Pegg mentioned that big studios must often rely on big-budget superheroes to succeed. Meanwhile, “there is this burst of creative excitement” in TV, and “anything seems possible,” he said. “What used to be this little, poor cousin of the auspicious silver screen is now dominating it, and kind of offering so much more.”
“…these shows are playing to the same audience that made Avengers: Endgame the highest-grossing movie of all time. They’re certainly reaching the audience that pushed reactive anti-blockbuster Joker past the R-rated billion-dollar boundary. People who feel inundated by super-nonsense—the ones getting a little sick of unpacking the alternate realities created by time travel and debating whether, canonically, Ant-Man could destroy Thanos by crawling inside his anus—are looking for an outlet.“
It wouldn’t take much more than a few moments with the relentlessly squiggly, jarringly dry Dr. Katz, Professional Therapist, which premiered on Comedy Central in 1995, to understand that it was a different beast entirely than most other animated series of the era. While perhaps too challenging in aesthetic and humor to ever reach the status of The Simpsons or any of Mike Judge’s projects, Dr. Katz carried enough esteem to win producer Loren Bouchard and star H. Jon Benjamin to develop a like-minded (and like-styled) animated series with up-and-comer Brendon Small. The fruit of this team’s labors would turn out to be Home Movies.
An excellent series…
This unrelenting drumbeat leaves many people feeling as though their heads are going to explode.
Each day, it seems, brings a bewildering flood of news stories: impeachment hearings, the mess in Syria, another mass shooting, corporate malfeasance, the details of each development quickly surpassed by some new outrage powered by algorithm.