Powerpuff Girls: Season 6

I didn’t finish watching Powerpuff Girls for a long while. In part, it was because it’s a shame to see the end of a classic show, but mostly it was because by season 6, it wasn’t really feeling like a classic any more.

The show had been on air for over 6 years by the time it finished, and felt like it was running short on ideas. Weird and politically incorrect Rocky and Bullwinkle parodies, returning a monster baby to its mama and poor Buttercup being told she’s got no particularly special talent over the other girls don’t feel like the playful and inventive episodes of old. The season plays out without the sparkle of inventiveness or irreverence that characterised its early run. A steampunk episode, featuring the Steamypuff Kids, is pretty fun, though.

The Powerpuff Girls have endured in a way that not many similar shows have. There was the anime spinoff, the spiritually similar early My Little Pony: Friendship is Magic and now a new revival that I haven’t seen yet. The designs are enduringly popular and rewatching old episodes never fails to put a smile on my face.

But the problem is that there’s only so far you can go. Sure, you can give the little kindergarten-age heroes crushes on some boys and have them go from fist-fighting with their antagonists to going camping with them, but they’re still funny little bug-eyed kids with insane super powers. There’s nothing to discover about their pasts and no angsty teenage plot arcs they can go through. So flipping to alternate worlds of the wild west or making a whole episode in the style of the Who’s concept albums starts to feel a little like scraping the barrel.

But apparently there are enough stories to tell for a new series to come out. So I guess my Powerpuff adventure doesn’t stop here.  

The Powerpuff Girls: Season V

By season 4, the Powerpuff Girls formula was wearing a little thin and getting a bit dull. I fully expected to see an episode in this season where I could go, ‘Yup, that’s where it jumped the shark’, but in fact the show-writers managed to rather exceed my expectations and as a matter of fact, I’d say that moment doesn’t come until the season 6 episode ‘A Made Up Story’, which given how close it was to the show’s end isn’t a bad stretch. Even the clips episode here is quickly subverted so that it’s quickly apparent that the flashbacks are actually all-new and often rather nonsensical snippets.

By this point, the bulk of the writers and episode directors on Powerpuff Girls are the people who will go on to write most of the episodes of My Little Pony: Friendship is Magic, though Amy Keating Rogers had yet to contribute. Lauren Faust is established enough to really be taking a back seat here, but Chris Savino has his first work in this season and helps define it, while Cindy Morrow also joins to put in some small-scale episodes in her recognisable style.

Two things, I feel, kept this season from becoming tired – one, the use of an ace long kept up a sleeve in that finally, after being in every intro sequence yet not actually having been in any episodes since their first appearance in the first ever full-length episode back in season 1, the Rowdyruff Boys make their return, coming back for a full-length episode and then later for two more half-episodes. They are an interesting counterpoint to the girls and their return is welcome, making for some very enjoyable episodes, especially when poor Bubbles has to pretend to be one of them.

The second strength is that the show falls back on its old successes of imitating other shows and styles, but picks some very unusual things to imitate. One full half-episode parodying Rocky and Bullwinkle is so-so at best, but there’s a really lovely episode that imitates both silent movies and that era’s cartoons at once, the excellent episode about judging by appearances ‘Substitute Creature’ has some brilliant pastiches of pulp comic panels, and Chris Savino makes up for the slight misfire of the Rocky and Bullwinkle episode with a cracking rock opera tribute, ‘See Me, Feel Me, Gnomey’. While of course taking its cues mostly from The Who, it also has hints of The Wall and War of the Worlds, and it is a rather bewildering and dark tale about the girls taking a wish from a sinister little gnome to rid the town of all its evil in exchange for their powers, only for the gnome to then assume the role of saviour and force have everyone suppressed and lacking individuality. The girls and their father/creator decide this is not real peace and rebel. It’s a story confusingly-told, morally ambivalent and even rather disturbing when the girls drive the little man from a branch and to his death, and never aired in the States – rumour has it because the story hinted too heavily at weighing up communism and democracy, though I find this dubious – but who cares when it has wonderful 70s synths and guitar solos and a full-on Jack Black impression from Wakko Warner voice actor Jess Harnell? It’s not quite ‘Meet the Beat-Alls’, but it’s bolder overall and another, lesser-known highlight.

Otherwise, things are largely unambitious, often just poking at the boundaries of cartoon humour without taking many risks. There’s an episode where Bubbles hears a naughty word and everyone is shocked to hear the girls saying it – so soon they fight a giant potty mouth. There’s a swipe at the far Left when the girls are prevented from stopping Mojo Jojo’s crimes because an animal protection lobby group get self-righteous and force them to stop. 

The Mayor’s stupidity is played upon – and he sounds more and more like the Ice King – with him taking over Monster Isle and being turned into a rampaging monster himself when Chemical X makes him huge. And Cindy Morrow turns in bland but entertaining episodes about bet-wetting, some adorable fluffy animals turning master criminals but nobody except the girls wanting to prosecute them on account of being so cute, and an annoying passive-aggressive dog being looked after by the girls as they try to protect him and persuade him to tell them about a crime he witnessed. The mixture of full-on weirdness, small-scale drama, repetition of old ideas and attempts to get the girls into different scenarios – including seeing caveman equivalents of them – retains the fun.

So yes, while I genuinely expected this to be quite the disappointment as a season, it actually turned out to be pretty good. 

The Powerpuff Girls Movie – plus shorts and commercials

Midway through the fourth season of The Powerpuff Girls, where ideas were starting to run a bit low, the theatrical movie version came out. It may seem like an obvious cash-in now, but it was hardly common for Hanna Barbera at the time, this being in 2002 their first feature film since the lamentable Once Upon a Forest almost a decade earlier in 1993, and at the time the only extension of a Cartoon Network property to the big screen. 

Prior to this, their only film that could be called a cash-in on a current weekly series (as opposed to an adaptation of a decades-old favourite) was 1986’s Go-Bots: Battle of the Rock Lords, and until the constantly-in-production Samurai Jack film comes out, it remains the only instance of a big-screen version of a Cartoon Network property. If it seems like every series that makes it big gets a cinema version (just look at Equestria Girls!), as a matter of fact that doesn’t apply to Cartoon Network, and that in large part seems to be down to this film just not making money.

There’s no denying it – The Powerpuff Girls was a flop. Even with Treasure Planet competing against it, it was the lowest-grossing animated movie of 2002. On the other hand, quite fortunately it was done on a shoestring, so whereas Treasure Planet cost $140 million and made back about $111 million, this more modest effort cost just $11 million and ended up making $16.4 million, no huge loss but clearly no blockbuster.

Part of the problem is really that while the series seems clever, that doesn’t come over in its big-screen counterpart. Deciding on an origin story, essentially the film retells the story from the episode Mojo Jojo comes to understand he was in part responsible for the girls’ creation, then extends the plot to show how at first the girls are not understood by the wider public. They have a game of tag without knowing how to restrain their powers and tear the city apart. The Professor is arrested and the girls become pariahs – which becomes worse when Jojo manipulates the girls into building his observatory for him and facilitating his plot to empower all the zoo’s monkeys to take over the city. They have a moment of deep rejection on the moon before hearing the Professor’s cry for help and learning to use their power to save people – and mete out enormous violence on those deserving it.

Where it seems the series would deliver the twist that what the girls really learn is how to be incredibly violent and beat people up with a glib irony and a knowing wink, the film does none of that. And without its cleverness, surreal touch and knowing nods to an adult audience who knows that the clichés of kids’ TV are being subverted, the mood just doesn’t come over, to the extent that the adults who watch this without being stoners who already watched the show simply won’t get what made The Powerpuff Girls such a success. Couple with that the fact that it really doesn’t have much original thought put in, being an expansion of a story already established in the show, and I see why it flopped. There’s also the fact that while there’s a polish to the cheap, simple look of the show, it’s clearly not an animation from a leading studio – hence the tenth-of-Disney’s-budget thing, and it seems that while Cartoon Network were putting about big talk about their feature film, internally it had to be made clear that this was a small-scale project, reportedly with the voice actresses having to be talked down when they were a little deluded about the budget involved and went on strike because they didn’t get a big pay hike.

Watched as an adaptation of a TV show in the mode of South Park: Bigger, Longer and Uncut or Beavis and Butthead Do America, though, it makes sense. The show’s simple style is retained, with a nice sheen overlaid to make it prettier and the action more impressive. The Gangreen Gang in particular end up looking much more striking as a result. To lose that would be to lose much of the piece’s charm, and after all this is primarily for the established fanbase rather than new viewers. Taken in context, as a cheap extension with nicer animation, it is charming and does the job very well.

Just don’t expect too much – and, sadly, don’t expect the old smartness that made the series work in the beginning.

I also took the time to watch the DVD extras (fun seeing the actresses recording their lines, with the ‘deleted scenes’ basically more dialogue in the construction scene) as well as promotional animations for the show, and several other adverts and eyecatches made for the series. It’s a lot of fun seeing promo animations made with the characters interacting with other Cartoon Network figures, but best seeing different animation styles, including the kind of cereal advert that the series lampooned. It’s great to see an attempt to integrate the girls into live-action shots with heavy shading, and other animators rendering the girls in slightly more lanky form. A footnote, to be sure, but interesting and entertaining to watch. 

The Powerpuff Girls – season 4

Somewhat new territory for The Powepuff Girls’ fourth outing, as I mentioned in my thoughts on season 3 – where before, other than a few special double-length episodes, Powerpuff Girls episodes were roughly 9 minutes, so that two could air in a typically American ad-laden half-hour of television, here all but one episode is full-length. Only one episode goes into each half-hour slot (though of course, there are still the eleven billion commercial breaks Americans have to suffer through every couple of minutes), meaning each plotline has a lot more room to breathe, and there are rather fewer abrupt endings in the Python mould (which Adventure Time has since taken to new heights in kids’ animation).

Unfortunately, these episodes exhibit the same flaws that some of the thinner full-length episodes contained in the previous series – that is, not having quite enough meat to fill the full running time so filling the minutes with fluff. We get extended musical sequences with very little going on, repetition and some scenes where a point is made of mundane things being prolonged, which puts on the mask of being amusingly absurd and redundant, but is very easily seen for what it is – time-wasting. And not the amusing bathos of an episode like ‘Him Diddle Riddle’, where the waste of time is the whole point, but one that shows a lack of ideas.

And there’s evidence for that lack of ideas elsewhere in this season – the episode where Mojo goes back in time to prevent the Professor setting out on the path of science is, as its final joke references, something of a rehash of a previous episode where he tried to prevent the girls’ creation (though the 50s jokes and the chance to see the young Utonium were worth it!), and there are echoes of the Bunny episode ‘Twisted Sister’ in both ‘Stray Bullet’ and ‘Knock it Off’. For the second time, there is a Powerpuff spin on a very generic cartoon concept – in Season 2, we had the typical ‘character’s life is saved, so they pledge loyalty to the main characters, only to be so terrible as a servant that it becomes necessary to get rid of them’ with ‘Slave the Day’, and this time we get the ‘Kids try to set up two adults, and then despite the fact that they don’t care much for each other, something happens to make them fall in love, only for it to be so exaggerated that it causes the kids huge problems’ angle with half-episode ‘Keen on Keane’. Though both are very generic and by the time the episodes in question came about she was not the one coming up with the core stories, it’s worth mentioning that this season’s ‘Keen on Keane’ was the first episode to credit Lauren Faust as a director, and these typical cartoon ideas are both redone in episodes of My Little Pony: Friendship is Magic. 

Faust also now frequently appears as a supervising director and on the writing committee, alongside several other future Pony collaborators – Amy Keating Rogers, Cindy Morrow and Chris Savino.

Oddly, the ‘season’, which may have been fairly arbitrarily demarcated later, aired over a period of very nearly two years, often with months between new episodes, and The Powerpuff Girls Movie was actually released in the middle of that, a mark of the series’ success. For all its success and consistently enjoyable writing, though, it certainly does feel like a series that’s been overstretched a little and is reaching the end of its conceptual strength. What trump cards were kept in reserve get used up, and are revealed generally to not have much thought behind them anyway – Buttercup at last has her unique talent (beyond being the toughest fighter) revealed, and it’s another example of the show’s simplistic bathos, and though I feel a little sorry for her (I liked Bubbles when I was small, but Buttercup’s been my favourite for years), her sheer exuberance and sense of triumph at the discovery won me over a little. The roster of villains remains largely fixed, with the only memorable new face the one-trick Whimsical Willy essentially occupying the same sort of role as Harold Smith as the unexpected and underwhelming villain, and another monster shown to be not so bad after all – and it’s undeniably hilarious to have Blossom’s ice powers and Bubbles’ linguistic gift illustrated by having a giant flaming gerbil that speaks Spanish.

I think we’re reaching a territory where the episodes are all-new to me. I’d only seen a handful of these before, and none of the episode titles for seasons 5 and 6 look familiar. We’ll see. Perhaps something will be unexpected and innovative, but I really feel like it’s time for The Powerpuff Girls to come to a dignified end. Two seasons more seems just about right. 

Powerpuff Girls – season 3

Well, as we previously established, season 2 was largely a very direct continuation of season 1 of The Powerpuff Girls. And with season 4, the show makes a notable transition – from almost full seasons of half-episodes to having more fleshed-out full-length episodes each time. So where does that leave season 3?

Well, while in a broad sense it’s undeniably more of the same, and once again there was only a gap of about a month between the last episode of the second season and the first of this one, there is certainly a little more experimentation – and long gaps between the first episodes suggest some development was going on. The girls moving to Citiesville for an episode, a full episode riffing on American cereal advert characters (which I’m sure I didn’t get the first time I saw it, and which again makes me wonder how this cartoon travelled to so many countries so well), an episode where the girls decide to emulate their favourite comic heroes (Blossom opting for DC, Bubbles for cutesy manga and Buttercup for Spawn) and of course, the brilliant ‘Meet the Beat-Alls’, chock full of Beatles references, allow some chances for stylistic experiments, which help the show get more complex. 

With the characters and formula firmly established, the writers also take the opportunity to give the girls a dark side, with them learning lessons after stepping deep into moral grey zones plentiful: when they discover the Professor is stealing toys for them in their sleep, they gleefully encourage him; when Princess makes crime legal, they turn criminal to show her how stupid that idea was; when Buttercup discovers that she can get money from the tooth fairy, she starts to purposely knock out others’ gnashers; and when they find out that they can get candy for beating Mojo, the girls strike a deal with him to keep busting him out of jail so that they can once again catch him and get their reward – even if it means great damage to Townsville.

It feels like the traces of Hanna-Barbera are being left behind, and the new identity of Cartoon Network is being firmly established, despite more mini Jetsons and Top Cat cameos, and even some familiar Flinstones faces (and on a tangent, Powerpuff Girls heavily featured Totoro long before everyone declared it oh-so-surprising in Toy Story 3). That said, dem terrible repeating crowds and backgrounds, plus a whole episode making a point of recycling animation from a season 1 episode recall the studio’s lowest points.

For the first time, the name Lauren Faust starts cropping up on storyboarding credits – starting with the stylish ‘Equal Fights’ episode. It becomes very clear the future My Little Pony: Friendship is Magic creator cut her teeth on what is after all very much the future bizarre hit’s spiritual predecessor – the formula of writing an episode by taking one of the characters and exaggerating one of their personality traits to make a silly story was very well-established here. There’s Buttercup’s teeth adventure, Bubbles’ love of animals going so far that she tries to keep a whale in her cupboard, and Blossom’s vanity is explored in an episode where her sisters give her a terrible haircut. Otherwise, most of the episodes take established characters and put them in fish-out-of-water situations – the professor becomes a fellow superhero but, being a dad, embarrasses his girls; the Mayor attempts to fight crime himself rather than relying on the girls; the Gangreen Gang also gain powers; and one of the fearsome monsters turns out to just be looking for his cat. The show is largely done with introducing new villains, with new antagonists really limited to some old people and a lazy cop turned bad, which are basically gimmicky one-off ideas that don’t lend themselves to any reappearances.

A few new steps in interesting directions make this series stand out a little – but really only because I’m watching in a way that specifically lends itself to looking out for developments. Syndicated, these episodes could easily fit in alongside any from the first couple of series. And going into series 4, I largely find myself wondering if we’ve seen the last of the Rowdyruff Boys. Was it just because of their prominence in the intro that I felt like they were in more than one ep? 

The Powerpuff Girls: Season 2

A little like long-running Japanese shows like Ojamajo Doremi or Hitman Reborn!, it feels a little arbitrary to split up The Powerpuff Girls into seasons, given that episode one of this season aired less than a month after the big conclusion of season 1. 

And as I mentioned in my impressions of that season, it’s clear that at least the first few episodes were already under production at the very beginning, because the intro features Princess and Lenny Baxter, who are the villains of the first two half-episodes.

That said, while seasons 1 and 2 feel like very much two halves of a whole, season 3 begins to depart from the basis and experiment a little more. So really, what this second season serves to do is to really lay down the formula, and that’s what it does. Other than the two episodes featuring the Smiths and that belated introduction of Princess, season 2 doesn’t rely on establishing new recurring villains, and instead has great emphasis on getting its leading cast of antagonists firmly esconsed in the minds of its young viewers. Mojo appears in numerous episodes, the Gangreen Gang get to do their thing a few more times and even Sedusa gets a second outing. 

The series also does two rather clever things to get its baddies remembered – firstly, it puts different villains in the same episodes together to collaborate and play off each other, so that the Amoeba Boys might find one of Mojo’s dastardly plans, or Princess might decide to fund another of the baddies, all building to that season 3 classic ‘Meet the Beat-Alls’; and secondly, it has a lot of the characters do impressions of each other – so silly voices are imitated (especially the Mayor’s), more than once Him gets an imitation featuring a feather boa (as well as a great episode about time dilation at speeds approaching the speed of light), and a whole (brilliant) episode is given over to Bubbles thinking she has become Mojo. It’s remarkable how seeing a character impersonate another will highlight their most memorable features and as a result make them more familiar.

Which isn’t to say the recurring villains make this series. There are some neatly-done one-off characters, like the ‘imaginary friend’ Patches and the unforgettable fourth Powerpuff girl Bunny. The series takes a pop at box-ticking cartoons with a brilliant overly-Politically Correct alternative superhero group for a while, and takes pride in very grey moral areas like when broccoli aliens are dispatched by being eaten alive. 

There’s also some nice straightforward episodes that are purely character-driven, covering what happens when the girls just play at being the girls, and if Buttercup (the tomboys are always the best!) seemed to be given a relatively short shrift in development in the last series, here she conspicuously takes centre-stage for episodes covering her stubborn and insecure sides, with one about her refusing to take a bath and another about her relying on her comfort blanket.

Season 2 of Powerpuff Girls may be essentially more of the same, but that is actually quite a clever thing for it to be. 

Pirates of Dark Water

Noy Jitat! It’s back to the 80s for another cartoon review – or at least, it feels like it, but Hanna-Barbera at the time were always a little behind the curve. Pirates of Dark Water feels and looks very much like an 80s series in the vein of Mysterious Cities of Gold or Jayce and the Wheeled Warriors, but it actually aired from 1991 until its premature demise in 1993.

I remember seeing it as a child, possibly as repeats, but took little away from it. I remember it had a pretty-boy lead character, and hearing his name was the first time I thought ‘Wren’ sounded pretty cool – though in fact it’s spelt ‘Ren’. I decided to give it another try as an adult partly because of those memories, and because of how often the series is raised as a bit of a cult classic and even Hanna-Barbera’s finest moment.

Honestly, I think the old rose-tinted glasses have a big effect on this. I found Pirates of Dark Water to be a clumsy, very ugly, repetitive and highly derivative attempt to jump on a trend five years too late.

In a fantasy world of swashbuckling pirates, alarming mutant creatures and way-before-Avatar-tried-to-pretend-it-did-the-dual-species-thing-first animals like the monkey-bird, the young Prince Ren uses his father’s magic necklace to track down the Thirteen Treasures of Rule, which will save the world from Dark Water. Helping him are the sassy ecomancer Tula and the gritty, selfish Han-Solo-type Ioz, along with their comic relief monkey-bird Niddler. But standing in the way of the heroes is the hulking pirate Bloth and his massive warship the Maelstrom. Along the way, the crew save many innocent lives, liberate enslaved monkey-birds, swap bodies with the evil pirates, get into barroom brawls and gambling dens, and even find a cutesy little monster that is a living Treasure of Rule and can reverse the effects of the Dark Water. As soon as they do, though, the series suddenly ends – presumably cancelled – and the rest of the adventures go untold.

I do give Hanna-Barbera credit for trying something different – something epic and continuous – even if it’s only because so many other successful series were that way at the time. And while I also applaud their attempts to keep things relatively in-house by not shipping out the animation work to Japan, the fact is that this series is ugly. It’s really not nice to look at, and though the character designs are appealing, they’re obviously too much for the animators to deal with, with faces and bodies constantly going off-model and looking terrible. The motions are very clunky and often feel very off rhythmically, and for a series with so many fights, the animators really don’t get how to make impacts convincing or characters seem to have weight. Probably most distracting of all, though, is how they don’t seem to be able to deal with characters’ pupils/irises, with the characters’ slanted eyes meaning that when they look in different directions, the animators often put the pupils at the edge of the eye – meaning they are pointed in completely different ways and look absurd.

It also doesn’t help that the stories are often very, very dull. Some new island has some new madman and the heroes eventually win out with some clever plot that relies on their adversaries being stupidly unobservant. It just doesn’t work far too often and comes over as a repeat of the worst parts of Ulysses 31.

On the flip side, the series does benefit from excellent voice acting and the extremely memorable way that it makes up swearwords and uses them endlessly. Transformers stalwarts Peter Cullen (Optimus Prime) and Frank Welker (Megatron) have fun with atypical roles for them, and the silly little villain sidekick Konk probably gets a rather unexpectedly expanded role because, well, if you have Tim Curry on the cast you give him plenty to do. Jim Cummings does that uncanny thing he does of listening to someone else’s performance and then being able to seamlessly replace them when they leave, and Sisko from Star Trek makes a great villain. It’s slightly jarring to know that cheesy do-gooder Ren now voices Sephiroth in all major English dubs of Square Enix properties (when he’s not voiced by a Backstreet Boy, anyway), but that’s voice acting!

But the cast being excellent and having obvious fun doesn’t save the piece as a whole, and it’s too hurt by being ugly and boring to live up to its reputation. Which is a shame, as it seemed like something I’d very much enjoy. 

The Powerpuff Girls – season 1

After the previously-documented show pilots, The Powerpuff Girls made it to a full series at the end of 1998, a couple of years later than its partner Dexter’s Laboratory. Though clearly Craig McCracken’s baby, Tartakovsky is clearly still heavily involved, co-directing a majority of the episodes.

It’s clear from the start that the series was heavily developed before ever reaching the air. It’s not unusual for a series’ title sequence to show characters who don’t appear until many episodes in, but this one even has characters who don’t even appear until the early episodes of season 2 – the guy from The Collector and, more prominently, Princess Morebucks.

The series does that very syndicated-American-toon thing of having no establishing episode or premiere but simply launching into the setting without explanation with the assumption that the audience knows the scenario and characters already – so random episodes can easily be broadcast in any order. It even seems very likely that ‘Tough Love’ rather than ‘Octi Evil’ was written as Him’s introductory episode, but things were swapped around. Indeed, however the show was broadcast when I used to watch it on TV was likely pretty random – I’d seen most of these episodes before, but some, like ‘Insect Inside’ and series finale ‘Uh Oh Dynamo’ were new to me.

Split into 22 half-episodes and 2 full episodes, Powerpuff Girls is very easy to watch. Its exaggeratedly cute characters are of course adorable, but what makes the likeable is the heavy emphasis on their faults and failings despite their powers. Bubbles is childlike and gullible, a bit of a crybaby despite not wanting to be underestimated, allowing for her to be adorable, to learn and also for reversals like her deciding she wanted to be ‘hardcore’ being very funny. Tara Strong’s brilliant voice work (here still credited as Tara Charendoff, as she hadn’t gotten married yet) brings the role to life. Blossom is perhaps the least immediately distinct of the three, wanting to be a leader and taking charge, but getting a little boastful when she develops new powers and easily annoyed when Buttercup challenges her authority. And Buttercup is the quintessential tomboy character, making her most probably my favourite – she’s stubborn and self-conscious and that makes me feel like she’s actually the most vulnerable. And y’know, there’s something pretty heavy about an episode where she falls for a guy, he makes her feel really special and loved, and then only by happy accident does she see he’s actually just getting her out of the picture so he can brutally murder her two sisters. That’s a lot for a kindergartener to take on!

Indeed, the series gets its adult-friendly edge in two ways, really – first, by being irreverent with what’s appropriate for kids to see, taking pride in showing gross-out humour, its tiny adorable heroes being constantly abused both physically and mentally, a whole episode about how funny the mayor looks without any clothes on, and in its wanton destruction, the certain death of many thousands of Townsville residents. And second, with a real sense of bathos – some episodes feel they’re late in the run of a well-established show, like one with Mojo just trying to go about his daily routine in peace but the girls bothering him interminably, endlessly and indeed unendingly. A new superhero shows up but turns out to be engineering crimes, but the way the girls beat him is by doing the very same thing. And one episode is about the Gangreen Gang making prank phone calls, which ends up with the villains sorting the problem out while the heroes are unawares.

The strength here is really in the characters, major or minor. The girls are immediately engaging and understandable, Professor Utonium’s protective nature but vulnerability to women is easily understood and though some baddies are duds – ‘Roach Coach’, with power over cockroaches, for example, or some kid who eats glue before a radioactive insect turns him into a huge hulking glue monster that’s actually one of the girls’ toughest challenges – many, many more of them are brilliant and iconic. The Gangreen Gang and the Amoeba Boys from the pilots/shorts are great, but it’s really Mojo Jojo with his ridiculous pleonastic way of speaking and Him with his evil mind games that stand out as classics. The Rowdyruff Boys are an obvious but strong idea, and Fuzzy Lumpkins becomes much stronger conceptually with his pseudo-Southern attitude to people on his property. Plus you can’t help but love the Mayor.

The voice work is also top-notch, which is something that made 90s cartoons appeal so much to Gen-Xers and stoners. The three girls have an instant dynamic, two of them having starred in Rugrats before this, and of course Tom Kenny puts his stamp on every role he plays, from Spongebob to The Ice King. Where Mojo’s daft speech patterns came from I do not know, but they’re absolutely inspired, and Him’s voice sends chills down the spine.

Being ironic and going for a lot of parody – from Star Wars to Godzilla – protects the show from a lot of criticism. Of course it’s lame – it’s a joke on silly superhero tropes! But there are some real shortcomings. Sometimes the episode length means a strong idea has to just be randomly dropped, like when Him’s Octi just blows up because it’s made to drop the captive girls, or when a cure for a terrible disease can simply be taken out of the Amoeba Boys. It is also unashamedly politically incorrect to the point of being offensive – racial caricatures abound, there’s something anti-trans in how Him is portrayed, I don’t know why Mojo has that accent and with the mecha parody episode and all those unflattering representations of the Japanese, it’s amazing they loved it so much. And while sure, kids won’t notice or care, this is emphatically not just for kids and I don’t see what gets added by it.

But it doesn’t stop the real brilliance of the writing, how it turns typical Hanna Barbera-style cartoon making into something hip and intelligent, or how well-performed and well-executed the whole thing is. Impressive work.