• I noticed an interesting, if pointless, link between the cartoon show The Boondocks and Dr. Seuss’ The Lorax. In both of these cartoons (or comics, books, whatever) there is a character representing big business, corporate greed, what have you. In The Lorax this character is the Once-ler, and in The Boondocks, well, it’s Mr. Wuncler. Both Once-ler and Wuncler represent the way big business uses the lower class for their own goals and rapes the land of it’s resources at the expense of all those on it. It’s just a nice little parallel, a nod of the head on the part of Aaron McGruder, as both characters’ names are pronounced the same.
  -Contributed by SamRay
• We’ve all had our suspicions about Spongebob’s sexual orientation. Oddly, being close with a friend of the same gender points to homosexuality but, this isn’t about a relationship with Patrick. This is about the episode of Spongebob Squarepants in which his B.O. fends off residents of Bikini Bottom.
  In the episode, Spongebob confuses his B.O. for “ugly”. Spongebob’s “ugly” is homosexuality. This is backed up by a few events in the episode. Mainly, the scene where he stands on the roof of his pineapple and proclaims his ugly pride. Right after he exclaims his pride, we switch to Squidward alone remarking “Is that what he calls it?” It was right there and then that I knew that this episode was, very subtly, taking on the issue of homosexuality.
  -Contributed by Matthew S.
• The toy characters in the Toy Story series are shown to internalize what they are made to represent: Buzz Lightyear initially believes himself to be a space explorer, the Rock ‘Em Sock ‘Em Robots are extremely combative, and the like. However, they are not always equipped to actually carry out their assumed functions: Buzz’s laser doesn’t work, Rex cannot actually eat smaller animals, etc. One key inability shared by all of the toys is the inability to reproduce. Strangely, though, Woody and Bo Peep carry on a low key relationship. What makes this even stranger is that in Toy Story 2, Woody is prepared to leave for Japan and never come back, but does not even mention his relationship with Bo Peep, even though this would jump immediately into the mind of any normal person. This would suggest, then that their relationship is essentially “going through the motions”: they do it because they are “imprinted” to do so, rather than for any biological reason.
  -Contributed by H. Rex

Contributed by J. W.

In Darkwing Duck Season 1, Episode 7 (“Dirty Money”) Darkwing is hired by a banker named J. Gander Hooter to find out who’s been removing the ink from the nation’s printed money. Showing Darkwing a stack of unprinted bills, Hooter presents an observation that subtly explains the core philosophy and flaw of the central banking system (i.e. the Federal Reserve): “This paper was once worth $10,000,” he says. “Now, without the ink, it’s worthless. Without printed money, the economy will self-destruct.” The episode never really returns to this point – in fact, the entire question of the missing ink goes largely ignored – but the fact that a children’s cartoon would even mention the economy’s self-destruction and the fact that printed money is essentially worthless paper makes it hard to believe that there’s not a greater metaphor at work in this episode.

Prior to hiring Darkwing Duck, J. Gander Hooter had hired an investigative firm called SHUSH, which is represented by a character named Agent Grizzlikof. Appropriately, Agent Grizzlikof is a bear with a Russian accent (a double layer of meaning, given that the Bear is the symbol of Russia). Throughout the episode, Grizzlikof demonstrates a Soviet’s penchant for excessive bureaucracy and an insistence that everything be done “by the book.” Before allowing Darkwing to take part in the investigation, for example, he demands that Darkwing become a member of SHUSH. This involves a lengthy application process that includes a physical obstacle course (Darkwing is literally made to jump through hoops) and a mountain of paperwork. Seeing the huge stack of papers before him (the D-11 Stroke 6 Destination Disclosure Form), Darkwing remarks that “This is worse than the obstacle course.” On cue, he is informed that “Those are just the forms for permission to fill out these forms,” at which point 7 or 8 new, even taller stacks of papers are brought to him on a forklift.

According to J. Gander Hooter, however, Grizzlikof’s methods of over-regulation have failed (a jab at the failure of Communism, perhaps?), which is why he’s hired Darkwing Duck to take over. In contrast to Grizzlikof (whom Darkwing describes as a “predictable paper-pusher”), Darkwing is praised for his “unpredictable methods,” as well as his “unique brand of logic and deduction.” It is perhaps no coincidence that “unpredictable” and “logic” are both buzzwords frequently used to describe the unregulated capitalist system idealized in libertarian/free market circles. As Dr. Robert Murphy writes in his Politically Incorrect Guide to Capitalism, “Aside from the ‘fact’ that it hurts the poor, the other major objection to capitalism is that it is allegedly chaotic [unpredictable]. After all, in a market economy no one is ‘in charge’ of car production, and it’s nobody’s job to make sure that enough newborn-sized diapers get made.”

The actual villain of the episode is a cleaning lady named Ammonia Pine (interesting that the villain is a worker, the central mythical figure of Marxist philosophy), who secretly works for the shadowy syndicate known as F.O.W.L. Her goal, unlike most cartoon villains, is not to steal a large sum of money, but to wage economic warfare. “With SHUSH off my tail and all the money scrubbed,” she cackles, “the banks will go down the drain like scum in a bathtub.” This dastardly scheme is championed by the High Command at F.O.W.L., with whom Ammonia Pine communicates via a small telecommunication device. Once the banks fail, they say, “Our economic experts will move in to mop up.” Towards the end of the episode, High Command reiterates this point, describing the manner in which they can “begin taking control of the banks and financial institutions.”

Thus, in a single cartoon we have a Russian bear whose mountains of regulation prove ineffective (Darkwing is only saved from Ammonia Pine’s giant vacuum cleaner when he tears Grizzlikof’s SHUSH manual into pieces and uses its pages to block the vacuum’s vent system); a villain who realizes that power comes from destroying (and then controlling) banks and financial institutions with the help of “economic experts”; and a hero whose greatest virtues are his lack of rules (i.e. he is unregulated) and his unpredictability. Sounds to me like two critiques of Communism (its bureaucracies and its thirst for economic control and power) and a wink at free-market capitalism. This is perhaps no surprise, given that Darkwing Duck first aired in 1991 when the Soviet Union was well on its way to collapse.

Two of my all-time favorite movies, 1939′s The Wizard of Oz and 1968′s Yellow Submarine, have several things in common besides being musical fantasies- they’re practically parallel in a number of ways:

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[Editor's Note: I found this Ex Situ via the indispensable The Disney Blog.]

Mr. Michial Farmer at Ladder on Wheels has written an excellent two-parter about themes of darkness and anxiety in Disney and Pixar movies (including Up). It’s practically a survey of disturbing things in Disney and Pixar movies. The first part is all about how dark the early Disney features were, and how they lost some of that darkness after (roughly) World War II:

…All of the early Disney features—for our purposes, let’s define “early” as prewar, which would allow us to work with Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo, and Bambi—are shiny and beautifully drawn, but all of their prettiness only serves to hide the deep, existential dread at their cores.

While Mr. Farmer has a good point, I do think he neglects some of the darker imagery of The Rescuers, The Black Cauldron, The Lion King, or even Lilo & Stitch. Though the darkness in these films isn’t quite as fundamental or thematic as most of the pre-WWII examples he gives.

His second part is all about how Pixar’s stories are successful partly because they have embraced those  mature themes which have been largely absent from the post-war Disney films. Here’s part of his discussion of Finding Nemo:

Finding Nemo, on the other hand, begins with a reference to and amplification of the central terror in Bambi. Here Marlin’s wife dies a terrible death just as they’re planning their life together, and the Barrucuda who eats her also goes ahead and takes out all but one of her eggs. Marlin—understandably, although the film doesn’t seem to acknowledge that!—becomes a picture of anxiety, protecting his disabled son (a nod to Dumbo, though Nemo doesn’t get the brutal mocking that his elephantine counterpart does) from the world that took his wife with little to no warning.

It’s very true that Pixar does not shy away from including  more sophisticated and mature themes. It’s certainly part of the reason why Pixar movies  resonate strongly with both kids and adults. Pixar also does not make the mistake (common among the filmgoing public) of mistaking “dark/edgy” for “dark/mature.” A lot of cartoon and comic fans seem to think it validates their love of the artform if disturbing stuff is haphazardly included, whether or not it actually adds anything symbolically or thematically. Pixar probably learned its lesson after that first disastrous “edgy” draft of Toy Story.

Deep in the Big Black Heart of the Sunshine State
Part 1 >Catena Ex Situ
Part 2 >Catena Ex Situ

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So what’s the deal with Sugar Bear (you know, that seemingly cute character that always terrorizes his victims by chanting the “you can’t get enough of that Golden Crisp” jingle), is he a good guy or a bad guy? While the traditional response is that he’s a good guy, I propose that he is pure evil. He’s constantly stealing the cereal from Granny Goodwitch, and doesn’t her name suggest that she’s a “good witch?” She goes all the way back to the old wild west in an attempt to escape him, but he’s always there, he’s always one step ahead, waiting to crush the hopes and dreams of an old lady. And if he is a good guy, is this encouraging kids to steal?
- Contributed by Joshua L.

Hmm, actually Sugar Bear has constantly walked the line between good and evil. In all of his early commercials he was that defender and not the aggressor. Alligators and other animals would constantly try to steel his Super Golden Crisp and he would eat it and smack them around (think Popeye with cereal). But in his more recent commercials he does indeed steel cereal from Granny Goodwitch, so the question is, what caused Sugar Bear to fall from grace?
-Contributed by Karmacide

Reading this stuff about Sugar Bear’s transformation from good guy to bad made me think that this change was brought about by society’s view of sugar! Originally, the cereal was known as Post Super Sugar Crisp. Somewhere in the 1980′s, society decided that all things sugar were bad (note that Tony the Tiger once sold “Sugar Frosted Flakes”). Sugar was demonized, and dropped from the names of cereals everywhere – Kellogg’s Corn Pops and Honey Smacks were once Sugar Pops and Sugar Smacks – thus the transformation to Super Golden Crisp. Unable to change the name of an established and possibly possible character, the powers that be probably changed the animated ursine’s personality traits to make them more in line with the view of sugar in American society.
- Contributed by Rich S.

Actually (at the risk of dating myself) Sugar Bear was part of a trilogy of cartoons that used to run on ABC in the late 60s/early 70s (?). He appeared in his own episode along with a postman that represented another Post cereal, Alpha-bits, and a lion that represented yet another cereal I have forgotten. In his cartoon, he was a good character.
- Contributed by Ken G.

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• In Little Bear, the Bear family celebrates not Christmas or Hanukkah or even Kwanzaa, but “Winter Solstice.” This implies that the Bears are, in fact, pagans. It is also curious that the adult bears wear clothes while Little Bear is free to roam naked. Perhaps there is a coming of age ritual (a breeching?) in which younger bears are finally allowed to wear clothes as part of their symbolic transition into adulthood.
  -Contributed by The Editor
• Several of The Backyardigans can be associated with a different continent:
  • Pablo the penguin (family Spheniscidae)→ Antarctica
  • Tasha the hippopotamus (Hippopotamus amphibius) → Africa
  • Austin the kangaroo (genus Macropus)→ Australia

  Tyrone is either a North American moose or a European elk (Alces alces). Uniqua is most likely either a mud salamander (Pseudotriton montanus) or an axolotl (Ambystoma mexicanum), both found in North America. Thus, Tyrone must be associated with Europe.
  -Contributed by The Editor

• Handy Manny can be viewed as one man’s quixotic battle against the Second Law of Thermodynamics.
  -Contributed by The Editor
• I’ve finally figured out a common trait in lovable cartoon dogs: a relatively large nose.
  • debonair dog Brian Griffin has a massive fan base (which I am part of)
  • Scooby Doo has enormous fame, not to mention his face on lots of merchandise
  • Muttley (popular in Britain at least) has a capability to do anything without getting in trouble. i.e. people will feel sorry for him more often than not.
  • Augie Doggy and Doggie Daddy (of Quick Draw McGraw) have a pleasant un-harmful air to their appearances.

  -Contributed by UCH

• This is more of a question than an observation. Exactly what time period does Batman: The Animated Series take place? Look at the cars (Batmobile excluded) all of them are from roughly the mid 40′s and all the gangsters wear pinstripe suits and use tommy guns. (Including some of the villains look at Scarface and Two-face) But for all these antiquated references the people of Gotham city still use cellular phones, satellite communication, the latest in biological engineering and lasers, not to mention the multitude of nifty gadgets the super villains use.
  -Contributed by Dante Wyrmfoe

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[Editor's note: This incredible, epic article has been floating around the web for about a year; it's originally from one of the memers at 4chan  (though it is suspected to have actually been written by either Francis Bacon, Mary Anne Evans, or George Eliot). Recently over at deviantART, an individual known only as BellicoseBreakfast took it upon itself to edit and proof the article for improved readability and coherence, and post it on the deviantART forum. For this, we are most grateful. Rather than merely link to a forum, diaphanous and mercurial as feline affection, we have taken the liberty of reposting it below in its lengthy entirety, with a merciful page break.]

Have you ever noticed that the pacing, tone and story development of Pokemon changes after Ash is hit by lightning in the early episodes, how Ash and his world were relatively normal until after the incident?

I have a theory.

The accident with the bike put Ash into a coma. Days later he was found and was hurried to the hospital and treated with heavy medications, which is why Team Rocket became less menacing. The medication took effect and stabilized his coma dreams so that instead of being terrifying, they became idyllic, allowing him to live out his Pokemon master fantasies.

After the beginning episodes, the series is the result of Ash’s subconscious mind fulfilling his desires, as well as attempting to escape reality. Should Ash realize he’s in a coma, he would wake up, but suffer brain damage, so he must take down all of his mental barriers one by one until he can come to grips with who he is and escape his coma (since his mind will not allow him to escape until he’s come to terms with himself).

Further evidence comes from the realization that even though his journeys take him vast distances, he never travels on a bike due to having developed a phobia.

The coma and fantasy explains why he doesn’t change much physically. It also explains the worldwide socialism, as he thought up a safe system of government that would run smoothly and keep the world going, allowing his adventures to work like they do. It also explains how a child can go off on his own into a world full of dangerous and untamed animals, and why town has the same police officer and every Pokemon centre has the exact same nurse. Joy and Jenny he knew from his hometown, and they act as a safety net or anchor, allowing him to feel safe no matter where he goes. Joy and Jenny represent stability. The professors represent Ash’s ideals, which is why Gary became a professor. The fantasy also explains why every time he enters a new region, virtually no one has heard of him, despite his conquests. How could Paul, the rival of the Sinnoh area, not know of someone who has placed in at least the top 16 of all three leagues and has destroyed the Orange League and Battle Frontier?

Moving on to the characters closer to him, Ash’s traveling partners are aspects of himself that he can enjoy, but doesn’t like to associate with himself. Brock is Ash’s repressed sexuality. Ash fell into the coma a virgin and needed an outlet for his growing sexual frustrations — since he can never experience sex, Brock must never succeed. But Brock isn’t just a projection of Ash’s sexuality, he is also a projection of Ash’s fatherly instincts. Brock leaves his siblings to journey with Ash because Ash can’t cope with having that much responsibility at his age. Brock’s stay with professor Ivy was an attempt to outright suppress his sexuality. You may notice that James got much more dialogue in this part of the series, as well as getting more touchy-feely with his Pokemon and exposing most of his backstory. Ash didn’t enjoy this much, which is why Brock comes back horrified and refuses to speak about it (Ash’s subconscious was repressing him at the time, so other than a general feeling of dread, he has no idea of what happened). Further evidence of Brock being Ash’s sexuality is that he keeps returning to the series after Ash meets a new girl aspect of himself.

Misty is the first such aspect we encounter. Because she is the first and because she is merely an aspect of Ash are explanations for why Misty plays so prominently in the show but is ultimately unattainable (because he never really knew her before the coma). Since Misty is his initial love interest — if only subconsciously — he needed her to reach a certain level of womanhood. He felt that people could only have relationships after they’ve matured. In practice, though, he finds that he can’t cope with it (lacking the real-world experience) and wants the normal pushy, arrogant Misty he knew, thus not letting her keep Togepi. We can see this arc in the constant berating of his sexuality (Brock), but her eventual mellowing until she had faded into the background. Since Ash was quite attached to her, this was traumatizing and after this experience, anyone around him “threatening” to mature quickly ends up leaving for another, more naive fill-in.

Gary Oak is what Ash wants to be. He is wish fulfillment. He succeeded, and then settled down to a normal life. Ash needs someone to succeed in his world or he won’t be able to validate it and will start questioning why he is where he is. It’s a subconscious trap to keep him from becoming too aware of his situation. His mind must have figured out that awareness of the coma would snap him out of it, but it would cause brain damage, so it took something the boy already loved and built a way out for him with it. However, Ash is too complacent to make a final stand and fight his way out of it, and so cannot escape. This is why he keeps encountering Legendary Pokemon. They’re his mind’s way of showing him he can do great things if he tries, and it’s a way to encourage him to push forwards.

Team Rocket are the qualities of himself that Ash deems “negative” but is coming to terms with. Jesse and James want to appease Giovanni, Ash’s father figure, and Jessie will trick the submissive James into doing her bidding to achieve this. Meowth especially wants to appease him because he remembers the good times with Giovanni. This places Meowth in a category known as Ash’s (corrupted) innocence. This is apparent because Meowth is able to speak. In fact, the whole reason Meowth can speak is so that Ash can eventually accept the aspects of Team Rocket as parts of himself.

Ash has issues with his father, so he put him atop the evil corporation and demonized him. There may be an actual Team Rocket (in the real world) but it’s doubtful that Ash’s father is their leader. Ash likely feels that the split between his parents was partly his fault, but also partly blames his father. The split caused his mother to move out of the city, down to Pallet Town and is one reason why Ash initially embarks upon the journey: to escape the turmoil at home. But the whole organization, including Butch and Cassidy, is symbolic of his inability to escape his father’s machinations.

James is implied homosexuality (which does not necessarily make Ash homosexual) and gullibility, and Jesse is vanity and manipulation. Since Meowth has the potential for rehabilitation, and doesn’t want to be evil, this once again fits in with the conflicting personalities and demonized-self theory. Team Rocket cross-dresses because Ash is exploring his sexuality (a different facet than what Brock represents) and this was a method that allowed his gay/vain side to experiment freely. When he found that it wasn’t something for him, his “free” side stopped playing with it.

Max came with May. He played the ego and she played the id with great aspirations in that “session”. They worked for a little while, but with Ash being a teenager, his sexuality had to come back into play. He kept reinventing himself and eventually wrote new aspects, but his mind slowly brought the old ones back as a crutch to make the transition easier.

Dawn is Ash giving himself a chance to love. Since he already established Misty as someone he’s not likely to go anywhere with, he created a new super female, one that was more like him, and less violent. You may note that while both May and Misty had no tolerance for Brock, Dawn seems to try to shrug it off.

Tracey, the Breeder, was a possible future for Ash that he discarded. This future was one that he sent off to work with the professor (Ash’s ultimate ideal of a father figure) when Tracey disrupted the dynamic Ash had with his other possibilities. With Ash’s mind fighting the coma and Ash viewing this person as a companion, Tracey was quickly replaced with a more threatening rival.

Pikachu represents Ash’s humanity, hence the episodes where they get separated and Ash wants desperately to find him, even to the point of working with the Rockets (aspects of himself he would never normally associate with) but for some reason cannot. Team Rocket want to steal Pikachu and hand him over to Giovanni. Jesse and James will always oppose Ash because Ash is terrified of the thought of his humanity lying in the hands of his father. However, this is the same reason that he will work with those aspects of himself in order to save his humanity from just becoming flat out lost. Ash couldn’t evolve Pikachu because that would mean challenging his concept of who he was, which was something he wasn’t comfortable with while still working through his original issues.

The narrator is Ash’s higher mind, recapping and explaining the progress he’s made and the tribulations he will face, allowing itself insight into how best to awaken him.

Team Rocket’s methods gradually become more and more ludicrous because Ash is only a child dreaming these things up. That is why Team Rocket’s disguises are always believed. He knows it’s them (at least on a subconscious level), but chooses to ignore it so that he can better himself. In a sense, the Ash who wants to escape is sabotaging the Ash who wants to stay lost in his mind so that there can be more conflict, and hopefully an eventual escape. The escape being a consequence of coming to terms with who he is, as, mentioned previously, Team Rocket are a method for Ash to deal with grounds he’s uncomfortable with tackling on his own.

You may recall that early in the show there were animals and references to animals. For example, the fish in the aquarium of the Cerulean city gym, or that the Pokedex lists Pikachu as “rat-like”. These animals don’t matter to Ash’s psyche so they don’t come into play much. If Ash had loved puppies, everything would be about different breeds of dogs, and a dog fighting circuit, but as the series goes on, you see fewer realistic animals and more Pokemon. This could be a sign of Ash’s mind deteriorating. As he’s in the coma, he’s losing concepts of some animals and machinery and replacing them with Pokemon. It could explain things like electric Pokemon working as power generators; these are signs that his memory of the old world is slipping more and more as time goes by. The Pokemon realm will be idealized continuously the longer he has no stimulus from the real world. Ash may or may not be mentally deteriorating, but he is becoming more accustomed to his fake world’s rules. The wild Pokemon are his rationalizations for the functioning of his created fantasy. It’s the “a wizard did it” syndrome. If he doesn’t know how it works, his mind says Pokemon.

The Pokemon in Ash’s team, however, serve the purpose of displaying his issues and aspects of himself. For example, Charmander represents his sex drive (not his sexuality, like Brock). At first it’s a cute, easy thing to control, but eventually becomes a raging inferno of disobedience since Ash has no real understanding of his sexuality and thus has no way to vent or keep it in check. Bulbasaur was his unwillingness to change, reflected in when it declines to evolve and almost decided to stay behind unless he battled it. Squirtle was his willingness to follow the lead of others, as evidenced by the gang it ran with, even though he ran the gang, they were viewed as one group, and Ash’s subconscious just gave him the strongest one. Butterfree was his crushing loneliness, which he dealt with when he released it to join a flock. His bird types are his recklessness, always willing to sacrifice something at a moment’s notice for the win. When Ash is trading Pokemon, it’s an attempt to push his own problems away on someone else; however, he realizes this and usually trades back fairly quickly.

Not only are Ash’s Pokemon a manifestation of different parts of himself, the Pokemon of other trainers are as well. Koffing and Ekans were symbolic of Team Rocket’s willingness to change, hence their evolutions. Once his mind was able to overcome that roadblock and allow them to change once, it gave him the chance to truly change.

An interesting note is that Pupitar is a rationalization: a Pokemon that a rival caught before he met him. Even Ash would become suspicious if everyone he met had no carry-over from previous places he had been to.

Other trainers are more direct forms of his issues — ones that he must either come to terms with or outright suppress. Gym Leaders are more primary aspects of his personality, with each Pokemon being stronger than the last, to display a level of skill he could be capable of if only he gave into it. In effect, he is doing battle with a part of him that he would rather not have in control. Originally, Ash had the battles, which evolved into team battles and contests. The explanation for this is that his issues became more and more complicated, and the means of dealing with them needed to become more complex. The fact that he uses issues that he has already dominated to win these are signs that he’s growing stronger.

Ash releases his Pokemon because his mind is forcing him to let go of them. The second he raises an overpowered team, a tournament comes up, and after fighting his way through it he has to go to a new land for new challenges. But with an overpowered team, there won’t be any challenges, and no way to motivate him further, so the part of Ash that wants to stay in the coma and keep journeying releases his solved issues so that he can continue and overcome the unresolved ones. This is essentially his mind forcing him to deal with his issues.

Ash’s rivals and the Elite Four are ultimately the strongest part of this cycle. Having Pokemon that are essentially godlike, they represent both what can be attained and what is unattainable. Ash’s rivals are all possible future he envisions for himself (note that they are all older than him). This originated with Oak, someone Ash knew from real life and built up into a sort of god within his mind, but Oak progressed and changed to suit Ash’s vision of himself and his ultimate desire, eventually settling down into a professor role after beating the Elite Four. With Gary Oak in retirement, his mind needed a new rival for him, thus the births of Richie (the good aspect of his rivalry) and Paul.

Paul is his mind’s last ditch efforts to snap him out of this, to force Ash to actually come to terms that this perfect world is not the best option or path to waking up. Paul is Ash’s shadow, one that wants to push on even harder and harder, and the part of him that will stop at nothing to escape this coma world.

Mewtwo is a new form of treatment, done with electric impulses and a machine to knock Ash out of it, taking down every last one of his mental guards (the original Pokemon in the movie). In Ash’s mind, Mewtwo and his clones were (in the real world) the treatment for the mental safeguards that were protecting Ash and keeping him comatose: the Pokemon of his world. The clones were counters to the issues that Ash had thought solved, and so each appeared to Ash as the exact copy of his defense. The clones didn’t play by the rules of Ash’s world, they didn’t use any special Pokemon attacks or moves — they just beat down their counterpart through brute strength. The treatment was working.

There were side effects. The electric jolts were beginning to affect Ash’s nervous system, and if the treatment continued, he would be paralyzed. His mind manifested this in the dreamworld by petrifying him. Were it not for the end of the treatment by Ash’s mother (who knew her son wouldn’t want to live in a world he couldn’t explore), Ash would have remained as stone forever. After this, Ash needed to recover from the damage caused by the electric therapy. In order to reduce the danger Ash’s consciousness felt from it, his subconscious began downplaying the effects of electricity in his world, which is why Pikachu’s electric attacks — once noted for their strength by Team Rocket — no longer have any effect on Ash, other than comic relief.

As we can see, Ash may well have been trapped forever in this world. But like every dream, like everything, there is a beginning and an end. What would happen if Ash never recovered? In his hospital room, we see Delia, obviously distraught, talking to a doctor with a grim look on his face. He’s saying that their insurance is up, and the boy has had no change in brain activity for seven years. That the shock of taking him off life support has a very small chance of awakening him.

She tearfully agrees.

Back in Ash’s world, he has finally defeated the Elite Four, and one by one, the people around him start disappearing. Eventually, everything is black. Pikachu comes dashing towards him, glowing brighter and brighter in the darkness. Eventually he reaches Ash and the two embrace one last time.

Back in the hospital room, his life signs fading, Ash mutters his final words.

I…want to be…the very…best…

He will die, never having known his dream, except as naught but a dream. When he came back to reality, he knew it all for the lie it was, knew it as his imagination. Knowing that his efforts, ambitions and friends were nothing, he will let go.

As he utters his final phrase, he barely opens his eyes and sees the silhouette of his mother, her face hidden by her hands wiping away tears. They make eye contact, and one final realization fills him before he loses all strength.

He sees that his mother was holding out hope that he’d recover all that time. He sees her and finds that her hope had been broken as she’d come to the realization that she’d outlived her only child. He dies knowing that he is loved, but that it means the one person closest and most real to him is utterly crushed.

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Contributed by Sterling F.

Of all the shows mentioned on this web site, no one has mentioned Biker Mice from Mars. This truly underrated show had some surprising adult characters and situations.

First let’s look at the main characters. Throttle is the quintessential leader who is smart and your average guy. He is the only one with a girlfriend who is tough and very loyal. Vinnie is the classic young, hyper, oversexed man. He boasts and brags consistently and of course tries to get women (I’ll explain that more later). Modo is the lovable big guy who is committed to family (he is pretty much a mama’s boy). Charley is a woman who lives alone and is a mechanic (she is also the most realistic looking woman as she rarely wears sexy clothing). She obviously enjoys the company the Biker Mice bring her. The villain Limburger is very similar to the British villains seen in James Bond films. His assistant Carbunkle is androgynous in both look and voice. Greasepit, a henchman, is an idiot.

Now, there are tons of sexual overtones and innuendos between Charley and Vinnie. It is evident in the first episodes (in the second episode when Charley is dressed in a short skirt and falls over in front of them, Vinnie asks her to “turn around again”). Other incidents include: his reactions to when Charley is in danger (male protectiveness of his woman), flexing in front of her, jealousy (evident when Charley’s old boyfriend showed up), and many incidences in which he wants her to check him out. Charley flat out refuses all his advances (after all, that is bestiality) but even including that kind of relationship which is more obvious than Elisa and Goliath in Gargoyles is bold.

Also, the Biker Mice are borderline chauvinistic in most of the episodes. They fight while Charley sits in the garage only because they make her. She often has to fight to get equal treatment from them which mirrors the women’s rights movement and the glass ceiling issue.

The villain Limburger could be considered gay. He never does anything himself against the Biker Mice, he hires someone else to do it. Limburger has no family to speak of (except for a nephew…think of Scar from The Lion King) and is often running, yelling, and screaming (with Carbunkle in tow) from the Biker Mice. Also, Limburger has an inferiority complex. He loathes anything dealing with being Plutarkian (he is an alien). He despises doing the Plutarkian greeting and always has on his human mask even when he does not need to (in fact an episode showed a flashback where he was infatuated with Earth movies).

One thing about the show that seemed negative was the portrayal of rats. All the rats on the show are evil or do evil things. Modo, in particular, gets angry when anyone compares him to a rat. The person(?) that brings down the Martian forces is a rat disguised as a mouse who infiltrates the group. He also kidnaps the girlfriend of Vinnie (note that this takes place before they get to Earth). This smells of racism (the rats being African-Americans) and the rat kidnapping one of the mice’s girlfriend goes right into the stereotype of African-American men craving white women.

There are also lots of in-jokes. The voice of Vinnie is Ian Ziering of 90210. Thus, the show had guest appearances by people from 90210 including Luke Perry, Jason Priestly, and Jennie Garth (in fact, Luke Perry’s character looked like a twisted version of him). Also, an episode of the show dealt with Shakespeare. The voice of Limburger is a Shakespearean actor.

I hope this gives you an idea of the show, which was on the air for three seasons. Even though the animation was not nearly as good as Disney or Warner Bros., the writing combined sexual tension, humor, action, and adult in-jokes in virtually every episode while staying within the realm of children’s television. Also, what show geared toward kids would stretch out a storyline through 3 weekly episodes (as it did in its final season, before shows like ReBoot or Beast Wars did it)? Anyone who is a fan of this show or vaguely remembers it should comment and tell me what you think.

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• A long-running – seemingly endlessly iterated, in fact – conflict between enemies known as Tom and Jerry. Where else have we seen this?  That’s right, the First World War, in which the Brits were known collectively as “Tommy Atkins” and they called the Germans “Jerries” (well, when they weren’t calling them “Huns”).  Interesting, then, that it’s with Jerry – the historical loser – that our sympathies lie. Revisionist propaganda? Perhaps. Perhaps.
  Come to think of it, weren’t the majority of these cartoons produced during and shortly after the second World War, in which Jerry (if you will) was once again the enemy?  Posited: a subversive attempt to counteract the “all Germans are Nazis are Evil” propaganda then current – a sort of Don’t Let’s be Beastly to the Germans, without Noel Coward’s sarcasm.
  -Contributed by Jeffie
• You know, if you think about it, The Muppets were quite a sublime commentary on the human condition. None of the Muppets were good at what they wanted to be. Piggy wasn’t beautiful. Fozzie wasn’t funny. Kermit couldn’t make his show a success. The Swedish Chef could not cook, etc. They all constantly failed, yet kept trying.
  -From Scott Kurtz’s PvP, 12/10/2008
• There’s one reservation I have about [The Rescuers Down Under]. Why does the villain have to be so noticeably dark-complexioned compared to all of the other characters? Is Disney aware of the racially coded message it is sending? When I made that point to another critic, he argued that McLeach wasn’t dark-skinned – he was simply always seen in shadow. Those are shadows are cast by insensitivity to negative racial stereotyping.
  -From Roger Ebert’s Review of The Rescuers Down Under
• The Count from Sesame Street shows classic symptoms of OCD.
  -Contributed by Jim W.
• In WALL•E, the span of years listed for each of the Axiom’s previous captains is ambiguous about whether it denotes each captain’s lifespan or the number of years in which he or she was captain of the ship. It should be noted that there is no overlap in the years for each captain. This leans towards the possibility that each person’s time as captain lasted an average of 133.2 years. Regardless, whatever each captain’s span of years denotes, they just happen to total out to 666.
  From the first captain to the last one before Jeff Garlin’s character:
  143+131+140+124+128 = 666
  -Contributed by Joon K.

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If you’ve played The Legend of Zelda: Ocarina of Time, you know that the only weakness on Ganon’s body once Ganondorf has transformed is the tail. This might seem strange, but it is very coincidental when you look at Dragon Ball Z. In DBZ, there is a race called Sayians (one of many spellings). The Sayians look human enough but they have the special ability to transform into large beasts that often run amuck. I noticed that in one of the battles, the character of Vegeta is fighting Earth’s protector, Goku, and Vegeta decides to use his special ability. When he does, the only thing that stops him in his large, beastly form is when someone cuts his tail off. The correlation is apparent but whether or not the creators of Zelda were influenced by the legendary Dragon Ball Z cartoons is up for speculation.
- Contributed by Andy W.

There are a few “tail” incidents in Dragon Ball Z – someone’s always getting his tail cut off. However, unlike Zelda, the monsters’ tails in DBZ are their strength – they use their tails to fight (like Frieza). When the tail is cut off (a much more difficult feat than slicing Ganon’s appendage), so is their strength. In Zelda, Ganon’s tail is his weak point – he does not use his tail to fight, but is continually turning away from Link so he can’t hit at his tail. Herein lies the microscopic error in the correlation.
- Contributed by Jess

In reading the link one person found between the weakness of the tails for both Ganon (Zelda: Ocarina of Time) and the Sayans (Dragon Ball), I have noted a few things. First, I believe that these were sexual references, because of how tails were used early on during the Japanese version of Dragon Ball. In earlier episodes withheld from the American market, one would see Goku (just a boy at the time) using his tail to fiddle around with Bulma.

Sure, he used his tail for more practical purposes for hanging and such but the sexual reference became distinct when he used his tail with Bulma. (This was due to the original intentions for Dragon Ball to be a semi-hentai series, more for comic relief than overpowered fighting monsters.) Now what does this have to do with the tails being the weakpoints for the Sayans? This is simple. What is the single most extreme pain that a guy can feel? That’s right, a kick to the ahem. If indeed the tails represented the male sexual organ, but put in a way to be able to show children, then my theory would be all too true.

As for Zelda‘s Ganon, it may be based more on fact than just coincidence with Dragon Ball. One may not have noticed this, but tails are weak. When a pig has his tail grabbed, it squeals and does not like it. Dogs who wag their tails too much often have it snap off (yes it is indeed a disgusting picture) and therefore some people have their tails snipped before something like this happens. By this simple rule, the creator Shigero Miyamoto may have seen this, and decided, “Well if the bad guy is an animal with a tail, perhaps its best to put the weakness there since it would make sense.” On the other hand, it simply may have been that Ganon’s tail is the only accessible part of his body that would make sense to attack during the fight. After all, Ganon represents the ultimate evil, with incredible power. In most stories (Norse mythology for example) the extremely powerful people have a single weak spot. Baldir had the mistle toe, as did Achilles with his ankle. With all these ideas combined, it made a lot of sense to go with the tail as a weakpoint in the game.
- Contributed by PodularKix

One reader wrote in with these lines:

“In earlier episodes witheld from the American market, one would see Goku (just a boy at the time) using his tail to fiddle around with Bulma. Sure he used his tail for more practical purposes for hanging and such but the sexual reference became distinct when he used his tail with Bulma. (This was due to the original intentions for Dragon Ball to be a semi-hentai series, more for comic relief than overpowered fighting monsters.)”

This is completely untrue. I have read the first twenty odd issues of Dragon Ball (unedited) and I have not once seen anything to back that statement up. Nor have I ever heard such a thing regarding the anime in any of the various magazine articles or books I have read that addressed the series. Dragon Ball started out as a comedic version of the Chinese legend of the Monkey King with martial arts overtones, then it reversed the formula, more martial arts with comic moments. There is only sparse nudity in the comics, and nine times of out of ten this is Goku himself. There were hentai references, mostly because of Muten Roshi who is a perverted old man, however this is a common rendition of martial arts masters. Happosai, Roshi, and the Playstation game Thousand Arms were built around this concept.

Many anime and manga reviewers have pointed out that one of the most appealing points of the series is that, no matter how powerful he became or how many battles he went through, Goku retains his wide-eyed innocence throughout the entire series. This hardly seems like a character that would “use his tail to fiddle around with Bulma”.
- Contributed by Michael S.

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