga, in silhouette going towards the setting sun as Kanga’s theme song plays.
The Upside Down Beginning - In the beginning of each cartoon, we get a view of the outback landscape, upside down because Land Down Under. Kanga hops on screen smiling, and then the camera rights itself. Kanga then says “G’day, mates!” and introduces herself. In Alex Lovy’s shorts with the character, Kanga does a slightly different action when she appears on screen, or after the camera rights itself. In Robert McKimson’s shorts, meanwhile, a character falls off the upside down ground, only to fall back on it after the camera rights itself.
Boomerang Catch Gag - Hunter “plays catch” with Kanga, throwing a boomerang toward something obviously dangerous in the hopes that Kanga will follow it and either lead her to her doom, or she’ll stop, allowing him to catch her. However, just short of the point of no return, the boomerang changes direction, flying back to Hunter and hitting him in the face, knocking him on his back. Kanga, following the boomerang, then hops onto Hunter and grabs the boomerang.
Pouch Gag - Kanga needs a specific object, so she looks through her shirt pouch to find it. Twice she accidentally grabs the wrong item and tosses it aside, before grabbing the right item the third time.
Crocodile Whistle Gag - When Hunter has Kanga cornered, she whistles and a swarm of crocodiles latch onto Hunter, distracting him and allowing her to escape.
Into the Sunset - Pretty much every cartoon ends with a view of someone or something, usually Kanga, in silhouette going towards the setting sun as Kanga’s theme song plays.
Shorts
Kanga Roo
Release Date: October 21, 1967
Director: Alex Lovy
The first cartoon with the character, and definitely an “introductory” short. It’s a standard spot gag cartoon with Hunter in the Australian outback trying to capture Kanga, and Kanga outsmarting him at every turn. Outside of its plotlessness compared to the other shorts, Kanga’s debut short is most notable for the inclusion of her theme song. Much like the other W7 characters Cool Cat, Merlin the Magic Mouse, and Bunny and Claude, Kanga Roo had a theme song used as a leitmotif throughout her series. Much like Cool Cat and Bunny and Claude, this song had lyrics, and much like Cool Cat, these lyrics were only heard in her debut outing. However, this song is notable for being included at the end of the short alongside the beginning, and was catchier than all of the other theme songs. (“They call her Kanga Roo… hoppin’ round like the kangas do…”)
Upside Down Beginning - Kanga waves after the camera rights itself. She also doesn’t greet the audience afterwards, instead letting her theme song explain who she is for us.
Boomerang Catch Gag - Used once, as Hunter tries to lead Kanga over a cliff, but fails.
Pouch Gag - Used twice, though surprisingly never played straight- evidently they were still finding their footing. In the first gag, Hunter has her cornered, so Kanga tries to find something in her pouch to help get her out of this predicament- not anything specific, just something to help her. It also takes her way more than three tries to get to something useful, and as she throws them all aside, they hit Hunter in the face, eventually knocking him out. By the time she’s found something useful, Hunter is unconscious. The second time, she tries to get out her trusty crocodile whistle. She only messes up once instead of twice, taking out a didgeridoo, and then puts it back in her pouch instead of tossing it aside- but not before playing it a little. Speaking of which…
Crocodile Whistle Gag - Only used once, and again with a specific crocodile whistle rather than her just whistling.
Into the Sunset - Kanga hops alone into the sunset.
Director: Alex Lovy
The first cartoon with the character, and definitely an “introductory” short. It’s a standard spot gag cartoon with Hunter in the Australian outback trying to capture Kanga, and Kanga outsmarting him at every turn. Outside of its plotlessness compared to the other shorts, Kanga’s debut short is most notable for the inclusion of her theme song. Much like the other W7 characters Cool Cat, Merlin the Magic Mouse, and Bunny and Claude, Kanga Roo had a theme song used as a leitmotif throughout her series. Much like Cool Cat and Bunny and Claude, this song had lyrics, and much like Cool Cat, these lyrics were only heard in her debut outing. However, this song is notable for being included at the end of the short alongside the beginning, and was catchier than all of the other theme songs. (“They call her Kanga Roo… hoppin’ round like the kangas do…”)
Upside Down Beginning - Kanga waves after the camera rights itself. She also doesn’t greet the audience afterwards, instead letting her theme song explain who she is for us.
Boomerang Catch Gag - Used once, as Hunter tries to lead Kanga over a cliff, but fails.
Pouch Gag - Used twice, though surprisingly never played straight- evidently they were still finding their footing. In the first gag, Hunter has her cornered, so Kanga tries to find something in her pouch to help get her out of this predicament- not anything specific, just something to help her. It also takes her way more than three tries to get to something useful, and as she throws them all aside, they hit Hunter in the face, eventually knocking him out. By the time she’s found something useful, Hunter is unconscious. The second time, she tries to get out her trusty crocodile whistle. She only messes up once instead of twice, taking out a didgeridoo, and then puts it back in her pouch instead of tossing it aside- but not before playing it a little. Speaking of which…
Crocodile Whistle Gag - Only used once, and again with a specific crocodile whistle rather than her just whistling.
Into the Sunset - Kanga hops alone into the sunset.
Loco Motives
Release Date: January 18, 1968
Director: Alex Lovy
When Hunter accidentally leads Kanga onto a train, hilarity ensues- or at least it’s assumed that it does- as both Hunter and train conductor Choo Choo Jones work to get her off. (Off the train, you horndogs! Get your minds out of the gutter!) Like Hocus Pocus Pow Wow, Big Game Haunt, and Feud with a Dude, this was a backdoor pilot for an ultimately rejected W7 character- train conductor Choo Choo Jones, traveling the country in his train, the Zip-Along Special. This is widely considered the weakest/worst Kanga short, due to being especially repetitive. Case in point:
Upside Down Beginning - Kanga doesn’t stop hopping or even look at us, and the camera instead follows her hopping along. The camera rights itself and Kanga then notices and greets the audience, while still hopping.
Boomerang Catch Gag - This gag is used three entire times- and one of them kickstarts the plot! The first time, Hunter tries to lead Kanga onto a railroad crossing. The ending of the gag is different- Kanga does catch the boomerang just as a train passes by, but instead of being run over, Kanga boards the train. The second time, when Hunter’s trying to get Kanga off the train, this gag is played straight, with Hunter trying to throw the boomerang out the train door. The third and final time is similar, but Choo Choo Jones throws the boomerang out, and is standing much closer to the door, ensuring that it actually goes out. However, Kanga, after going out the door, grabs onto the door and waits just out of Jones’ sight for the boomerang to return. When it does return, knocking Jones unconscious, she hops back into the train and closes the door, pretty much ending the cartoon.
Pouch Gag - Used twice.
Crocodile Whistle Gag - This gag is used a grand total of FIVE FUCKING TIMES, driving in how repetitive this short is.
Into the Sunset - After Kanga knocks out Choo Choo Jones and closes the door on us, the train Kanga is on chugs off into the sunset.
Director: Alex Lovy
When Hunter accidentally leads Kanga onto a train, hilarity ensues- or at least it’s assumed that it does- as both Hunter and train conductor Choo Choo Jones work to get her off. (Off the train, you horndogs! Get your minds out of the gutter!) Like Hocus Pocus Pow Wow, Big Game Haunt, and Feud with a Dude, this was a backdoor pilot for an ultimately rejected W7 character- train conductor Choo Choo Jones, traveling the country in his train, the Zip-Along Special. This is widely considered the weakest/worst Kanga short, due to being especially repetitive. Case in point:
Upside Down Beginning - Kanga doesn’t stop hopping or even look at us, and the camera instead follows her hopping along. The camera rights itself and Kanga then notices and greets the audience, while still hopping.
Boomerang Catch Gag - This gag is used three entire times- and one of them kickstarts the plot! The first time, Hunter tries to lead Kanga onto a railroad crossing. The ending of the gag is different- Kanga does catch the boomerang just as a train passes by, but instead of being run over, Kanga boards the train. The second time, when Hunter’s trying to get Kanga off the train, this gag is played straight, with Hunter trying to throw the boomerang out the train door. The third and final time is similar, but Choo Choo Jones throws the boomerang out, and is standing much closer to the door, ensuring that it actually goes out. However, Kanga, after going out the door, grabs onto the door and waits just out of Jones’ sight for the boomerang to return. When it does return, knocking Jones unconscious, she hops back into the train and closes the door, pretty much ending the cartoon.
Pouch Gag - Used twice.
Crocodile Whistle Gag - This gag is used a grand total of FIVE FUCKING TIMES, driving in how repetitive this short is.
Into the Sunset - After Kanga knocks out Choo Choo Jones and closes the door on us, the train Kanga is on chugs off into the sunset.
K.O. Kanga
Release Date: June 23, 1968
Director: Alex Lovy
This short takes a decidedly more sitcommy approach to the series. In it, Kanga signs up to become a boxer because boxing kangaroos are a common stereotype and I did mention this cartoon was as Aussie as Speedy was Mexican, right? Meanwhile, in another attempt to catch Kanga, Hunter decides to become her opponent in the ring. But while Kanga trains, a training match with her friend Karla Koala (making her first official appearance in this short) ends rather quickly, with Kanga being thrown through the wall in one hit! More impressed than embarrassed, Kanga offers Karla to take her place in the upcoming match. The same match that Hunter is in- take a wild guess how that ends. Fun fact: While Kanga’s unofficial catchphrase is “G’day mate,” which she starts each cartoon off with, this short gives her the new catchphrase of “Hop Hop Hooray!”, which is used multiple times. This catchphrase is so memorable and notable that it’s only used in this one short.
Upside Down Beginning - Instead of simply hopping on screen, Kanga lands on the ground from one of her giant hops, shaking the ground in the process. She waves like the first short, and THEN the camera rights itself.
Boomerang Catch Gag - This joke is done at the beginning of the short. However, this time, the boomerang does go over the cliff, prompting Kanga to stop. Hunter attempts to ambush her, but she jumps out of the way, leading Hunter to fall off the cliff, Wile E. Coyote style.
Pouch Gag - Used once as Kanga gets out her boxing gloves.
Crocodile Whistle Gag - Used once, with a slight variation. When Kanga and her trainer are discussing what not to do in the boxing match, she says “So nothing like this?” and whistles, summoning the crocodiles that latch onto the trainer.
Into the Sunset - Kanga carries Karla into the sunset, with a crowd of adoring fans right behind them.
Director: Alex Lovy
This short takes a decidedly more sitcommy approach to the series. In it, Kanga signs up to become a boxer because boxing kangaroos are a common stereotype and I did mention this cartoon was as Aussie as Speedy was Mexican, right? Meanwhile, in another attempt to catch Kanga, Hunter decides to become her opponent in the ring. But while Kanga trains, a training match with her friend Karla Koala (making her first official appearance in this short) ends rather quickly, with Kanga being thrown through the wall in one hit! More impressed than embarrassed, Kanga offers Karla to take her place in the upcoming match. The same match that Hunter is in- take a wild guess how that ends. Fun fact: While Kanga’s unofficial catchphrase is “G’day mate,” which she starts each cartoon off with, this short gives her the new catchphrase of “Hop Hop Hooray!”, which is used multiple times. This catchphrase is so memorable and notable that it’s only used in this one short.
Upside Down Beginning - Instead of simply hopping on screen, Kanga lands on the ground from one of her giant hops, shaking the ground in the process. She waves like the first short, and THEN the camera rights itself.
Boomerang Catch Gag - This joke is done at the beginning of the short. However, this time, the boomerang does go over the cliff, prompting Kanga to stop. Hunter attempts to ambush her, but she jumps out of the way, leading Hunter to fall off the cliff, Wile E. Coyote style.
Pouch Gag - Used once as Kanga gets out her boxing gloves.
Crocodile Whistle Gag - Used once, with a slight variation. When Kanga and her trainer are discussing what not to do in the boxing match, she says “So nothing like this?” and whistles, summoning the crocodiles that latch onto the trainer.
Into the Sunset - Kanga carries Karla into the sunset, with a crowd of adoring fans right behind them.
Genie Meanie Miney Mo
Release Date: March 14, 1969
Director: Robert McKimson
Now it’s Robert McKimson’s turn with the kangaroo, and he’s evidently very tired of the fairly formulaic nature of the shorts so far. He projects these feelings onto Kanga, who’s become bored of the same old outback chase routine with Hunter. So when she comes across a genie in a lamp, she wishes to go to new locations and try new things.
First wish, to visit the old west, to the time of cowboys and Indians. (No prize for whoever guesses that this cartoon does NOT get shown nowadays.) But it turns out that this genie is one of those tricky asshole genies, and Kanga has become the Indian chief’s daughter “Pocahoppas”. Aside from one “Indian giver” crack, she takes it in stride. The Indian Karla then informs “Pocahoppas” of the white men taking their land (prompting another crack to the audience from Kanga- “and we’re supposed to be the bad guys?” This cartoon has aged surprisingly well- much better than Hocus Pocus Pow Wow or Injun Trouble), and they get ready to defend their territory. Unfortunately, the cowboy leader is none other than Hunter King, who wipes the floor with Kanga’s tribe!
Second wish, outer space. Twist, Kanga’s an alien, with her brown fur traded in for green. Kanga takes it even better than last time (“I always wondered if there was intelligent life out there- and between you and me, I reckon myself as pretty intelligent…“) until the alien Karla informs Kanga of invaders. These invaders, astronauts, are led by Hunter King again, channeling his inner Flash Gordon. Once again, Kanga and her group are completely defeated.
When it comes time for the third wish, Kanga breaks down and begs to go home. The genie obliges, with no twist. Kanga is glad to be home, and even initiates the chase between her and Hunter with renewed vigor.
Upside Down Beginning - Hunter is chasing after a bored Kanga, then falls off the upside down ground, then fall back on when the camera rights itself.
Boomerang Catch Gag - Used either once or thrice, depending on who you talk to. The first and most clear example of the gag runs as normal, with the added distinction of Kanga being extremely bored. The second is during the scene with the cowboys and Indians, with “Pocahoppas“ leading the charge by throwing arrows out of boomerangs (using them like bows)… and as a result having the arrows come right back to them. The third time is during the space scene, where the alien Kanga attempts to use a phaser, gets confused, throws it in frustration… and then it comes right back, hitting her in the back of the head. While catch is never brought up in the latter two examples, hence the debate on whether they count, the punchline is the same- someone getting hit with a boomerang they threw. In addition, when Kanga is wished back home, she gleefully asks Hunter to play catch with her. Hunter responds by trying to shoot her.
Pouch Gag - Used twice, each preceding the two sort-of examples of the boomerang gag in the cowboy and space scenes, as Kanga tries to reach for her weapons.
Crocodile Whistle Gag - Used once, though “Pocahoppas” uses a stereotypical Indian call instead of whistling, as a last resort against Hunter and his cowboys. They shoot all the crocs dead, rendering that pointless.
Into the Sunset - Kanga, with a new lease on life, hops into the sunset happily, with Hunter chasing after her.
Director: Robert McKimson
Now it’s Robert McKimson’s turn with the kangaroo, and he’s evidently very tired of the fairly formulaic nature of the shorts so far. He projects these feelings onto Kanga, who’s become bored of the same old outback chase routine with Hunter. So when she comes across a genie in a lamp, she wishes to go to new locations and try new things.
First wish, to visit the old west, to the time of cowboys and Indians. (No prize for whoever guesses that this cartoon does NOT get shown nowadays.) But it turns out that this genie is one of those tricky asshole genies, and Kanga has become the Indian chief’s daughter “Pocahoppas”. Aside from one “Indian giver” crack, she takes it in stride. The Indian Karla then informs “Pocahoppas” of the white men taking their land (prompting another crack to the audience from Kanga- “and we’re supposed to be the bad guys?” This cartoon has aged surprisingly well- much better than Hocus Pocus Pow Wow or Injun Trouble), and they get ready to defend their territory. Unfortunately, the cowboy leader is none other than Hunter King, who wipes the floor with Kanga’s tribe!
Second wish, outer space. Twist, Kanga’s an alien, with her brown fur traded in for green. Kanga takes it even better than last time (“I always wondered if there was intelligent life out there- and between you and me, I reckon myself as pretty intelligent…“) until the alien Karla informs Kanga of invaders. These invaders, astronauts, are led by Hunter King again, channeling his inner Flash Gordon. Once again, Kanga and her group are completely defeated.
When it comes time for the third wish, Kanga breaks down and begs to go home. The genie obliges, with no twist. Kanga is glad to be home, and even initiates the chase between her and Hunter with renewed vigor.
Upside Down Beginning - Hunter is chasing after a bored Kanga, then falls off the upside down ground, then fall back on when the camera rights itself.
Boomerang Catch Gag - Used either once or thrice, depending on who you talk to. The first and most clear example of the gag runs as normal, with the added distinction of Kanga being extremely bored. The second is during the scene with the cowboys and Indians, with “Pocahoppas“ leading the charge by throwing arrows out of boomerangs (using them like bows)… and as a result having the arrows come right back to them. The third time is during the space scene, where the alien Kanga attempts to use a phaser, gets confused, throws it in frustration… and then it comes right back, hitting her in the back of the head. While catch is never brought up in the latter two examples, hence the debate on whether they count, the punchline is the same- someone getting hit with a boomerang they threw. In addition, when Kanga is wished back home, she gleefully asks Hunter to play catch with her. Hunter responds by trying to shoot her.
Pouch Gag - Used twice, each preceding the two sort-of examples of the boomerang gag in the cowboy and space scenes, as Kanga tries to reach for her weapons.
Crocodile Whistle Gag - Used once, though “Pocahoppas” uses a stereotypical Indian call instead of whistling, as a last resort against Hunter and his cowboys. They shoot all the crocs dead, rendering that pointless.
Into the Sunset - Kanga, with a new lease on life, hops into the sunset happily, with Hunter chasing after her.
Goey-Way Joey
Release Date: June 14, 1969
Director: Robert McKimson
A return to the sitcom-esque format of K.O. Kanga, and the only cartoon in which Hunter King doesn’t appear. In it, Kanga takes a rare L as she tries to stop an annoying lost joey from following her while she searches for his mother, to no avail. Aside from the usual, two others running gags in this cartoon consist of the joey reappearing when Kanga thinks she’s rid of him, Droopy-style, and Karla using her strength to move some very heavy objects, usually to Kanga’s inconvenience (Karla almost never knows Kanga is the one who placed them). It ends with the joey’s mother showing up and punching Kanga in the face,
Upside Down Beginning - Kanga hops on screen smiling as usual, but herself falls victim to this gag, foreshadowing that this cartoon is different and won’t have her on top by the end.
Boomerang Catch Gag - While not leading the joey off a cliff or anything, Kanga does throw a boomerang outward for the joey to catch while she goes off in search of the joey’s mother. However, like how the gag normally goes with Hunter, the boomerang switches direction and hits Kanga, though this time on the back of her head, surprising her and knocking her forward. The joey then hops on her and grabs the boomerang, and wants to play again.
Pouch Gag - A version of the gag from the initial short is brought back, as Kanga takes way more than three tries to look for something useful to keep the joey distracted. In fact, she’s unable to find something in time for…
Crocodile Whistle Gag - The crocodile whistle from the first short is brought back- the joey found it in Kanga‘s junk pile.
Into the Sunset - the mother of the joey who’s been pestering Kanga the entire cartoon (who, in the previous shot, knocked Kanga’s lights out), with the joey himself in her pouch, hops into the sunset. This is the only short where this is not the final shot- instead, the next shot, and the actual final shot (and the final shot of the series), has Kanga come to and view the mom hopping into the sunset, breaking the fourth wall and quipping “Y’know, that looks kinda familiar…”
Director: Robert McKimson
A return to the sitcom-esque format of K.O. Kanga, and the only cartoon in which Hunter King doesn’t appear. In it, Kanga takes a rare L as she tries to stop an annoying lost joey from following her while she searches for his mother, to no avail. Aside from the usual, two others running gags in this cartoon consist of the joey reappearing when Kanga thinks she’s rid of him, Droopy-style, and Karla using her strength to move some very heavy objects, usually to Kanga’s inconvenience (Karla almost never knows Kanga is the one who placed them). It ends with the joey’s mother showing up and punching Kanga in the face,
Upside Down Beginning - Kanga hops on screen smiling as usual, but herself falls victim to this gag, foreshadowing that this cartoon is different and won’t have her on top by the end.
Boomerang Catch Gag - While not leading the joey off a cliff or anything, Kanga does throw a boomerang outward for the joey to catch while she goes off in search of the joey’s mother. However, like how the gag normally goes with Hunter, the boomerang switches direction and hits Kanga, though this time on the back of her head, surprising her and knocking her forward. The joey then hops on her and grabs the boomerang, and wants to play again.
Pouch Gag - A version of the gag from the initial short is brought back, as Kanga takes way more than three tries to look for something useful to keep the joey distracted. In fact, she’s unable to find something in time for…
Crocodile Whistle Gag - The crocodile whistle from the first short is brought back- the joey found it in Kanga‘s junk pile.
Into the Sunset - the mother of the joey who’s been pestering Kanga the entire cartoon (who, in the previous shot, knocked Kanga’s lights out), with the joey himself in her pouch, hops into the sunset. This is the only short where this is not the final shot- instead, the next shot, and the actual final shot (and the final shot of the series), has Kanga come to and view the mom hopping into the sunset, breaking the fourth wall and quipping “Y’know, that looks kinda familiar…”
For something meant to be repetitive, I actually found some value out of this series of shorts. Heck, knowing what we know now of the Australian wildlife, this is something that can be done today with more creativity than the time period you put it in.
Many do. For its faults, the characters are the most charming and the humor is at its funniest throughout all of W7. (So a solid 6 or even 7 out of 10) Heck, even those who complain about the repetition often concede that a few of the jokes are funny at least the first time.
Taz-Mania crossover when