Hello and welcome to Animated, where I explore animation history, classic cartoons, and children’s television, as well as the artists who shaped the worlds we grew up in. Animated is a public newsletter, so please feel free to share and subscribe.

This week, I am digging a little deeper into the 2009 mega-hit, The Gruffalo. The Gruffalo has become one of the best-selling children’s books of all time, which is an achievement in itself, but this week I am going to look at the incredibly successful animation.

Not to boast… but we have a signed copy by Axel Scheffler himself. He even did a quick drawing of Mouse, as you can see, just sayin’ :)

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The Move from Book to Screen

Originally published in 1999, it captured the public imagination, sold millions of copies, and was translated into numerous languages. The development from book to animation was inevitable but still no small feat, as you can see in the detailed emotion of Mouse meeting the Gruffalo here.

The story is very simple and is based on the premise that intelligence can be more powerful than strength. Julia Donaldson’s clever rhyming of the story follows a mouse through a forest filled with predators, who all have the same thing in mind: to eat him.

In the television animation, you can see how the production company worked with the language and illustrations within the book. In addition, they cleverly introduced the squirrels to tell the story, which expanded sensitively beyond the book and created extra running time for the animation.

The Gruffalo moved from the book to screen in the 2009 BBC Christmas special. This was a popular choice for us, especially in our house, as I remember we all sat down and watched it together, all mesmerised by the warmth of the animation.

At just 27 minutes long, it still manages to capture so many layers of craftsmanship, blending modern computer animation with textures and colours that reflect the original artwork.

The attention to detail really does blow you away. You can see the animators using the personality of Scheffler’s work with every character, and I would argue that they even applied this to the forest itself, which takes on a life of its own, which is a little different to the book.

This adaptation became one of the most successful animated television adaptations in British broadcasting history. It had such a huge impact that the BBC changed future Christmas schedules to adapt many of Julia Donaldson’s books each year for the family time slot.

Even now, some seventeen years after its original release, I would argue that The Gruffalo remains the benchmark for adapting a book into animation.

Why it Stands Out

Unlike many stories for children, the hero (Mouse) succeeds through wit and intelligence rather than physical strength or magic.

The whole animation remains faithful to Axel Scheffler’s original illustrations. Everything makes you feel like the book has actually come to life. For me, this shows how a simple premise can develop through strong storytelling and character animation.

Critics praised the animation as it should have been. The animation was also nominated for a BAFTA and an Academy Award, which, for a half-hour animation, is quite an achievement.

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The Business Side

The business was huge; The Gruffalo was a phenomenal commercial success. The original screening drew 9.8m viewers on Christmas Day 2009, which pushed Julia Donaldson’s next books into the animation production pipeline.

Beyond television, the Gruffalo brand began expanding into merchandise, stage productions, theme park attractions, and international licensing deals.

Fun Facts

• The brilliant Robbie Coltrane (Hagrid) gave us the voice of the Gruffalo.

• Other artists such as John Hurt, James Corden and Rob Brydon all provided great voice matches for their characters.

• The squirrel sequence was there to extend the short picture book specifically.

I really hope that you have enjoyed this look at such a wonderful animation. If you liked reading this, you might also like Trumpton.

If you haven’t seen it, it’s worth 27 minutes of your time, so sit back and enjoy.

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In the next in my Summer Rewinds, I present the one, the only Road Runner :)

Road Runner cartoon, or to give it its full title, Wile E. Coyote and the Road Runner, was one of the first cartoons I can remember from my 1970s and 1980s memories. First released in 1948 as cartoon shorts in theatres and named Fast and Furry-ous, it was an instant success.

Initially created by the Looney Tunes and Merrie Melodies combination, each episode has the devious and ever-hungry coyote attempt to eat the Road Runner in an ever-increasing range of unsuccessful attempts and, on the rare occasion when he does manage to catch his prey, it will be sure to backfire, ending with Coyote getting injured.

Creation

The Wiley E. Coyote and Road Runner cartoons (to give them their full name) were based on the famous traditional ‘cat and mouse’ comics such as Tom and Jerry. Initially starting in 1948, Coyote was based on Mark Twain’s book Roughing It, where a coyote was described as a long, slim, sick and sorry-looking skeleton… that is always hungry. Chuck Jones (co-creator of the characters with Michael Maltese) said that he created the Coyote character in the Twain book and based his appearance on fellow animator Ken Harris.

Michael Maltese set the template for their adventures with the characters starring in 16 theatrical cartoon shorts (shown in cinemas), initially attempting to be a parody of Tom and Jerry but becoming famous in their own right.

Coyote played a separate role, too, appearing in five shorts from 1952-1963 as the antagonist of Bugs Bunny, where he speaks, which he rarely does in his cartoons. Interestingly, Mel Brooks provided the voice for Coyote here, giving him a refined, distinguished voice. As for Road Runner, he has the distinctive ‘beep-beep and the ‘cork-popping’ tongue sound, both voiced by Paul Julian. Watch a classic

Characters

Wiley E. Coyote

Shrouded in puns, Coyote’s full name is Wile E Coyote (a pun on the word wily), with the E standing for Ethelbert. It is said in one of the Looney Tunes Comic books. However, his original name was Don, another pun on Don Quixote. Forever outwitted by Road Runner, he takes on more elaborate ways to catch his prey, constantly failing at the last minute and often being injured in the process.

Road Runner

Road Runner is very different from the actual bird, looking more like an emu than a road runner. Paul Julian voices him, as he can make his voice sound like a car horn. Interestingly, he is often uncredited in cartoons and shorts but is rumoured to say that the voice is closer to mweep-mweep, not beep-beep. With speed and guile, Road Runner constantly outwits Coyote, leaving him hungry and in despair.

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The scenery and plot line for each episode mostly stays the same. The scenery is based on the deserts in the Southwest of the USA and was initially designed by Robert Gribbroek, then in later cartoons, by Maurice Noble. This gives the familiar backdrop to the Coyote chasing Road Runner.

Road Runner would never harm Coyote except with his mweep-mweep noise, which typically happened when Coyote was under an overhanging rock. Harm came to Coyote from the traps and devices he bought, always from Acme(see below), scenery (boulders and cacti being favourites), and the occasional train.

Each episode started with Coyote often being upbeat in his pursuit of Road Runner but always ended in defeat at the hands of Road Runner through dynamite, boulders, Acme products, etc.

Coyote is a brilliant artist, capable of quickly painting incredibly lifelike images of such things as tunnels and road scenes in futile attempts to deceive Road Runner.

One running gag involves the coyote trying, in vain, to shield himself with a tiny umbrella against a great falling boulder that is about to crush him. He may also slip from high cliffs after being suspended mid-air—The fall is delayed until he realises nothing is below him. The rest of the scene is then a bird's-eye view, showing him falling into a canyon, his figure eventually lost, with only a tiny plume of dust indicating his impact.

Acme corporation

Coyote often bought his various devices and gadgets from a mail-order company named Acme Corporation. These invariably failed spectacularly and unexpectedly, keeping the audience guessing.

In late 1982, the National Lampoon published a three-part series detailing a lawsuit Wile E. filed against the Acme Corporation over the faulty items they sold him in his pursuit of the Road Runner. Road Runner appeared as a witness for the plaintiff, but the coyote still lost the claim!

Spin-Offs

In another series of Warner Bros. Looney Tunes cartoons, Chuck Jones used the character design of Wile E. Coyote as "Ralph Wolf". Ralph continually attempts to steal sheep from a flock guarded by the eternally vigilant Sam Sheepdog. As with the Road Runner and Wile E. Coyote series, Ralph Wolf uses all kinds of wild inventions and plots to steal the sheep, but the sheepdog always beats him.  

Wile E. Coyote debuted in his comic book, a Henry Hawk story in Looney Tunes and Merrie Melodies #91 (May 1949). He only made a few other appearances and did not have an official name yet. The first appearance of the Road Runner in a comic book was in Bugs Bunny Vacation Funnies #8 (August 1958). This feature is titled "Beep Beep the Road Runner". It introduces the Road Runner's wife, Matilda, and their three newly hatched sons.

On television, Road Runner and the Coyote started on Saturday mornings in its TV series, The Road Runner Show, from September 1966 to September 1968, on CBS. It was then merged with The Bugs Bunny Show to become The Bugs Bunny and Road Runner Show from 1968 to 1985. The show was later seen on ABC until 2000 and  Global until 2001.

In the 1980s, ABC began showing many Warner Bros. shorts, although in a highly edited format. This was to reflect cultural changes, so Coyote was no longer shown smoking cigarettes or creating a ‘black face’ with his various explosions to better reflect society.

Since the release of the WB library of cartoons on DVD, the cartoons gradually disappeared from television; some think this was done to increase the sales of the DVDs. These weren’t seen again until Boomerang began showing them in the 1990s and early 2000s. Cartoon Network began to air them again in 2011, and the shorts were afterwards moved to Boomerang, where they remain.

Road Runner and Wile E. Coyote feature in 3D computer-animated cartoons on the Cartoon Network, and Road Runner began making appearances when the series was renamed New Looney Tunes in 2017. Wile E. Coyote also appears in the TV series Wabbit, voiced by JP Karliak, in a similar vein to his previous pairings with Bugs Bunny. Finally, Wile E. Coyote and Road Runner appear in their cartoon shorts in the HBO Max streaming series Looney Tunes Cartoons.

As for films, 2020 saw a 3D movie being developed where Coyote-v-Acme was going to be developed using the short story by Ian Frazier. This was based on a story where Coyote was taking a lawsuit against the Acme Corporation for the damage caused to Coyote by the malfunctioning devices. The release date at the time was 1^st July 2023, but we will have to wait and see.

Fun Facts

·        Dire Straits guitarist Mark Knopfler recorded a song called ‘Coyote’ on his 2002 album The Ragpickers Dream based on the character

·        Twister Sister’s music video ‘We’re Not Gonna Take It was based on the cartoon

·        By 2020, fifty cartoons had been made featuring the characters, with the majority of them by one of the cartoon’s originators, Chuck Jones.

·        In 2013, Wile E. Coyote was on the list of the 60 Nastiest Villains of all time

·        The E in Wile E. Coyote stands for Ethelbert

·        The cartoon originally started in1948

·        Road Runner’s wife is called Matilda

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The Background

This week I am taking a trip back to the 1970s with The Hair Bear Bunch. The Hair Bear Bunch was created by Ruby and Joe Spears (these two helped develop Scooby-Doo) and was based on zoo animal comedy with counterculture influences.

Produced by the famous Hanna -Barbera studios during the height of Saturday morning animation. The Hair Bear Bunch premiered on CBS in September 1971 and ran until January of 1972. Inspired by the success of earlier Hanna-Barbera cartoons such as Yogi Bear, Top Cat, and Wally Gator. Although not as commercially successful as its predecessors, the show still did well and added to the studio’s more unusual animal cartoons.

The Episodes

With only 16 episodes made, each episode followed three bear cousins who all lived in Wonderland Zoo and their never-ending attempts to outsmart the zoo management. There was a mix of get-rich-quick schemes and comedy as each week the bears searched for different adventures outside their enclosures.

It was interesting, too, how the bears started to wear fashion influenced by the counterculture of the 1970s, which is another reflection of the cartoon mirroring society changes, which I wrote about here. The show was quite imaginative too, with the gang using various gadgets such as an invisible motorbike and a hidden luxury den.

Behind the Scenes

Developed with the title ‘The Yo-Yo Bears’, the project changed names several times before it was released. The show leaned heavily on character interaction and recurring jokes, which was popular at the time in animation, balancing animal comedy with a sitcom-style of storytelling.

This meant that, as ever, the characters and their voice actors needed to work well, and it was renowned voice actors such as Daws Butler and Paul Winchell who brought this to life.

The characters were Hair Bear, the fast-talking leader and planner in the group, alongside Bubi Bear, the calmer, sensible member of the trio, and Square Bear, their laid-back and very dim-witted cousin. Together, the bears frequently find themselves at odds with Mr Peevly and Lionel Botch, the zoo officials determined to keep them under control.

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Wrapping it all up

The Hair Bear Bunch stood out as a uniquely 1970s Hanna-Barbera production. It combined classic animal antics with contemporary cultural influences well and had memorable characters that people still remember. For me, the show demonstrated Hanna-Barbera’s willingness to experiment, offering a fresh twist on the studio’s established formula and seeing where it went. Although its run was relatively brief, the cartoon has made its small mark with fans, with later home releases and apparel still bearing the Hair Bear Bunch.

I hope that you enjoyed this dip into the wild 1970s cartoon world, and if you want to read more from the 1970s canon, you could always read this one on Atom Ant.

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Welcome to Animated, a weekly publication exploring animation, craft, and the ideas behind how things are brought to life. If that sounds like your kind of thing, feel free to subscribe or follow.

History

Chorlton and the Wheelies was a unique British animated series first aired in 1976. Created by Roy Wilson, the show was produced by Woodland Animations (Charlie Chalk, Postman Pat and Gran, to name a few). The show quickly became a hit with younger audiences with its charm, imaginative world, and memorable characters. Chorlton and the Wheelies remains a beloved part of animated television history even though only 40 episodes were produced, and reruns are rare.

Plotline

The series takes place in  Wheelie World, where the wheelies live. The Wheelies are a race of creatures who move by using wheels, not legs.

The wheelies are in constant conflict with Fenella the Kettle Witch, an evil Welsh witch. She lives in the same world but is separated from the Wheelies in Spout Hall, an oversized kettle.  

Fenella hates happiness and uses spells and her powers to make the Wheelies unhappy. She has the most fantastic chin in animation and transports herself by passing through the ground and reappearing elsewhere, a little like teleportation. She constantly tries to make the world unhappy but often fails. 

The Wheelies have adopted a happiness dragon, Chorlton. Chorlton is a good-natured and clueless dragon-wheeler.  He doesn’t perceive Fenella as a villain and affectionately refers to her as a little old lady, and his presence negates Fenella's magic.

Chorlton and the Wheelies captures the spirit of exploration and curiosity and highlights the importance of friendship, problem-solving, and embracing the wonders of the unknown while celebrating the joy of discovery and imagination.

Characters

Chorlton: Chorlton, is a magical, friendly dragon with a sense of adventure and unwavering optimism. He is willing to help his wheelie friends, making him a much-loved leader.

Bella: Bella is Chorlton's best friend, who accompanying him on adventures. She is bothsupportive and resourceful, balancing Chorlton’s enthusiasm.

Brum: Brum is the wise one who serves as a mentor to Chorlton and Bella. He imparts guidance, helping the young wheels navigate their challenges.

Fenella the Witch is always trying to bring misery wherever she goes. She has some support from a telescope, which advises her on magic. She has a range of minions, including Spikers (sinister conker shells with eyes that roll everywhere) and toadies (toadstools with similar looks, which travel by bobbing through the ground). I love Fenella.

Merchandise

The popularity of Chorlton and the Wheelies led to a range of spin offs aimed at capturing the series’ charm. Everything from toys and books to clothing and stationery, fans could bring the colourful world into their world.

These creative designs of the characters, reminiscent of classic British animation, contributed to the appeal of the merchandise.

Fun Facts

• The main character gets his name from the area where Cosgrove Hall Films are located in Manchester.

• Wheels were used instead of walking, as walking is difficult to achieve when using stop motion, so the animators decided to use wheels for most characters.

• Fenella the Witch has a surname, Fellorick.

• The show sold to several different countries where its simple format proved successful.

  If you enjoyed this nostalgic look back at Woody Woodpecker, consider subscribing to Animated. Every week, I revisit classic cartoons, children’s television, and animation history from Britain and beyond.

Hello and welcome to Animated, where I explore animation history, classic cartoons and television as well as the artists who shaped the animated worlds we grew up in. Animated is public, so please feel free to share and subscribe.

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Hello and welcome to Animated, where I explore animation history, classic cartoons and television as well as the artists who shaped the animated worlds we grew up in. Animated is public, so please feel free to share and subscribe.

After the incredible animation and financial success of Shrek the Third in 2010, DreamWorks decided to return to Far Far Away with what they told us was the final chapter… Look out for 2027, as I think they can’t let a good money maker go!

Shrek the Third had its focus on responsibility and becoming a parent; Shrek Forever After moved the franchise in a different direction by asking a really clever question:

This, I think, was a good choice; yes, it is financially successful, but importantly the studio did an extended character arc, which is a brave choice, and DreamWorks didn’t seem afraid to do this with the franchise.

At this point, the franchise had become one of the most valuable properties in animation. Audiences knew and related to the characters inside out, Puss in Boots had become a superstar in his own right, and DreamWorks needed to find a story that felt meaningful rather than simply repeating old ideas.

The result was a film that mixed humour, fantasy and surprisingly mature themes relating to family, regret and an appreciation of what you already have.

The Plotline

Life appears to be going wonderfully for Shrek.

He has Fiona, three children, loyal friends and is now a respected hero throughout the kingdom. The problem is that Shrek misses the days when people were terrified of him and the unpredictability of his old life. It is great to see this movement as Shrek becomes an adult, where his life is replaced with birthday parties, domestic responsibilities, and villagers constantly asking him to roar on command. I love this pop culture reference here, as animation always reflects pop culture incredibly well.

As he now feels trapped by routine, Shrek encounters the scheming Rumpelstiltskin, who offers him a magical deal. In exchange for one day from his past, Shrek can experience life as a ‘real ogre’ once again. That fairy-tale play the franchise has become so brilliant at is again seen here, but naturally, things are not quite what they seem.

The contract creates an alternate reality where Shrek was never born, and now Rumpelstiltskin rules Far Far Away. The introduction of sci-fi shows that Fiona has become a hardened resistance leader, Donkey doesn’t know him, and Puss in Boots is now far less of an athletic version of his previous self. All of this with the backdrop of ogres being hunted to extinction.

As you can already guess, Shrek suddenly realises that the life he wanted to escape was actually the life he treasures most. Then what follows is a race against time as he attempts to restore reality before it disappears forever.

Why It Stands Out

One of the biggest reasons that we enjoy Shrek Forever After, I think, is because it feels much closer in spirit to the original film. The earlier films are heavily based on fairy-tale parody and pop culture references. In this film, they are still there, of course, but more than anything, it has a strong emotional core.

When the film was released, the original audience was becoming adults themselves, and the makers recognised this, so their attention changed to themes that resonated with older audiences…clever. Shrek was no longer battling a dragon or rescuing a princess; this time, he is wrestling with the fear that life has become mundane.

Using a sci-fi idea allowed DreamWorks to refresh and expand familiar characters without abandoning what made audiences love them in the first place. It all feels like they were asking what made Shrek special before, then rebuilding the franchise around those foundations for that generation.

The Business of Shrek

The box office total was lower than Shrek 2 and Shrek the Third; the fourth film still made a remarkable $756m at the box office alone, which is not bad when production costs were around $165m.

Beyond ticket sales, merchandise, now including theme park attractions, was added to the bottom line.

The fourth instalment did receive a warm welcome from critics, with strong character development and an emotional story.

The fifth in the franchise will hit the big screens in June 2027, showing that the business of Shrek keeps going.

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Fun Facts

Rumpelstiltskin is voiced by Walt Dohrn, who had previously worked as a writer and storyboard artist on earlier Shrek films.

Shrek Forever After was the second highest-grossing film in the franchise in foreign cinemas

I hope you enjoyed reading the series on the fantastic Shrek franchise. If you liked these, you might even like Danger Mouse.

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Thundercats

Thundercats was the brainchild of Tobin Wolf and ran originally from 1985-1989. Featuring a group of cat-human-like aliens living on a planet called Third Earth where they battle evil. Originally animated by a Japanese studio, Pacific Animated which was acquired by Walt Disney Japan in 1989 with Warner Bros owning the rights from 1989.

Season one of the show consisted of 65 episodes and was followed by a TV movie -Thundercats - Ho! In 1986. Following on from the success of this season 2-4 were commissioned, each with 20 episodes, which started with a five-part story.

The show simultaneously released characters to the animation when it first aired in the US. This was modelled on the success that had been previously seen with the Masters of the Universe merchandise. This was mirrored in Europe as the seasons were released at the same time as merchandise.

There were also several comic book series made by Marvel comics (Disney) from 1986-1988 and five series by DC Comics starting in 2003. Merchandise has been a strong feature of Thundercats with items such as clothing becoming popular with adults, hungry for nostalgia, who grew up with their heroes.

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Characters

The cast of characters was large with only around six voice actors taking up the majority of roles, especially in season one. Below are the seven main characters that are featured in almost every episode. Voice actors changed throughout the seasons but the characters remained true to their original characteristics.

Tygra

A level-headed and brave warrior based on a tiger, he is the Thundercat scientist and architect and official second in command. He is the architect of structures on Third Earth and can create illusions in the minds of others. His weakness is his inability to swim when not invisible and his chosen weapons are bolas and whips when in battle. When his character was first created the keyword used was integrity which shows in the episodes. As the seasons progress Tygra falls in love with Chetara.

Chetara

She is the only female adult character (until the arrival of Pumyra). She is brave, strong, and caring and is seen as the voice of reason. She has a developing sixth sense that the gang reply on to sense out evil. She also has incredible speed that she can use for short bursts. In both animation and comics, she loves water more than any of the other Thundercats.

Panthro

Panthro is the next greatest and most noble warrior. Based on a panther Panthro is a brilliant martial artist and chief engineer building vehicles with Tygra’s help. Strong and powerful he shows two sides to his personality with an infectious laugh and a good sense of humour he is part of the family. However, he will often be portrayed as a stone-cold warrior when in a battle where he uses nunchaku with chemical compounds. In the animated series, his fear of bats is revealed.

Snarf

Snarf (or as he is properly known Osbert, which he hates) served as a protector to Lion-O when he was a boy. He is a loyal member of the Thundercats and can sometimes come up with a solution to a challenge. Although not a fighter he can communicate with other animals on Third Earth to gain their help.

Lion-O

Lion-o is the true lord of the Thundercats. Based on a lion Lion-O carries the legendary Sword of Omens which fires bolts and gives Lion-O ‘sight beyond sight’ allowing him to see across vast distances. He also has the claw shield that launches grappling lines from its claws. 

Lion-O has immense mind power, strength, cunning, speed and intelligence which makes him the rightful leader of the Thundercats.

WileyKit and WileyKat

Brother and sister twins are often referred to as the Thunderkittens. They are often the mischief makers and have their lessons to learn on Third Earth. They frequently use traps and tricks on enemies often flying on space boards when in battle.

Mumm-Ra 

I can’t end this without a mention of Mumm-Ra, nemesis to the Thundercats. He is a supervillain that is an undead sorcerer. He aims to destroy Thundercats, take the Sword of Omens, and ensure that his world stays under his control.

Plotline 

We follow our heroes on Third Earth after their dying planet, Thundra, meets its end. After a battle where the Mutants of Plun-Darr try and steal the Sword of Omens which fails, they are left to face battles against Mumm-Ra and his allies to keep the sword as they create homes and vehicles to take on the battle whilst using their skills

Films

The Thundercats-Ho! movie was released in 1985 to much acclaim and, over the years, there has been much speculation about more live-action movies to follow. In 2007 a film adaptation was announced using CGI and was due for release in 2010 however, this was put on hold. We are told that the Simon Barrett written Thundercats film will be released in 2024 with trailers now available.

Whatever age you are Thundercats have woven themselves into popular culture and will continue to do so with comics, figures, clothing, films and other merchandise still selling well almost 40 years after the original animation was released. In the last 5 years growth has been around 43% bringing the total Thundercat revenue so far to over $300m.

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Shrek the Third - The Franchise Reaches Royal Status

The next chapter in DreamWorks’ fairy-tale phenomenon

Hello and welcome to Animated, where I explore animation history, classic cartoons and television as well as the artists who shaped the animated worlds we grew up in. Animated is public, so please feel free to share and subscribe.

After the incredible success of Shrek 2, DreamWorks found itself in an enviable position as the first sequel had become one of the biggest animated films ever released. The sequel even introduced fan favourites such as Puss in Boots, expanding the world of Far Far Away in the process.

The great thing is DreamWorks didn’t rush out another animated film, but they took their time, and three years later, Shrek the Third arrived in cinemas. While it never quite achieved the same acclaim as its predecessor, it did continue the Shrek story of Shrek and Fiona and build the film around responsibility.

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The Plotline

Following the events of the second Shrek film, King Harold passes away, leaving the kingdom of Far Far Away without a clear heir. This makes Shrek and Fiona in line for the kingdom.

What is clever is the way the character arcs have developed, and Shrek becomes aware that he is probably the worst possible candidate to rule a kingdom. As the films all love to have a mission, Shrek sets out with Donkey and Puss in Boots to find another successor.

Their search leads them to Artie, Fiona’s awkward teenage cousin who is currently attending a medieval-style school. However, while Shrek searches for a replacement king, Prince Charming returns with a grudge. He gathers together a collection of disgruntled fairy-tale villains in an attempt to seize control of Far Far Away. This plays brilliantly against the fairy-tale arc we all know.

Alongside all of this, Fiona reveals some life-changing news. Shrek is going to become a father.

The result is a story that mixes royal succession, fairy-tale comedy and the anxieties of growing up and accepting responsibility really well, with emotional depth and animation brilliance.

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Why it Stands Out

Unlike the first two films, which focused heavily on fairy-tale parody, Shrek the Third puts much more emphasis on the characters themselves.

The biggest theme throughout the film for me is insecurity. Shrek genuinely struggles with the idea of becoming a parent, Artie lacks confidence in himself, and even Charming is desperate for the approval he believes he deserves.

I also think that one of the more interesting aspects of the film is seeing Shrek deal with fears that many adults can relate to, especially as life becomes more complicated. The film still contains plenty of fairy-tale jokes and pop-culture references, but it often feels more like a character story than the outright parody that made the original such a brave hit.

The Characters

Once again, the returning cast brings plenty of personality to the film.

Shrek - Mike Myers returns, but this time we see a more vulnerable side to the character as he worries about becoming a father and potentially ruling a kingdom he has no interest in governing.

Princess Fiona - Cameron Diaz continues to play Fiona with warmth and confidence. While Shrek is away on his quest, Fiona is given a larger role as she works alongside a group of fairy-tale princesses in fighting off Prince Charming.

Donkey - Eddie Murphy remains one of the film’s highlights. His energy and constant chatter continue to provide many of the film’s funniest moments.

Puss in Boots - Antonio Banderas returns with all the charm, confidence and dramatic flair that made him an instant fan favourite in Shrek 2.

Artie - Voiced by Justin Timberlake, Artie is introduced as the future heir to the throne. Initially insecure and uncertain, his journey forms a major part of the story.

Although only a side character, Eric Idle as the wizard is one of my favourite characters in the whole franchise and again shows the brilliance of matching the right character with the right voice.

Music

Like the previous films, music remains an important part of the franchise. The soundtrack features a mixture of pop and rock tracks that were very much in keeping with the franchise’s identity. Although it doesn’t contain Holding Out for a Hero, of course I do think that “Immigrant Song” by Led Zeppelin is an absolutely classic scene.

Merchandise

By 2007, Shrek had become one of DreamWorks’ flagship brands.

The usual cascade of merchandise, including toys, books, video games, clothing and fast-food promotions, all clamoured for attention on the release of Shrek the Third. The franchise’s popularity was now so great that we started to see the characters becoming instantly recognisable around the world. Shrek, Donkey and Puss in Boots were no longer animated characters; they had now become major mascots for DreamWorks itself.

Impact

Although opinions on Shrek the Third have always been a little more divided, it was still an amazing commercial success, taking a reported $808m worldwide.

The film also helped bridge the gap between Shrek 2 and the eventual release of Shrek Forever After in 2010. This kept audiences invested in the characters, and of course the cynical may say their merchandise.

It also showed that DreamWorks was willing to shift the focus of the series. Rather than simply repeating the formula of the previous films, the studio explored new stages in Shrek’s life, particularly his fears about parenthood and responsibility, which was brave for a success like Shrek.

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Fun Facts

• Justin Timberlake was cast as Artie after previously expressing interest in voice acting roles.

• Shrek the Third became one of the highest-grossing films of 2007 despite receiving more mixed reviews than its predecessors.

I hope that you have enjoyed reading about Shrek the Third. As ever, if you would like to receive weekly posts directly, please subscribe by hitting the button below.

If you liked reading this, you might like Toy Story

Have a great week.

Here is my next instalment of my Summer Rewind- what a classic.

Welcome to Animated, where I write about famous and not-so-famous animations weekly to amaze and broaden your animation horizons. Why not subscribe for free to receive Animated in your inbox every Sunday? Telling your friends is actively encouraged 🙂

The History

Jamie and the Magic Torch came out of some brilliant children’s animation in the mid 1970’s in the UK. Created by Cosgrove Hall Films, the series debuted in 1976, captivating audiences with its magical adventures and innovative animation techniques. Although the official release came later, in March 1977, the show was written and narrated by the brilliant Brian Trueman, who went on to write Danger Mouse and Count Duckula.

Like the later DM and Count Duckula, the show was made at Cosgrove Hall, where the animation developed its style and helped develop the studio.

Lasting for only 39 episodes and three series, the short, bright animation had a longer-lasting impact.

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Characters

It had some really memorable characters which were central to the charm of Jamie and the Magic Torch.

Jamie, a young boy with a curiosity for exploration, is the heart of the series. His trusty companion, a talking dog named Wordsworth, adds loyal support. Together, on their adventures, they encounter various colourful characters in Cuckoo Land, including Officer Gotcha, a bumbling policeman, and Farmer Fred, who tends to his peculiar crops.

Jamie: A young boy who discovers a magic torch that transports him to Cuckoo Land. He uses the torch to go on adventures and meet a range of colourful characters.

Wordsworth: Jamie's loyal talking dog companion who accompanies him on his magical journeys. An old English sheepdog; I think he is the perfect companion.

Hubert: A mischievous, yet cowardly pink elephant who joins Jamie and Wordsworth on their adventures. Hubert will often cause trouble but ultimately proves to be a loyal friend.

Officer Gotcha: The bumbling and comically inept police officer whose attempts to maintain order frequently backfire, providing humour and obstacles for Jamie and his friends.

Plotlines

At the start of each episode, Jamie's mum tucks him into bed, saying, "Sleep well, Jamie." Wordsworth, his pet old English sheepdog, then appears, holding the torch in his mouth. Jamie shines the torch on the floor, opening up a portal (a helter-skelter in this case) to Cuckoo Land.

They both slide down and fly out into Cuckoo Land from the bottom of a tree, where they bounce on a trampoline. I always thought this would be a great idea, but health and safety wins.

The show's plotlines are as diverse as they are imaginative. From thwarting the mischievous antics of the villainous Mr Boo to unravelling mysteries with the help of the Magic Torch, each episode brims with excitement and wonder. Whether navigating through secret passages or outsmarting Cuckoo Land's eccentric inhabitants, Jamie and Wordsworth's escapades never fail to captivate audiences of all ages.

Spin-Offs and Related Work

The continued popularity of Jamie and the Magic Torch has led to several spin-offs, even back when merchandise was never really a word. These include books, toys, and even a stage adaptation.

The bigger spin-off, for me, was that animators started to create increasingly interesting animation for children at this time and experimented with different techniques.

Financially, Jamie and the Magic Torch enjoyed considerable success during its original run and continues to attract audiences through reruns and digital streaming platforms. The series' enduring popularity has ensured its status as a beloved classic in children's animation, contributing to its long-term financial viability and cultural relevance.

Legacy

Jamie and the Magic Torch’s legacy owes a lot to the power of imagination in storytelling. Subsequent animated works that draw inspiration include Danger Mouse and Chorlton and the Wheelies.

Fun Facts

• The animation style of Jamie and the Magic Torch was achieved through traditional hand-drawn techniques and the use of light and shadow.

• Roger Limb's theme song for the series remains a nostalgic favourite among fans, evoking memories of magical adventures in Cuckoo Land. Watch here

Conclusion

Even now, Jamie and the Magic Torch continues as a timeless classic in children's animation. It continues with its characters, imaginative storytelling, and legacy.

As I revisit the magical world of Cuckoo Land, it just reminds me a little of where creativity actually comes from: us.

If you liked this, you might like Almost Naked Animals.

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When Shrek first came out in 2001, it had a huge impact on animation and left DreamWorks with the challenge of creating the sequel to one of the most successful animated films ever made.

Three years later, Shrek 2 came out and, for me, managed to achieve what many sequels fail to do by expanding the depth of characters, their world and the number of them on screen. For many fans, this film surpassed the original as Shrek realises that in-laws, family and royal politics are scarier than dragons.

The Plotline

Following on from their marriage at the end of the first film, the happy couple return from their honeymoon to receive an invitation from Fiona’s parents, the King and Queen of Far Far Away, with the only problem being that Fiona didn’t tell her parents that she permanently looks like an ogre, and that she married one.

With Donkey in tow, the happy couple travel to see Fiona’s parents, where the reunion goes about as badly as you can imagine.

As they are doing this, a powerful Fairy Godmother has her own plans for Fiona involving her own son, Prince Charming, and a rather dangerous contract.

What follows is a mixture of fairy-tale parody, family drama, and, for me, one of the best animated finales.

Why it Stands Out

The original turned fairy tales upside down, but the sequel expanded on this idea, bringing it into another world.

Far Far Away is essentially a fairy tale version of Beverly Hills. The land is used to poke fun at popular culture, beauty standards and living happily ever after. This works so well as beneath the jokes lies an emotional depth where Shrek feels he isn’t good enough for Fiona and Fiona is caught between her past and present life.

Like the original film, it balances comedy with sincerity so that you feel invested in the characters.

The Characters

Shrek, Fiona and Donkey become a little deeper and increasingly invested in each other, but the supporting cast really start to bring the film to life.

Puss in Boots - Voiced by Antonio Banderas, he was an important addition to the franchise, as he is a standout character in the film but also has his own film spin-offs too.

Fairy Godmother - Voiced by Jennifer Saunders, she is both charming and manipulative with a genuine villain quality.

Prince Charming - Handsome, arrogant and completely self-absorbed, his voice is provided by Rupert Everett.

King Harold and Queen Lillian - The choice to use John Cleese and Julie Andrews is just wonderful, and the DreamWorks team totally got the voice actors spot on to play these perfectly.

Music

The pop music returned here with the soundtrack featuring Tom Waits and Counting Crows, but the standout song has to be Jennifer Saunders’ rendition of Holding Out For A Hero. Even over 20 years later, it is such a great scene.

Merchandise

As you can predict, DreamWorks went into merch overdrive. Fast food, toys, games, clothes, anything and everything was fair game. Puss in Boots quickly became one of the franchise’s most popular characters and would eventually receive his own successful spin-off films.

Impact

Often a sequel can be seen as safe; not with this one. Everything expanded.

The film demonstrated the overlap between parent and child humour and balanced this with slapstick and family relations. Even now, fans will argue over which film is better, but for me, that shows that if it’s still being discussed, then that tells you everything you need to know.

Fun Facts

• Antonio Banderas based the voice of Puss In Boots partly on his famous Zorro character.

• Jennifer Saunders was personally requested as the filmmakers loved her comedy work.

I hope that you have enjoyed reading about Shrek 2. As ever, if you would like to receive weekly posts directly, please subscribe by hitting the button below.

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As part of my Summer Rewind series, here is the fantastic Mr Benn.

Welcome to Animated, a weekly publication exploring animation, craft, and the ideas behind how things are brought to life. If that sounds like your kind of thing, feel free to subscribe or follow.

The Animation

Mr Benn was an animated series created by the brilliant David McKee. McKee originally wrote Mr Benn as a children's book in the late 1960s before the series was turned into the much-loved TV animation. 

The fifteen-minute cartoons were first broadcast on 25th February 1971 on the BBC and featured our bowler-hatted hero, Mr Benn. Each episode had no other voice except the narrator Ray Brooks (who also narrated King Rollo, another of McKee’s animations), who told the story as it unfolded on screen.

Each episode followed a similar theme with Mr Benn, wearing a black suit and bowler hat, leaving his house at 52 Festival Road, London and entering a fancy-dress costume shop. When the shopkeeper would appear, at the words ‘As if by magic, the shopkeeper appeared.’ Mr Benn would then dress up in one of the outfits and be transported, through a magic back door, to his adventure. At the end of his tale, the shopkeeper would reappear, guiding Mr Benn back to the shop.

Cleverly each episode gave a clue before he would undertake his venture. An example of this was to watch for the children playing in the background as he walked to the shop revealing where Mr Benn could be going on his adventure.

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Mr Benn

An upstanding member of British society, the stories often had a moral hidden within them that Mr Benn resolved by the end of the episode. Mr Benn lived at 52 Festival Road, London. David McKee lived at 54 Festing Road and said that when he created the character, it would be someone he’d like to live next door to. Always dressed in his regular clothing, viewers would have to guess what he was about to change into…a knight, caveman, spaceman, pirate… All have been used.

The Shopkeeper - read Fun Facts to find out his name!

The shopkeeper was the other main character in every episode. He was always dressed in glasses and wore a red fez. He would help Mr Benn make his choice and take him to the changing rooms before Mr Benn slips into his awaiting story.

Production & Episodes

The animation was produced at Zephyr Films, and thirteen episodes were made and shown in 1971 and 1972. A fourteenth episode was created in 2005 and debuted on the channel Noggin in the UK. This episode was taken from the 2001 McKee book Gladiator.

Although the show was shown for over 20 years, McKee signed a contract where he got paid a one-off payment and no repeat fees.

Spin-Offs

Generations have loved the series, and several different merchandises have been produced, from bedspreads to badges. There was only ever one annual made which now would cost around £90 for the original 1972 version. 

Of course, the most significant spin-off was the original books that created the series, which are again an expensive choice now.

David McKee also wrote several other books, such as Elmer the Elephant and Not Now Bernard, along with showing his art in exhibitions.

Fun Facts

• The shopkeeper's name was Smasher Lagru, and he first appeared as an inmate in Mr Benn’s book, 123456789 Benn. This was where Mr Benn was a convict; it didn’t make it into the animated series.

• Mr Benn’s first name was William.

• In the first episode, Mr Benn is a knight.

• Very little of the animation originals are left as they were thrown into a skip in the 1970s

• In 2009 a plaque at 54 Festing Road (where the inspiration for Mr Benn came from) was installed as a tribute to McKee.

• In a recent poll, Mr Benn was voted the sixth most popular kids' TV show of all time.

  
  

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Shrek first came on in cinemas back in 2001, where it had an immediate impact on animation that has rippled out ever since.

You have to remember that before 2001, Disney dominated the big-budget animated films throughout the 1990s with hits like Aladdin, The Lion King and Beauty and the Beast. These followed a uniform fairy-tale formula with perfect heroes, princes, and princesses. Then, all of a sudden, came along a grumpy, green ogre.

Shrek came from the DreamWorks Animation Studio and was directed by both Andrew Adamson and Vicky Jenson. The film was based, very loosely, on the children’s book from 1990 by William Steig. The difference was that where the book had introduced the ogre character, the film expanded on this and added a host of characters to support him.

The Plotline

The film follows Shrek, an ogre who loves his swamp and wants to be left alone. When a tiny Tyrant, Lord Farquaad, banishes all the fairy tale creatures to the swamp, Shrek agrees to rescue Princess Fiona for the Lord from a dragon- guarded tower.

On his quest, he is accompanied by an overenthusiastic donkey, and the quest becomes more complicated than anyone first imagined.

Why it stands out

One of the many reasons Shrek stood out was that it turned the traditional fairy tale upside down. Neither the hero nor the princess was what the audience expected, and the story poked fun at what were seen as fairy tale conventions.

Along with this, though, for me it was also a technological achievement for DreamWorks. Computer animation had advanced significantly during the late 1990s, but Shrek demonstrated how expressive digital characters could become. From Donkey’s facial expressions to the detailed textures of the swamp, audiences were seeing a new level of animated storytelling.

The film was one of the highest-grossing of 2001, establishing DreamWorks as a serious rival to Disney.

Although the title character is an ogre, Shrek quickly became one of animation’s most lovable heroes.

At first, he wants to be left alone. He dislikes visitors, avoids friendships and is happy living away from society. However, throughout the film we gradually discover that his grumpy behaviour comes from years of being judged because of his appearance. Mike Myers was a great choice for the voice here, and if you have seen him play the dad in So I Married an Axe Murderer, you will see where his voice training came in.

Donkey provides the perfect contrast. Loud, energetic and endlessly optimistic, he talks almost constantly. In many ways he acts as the heart of the story, helping Shrek realise that friendship can be worthwhile. Again, using Eddie Murphy was a stroke of genius as his up-tempo rhythm really nails Donkey’s persona.

Princess Fiona initially appears to be the traditional fairy tale princess waiting to be rescued. However, the film cleverly reveals there is much more to her character. Rather than simply being a damsel in distress, she is independent, capable and often far tougher than the people around her and again the voice of Cameron Diaz matches this perfectly for me.

Then there is Lord Farquaad. Despite being physically small, he attempts to control everyone around him. His obsession with creating a perfect kingdom serves as a humorous criticism of appearance-based judgement, something the film repeatedly challenges brilliantly.

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Music

Shrek broke with tradition here too, shifting away from orchestral scores and favouring pop music, which really helped define its own personality. The opening use of Smash Mouth’s ‘All Star’ instantly became iconic and remains closely associated with the movie over twenty years later.

The soundtrack (yes, it is available) includes classic artists such as Rufus Wainwright, Eels and Joan Jett, which really gave the film a contemporary feel that separated it from many earlier animated features.

The music really helps balance the comedy moments along with the genuine emotion. Music is a big part of the film for me and develops as the story of the friendship between the characters unfolds.

Merchandise

Shrek became a merchandise juggernaut, as was to be expected. If you could stick an ogre sticker on it, it was merchandised. Everything from lunchboxes to story books to video games. In the midst of all this, William Steig was paid $500,000 for the rights, and the films alone have grossed over $4bn…Good deal, bad deal?

Films

The success of the original film led to sequels and spin-offs, with Shrek 2 arriving in 2004; I bet you can’t guess what my post will be about next week :)

Further characters and films, such as Puss in Boots, were introduced, and holiday specials, television appearances, and several spin-off films have helped keep the franchise going.

Some would argue that the original is still the best, but for me, I love Eric Idle in Shrek the Third and how the characters have been developed over time.

Impact

Perhaps the biggest legacy of Shrek is the way it influenced animation.

Following its success, many studios embraced more self-aware humour and pop culture references in their family films. Characters became more flawed, stories became less traditional and animated movies increasingly aimed jokes at parents as well as children.

The film even won the very first Academy Award for Best Animated Feature. This was introduced in 2001 and recognises animation as a major filmmaking medium rather than simply children’s entertainment.

More than twenty years later, Shrek remains one of the most recognisable animated characters ever created, which is not bad for an ogre who just wanted everyone to stay out of his swamp.

Fun Facts

• Shrek won the first-ever Academy Award for Best Animated Feature.

• Chris Farley was originally cast as Shrek and recorded much of the dialogue before his death.

• Mike Myers re-recorded more than 90% of his original dialogue when he switched to a Scottish accent.

• Shrek became the first animated franchise to earn more than $ 1 billion at the global box office.

I hope that you enjoyed this as much as I did researching and writing it. Animated is public, so please feel free to share the cartoon love.

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Woody Woodpecker is one of a certain type of cartoon character who feels like they have always been with us. He was created by Walter Lantz and Ben ‘Bugs’ Hardaway and first appeared in the animated short Knock Knock in 1940. Like many other characters of that era, he was initially a supporting character before quickly becoming the star of his own series.

The cartoon was made by Walter Lantz Productions and distributed by Universal, with Woody arriving during what many consider (including me) the golden age of cinema animation. While characters such as Mickey Mouse and Bugs Bunny were becoming household names, Woody carved out his own place with a very different personality, as he was loud, mischievous, and unpredictable. Most of the time, he seemed to enjoy causing chaos simply because he could.

What made Woody stand out was that distinctive laugh. Even people who have never watched a full Woody Woodpecker cartoon will usually recognise it. His early appearances presented him as a wild and almost unhinged character, and this image reflected the cartoons’ comedy throughout the 1940s. Over time, though both his appearance and personality became more refined and a little softer, he thankfully never completely lost the troublemaker spirit that had made him famous.

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The cartoons are typically short, fast-paced adventures built around simple conflicts in which Woody might battle a neighbour, frustrate a hunter, or outwit a rival. His trademark here was his ability to turn an ordinary situation into chaos. All the stories relied on visual comedy with escalating jokes, making them easy for the audience to enjoy regardless of when they were made.

Like many classic animation characters of that time, Woody has expanded well beyond the cinema. As merchandise started, he began to appear in comics, on television, in merchandise, and at theme parks. Later revivals helped keep him alive long after the original cinema shorts ended.

Characters

Although Woody is very much the focus of the series, several recurring characters help build out his world and give him plenty of opportunities to bring his own brand of mayhem.

Woody Woodpecker

Woody is energetic, mischievous, clever, and totally exhausting. He is never the strongest character in any situation he is placed in, but he is often the most determined. Whether he is pulling pranks or fighting back against someone who has annoyed him, Woody usually finds a way to come out on top. His confidence is perhaps only matched by the volume of that laugh.

Winnie Woodpecker

Winnie became Woody’s long time girlfriend. She shares much of Woody’s energy but generally comes across as more grounded than he does, who wouldn’t? Their relationship gave later cartoons and television appearances a little more warmth alongside the comedy, as Woody would be difficult to take on his own.

Buzz Buzzard

Like every cartoon hero, they need an antagonist, and Buzz played that brilliantly. Clever, sneaky, and constantly looking for any shortcuts, Buzz frequently found himself battling Woody in contests of wit and coming off worse for it.

Wally Walrus

Another rival was Wally. He is short-tempered and perpetually frustrated as his attempts to maintain order are usually destroyed by Woody’s behaviour, making him a great comic foil. If Woody represents chaos, Wally represents the one caught up in it all.

Plotline

Like many cinema shorts of that era, Woody Woodpecker did not rely on a single overarching narrative, as was popular at the time; each cartoon functioned as its own self-contained story.

This formula sounds very simple on paper. Woody wants something, somebody gets in his way, and chaos follows. For me, in these, the magic happens with how creatively the animators and writers explore and develop that formula.

The best Woody cartoons have a relentless pace, with jokes that build on one another and situations that become increasingly ridiculous. This then pushes the characters to the breaking point, and there is a wonderful sense that absolutely anything might happen next.

For me, what also makes the series interesting from an animation perspective is how it evolved over the decades. When you watch the early Woody cartoons, they are rougher, louder, and more anarchic. As the character matured, and tastes along with it, the storytelling became more polished, but the core appeal remained the same. Woody was always the disruptor, arriving to upset the status quo and keep audiences laughing.

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Three Fun Facts

1. Woody debuted in somebody else’s cartoon

Woody did not come to the screen as the star of his own show. His first appearance was in the 1940 Andy Panda short Knock Knock, where he quickly stole the spotlight from the cartoon’s star, Andy Panda.

2. Mel Blanc provided Woody’s original voice

Before becoming famous as the voice of Bugs Bunny, Daffy Duck, and countless others, Mel Blanc voiced the original Woody Woodpecker. He helped to create that famous laugh. What a man!

3. Woody has a star on the Hollywood Hall of Fame

Not every animated character can claim to have their own star on the Hollywood Hall of Fame, but Woody does, and this is a real testament to his longevity in animation, I think.

Woody’s Legacy

Only a few cartoon characters have survived as many iterations in the entertainment industry as Woody Woodpecker has. Starting in cinema shorts, then came television syndication, comic books, theme parks, and now even streaming platforms, where he has continued to find new audiences.

Part of that longevity comes from the character’s simplicity. Woody is easy to understand and has a rebellious streak with a determination to have fun, even if everyone around him would prefer a quiet life.

These days, he may not receive as much attention as his contemporaries might, but I would say that his influence on animated comedy can’t be ignored. The fast pacing, exaggerated reactions, and energy that define Woody’s adventures can still be seen in modern animation.

More recently, Woody has been introduced to a new generation through live-action/CGI films, including Woody Woodpecker (2017) and Netflix’s Woody Woodpecker Goes to Camp (2024)

For many people, Woody Woodpecker represents a particular era of cartoon filmmaking when animators pushed characters, expressions, and comedy to their absolute limits. More than eighty years after his debut, I can still hear that laugh echoing in my ears.

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If you enjoyed this nostalgic look back at Woody Woodpecker, consider subscribing to Animated. Every week, I revisit classic cartoons, children’s television, and animation history from Britain and beyond.

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Welcome to Animated, a weekly publication exploring animation, craft, and the ideas behind bringing things to life. If that sounds like your kind of thing, feel free to subscribe or follow.

A Brief History

The Flumps were first seen on British television screens in February 1977 on BBC1. Although the series ran for just thirteen episodes, it has left a surprisingly lasting impression on a generation of viewers. The Flumps were created and written by Julie Holder and produced by David Yates. The programme followed the adventures of a family of fluffy, burrow-dwelling creatures living in a strange but wonderfully comforting world.

The show came out of what many now consider the golden age of British children’s television, a period when imagination, storytelling, and character were valued above the spectacle associated with some animations.

With soft colours, gentle pacing, and a very distinctive visual style, The Flumps offered something very different from the fast-paced children’s programming that later started to dominate children’s television screens.

Unlike some animated shows, The Flumps never relied on action or chaos to keep viewers engaged; rather, it thrived on warmth and curiosity, with the interactions between its memorable characters.

Every episode felt inviting, creating a world that was both dreamlike and reassuring. Part of that charm came from the family’s own unique language. Pootle frequently mangled words into expressions such as ‘extra-plorer’ and ‘hodgeheg’, which is what small children do, and parents can relate to. Father Flump’s favourite phrase was that things were ‘all of a tiswas’. These little quirks helped give the series a personality all of its own and remain fondly remembered by fans decades later.

Then there is the theme tune. Even now, many people of a certain age need only hear the opening few notes to be instantly transported back to their childhood, which is quite a feat for such a short-running show.

Despite producing only thirteen episodes, the series was repeated on BBC television several times between 1977 and 1988, helping it become a genuine cult classic of British children’s TV.

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Characters

Grandfather Flump

Grandfather Flump is the wise one of the family. Whether he was tending the garden, playing his Flumpet, or snoozing beneath a newspaper in his favourite chair, he brought warmth, humour, and reassurance to every episode. I think his calm presence makes him the emotional centre of the Flump household.

Father Flump

The clever, practical, and endlessly inventive Father Flump is often found building, fixing, or experimenting with new ideas. He could be working in his workshop or tending the allotment; he always approached every task with patience and good humour.

Mother Flump

Mother Flump is the real heart of the household, spending time baking, tidying, and caring for the family, which comes across as incredibly nurturing and wholesome on screen. She has this big book of stories that she reads from often to inspire the children’s imaginations and adventures.

Perkin Flump

Perkin is the eldest of the Flump children. Both curious and energetic, and frequently the driving force behind each episode’s adventure. Sometimes a little moody and occasionally prone to grumbling, he nevertheless views the world with a sense of wonder that helps draw viewers into the family’s world.

Posie Flump

Posie is the family’s sensible yet imaginative daughter. She is kind-hearted and practical; she often helps solve problems with calm thinking and creativity, bringing balance (and a brilliant voice) to the children’s adventures. Her blue ribbon makes her one of the most instantly recognisable members of the family.

Pootle Flump

The youngest of the Flump children, Pootle, is, I think, my favourite child. innocent, inquisitive, and endlessly lovable. His habit of misunderstanding expressions and taking things literally often leads to funny situations, although his childlike curiosity makes him one of the show’s most endearing characters.

Animation and Style

Visually, The Flumps remains unmistakable. The characters were all physical puppets constructed from papier-mâché and then coated with fur. It was then that carefully crafted features and articulated limbs brought them to life. It is their simple, toy-like appearance that gives the series a rustic, handmade quality that still feels grounded today.

The production used stop-motion animation. Physical models were moved and photographed frame by frame. Modern animation often relies on computers, but the tactile nature of stop-motion gives The Flumps a unique personality that I think remains difficult to replicate.

And then there’s the music. The theme tune was composed by Paul Reade and performed by renowned jazz musician George Chisholm. Instantly recognisable and just a delight to the ear.

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If you would like to listen, here it is - Flumps theme tune

One Thing I Keep Coming Back To

Revisiting The Flumps reminded me that not every story needs world-ending stakes or constant excitement to be memorable. This series succeeds because of its simplicity. Problems are small, kindness wins out, and the characters genuinely enjoy spending time together. In an age where so much entertainment competes for our attention by being louder and faster, there’s something surprisingly refreshing about a programme that actually makes you slow down.

Perhaps that’s why The Flumps still feel relevant today. Sometimes a little gentleness goes a long way in an overly distracted and fragmented world.

Little Princess was created by Tony Ross, based on his hugely popular book series, and first aired in 2006. The show centres on a young royal living in a castle where everyday childhood situations are explored through humour, curiosity, and a fair amount of stubbornness.

Produced by The Illuminated Film Company, the cartoon has a distinctive hand-drawn style that reflects the original book illustrations, giving it an instantly recognisable look.

Each episode is short and self-contained, typically focusing on a single problem or question that the Princess is trying to understand. This could be learning manners, dealing with friendships, or simply refusing to go to bed.

Unlike many cartoons of its era, Little Princess didn’t rely on merchandising the way action-based shows did and still do. It built a strong brand through books, DVDs, and character-based products aimed at younger children. Its strength lies in its relatability, particularly for preschool viewers, with themes now shared by the likes of Peppa Pig.

Characters

The series uses a small but memorable cast of recurring characters, each contributing to the Princess’s world in their own way. While the episodes are largely centred around her, the supporting cast helps guide, challenge, and occasionally indulge her behaviour.

Little Princess
She is a curious, determined, and often stubborn little girl. She questions everything around her and challenges rules, particularly when they don’t make sense. While she can be demanding, she is also kind and imaginative, and most episodes end with her learning (sometimes reluctantly) an important lesson.

The King
He is a loving but slightly distracted father who adores the little princess. He struggles to balance his royal affairs with parenting, frequently conceding to the Princess to keep her happy. Despite this, he always wants the best for her and plays a key role in teaching her right from wrong.

The Queen
Always calm and composed, the Queen provides balance within the royal household. She takes a firmer approach when the Princess steps out of line, acting as a grounding influence, plus she wears a great headscarf.

The General
The always disciplined General represents order and routine. He is often seen training or organising activities, but has a softer side with the Princess, even if she disrupts his carefully planned schedules.

The Maid
She patiently helps clean up the Princess’s messes (and these are frequent). Her calm nature reflects the Princess’s energy so well in such a short animation, making her a reassuring presence.

Prime Minister
Deals with all the serious matters of running the kingdom, though his plans are regularly interrupted by the Princess. He represents responsibility and structure, but rarely gets things done without some form of chaos, usually from the little princess.

Gilbert
Although I wouldn’t usually mention a teddy bear, I think that Gilbert is really her closest companion. Although not a speaking character, he plays an important role in her imaginative world and is often involved in her adventures and emotional moments. Plus, I loved the drawings of him in the books when I read them to my children.

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Plotline

What is great is that there isn’t an overarching plot, but rather a collection of everyday scenarios seen through the eyes of a young child. What makes the show stand out is its honesty and simplicity; the Princess doesn’t always behave perfectly, and the lessons aren’t forced. Instead, they unfold naturally, often through trial and error and a bit of royal chaos before things are resolved.

Legacy

Little Princess has created a strong place in children’s television, particularly here in the UK. Simple storytelling, a recognisable animation style, and relatable themes have helped it remain popular with new generations of viewers, and it has influenced many similar animations for younger children.

While it may not have the large-scale merchandising empire of some other animated shows, its success lies in its connection with its audience, not just through the animation but everything else around it. For many, it’s a familiar and comforting part of early childhood viewing, with episodes that parents often recognise from their own experiences.

The series continues to be a staple on children’s programming platforms, proving that sometimes the simplest ideas, when they are told well, can have a lasting impact.

Thanks for reading.

Jon (Animated)

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A Brief History
The Dinosaurs series debuted in April 1991 and ran for three years until July 1994. In this time, it produced 65 episodes across four seasons. It was unlike traditional animated sitcoms of the era as the show relied heavily on elaborate puppets from Jim Henson Productions to bring a prehistoric suburban family to life.

Initially airing on ABC in primetime, the show targeted a family audience by blending broad humour with critical social commentary, which I think set it apart from many of its contemporaries. Developed by Michael Jacobs and Bob Young, Dinosaurs was heavily influenced by the success of sitcoms like The Simpsons, though it carved out its own identity through physical performance.

The show enjoyed solid ratings during its initial run, but it didn’t have the legs to continue past this. However, it has since gained a cult following, particularly for its darker themes.

What’s it all about?
Set in the year 60,000,003 BC, Dinosaurs follows the Sinclair family, who are a working-class group of anthropomorphic dinosaurs navigating everyday life in a world that mirrors late 20th-century American society.

At the centre, the show is a traditional family sitcom, complete with workplace frustrations, domestic squabbles, and generational clashes. However, it frequently uses its prehistoric setting to show modern issues such as consumerism, environmental destruction, corporate greed, and social norms.

It will often juxtapose light-hearted humour with biting satire. For example, the family patriarch, Earl Sinclair, works for a tree-pushing corporation responsible for environmental damage, which feels very modern now. In this comedic tone, the show is perhaps best remembered for its willingness to confront serious topics, culminating in a famously bleak ending that reinforced its environmental message.

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The Sinclair Family

Earl Sinclair, a brash, often short-sighted father and tree-pusher for the WESAYSO Corporation. Earl represents the traditional sitcom dad but is frequently portrayed as out of touch or misguided. His catchphrase-driven humour and tendency to learn lessons the hard way make him appealing for a sitcom market- flawed and yet human.

Fran Sinclair, Earl’s practical wife, often serves as the emotional centre of the family. She has to balance traditional homemaker roles with a quiet inner strength, occasionally pushing back against societal norms in subtle ways that have impact and meaning.

Robbie Sinclair, the teenage son, is idealistic and socially conscious, often questioning authority and challenging outdated beliefs. He acts as a moral counterpoint to his father and reflects the voice of a more progressive younger generation. For me, you can really see how this follows the sitcom genre so well.

Charlene Sinclair is the teenage daughter who deals with issues of identity, popularity, and self-worth. Charlene’s storylines often explore social pressures and the desire for independence, which still hold up incredibly well.

Baby Sinclair is the youngest in the family and best known for his catchphrase, ‘Not the mama!’ His mischievousness made him one of the most memorable characters of the show.

Grandma Ethyl Phillips is Fran’s outspoken mother with a sharp tongue. She often serves as an observer of family dynamics and isn’t afraid to speak her mind.

The World Around Them

The wider world of Dinosaurs is populated with similarly anthropomorphic creatures and institutions that reflect modern society. Corporations dominate the economy, the media influences public opinion, and social structures often mirror real-world inequalities and traditions…Oh, how the world has changed!

Earl’s employer, WESAYSO (‘We Say So’), shows us unchecked corporate power leading to environmental destruction. The corporation has no concern for the consequences with executives or social leaders, being depicted as self-serving or oblivious, reinforcing the show’s satirical sharp edge.

Puppetry and Production

One of the fantastic features of Dinosaurs is its use of puppetry and animatronics. Jim Henson’s team crafted incredibly detailed dinosaur suits and facial mechanisms. What these did was allow performances that blurred the line between puppetry and live-action acting, while enhancing the storytelling by enabling characters to convey subtle emotions through movement and facial expressions, particularly in its more dramatic moments.

This production style also distinguished Dinosaurs from animated sitcoms, giving it a tactile, physical presence that remains impressive even years after its release when you re-watch it now.

Legacy and Beyond

Although its original run was relatively short, Dinosaurs has endured through reruns and streaming. This has helped introduce it to new audiences with its distinctive mix of humour and social commentary that still looks at home in 2026.

Merchandise such as toys and videos helped extend the show’s presence beyond television. Baby Sinclair, in particular, became a cultural icon of the early 1990s.

The finale remains one of the most talked-about in television history, leaving a lasting impression that continues to spark discussion among viewers. In the finale, Earl’s company accidentally destroys the ecosystem through a series of misguided ‘quick fixes,’ triggering a new ice age that dooms all dinosaur life. The series ends with the Sinclair family huddled together in their home, facing extinction as they realise there’s no way to stop what they’ve caused. I will leave you with that thought…

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If you were anywhere near a television in the 60s (or a repeat in the decades that followed), you’ll probably remember one thing before anything else: the voice that boomed.

This week, I’m diving beneath the surface and looking at one of the most ambitious children’s series of its time. Not that it feels like this now, at the time, the show that blended puppetry, sci‑fi and sheer imagination in a way that if you think back to what was available in animation, it was at the vanguard of its genre.

A Side Order of History

Stingray was a British children’s science fiction series created by Gerry and Sylvia Anderson. Stingray was first broadcast in October 1964 on ITV and was set in the 2060s. The show followed the World Aquanaut Security Patrol, AKA WASP, whose job was to patrol Earth’s oceans and seas, addressing any mysteries that arose beneath the waves.

Their pride and joy was a nuclear‑powered submarine called Stingray, which the chisel-jawed Troy Tempest captained, backed up by his co‑pilot Phones and the mysterious Marina.

Running for 39 half‑hour episodes between 1964 and 1965, the show packed quite a punch in a small run, although it lived on through repeats and home releases for years, even decades afterwards.

Here is where things get interesting

Stingray was made using Supermarionation. This is a technique that combines marionette puppets with electronic lip‑sync alongside highly detailed model work. In addition, it was the first British series to be filmed entirely in colour. This is an interesting move, as at the time most people would only have access to black-and-white television, so it would be years before they saw it in colour, as it was originally filmed. This, to me, was a giant leap too, as it wasn’t usually children’s television that had the money spent on it in production.

Characters

Much like many children’s shows, the characters have to stick with their audience, and Stingray makes this happen wonderfully. These all revolve around the brilliant idea of underwater civilisations and a high‑tech military base.

Troy Tempest
The all-round hero has to be Troy. The captain of Stingray is brave, confident and incredibly composed. He does, of course, follow the classic 60s action lead with swarve, flare and the genius quality.

‘Phones’ Sheridan
Navigator, radio operator and generally the voice of reason. Phones are the steady hand when things go wrong (which, let’s be honest, is most episodes).

Marina

Probably the most intriguing character of the lot, without a doubt, was Marina. A mute young woman from an underwater civilisation, Marina communicates through gestures and expression rather than words, which was quite an interesting move for the series.

Commander Shore
The no‑nonsense leader of WASP, usually heard shouting his orders from Marineville. If something needs doing, he’s already ahead of the game to make things happen.

Titan
Every good show needs a villain. Titan rules an underwater kingdom and spends the majority of his time trying to take over the world, no surprises there then.

Why It Worked

There’s something quite brilliant about Stingray when you look back at it now.

It mixes a child‑friendly sense of adventure with genuinely creative world‑building. You flash between watching a submarine battle, exploring an underwater civilisation, and dealing with some strange phenomenon from the deep.

Amazingly, I think that despite being made with puppets, it never really felt limited by the puppet design, which was evolving here too, and Stingray introduced more expressive faces and even realistic glass eyes to give characters more life and emotion. It’s easy to see how this led directly into Thunderbirds, which took everything here and dialled it up.

Fun Facts

• Stingray ran for just 39 episodes.

• The underwater scenes weren’t filmed in water at all. They were shot dry, using clever visual tricks and tanks to simulate the effect of water.

• The puppets became more advanced here, with interchangeable heads and parts to convey a wider range of emotions.

• Many of the characters were inspired by real‑life actors, adding to their distinct look and feel…shhh, don’t tell anyone.

Although it might not always get the same recognition as Thunderbirds, Stingray is one of those shows that quietly pushed boundaries. It was one of those shows that, without it, there wouldn’t be Thunderbirds or Captain Scarlet.

Thanks for reading. If you fancy commenting, I love reading all your comments.

Jon, Animated.

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This week, I take a look at the puppet side of animation - Fraggle Rock!

A Brief History

Fraggle Rock first aired in 1983 and ran until 1987, spanning five series with almost a hundred episodes. The show was, of course, created by the one and only Jim Henson and was designed as a truly international production, co-produced and broadcast across multiple countries simultaneously, which even now still feels ahead of its time.

At its centre, this was not just another children’s television show with puppets. Henson had a very clear aim: to create a series that could explore conflict, misunderstanding, and community, all within a playful, musical world.

Unlike The Muppets, which leaned heavily into sketch comedy and performance, Fraggle Rock built a fully realised ecosystem. A layered one. Almost quietly political, of course, if you choose to see it that way. It also had one foot in live action and the other in puppetry, combining both worlds seamlessly and brilliantly. The human ‘outer space’ sequences, featuring Doc and his dog Sprocket, grounded the show, but it is what happens beyond the wall that people seem to really remember.

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Premise

The world of Fraggle Rock exists just out of sight in a hidden network of caves and tunnels beneath the human world. Here live the Fraggles: curious, energetic creatures who spend their time exploring, singing, and, more often than not, misunderstanding everything around them as their lives blend with two other key groups.

The Doozers, small industrious builders, who spend their days constructing intricate structures… which the Fraggles then eat, seeing them as food rather than architecture.

And towering over both are the Gorgs. These were large, blustering creatures who consider themselves rulers of the universe, largely because no one has told them otherwise. It sounds chaotic, and it certainly was, but there’s a clear rhythm to it. Each group believes it understands the world correctly, but none of them does.

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The Fraggles

Gobo, the adventurous one, leads the group not by authority but by curiosity. His expeditions are often guided by postcards from ‘Uncle Travelling Matt’ in the human world, which push the others into new situations.

Red Competitive, energetic, always ready for a challenge. Red’s enthusiasm is infectious, even if her certainty sometimes leads her into trouble.

Wembley was permanently undecided. Wembley is the embodiment of indecision, but also the heart of the group, being open, kind, and often more perceptive than he realises.

Boober Cautious, anxious, convinced the worst would happen. He was usually wrong but not always.

Mokey Finally, Mokey was the dreamer, artistic and introspective. Mokey often sees connections that the others miss.

The decision to build a world

Where Fraggle Rock differs from many other puppet-based shows is in its commitment to world-building. This wasn’t done as a backdrop, as in other shows; it really created the entire world.

Every element feeds into another. The Fraggles eat the Doozers’ constructions. The Doozers need to build. The Gorgs believe themselves to be rulers of everything below. And the Fraggles fear and occasionally steal from the Gorgs. It always seemed like a loop of misunderstanding that somehow functions.

For me, that’s the brilliance. It doesn’t present harmony as natural. It is much more accidental, fragile, and often maintained through misinterpretation rather than understanding, but it still works, OK, most of the time,

Music as storytelling

Like much of Henson’s work, music isn’t an addition, as every episode features songs that aren’t just there to entertain, but to reinforce the narrative cleverly. They explain emotions and misunderstandings, and occasionally resolve conflicts.

Why does it still reverberates

Researching Fraggle Rock now, it feels oddly modern. Not really the look, as the puppetry is of its time. The modern feel came from groups living alongside each other, each convinced they’re right.

In the world we live in now, it can be full of sharper messaging and clearer moral lines, but Fraggle Rock feels content to sit in ambiguity. To say: things are complicated, people (and creatures) misunderstand each other, but connection is still possible.

Animation and beyond

Though not an animation in the traditional sense, Fraggle Rock occupies a similar creative space. I think that this is because the puppetry, set design, and camera work combine to create the illusion of a living, breathing world.

The show has continued to exist through reruns, home releases, and more recently, revivals and streaming adaptations, but the original remains the most compelling.

Fun Facts

Fraggle Rock was one of the first television series designed for global co-production and distribution, with different countries filming their own ‘Doc’ segments to localise the show.

Jim Henson created the series to promote peace and understanding between cultures.

The caves and sets were designed to give a sense of depth, making the Fraggle world feel much larger than it actually was.

Do they still matter?

It would be easy to see Fraggle Rock as a nostalgic relic. Bright puppets, catchy songs, a simpler time, but that undersells it for me, as what I really like to think is that it offers something more enduring, like a reminder that different worlds can coexist, even when they don’t fully understand each other. Harmony isn’t that neat in my opinion.

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I think that there is something quite easy to miss about Creature Comforts (1989) when you look back at it with today’s eyes. The animation is short and basic, at just five minutes and consisting of plasticine talking animals, which doesn’t really announce itself as a breakthrough. This was not really through the scale or even the spectacle, but simple ideas and innovation.

The trick lies in the interviews that were conducted with real people, interviews with just ordinary people living on council estates, care homes and other everyday settings. This was just genius, as it was then paired with the zoo’s stop-motion animals that respond to questions.

Like many in this Big Break Series, you don’t see what happened before. The quiet work behind the scenes as a craft is being built, such as Park working on creative projects like the Peter Gabriel video for Sledgehammer back in 1986, long before Creature Comforts.

That slight shift in Creature Comforts to take something real and place it somewhere unexpected is really where everything begins, as it started as something quite funny, but deep down, it is quite layered. Animals bemoan their lack of space and comfort, grumble about the weather and the small daily details of life.

Throughout the animation, no one driving message feels more important than the next; there are no real arguments. Instead, it just allows the voices to perform and us to engage, which gives it its tone. This must have all been painstaking, with each movement placed by hand, yet allowing the voices to remain unscripted and easy.

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I loved these in the 1980s and still love them now as they are so British. Everything is understated and self-deprecating in the humour, and, like real conversations, they are sometimes a little awkward as people drift off on tangents, but that adds to the warmth.

I guess the breakthrough moment is easy to define here: Creature Comforts won an Academy Award for Best Animated Short Film, bringing Park and Aardman to a global audience.

As with the Brenda Chapman story about Brave, the more interesting part lies beneath the headlines. This is because Creature Comforts really laid the foundation not just for Nick Park but, more broadly, for Aardman Studio. It managed to establish a voice for character-driven, slightly offbeat animation rooted in observation, without trying to impress. This, I think, helped the audience recognise something in the characters, even if it was a frustrated puma or an optimistic tortoise.

There is also something else of note: at just a few minutes long, Creature Comforts doesn’t overexplain; its success stems from simple restraint. Sometimes we can attach a different narrative to big breaks like this, and it still feels simpler than that: pairing real voices with animated characters.

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As I think back to seeing these originally on television with big buttons and no remote control, watching in awe, I feel like this was my humour and my animation, and I wasn’t alone in that. What I like even now is that the studio is still making handmade, attention-to-detail animation, which is quietly important.

To me, Creature Comforts doesn’t feel tied to a moment of technology or a certain style; it feels like something more constant, the way people still speak and the way we see and hear this, it arrives without ever drawing attention to itself.

Finally, after the original shorts, the idea didn’t disappear; it evolved into different forms over time. It inspired the UK run of television adverts in the 1990s, then returned as a full television series from 2003 to 2006, which expanded on the unscripted voices, and a short-lived American version in 2007. There have also been small projects, such as the BBC’s Things We Love shorts in 2024.

Thanks as ever for reading, and if you feel the urge, please do share.

Hello and welcome to Animated, where I explore all things animation and the stories, craft and fun that bring it to life.

If you enjoy it, please consider becoming a free subscriber or follower. And if you’re able, you can support my work with a small contribution by clicking the Support Animated button.

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This week, I will be looking at the brilliant Brenda Chapman and what I consider to be her first big break- Brave. In her big break, like many people I have looked at, such as Miyazaki and Jones, she flies a little under the radar before becoming the first female director at Pixar. This really made history in the animation world, as this small nudge was the first in the industry to take more notice of lesser-known yet hard-working people.

I really think that this movement really matters and seems to reflect the Brave story, where the mother-daughter relationship is explored, which stands up to scrutiny a little more than earlier Pixar work. The film isn’t just about a clever adventure or constructed emotional twists; it just feels a little more intimate, which gives it a little more uncomfortable feel, and this makes the film a little different to what had come before it.

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The journey Brenda Chapman took while directing Brave was challenging, as she was removed and later replaced. It isn’t fully known why, but we can all speculate as we weren’t there…unless you were, call me. With projects of this size, though, friction is evident, and changes, even at the top, occur. It would be easy to see this as a loss, but for me, it makes the story a little more compelling and honest when the big break happened.

Even in its final form, Brave has the Chapman imprint for sure. It has an emotional core with tension that isn’t softened into something neat, thankfully, but stays unresolved, a little like relationships with big studios sometimes.

I think what is interesting about Brave is that it never shows conflict as something that can be easily resolved by a character learning an overly simple lesson and changing; it is raw and real, as characters have to shift and compromise, almost like a mutual seeing of what is needed. I am not saying that the film reflects the relationship between the studio at that time and Chapman, but you can see some similarities.

Animation, especially at Pixar’s scale, is complicated and, of course, collaborative. It really is where a direct or calibre will shape films rather than owning it like smaller studios. Still, there are moments when you can see that those traces are visible.

In the film, Chapman sets something in motion that continues to shift, which brings a different kind of contribution that doesn’t always get recognised in the language we use when we talk about animated films.

Being the first to do anything needs to be acknowledged in the broader context, as it carries a weight that goes beyond the work itself; it always does. This happens not just in animation but everywhere when people break through expectations.

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The story is not a fairy tale; it is more complicated than that and, at times, uncomfortable, but that is why I think it is important, as it reflects how change actually happens rather than in smooth arcs. Looking back at Brave now, it would be easy to focus on the finished film and where it sits in Pixar history, but more interesting are the story that shaped it, how Chapman is its foundation, and the ripples that follow.

In this sense, Brave becomes something different from the usual narrative and not simply a milestone but a reminder of the progress in creative fields, especially in complex industries like animation.

I do hope that you have enjoyed reading my piece, and, of course, I always welcome comments and suggestions. If you haven’t seen the film, then you know what to do! If you would like to read more about this incredible woman, I wrote this about her too some time ago.

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First Big Break: Chuck Jones — What’s Opera, Doc? (1957)

Welcome to my second article in the Big Break series. Last week it was the turn of Miyazaki, this week it is the turn of Chuck Jones. Over the next few weeks, there will be other legends in animation and their very own big breaks, which I hope you enjoy reading about.

Chuck Jones had been making great cartoons for years. By 1957, he was already responsible for some of the most precise, psychologically sharp work at Warner Bros. He had refined the personalities of Bugs Bunny, Daffy Duck, and Wile E. Coyote. In my opinion, at this stage, he understood timing better than almost anyone in the business, knowing exactly how a gag should land and, more importantly, when it shouldn’t.

Released in 1957, What’s Opera, Doc? is a seven‑minute Merrie Melodies short directed by Jones and written by Michael Maltese. On paper, it’s familiar territory: Elmer Fudd hunts Bugs Bunny. Disguises, pursuit, reversal, which was a structure that was almost ritualised by this point.

What changes here is how seriously the cartoon takes itself.

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The short reimagines the Bugs–Elmer dynamic as a full Wagnerian opera, borrowing extensively from Der Ring des Nibelungen and Die Walküre. Dialogue is sung, and motifs recur as it commits to the operatic form, not as a throwaway joke, but as its fundamental role.

Jones had already explored classical music before in the Rabbit of Seville (1950) is the obvious predecessor here but What’s Opera, Doc? goes further. The visual design is stark and monumental. Maurice Noble’s layouts replace slapstick clutter with vast, graphic spaces and the backgrounds by Phillip DeGuard’s certainly evoke stone, sky, and myth. Movement slows here, letting emotion really come through.

As you can imagine, this was a risk, as at this time Warner Bros. cartoons were expected to be fast, funny, and disposable. Jones deliberately stretched production time, pouring far more labour into this short than was standard. He also went into detail studying ballet dancers for accuracy and letting musical sequences unfold with almost no gags at all. Still, the amazing thing is that Bugs Bunny belonged here.

That’s the quiet provocation at the heart of the film. What’s Opera, Doc? doesn’t mock high culture from the outside. It treats Wagner with just enough respect to reveal his excesses, and in doing so, it elevates the cartoon form itself, and this is where Jones becomes an auteur.

Not because he suddenly gains a voice, but because he uses the full language of animation through music, design, timing and performance to make a point about its capacity. The short insists that cartoons can critique cultural forms without losing their identity.

The final image of Elmer mourning Bugs’s apparent death, only for Bugs to break the fourth wall and ask, “Well, what did you expect in an opera? A happy ending?” really hits home, not as a gag, but as a statement.

Over time, What’s Opera, Doc? became one of the most celebrated animated shorts ever made. In 1992, it was selected for preservation in the U.S. National Film Registry and was the first animated short to receive that recognition, cited as “culturally, historically or aesthetically significant.” - (chuckjones.com)

After What’s Opera, Doc?, Jones is not just a director within the system. He is talked about as a singular creative presence, and his style becomes identifiable.

Not coincidentally, I think, this is also when Jones’s work becomes harder to categorise. Duck Amuck, One Froggy Evening, and What’s Opera, Doc? form a loose trilogy of self‑aware, formally ambitious shorts that investigate cartoon itself, its rules, its illusions, and its emotional reach.

For me, it proves that a cartoon can parody high culture and aspire to it, along with showing that seven minutes is enough time to do something complete.

Placed alongside the other “first big breaks” in this series, Jones’s moment is distinct.

Miyazaki’s break creates a studio.
Jones’s break redefines a form.

It doesn’t lead to institutional control; rather, it grants permission for animation to be read seriously, without ceasing to be funny.

That permission still matters because every time a cartoon slows down, holds a pose, trusts the audience, or reaches for something larger than the gag in front of it, it’s working in the space What’s Opera, Doc? carved out.

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Seven minutes, no safety net, and the moment everyone realised cartoons could do more than anyone had asked them to.

Thanks for reading. If you liked what you read, feel free to share the love.

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