Star Wars Rebels: A Farewell to Maul

EDITOR’S NOTE: If you couldn’t already tell, this entire piece, from the title on down is a massive spoiler. If you’re not looking for major plot details about Star Wars Rebels to be revealed to you now, best to turn away. If not, enjoy!

Unless you’ve been living under a rock or don’t know animation, a major event in Star Wars history happened on March 18th, 2017- the death of Maul, one-time apprentice to Palpatine. The story came full circle at last as Maul, searching to regain lost power and a sense of self, found the end of his destiny at the hands of Obi-Wan Kenobi. Indeed, his demise came on Tatooine, the place where it all started- and represented a complete narrative arc for the one-time Sith Lord.

Well, you might be asking why AniB would write about Darth Maul. Isn’t he a movie character? Not exactly. To start with, Maul’s death takes place in Star Wars Rebels (and if you haven’t checked it out, it’s well worth the watch); after he falls down the shaft in Naboo in The Phantom Menace, it is Star Wars: The Clone Wars where he reappears, and of all the major characters from the prequel era (and perhaps the franchise overall), none owe more to continued story progression via animation than Maul. While the most casual fans of Star Wars and even those who know little recognize Maul as the acrobatic, devil-horned, growling Sith Lord from 1999, there is a whole legion of people out there who also know Maul now through the voice acting of Sam Witwer and the  two animated shows he appeared in, as well as The Son of Dathomir comics. There is a far more developed tale now to Maul: of Dathomir and Nightbrothers, a Dark side cult; of the time Maul became ruler of Mandalore and Death Watch, only to be personally stopped by Darth Sidious, his old master, and now of the middle-aged man with no real identity, neither Sith nor with any allegiance owed or given. As we see Maul in Rebels, he might have been physically reconstructed, but he was as broken as the day Kenobi sliced him in half decades earlier.

 

https://www.scifinow.co.uk/wp-content/uploads/2012/10/Star-Wars-The-Clone-Wars-Dave-Filoni-Darth-Maul.jpg

When Maul reappeared in Star Wars: The Clone Wars, he was alive, but grotesque, driven to the point of insanity. With the help of Talzin, leader of the Nightsisters, Maul was revived and given real prosthetic legs (he had some kind of spider-like prosthetic prior to made of a mangled mess of metal.) Furthermore, for the first time Maul was given a sort of family- his apprentice, Savage Oppress (in the picture, on the left) was his brother, and Dathomir was a sort of dark home from which Maul could be supported. But one thing remained constant that clouded all this from Maul’s mind: Selfish vengeance against Kenobi. Indeed, as Maul leveraged power, eventually all the way up to the leader of Mandalore, his thirst for revenge proved to a quest doomed in failure: While he beat Obi-Wan at a duel and even killed Satine Kryze, a woman he loved, Kenobi was not broken. He continued to grow over the course of tragic events, following the path of the Jedi, eventually in time becoming the enlightened mentor of Luke Skywalker. However, Maul continued to wallow in the past and self-pity- the final insulting blow dealt when Sidious stripped him of his empire and his brother- and leaving Maul more empty than before, now defeated by both Jedi and Sith.

 

Maul reappeared in Rebels as a older man, trying to cling desperately onto past shreds of glory and delusional dreams of defeating both Jedi and Sith. To that end, he pressed his advantage in Twilight of the Apprentice when Ezra Bridger, a young Jedi Padawan (and main protagonist of the show in question) came with Ahsoka Tano and Jedi Knight Kanan Jarrus came to the planet Malachor in search “of answers”; he used Bridger as a pawn to gain a powerful Sith holocron- an ancient artifact containing knowledge and secrets- and fed Dark Side ideologies to him in an attempt to start swaying him to be his apprentice. However, after several incidents that led Maul to fall further in the bad graces of the Ghost’s crew (which usually involved tricking Ezra through the Force to come to him), he was able to, with Bridger’s help, combine the Sith holocron with a Jedi one, revealing the prophecy of the Chosen One- and while both Bridger and Maul had different interpretations of what they saw, neither knew about Luke Skywalker. Maul believed it to be Kenobi, colored by his past experiences- and set out to once and for all destroy the Jedi Master.

The rest of the details do not need to recounted here, but symbolism went a long way in characterizing Maul in his dying days. On Tatooine, he is literally walking through a barren desert- symbolic of what is left for him in his life. In a revisit to Dathomir, he has a shrine to his Death Watch days, but in turn is clinging to two dead families- his Mandalore one and Nightsisters/brothers. And with Ezra he may have been thinking of Savage the whole time- the one person who Maul truly cared about, though “love” might not be the accurate term. And so when Kenobi slices him down, symbolically baiting him into the same move he used to finish Qui-Gon Ginn on Naboo, there is finally relief for him. Kenobi reveals the Chosen One exists and the decades-long rivalry is settled. Even in death though, Maul seeks the path of revenge in Kenobi’s arms (“[The Chosen One] will avenge us!”) and thus, dies.

 

While this is but a brief summation of Maul’s journey since his debut in Phantom Menace, it is a journey best experienced watching. Witwer gives a voice and personality to the Dark Sider beyond just the acrobatic kick and signature dual-bladed saberstaff that Maul is known for; the culture and people that Maul originated from, the Zabrak is explored, and overall, the continuation of his life in animated form comes off brilliantly as a tale of what the medium can do in taking a well-known character to a new level and breath fresh life into the tale of one of the prequels’ most interesting additions to Star Wars lore. For all the terrible things he’s done, I’m not sure “rest in peace” is entirely appropriate, but it goes without saying Darth Maul will be missed.


Like what you see? Check out Star Wars Rebels and The Clone Wars if you haven’t! Leave a comment!

 

A St. Patty’s Day Special: “Zombie Shows”

Happy St. Patrick’s Day to everyone! From four leaf clovers to corned beef, or beer, it’s a big deal in Buffalo, NY at least. As a quick aside, who else liked the Kids Choice Awards rigging it for SpongeBob yet again last weekend? 14 wins in 15 years…something’s rotten and it’s not just the fish or the network…it’s the show. Nobody beyond the age of 12 conceivably believes these judgements are reached fair and impartially; take one look through the list of “winners” and there’s a common thread that Viacom properties almost unanimously sweep the awards where they are nominated…and considering the mediocre at best quality of many of these productions, including the aforementioned sponge, it’s not that hard to figure out. It also indicates to this writer at least that Nickelodeon’s not quite ready to “give up the ghost,” so to speak, on their longest running property. Oh well…I think today’s subject ties into this issue quite nicely!

Whether or not you’ve been reading this blog regularly, I thought the holiday would provide a nice case to talk about the luckiest of shows- the ones that have become mainstays of culture due to their longevity and perceived quality. You know them- SpongeBob Squarepants, The Simpsons, South Park, even something like The Fairly Odd Parents– which have been around for well over a decade and in many cases, are headed for 20 years of new episodes if they haven’t already reached it. So that begs the question- they must still be doing something right? Well yes…and no. On one level, the entire reasons these shows still run is that they’ve become the impermeable faces of their respective networks, and from a merchandising/franchising standpoint, this trait is invaluable. They’ve become “trusted brands” of sorts, a rarefied air for an animated show to reach considering the average life span probably clocks in around a year to two. The other reason is that hand-in- hand with the first reason, they make gobs of money for their network still- but is there a point of diminishing returns? That’s what we’re going to take a look at today.

While these shows have been highly successful endeavors on many levels, longevity can eventually breed laziness, the quality of the production can slip, and to borrow a fitting term, the shows can “lose the plot” of what they originally meant to do. The Fairly Odd Parents is a pretty good example of this phenomenon. Originally part of Nickelodeon’s late 90’s incubator program Oh Yeah! cartoons, the original few seasons were fairly fresh and original, did parody really quite well and had a couple for-TV movies that were entertaining (Abra-Catastrophe!,  the first one ever for the series still holds up quite nicely.) However, by 2008 the show had hit a decade since its pilot and 7 years had passed since it had become a formal series, and so to freshen things up, Poof, the fairy baby of Cosmo and Wanda, was added to the cast in another TV movie. While this change indicated a strong inclination to “mix things up a bit,” the truth was that the show had also just started a 6th season and really would have been better off wrapping up what had been a really solid production in the early-mid 2000’s. Unfortunately, the show has continued to be dragged out by Nickelodeon along with its other anchor- SpongeBob, and now in a 10th season nearly 20 years since its first short, its age is quite obvious; it hasn’t been innovative or relevant for a long time as a show; new characters have continued to be injected to try and add new depth to a universe that was tapped out a long time ago (see Chloe- the literally Mary Sue character), and it’s even sunk to making pop culture references that are dated even by the time the episode airs. It’s a sad mess…and the textbook definition of a “zombie show.” (For the record, this isn’t an indictment of Butch Hartman, but rather that his first show has been driven into the ground because apparently there’s still profit to be made.)

Unfortunately, Nickelodeon is my guinea pig for the topic at hand, and so inevitably the discussion turns to SpongeBob. Global icon, marketing machine and cash cow all rolled into one, the sponge clearly has been a boon to the network…but in doing so, caused an over-reliance on that one franchise. Nick missed the boat on making Avatar into a bigger franchise-twice, despite critical acclaim, and this was in the midst of steadily deterorating quality from SpongeBob itself. The show has been around long enough to have distinct “eras”; the classic SpongeBob that is still referenced and memed pretty regularly is pre-2004, when the first theatrical movie of the franchise was supposed to end it. Of course, Nick wanted to have their cake and eat it too, and so the show continued on, losing its original creative director, Derek Drymon in the process. After a decade in which the show improved precious little aside from a significant upgrade in animation quality consummate with a triple A show’s budget, creator Stephen Hillenburg returned to try and drag the show out of the hole it dug itself into. Mind you, SpongeBob is still long past the point of being relevant, regardless of what the rigged KCA’s would have you believe, or the profits Nick rakes in (because it’s also the most-aired show on the network.). And SpongeBob is emblematic of Nickelodeon’s problems in moving on and establishing more new shows to take its place, as I talked about in my network decision-making piece for it. To that end I ask the following question: Is it really worth the potential millions being lost to new, exciting, vibrant shows (which are chiefly being pushed by their competitors ) to keep the sponge and Timmy Turner on life support? I don’t think so. The Loud House appears to be a great step in the right direction, but like a rejected lover, a network at some point has got to let go of the past and move on.

Finally, what about a show like South Park? Does it fall in this “zombie show” category? Yes and no. On one hand, because it’s a production designed to be a satirical commentary on issues of a given time and place, it keeps it relevant. Conversely, when you’ve been around since 1997, some episodes might come off as dated, but its format is a great strength that I’m unsure can be replicated. And what of The Simpsons, the only show still airing from the 1980’s (not counting sports productions)? Definitely a “zombie show,” but considering its cultural icon status and its first 10 years which are widely lauded…it buys you a lot of time and fame, and even a movie. The point ultimately is that these lucky shows hit the jackpot, made it big and have stuck around despite the shortcomings and sorts of flaws that comes with sustained commercial success and network hegemony. On one hand, it’s still a remarkable achievement, but on the other, a show left out too long starts to smell. And for everyone’s sake, it’s best that networks eventually wean off of them; besides, reruns exist for a reason, syndication is still quite profitable yet despite the rise of the Internet, and innovative creativity must be allowed to flourish in order for animation to find its fullest potential. Much of the time, less is more.


Like what you see? Know any other “zombie shows?” Leave a comment!

 

“If it ain’t broke, don’t fix it”- a discussion about reboots done badly

They might look the same, but poke under the hood and you’ll find something rotten.

In some recent posts, I’ve touched on the idea of shows that haven’t aged well, but there’s also another type of show that needs to be put out to pasture, and that’s the badly done cash-grab type of reboot. In my breakdown of Disney X.D. for this decade so far,I talked about the upcoming DuckTales reboot that frankly, looks very promising. That’s one example of a re-imagining trying to do it right. Another is Hunter x Hunter, perhaps the best anime example around; it had a 1999 adaptation from Nippon Animation, which was very good, but the 2011 version is better in about every conceivable way and might just be the best anime of this decade, along with Steins;Gate. (Here’s the review.)

As you can see, I do have an admiration for well done shows that fall under the definition of “reboot,” but my ire was recently drawn towards not so illustrious examples, chiefly the Powerpuff Girls ’16, which despite recapturing much of the  original series’ visual style, lacks any of the humor, charm, originality…and to boot, has a very politically driven agenda which in my book, is a cardinal sin in animation unless your show is specifically designed for political commentary (and yes, I’m talking about South Park.) If it wasn’t any clearer about the shallow motivations for bringing back a beloved IP and shoving it into the ground, there was a conscious decision not to bring back the original voice acting cast, a decision that left VA talent giant Tara Strong rather sad, and despite reports, the original creator Craig McCracken never “gave his blessing” for Cartoon Network to go ahead with it, citing that he had “understood the business reality that I had no power to stop it from being made.” McCracken’s statement actually lends credence to the thought that except in certain circumstances, any rehashing of a story years later is usually best handled by the creator who had the vision to create the show, the characters, and the world as they saw fit….or letting them truly find someone who understands what they were trying to do. As another example, I personally would be very unhappy if I wind up writing for years about animation, and one day, maybe I can’t do it anymore and a potential successor doesn’t respect the vision and goals of what was laid out initially. That would be very sad. Reboots, like anything else are a re-interpretation of a story created by someone else most of the time, and while The Powerpuff Girls is an example that’s badly done, it’s evident that if a show gets a person or a team of people who fundamentally understand that specific universe inside and out, instead of creating a hollowed out version of a beloved flick, they can take a universe to a whole new level.

It’s not that I want to keep pointing the finger at Cartoon Network, but another example of a re-imagined show gone wrong is Teen Titans Go! The show is not meant to be the in depth effort that the original beloved Teen Titans was, but it fails miserably at its stated purpose with brain-dead humor, tasteless satires of the Titans themselves, making them shallow parody characters at best to their original inspirations, and not helping its cause is the network’s continued insistence to air the show at an alarmingly high rate despite most viewers unanimously loathing  it. The reason the show continues to air- and be renewed has nothing to do with the quality, which is a shame. It has everything to do with the merchandising and toy empire that exists- which makes loads of money.

I’ve always believed that networks could have quality shows and still make tons of cash, because people love investing themselves in gripping narratives, enthralling worlds, and compelling characters. It’s also my belief that just because a show has a specific target audience, it is a great thing if it find new niches and has an unexpected group of viewers. Bad reboots and re-imaginings, therefore really upset that beautiful idea. It emphasizes a sellout to the almighty dollar over the actual audience that gives the money and the views, forgetting to understand what made a show popular and beloved in the first place, and kills off the potential of new watchers because the shows in question have earned bad reputations, and rightfully so. This isn’t to say I think The Powerpuff Girls and Teen Titans IP’s are bad- they are still phenomenal properties, but their current incarnations are more disrespectful than anything else- to the fans, to the writers forced to go through with contrived plots, and to the universes and characters themselves- who imagined offing Ms. Bellum as “offensive” in the PPG back in the day, or that the Titans would have an episode devoted to waffles of all things, complete with a hyper-annoying song? Animation is an absolutely wonderful medium to tell stories in, but I’m sad when cringe-worthy pieces exist solely for turning a profit, which is entirely different from bad shows that were greenlit and simply flopped.

I’ll end by saying that I do like reboots or different takes on a franchise when they are done well. As I mentioned already, DuckTales 2017 looks amazing, and Hunter x Hunter is perhaps the best example anywhere of a marked improvement, further preserving the vision of the creator. It’s also my belief that there is no need for a retelling of a tale if the original product was already a memorable, well loved piece on its own, but it’s also true from movies to shows, people in entertainment can’t resist going back to the well, so to speak, in order to revisit successful ideas. If they really feel the need to do so, I’m always hopefully that the retelling brings a new dimension and exciting aspects to a franchise. Animation is no different in this regard. As a note to studios… please stop expecting to cash in on old classics without any effort, and understand that if you make a great product instead, the people will come.


Like what you see? Have any reboots in animation or movies you like or dislike? Leave a comment!

Review: Ben 10

It started when an alien device did what it did…(and spawned a franchise!)

EDITOR’S NOTE: This review encapsulates the original series that aired from 2005-2008. This is NOT about any of the successor shows spawned in the franchise, or the reboot of the same name that started in 2016. We’re going old school!…if you can call a show that’s the same age as Avatar: The Last Airbender that.

The Lowdown:

Show: Ben 10

Network/years aired: Cartoon Network/ 2005-2008

AniB’s thoughts: Long before Ben 10 became a ubiquitous household name type of franchise, this was the show spawned by Cartoon Network and Man of Action (the same people behind Teen Titans) that started it all. Yet another take on the classic “summer vacation” trope, the show follow the titular Ben Tennyson, his cousin Gwen and their grandpa Max on an RV road trip that ultimately delves straight into the realm of science fiction. I’ll be the first to admit that this show captured my imagination as a kid, between the alien transformations of Ben, the increasingly strange locales the show featured…and this super catchy theme song:

(It goes to about 1:05; this video also has slight variants.)

What’s notable is that the show almost beyond a doubt has the highest animation production values of any of the Ben 10 iterations. The Teen Titans inspiration is clearly there in terms of style, and while it’s clearly a Western show not veering into the realm of Japanese anime, the detail as well as the story arc progression certainly resemble it. The show came in the later years of “classic Cartoon Network,” a golden period that in these years had the really amazing “CN City” bumper campaign (seriously, check them out if you’ve never seen them) and was able to stand out thanks to a fairly unique premise, the quality of the animation, and the fact that it carved its own unique niche at a moment in time when Cartoon Network was loaded with good to great shows (and obviously some bad ones, but that’s true of any network over the years.)

Another distinct factor about Ben 10 was that Ben in fact, had access to only 10 aliens for much of the show. Whether it was the design team, the marketing team, or the writers, the franchise became known for pumping out a new set of transformations for Ben to take in each iteration of the universe, but as our lovely intro above makes clear, those original 10 were the stars and remained fairly static save one major change until later in the show’s run. What was established here however (and was smart, as well as logical from a writer’s point of view), was that each alien had a distinct personality and different strengths, which mixed with Ben’s own 10-year old attitudes and ways of doing things, and due to his inexperience, the Omnitrix (the watch-like device that allowed him to transform) sometimes would lock him into a different transformation that he did not want to use…and all his changes had a time limit, with a subsequent cool-down time. The last part was more a narrative failsafe to make certain problems have a more compelling way to be solved, and one episode actually teases this when Ben find a master code to get rid of the time limit, only to have to reset the watch by the end.

At its heart, Ben 10 is a unique show that does some unexpectedly original twists on ideas normally seen in comics. There’s a secret organization (and secrets in general), otherworldly villains, unexpected twists, and of course, the hero origin story. To a 10 year old boy watching, it really did excite me…and it’s still a solid show today, if drowned out by the successful spinoffs that succeeded it. You might just want to find out “what an alien device did what it did” and go on a summer vacation that once again, breaks the trope into new territory.


Animation Quality: Traditional 2-D animation, with computer shading, some rich detail and colors and some really creative design work. Ben 10 looked fantastic in the various locales and places it spanned; the characters themselves are aesthetically pleasing and it leads to a fine effect overall. 4.5/5 points.

 

 

Characterization: Being the original series, Ben is a bit of a jokester, looking for adventure (and occasionally trouble) and is in all respects, a fairly typical 10 year old personality wise. He’s got a good heart though, and a strong sense of justice. While he loves his newfound alien powers, he’s rather impulsive and can become arrogant from time to time, a trait that often gets him in trouble.

Gwen, Ben’s cousin, has a love-hate relationship with him, but it is developed through the series to show despite acrimonious appearances, they do really care for each other. Unbeknownst to her for most of the series, Gwen also possess certain “special abilities…” though I won’t say what they are!

Grandpa Max is an amicable old man with a deep, mysterious past that compromises quite a bit of the story. Highly fond of his niece and nephew, he’s determined to have a great summer with them in his beat-up old RV, but what that entails exactly is even more than he bargained for… (Fun fact: His voice actor, Paul Eiding, is also the Colonel in the Metal Gear Solid series of video games!)

Finally, Ben’s rogue gallery is pretty good, especially his archenemy from season 1, Vilgax, and Kevin Levin (who in the franchise, actually has a much bigger role, but serves as an enemy in this series.) 3.75/5 points.

Story quality: There’s a clear story and canon, but the episodes can stand alone as well as episodic events. To that end, they usually are quite humorous, action packed affairs. The backstory is decently solid, if not convoluted, but it’s all very pleasing when it comes together. 4/5 points.

 

 

Themes: There’s notions of family, sticking together and the like, plus heroic ideas of justice, but there’s also a fairly dark sci-fi element to the whole show. It’s gripping enough, but perhaps not next level compelling in terms of themes. 3.5/5 points.

 

 

Don’t insult the viewer: Ben 10 isn’t always the easiest thing to digest from time to time due to the sometime jarring shifts in location and objectives, but stays fairly clean and inoffensive. The theme song is addictively catchy as can be, and the overall product avoids talking down to its audience.  4.5/5 points.

 

 

Total Score: 20.25/25 (81%). Ben 10 was, and still is a highly successful endeavor that spawned an entire franchise with this extremely solid first entry. Packed with action, written with some memorable characters, and featuring a diverse cast of alien creatures, this sci-fi ‘toon stayed strong.


Like what you see? Are you a fan of the Ben 10 franchise? Leave a comment!

The Return of Samurai Jack

After 13 years, the samurai wielding a magical sword is back.

He’s backSamurai Jack. Wa-cha!

13 years since Cartoon Network aired what everyone believed was the end of Samurai Jack, a 5th and final season of the beloved series will finally start airing on Saturday night (3/9/17, for posterity’s sake.) Much has been made of this triumphant return by plenty of people across the internet, and the trailers and teasers dropped by Adult Swim (where the series has shifted to for this relaunch) suggest not only the potential for a very fulfilling conclusion, but a far gritter, darker Jack than we’re used to. For once, darker might actually be better. Let me explain…

The original seasons of Samurai Jack were lauded for a variety of reasons, including its unique animation style, narrative and pacing, and that by Cartoon Network standards (even now), it was a rather dark show. However, the network still had certain restraints that handcuffed the show in certain ways: blood could not be visibly shed, language was toned down a bit, and so on. With the new season comes new ideas, and with the shift to Adult Swim, there’s new rules. Chiefly, a 50 year time skip has happened, and narratively speaking, I’d be miffed if this wasn’t the case. Considering the real-world wait for this final season was in fact over a decade, it seems like a nod to the fans of the original production that Jack has grown with us in age- but what exactly went down in the dystopia that is Aku’s world creates a whole new set of questions and intriguing possibilities. As a result, the conscious shift to an older audience really has the potential to unleash the old samurai in ways we’ve never seen before.

For the record, this isn’t just speculation. The sneak peak already showed off some of what we can expect, including the return of the beetle drones as a callback to Jack’s first major battle in the future all those years ago:

While the video alone draws most of the conclusions you’ll need to see, it’s evident that the traditional samurai, immaculately robed in white, has embraced a fusion of his past and present realities. (How he arrived there will probably be far more telling.) It’s nearly unfathomable to imagine Jack on a motorcycle back in the day, when he traveled everywhere on foot, or using modern high-tech weaponry. I suspect he took a page from his old pal the Scotsman on fusion of old and new combat styles…and who coincidentally will be showing up at some point.

There’s plenty more that can be said about Samurai Jack coming back into the lives of many with its first new episode in such a long time, but it also could serve to introduce Jack to a whole new generation that never really knew the original series. Such an idea is very exciting as a way of extolling the potential and unique medium animation offers to tell a story. As for me, I anxiously I await Greg Baldwin’s voice work as Aku, “the shapeshifting master of darkness,” as Mako’s work was iconic. Inevitably he and “the foolish samurai” will have their fated final showdown. Whether that is in the past where Jack is from, or the future where he has had most of his shared history with Aku, remains to be seen…

No matter what you think, the return of Samurai Jack is one of the decade’s more surprising stories in animation; an unexpected twist to a series long thought to be finished, and an ode to quality shows that attracted solid fanbases of many different kinds of people. It’s a ride I’m ready to take…gotta get back, back to the past, Samurai Jack! Wa-cha!


Like what you see? Eager to see Samurai Jack in action once more? Leave a comment!

Review/Rant: Breadwinners

Duck soup: A terribly misguided knockoff of Regular Show.

The Lowdown:

Show: Breadwinners

Network/years aired:  Nickelodeon, 2014- 2016

AniB’s thoughts: Once again, some balance is being brought to the reviews with the perfectly awful Nicktoon Breadwinners. Like Fanboy and Chum Chum (which I blasted in a previous review), this show has very little going for it. In fact, the picture I chose for this article sums up how the entire endeavor felt: That our main characters, Sway-Sway and Buhduece (seriously, that’s their names) both smile through abject stupidity that they are often at the heart of while being oblivious to the disaster around them!

Nick seems to have a weird obsession with buddy-buddy shows in the past decade, with the common denominator that they’re terrible. Fanboy and Chum Chum was one; this show is another, and for good measure, I’ll throw Sanjay and Craig on that pile to give everyone a sense of the turgid overflow of awfulness coming from the general direction of whoever green-lit these endeavors. The story behind this one is almost just as bad as the Adventure Time pass that Fanboy beat out; Breadwinners was chosen to be developed into a full-time production from an online short animation that frankly was average at best (and that’s being generous), and highly obnoxious at worst:

(Even without watching it, that screen freeze right there sums it up better than anything I can say.) As an online short, it was not anywhere close to a sure bet to be developed into a full-time series , and frankly, there wasn’t enough substance there to do so. In my mind, the first mistake that led Breadwinners to be a poor series was the fact that it was chosen at all- something that should have never happened. Unfortunately, it did, and so every other valid criticism falls squarely on its misguided Nickelodeon run.

In a lot of ways, the same criticisms that applied to Fanboy apply here: Poor animation, underwhelming storytelling, non-existent themes, and in the case of this show, a very uncomfortable obsession with butts and flatulence. I get the whole dumb network trend of the past however many years that “young boys are our audience, they love this stuff, it’s so damn funny!…” but it’s really not. I don’t want anything related with the posterior to be vitally important in a plotline or a characterization, because it also tells me your show likely sucks ass (pun intended) and that the writers are pandering for cheap laughs from a narrow demographic who network executives might be surprised to learn, like shows that don’t play down to them. This sentiment makes all the more sense when you consider its direct competition over its run were shows like Gravity Falls and Phineas and Ferb from Disney XD, or Adventure Time and Steven Universe from Cartoon Network, using a few well-known examples. (And that’s just within the intended target demographic.) This show never had the potential to hook in a larger crowd with sophomoric humor, the usual sub-standard Flash animation, and writing that oftentimes left yours truly with his face in his hands. Fortunately, its misguided run came to a merciful end last year; both our TV sets and cartoon ducks everywhere are safe once again.


 

Animation Quality: 2-D Flash animation mixed with what can only be described as clip art. If the characters of the show didn’t outright tell you, you’d be hard-pressed to tell they were ducks; and frankly, the main cast looks (and feels) like a poor man’s version of Regular Show’s cast. Visually conflicting, and cheaply produced, it’s not eye-bleeding, but not close to good either. 1/5 points.

 
Characterization: For those who care, the show follows the titular “breadwinners,” a pair of ducks named Sway-Sway and Buhdeuce, who deliver bread to various citizens of their world, and are obvious knock-offs in many respects, of Mordecai and Rigby from the aforementioned Regular Show, lacking the same sort of charm, development and supporting cast, while attempting to fill the void with more toilet humor and butts than any one show ever needs…

Sway-Sway is the taller one. He’s technically the main protagonist, and while marginally more competent than his partner, he’s still relatively dim-witted and reckless at his job, passion non-withstanding. (It turns out that he actually inherited the family buisness- why anyone though this was a good idea is beyond me.)

Buhdeuce is the short one. Enthusiastic as all-get out, the kid has an obsession and reliance on using his “booty.” (There is no context to make that sound good.) Even more reckless and foolish than Sway-Sway, no one will ever mistake him for one of the great deutragonists of animation…

The supporting cast is unremarkable. Not the worst crew ever, but still fairly poor. 1/5 points.

 
Story quality: Episodic in nature, no continuity or canon to speak of. Where do I start? From unoriginal plot lines to crude solutions to some problems, the plots are uneven, and more serious characters are shoved aside quickly as cheap gags. The show’s attempts at humor tend to be pitiful; as mentioned, the toilet humor is off-the charts bad and distracting.  And the pop-culture references and slang are not going to keep aging well. The dialogue is cringe-worthy, even for this style of show. It still maintains a basic story structure though, so it saves the grade form utter annihilation. 0.5/5 points.

 
Themes: Power of friendship? Honestly, aside from weak offerings and a crash course in how much flatulence two ducks (?) can make, this show offers next to nothing, except constantly boring, low expectations. There’s no character growth, and nothing to write home about whatsoever. 0/5 points.

 
Don’t insult the viewer: Butts, farts, and burps. Not my idea of appointment television. The music is meant to capture some of the 8/16-bit video game era style, but in this show, it doesn’t always come off as charming. At least the colors are nice… which is code for “this is wasting my time.” 1.5/5 points.

 

 

Total Score: 4/25 (15%): Another awful Nicktoon from the decade following 2005, Breadwinners was chosen off of a very average web video, which frankly didn’t have the depth to be a full time series. Lacking coherence and originality in most facets, Breadwinners is a misnomer for “losing.” It you really wish to watch a plot-of the day show, there are far better choices.

On Animation Channels and Decision-Making, Pt. 3: Disney Channel/XD

The House of Mouse’s TV animation has had some big successes.

Welcome to the 3rd part in a mini-series about  networks and their decision-making when it comes to animated shows! In part 2, Nickelodeon was discussed; the network’s unwillingness to part with its past and lack of quality depth has translated to a 2010’s with few major successes. Now it’s time to turn to another archrival who’s arguably coming on stronger than either Nickelodeon or Cartoon Network: Disney.

Just what is in the water at the house that Walt built these days for the animation units? Walt Disney Animation just won their 3rd Oscar in 4 years, and Disney Television animation (which are the people behind the network(s) in question today) are doing incredibly well with their fare on Disney X.D. Gravity Falls was a boon, setting rating records for its finale just over a year ago; Twilight of the Apprentice, the season 2 finale of Star Wars Rebels one-upped that, and another show that I just reviewed after its season finale- Star vs. The Forces of Evil– is renewed for a 3rd and 4th season. If all this is news to you, hopefully this look behind the scenes will illustrate the sort of path Disney X.D.’s charting at the moment.

A quick look back at the move into the decade for Disney reveals a network that had done modestly well in animation through the 2000’s, with shows like Kim Possible and American Dragon: Jake Long. At this time, the network still split its animated series between flagship station Disney Channel and the smaller Toon Disney; in 2009 the latter was shut down and re-branded as Disney X.D., a decision that would have some major impacts on the animated shows being produced. Speaking of shows, the story for the decade in question begins in 2008, when the network debuted what would both prove to be an anchor show and a transitional one as well- Phineas and Ferb. With the Great Recession hammering the industry- a common thread for all the networks discussed, the show’s strong-creator driven style, consistent quality, and universally strong appeal that performed well in spite of the financial climate meant it would not only be a majorly influential show for the company, but the industry on the whole. What Phineas and Ferb did was start laying the groundwork for a period of animation on TV not seen from the House of Mouse since the early 90’s- and with the potential to surpass it, if it hasn’t already. (Check out my review of Phineas and Ferb for more thoughts!)

The start of the decade saw Disney with an established anchor show (Phineas and Ferb), and one of the earliest offerings was the mediocre Fish Hooks, which despite having a great deal of established and future talent on the staff, such as Tom Warburton (KND/Pepper Ann) and Maxwell Atoms (Grim Adventures of Billy and Mandy) didn’t ever quite take off. However, the creative director of that show just so happened to jump up to his first show-running job in 2012…Alex Hirsch. And with him came Gravity Falls, the first and biggest in the wave of creator-driven series that have come to define Disney’s television animation in this decade. Interestingly, Gravity Falls started as a Disney Channel original series, but after the debut of its second season (Scary-oke), the series moved its home permanently to Disney X.D., a move that in turn has ignited the growth of what had been (and still is, relatively speaking) a niche network. And the hits kept coming: Dave Filoni, who headed up Star Wars: The Clone Wars launched the successful Star Wars Rebels after the acquisition of Lucasfilm by Disney, where it has become a key show; while 2015 finally said goodbye to Phineas and Ferb, another rose in its place- Daron Nefcy’s Star vs. The Forces of Evil, which apparently the friends of Mickey Mouse love, as it’s already been greenlit for another 2 seasons; and more recently Dan Povenmire and Jeff “Swampy” Marsh who were behind P&F have started another successful endeavor with Milo Murphy’s Law. Creator driven shows, with strong levels of engagement with their audiences, which in turn are quality shows, has been a winning formula.

Of course, there has been misses, like any studio. The bizzare Pickle and Peanut, headed up by Noah Z. Jones (the same guy behind Fish Hooks) might be chief among these in recent memory, and there’s been quite a few other shows that have been lost to the public eye, if they were ever there to begin with (Randy Cunningham: 9th Grade Ninja? Kick Buttowski?) Somehow, I doubt outside of their target audience and hardcore animation nerds that anyone really knows what these shows are, and while Disney has been doing a good job this decade, they’ll need to continue to build depth in order to sustain success. It’s a different problem, but a good one as opposed to some of their competition, and I’d argue one of Disney’s best attributes about their shows (which has been historically true) is that they never run too long. Phineas and Ferb was an exception; 2-3 years tends to be the historical trend, and the animation unit has never gotten too low as a result of consistently overturning their shows for each generation while maintaining a connection to past hits of yesteryear.

2017 continues to look intriguing. The rebooted DuckTales trailer (at the time of this writing) looks incredible, preserving the heart and feeling of the original while giving it a refreshing update and new flair, and the animation is gorgeously unique. Star vs. The Forces of Evili finished its promising second season at the end of February, and Star Wars Rebels continues its 3rd season with a very familiar face to fans of the old Expanded Universe serving as antagonist. The aforementioned Milo’s Murphy Law is off to a good start (and actually stars Weird Al Yankovic as the main character- go figure)  and Disney X.D. specifically has built a bigger viewership base the past few years and more than one show to rely on (and hey, they still do Gravity Falls and Phineas and Ferb re-runs!) There’s a strong path forward that has been forged; and if this era is looked back on as a golden age of animation in the West, Disney might have a lot to do with that.


Like what you see? Do you know I wrote a Gravity Falls review as well? Leave a comment!