#Crank yankers turd in car series
The closest the series ever gets to the edge its creator Dan Milano professes to have desired in his numerous DVD commentaries is in the stray contemporary comment and the suggestion that people are actually having sex with the puppets, which is, after all, pretty close to reality for a lot of folks as it is. The show was cancelled anyway, after all-may as well have it cancelled on its own terms. (This despite that an entire episode of the thirteen produced deals directly with a racial epithet ("sock" serving as the "N-word" substitute) scrawled on a men's room wall.) How "Greg the Bunny" fails to shock as well as to, for the most part, entertain, is more the pity, as there are moments here and again (a hilarious cameo by Corey Feldman that picks the Michael Jackson and Corey Haim scabs mercilessly) pointing to how good the show could have been had the creators the "Family Guy" moxie to stand up for their principles. Although the felted ones are portrayed as second-class citizens struggling against racism (specism?), every opportunity to address actual race issues is rendered moot by the show's diehard dedication to being as inoffensive as possible in the early going-a nuts-grab to attract the "straight" audience of adults tuning in to see a stuffed rabbit get a job on a failing children's program populated by a cast of foul-mouthed puppet misfits, I guess.
Spun off from a series of shorts produced first for public access, then for IFC, the truncated Fox sitcom "Greg the Bunny" takes place in a Who Framed Roger Rabbit universe where people interact with puppets. Alas, it can only hold its illicit thrill until the novelty and surprise of it wears off. But in the western world, puppets are so embedded in our puerile, formative experiences (from "Sesame Street" to "Bear in the Big Blue House") that when they're subverted (as in Team America, for instance), there's something particularly naughty about it-above and beyond, perhaps, the specific offense. They're great teaching tools, the perfect bearer of allegory-hence the Japanese, with their tradition of sophisticated puppet theatre, have distilled it (as they have animation) into an adult medium. "Welcome to Sweetknuckle Junction," "Sock Like Me," "Dottie Heat," "SK-2.0," "Piddler on the Roof," "Rabbit Redux," "Father & Son Reunion," "Jimmy Drives Gil Crazy," "Greg Gets Puppish," "Surprise!," "The Jewel Heist," "The Singing Mailman," "Blah Bawls"īy Walter Chaw What is it about puppets, exactly, that makes them the preferred avatars for children as they navigate the murky straits between childhood and adulthood? I'd hazard that there's a simplifying element to them, some sort of leavening of the peculiarities of human expression so that emotions aren't so subtle, so fraught with the landmines of nuance and subtlety.
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