Closet Clown
It’s only been in recent when people of different mindsets and groups have started being represented in quality animated material. After centuries’ worth of prejudice and slowed acceptance of minorities, it only feels natural that those groups wouldn’t want to show their true nature. Doing so is called coming out, and I can tell that it’s a strong defining moment for people to do so. These underlying facts are what help make this cartoon an interesting kind of allegory where all possible sides people can hide from society are shown in the form of clowns.
One of them ends up driving their truck in front of the Bighead household, and Ed goes out to deal with the clown. His impulse is to rudely berate the clown and later get the truck towed, strongly implying a deep resentment, not unlike something commonly faced by minorities. Although his disdain towards clowns feels very genuine, something changes in Ed when he takes an interest in the red nose the clown left behind. He puts it on and suddenly enjoys acting like a clown. It’s like being able to experience the feel of something instantly gets him to enjoy what it’s like so much that he decides he’s one of them.
This, however, is where the hiding process begins. Ed gets through his typical work sessions, and when he’s alone, like in the restroom, this is where he’s free to express his true status as a clown. It’s a safe haven where he can put on the nose and enjoy himself, and anyone watching is sure to get the subtext when relating this to others with something to hide. Hiding, however, means he’s not taking the right steps in coming out. In fact, his boss ends up finding out he’s a clown because he was in the restroom as well at the time. It’s only ok because he turns out to be a clown as well, and therefore Ed is clear to be a clown around the boss who tells him of places in need of a clown.
So Ed goes on a spree of performing as a
clown at kid parties, and the fact that he comes home feeling cheerful suggest
a lot of health to his lifestyle. He
certainly could use something like this given his typical grumpy nature. The only downside is, again, the need to hide
it, which easily ties into the struggles of minorities. Then coming out turns into something Ed is
forced into when his next party is one for the birthday of Filburt and Dr.
Hutchison’s children. By the way, it’s
really hard to believe that a year has passed since their birth which was only
a few episodes ago. Not only is Ed
struck with fear as he performs in front of his wife and neighbors, but then
the nose comes off while he’s performing, exposing his status as gay a
clown.
Now everyone knows Ed is a clown, but the ending does provide some refreshment which can today be seen as partially paving the way for representation of modern shows. People accept Ed as a clown and even share their own secrets. However, the happy mood is dampened with the last scene of everyone turning on and mobbing against Rocko who says he likes rainbows. Maybe this is to remind of prejudice towards LGBT people, but given the measures taken to teach being proud of what makes one different, this is not an appropriate end. It even stings more with all the people who actually like Rocko (that is everyone except Ed) going through with chasing him.
So the cartoon
doesn’t stick the ending, but I’m still able to see the final product as a
creative way of showing what it’s like to live and come out as a minority.
A-
Seat to Stardom
Often in shows, plots appear to go in one direction, but then surprise you by going in a completely different direction. Sometimes they’re pleasant surprises, and other times you wish they’d stick with prior expectations. In the case of this story, its twists are somewhat clever and off-the-wall, then again this is an off-the-wall series, but also slightly off-putting with its passes for subject matter.
It all starts at the premiere of the latest Really Really Big Man movie, with Rocko hard-pressed to get the hero’s autograph. That there seems kind of odd since Really Really Big Man has been established as a regular O-Town citizen at this point. Then the direction becomes that of acquired taste when Rocko ends up in a sidewalk of cement. Like the sidewalk of Graumin’s Chinese Theater, stars leave their hand or foot marks in the wet cement. Rocko, however, ends up leaving his butt mark in the plot intended for Really Really Big Man’s hand prints.
This is where the subject twist becomes known where instead of meeting the stars, Rocko becomes a celebrity because of his butt. As a result, the cartoon makes for several incessant butt remarks and shots of butts. First, they’re used as ridicule for yet another humiliating escapade for Rocko, but then there’s another catch to the posterior focus. A fashion designer discovers the butt print at the theater, and decides that the one responsible for the print should model her new line of underwear. There’s a whole routine of the entire town going to see if their butt fits the one left in the cement, like a kingdom trying to pull a sword from a stone. I suppose that’s a nice homage, but with so much emphasis on a butt, it’s hard to get fully invested. I know the show has made butt jokes before, but they’ve never been as overbearing as this, much less up to the point of shaping an entire cartoon plot. The use of butts here just makes the show feel way more juvenile than normal. Of course, Rocko is the only one whose butt fits the mark and he’s instantly made a star by the fashion model.
The rest of the cartoon is basically scenes of Rocko’s modeling career. All he does is pose with the underwear, and gets a lot of acclaim from the press. It’s apparently some of the best praise he’s gotten on the first go, but what he really wants to do is invite Heffer along to join in on the experience. However, he’s always pulled from the phone leaving Heffer feeling jealous. All the while, I can’t help but wonder what the humor of all this is. It’s a clear take on modeling careers, but nothing really stands out, nor does it seem to have any clever jokes. The fact that things only go well for Rocko doesn’t even bring humor on that front. Even Heffer’s jealousy feels like a feeble attempt to give the cartoon conflict, being very basic and mostly built on petty misunderstandings. It’s also resolved too easily when his butt is better suited for a one-piece underwear, and the cartoon ends with Heffer’s enormous butt being the new big star. Rocko goes back to regular life, but it’s hardly a loss as he feels very content.
Ultimately, the story isn’t bad, but noticeably weightless. It starts off making you think it’s about the
life of stars, but it then it turns into one big showing of butts that honestly
feels more awkward than funny. If butts
are viewers’ thing, they’ll probably get way more out of this cartoon than I
can, but while the show has done worse, this does not warrant repeat viewings.
C-
The Ranking
1. From Here to Maternity
2. Yarn Benders
3. Feisty Geist
4. Mama’s Boy
5. Teed Off
6. Wimp on the Barby
7. S.W.A.K.
8. Closet Clown
9. Sailing the 7 Zzzz’s
10. Pranksters
11. Magic Meatball
12. Ed Good, Rocko Bad
13. Seat to Stardom
14. With Friends Like These
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