Puppets in Primetime: PART 1

A value analysis critique of American puppet primetime presence, and the lack thereof

By Jennifer J.

History and Significance

In an effort to understand and express what it means to be human, artists and experts have employed the use of many tools. One of the most diverse and revealing vessels for the expression of humanity is the puppet. Puppets owe their success to the expectations of audiences, and the suspension of reality granted by audiences. Early man created puppets from clay figurines, and eventually, medieval marionettes enacted stories from Catholicism. Leather silhouettes danced on screens in Balinese shadow theater. Psychologists, teachers, social critics and comedians use puppets in present times (Blumenthal 11-34, 2005)

Historically, there have been many uses for puppets. From mild amusement, to political satire, puppets were able to arouse interest in audiences. Interest in puppets is initiated because a puppet is made from something inanimate. The moment a puppeteer pulls the string, or moves a hand, the puppet becomes its own being, suddenly independent from social constraints or presumptions of an imposing crowd. It is the puppet's ability to mimic lifelike expressions, which determines the quality of a performance (Milano). A puppet differs from traditional acting because it removes the artist from the audience. Puppets differ from other forms of media, because they are instant. A puppet performance doses not need to be edited or rendered; it is an instant way to communicate.

In addition to being instant, puppets are also unable to be accountable for their actions. One of the benefits of performing with an inanimate object is that it cannot be held responsible for the viewpoints it conveys after a show is finished (Blumenthal 7, 2005). While Punch and Judy (Middle Ages carnival attractions) shows often involved audience scorning of Mr. Punch, for his devious actions, audiences understood that it would be useless to discuss anything with the lifeless puppet after a show (Punch and Judy Today). The immediate necessity and urgency of a puppet performance mirrors mankind's own mortality and speaks to the temporal nature of existence. Puppets are the embodiment of what it means to be 'in the Buddhist now,' as they have, neither an actual memory, nor a projected future. At the same time, however, puppets outlive their puppeteers, and achieve a type of social immortality. Delete Despite Jim Henson's death, Kermit the Frog can be seen on VH1, as a commentary for I Love the 70's (Inturnaround, 8 2003), while Miss Piggy stars in a series of adds for Pizza Hut (Sullivan & Hildebrand, 2005). Cultures often pass puppetry to younger generations, ensuring the survival of the art of puppetry, and its ability to be accessed by audiences. Evolution and preservation of puppetry has been established by societies worldwide, encompassing a variety of puppets, styles, songs and stories.

Puppetry is important because it is a powerful medium that promotes audience creativity and thought. However, with the evolution of mass media, and the isolation of the individual in modern society (Riesman et al, 2001), social devotion to the once respected puppet is becoming less prevalent in today's media. In the history of American prime time, puppets are rare. Three prime time network puppet shows have aired in the last thirty years; The Muppet Show (The Muppet Show (1976) [TV-Series 1976-1981]), Alf ("ALF" (1986) [TV-Series 1986-1990]), and Greg the Bunny ("Greg the Bunny" (2002) [TV-Series]). Given the number of shows and amount of airtime designated across the networks, it is remarkable that more puppet prime time shows are not present in the history of network television. Considering the cultural significance of puppets, there is a stark void of puppet influence in American adult life. Why puppets are no longer present in prime time is a complex question that is investigated by looking at what replaced them. While there is no single factor that explains the void of puppets on the air, greater social implications can be made about the state of American media revealing the underline reasons for the absence of puppets in primetime. The degree of success, as well as textual interpretations, of The Muppet Show, Alf and Greg the Bunny, indicate that American society is becoming less likely to think objectively. The socially isolating nature of recent television has left little room for puppets on primetime.

Prime Time Puppets

The Muppet Show (1976 - 1981)

Whenever [characters] become self-important or sentimental in the Muppets, then there's always another character there to blow them up immediately."

Frank Oz (Inches 84, 2004)

In 1975, an unusual television pilot entitled Sex and Violence aired as the beginning of what evolved into The Muppet Show (The Muppet Show: Sex and Violence (1975) (TV)). Based largely on a short and colorful pitch reel, presented to network executives, The Muppet Show delivered what Jim Henson had promised; a show that would appeal to practically everyone and make its producers incredibly famous (Henson 2005 circa 1975). The show showcased and valued a variety of puppets with conflicting personalities leading to an appreciation of community. The show also exhibited artistic expression, featuring different types of puppetry and dance, exposing audiences to unique and unusual characters in a variety of circumstances. The third prominent value of The Muppet Show was "exposing celebrity." Hosted by Nigel (Kermit's Predecessor), an obscure Muppet, Sex and Violence took place as a montage of clips inter-cut with a behind-the-scenes look at the production of a "Seven deadly sins" pageant. The clips feature brief scenes, including knock-knock jokes told by the faces on Mt. Rushmore, and an unusually colorful flock of birds who are limited to one line each. In the closing shot of Sex and Violence the camera dollies away from a medium shot on the Muppets, revealing their puppeteers, dancing beneath them.

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Puppets in Prime Time: PART 2

Diverse Community

The values of Sex and Violence clearly point to individualism, in a communal setting. While it is obvious that Nigel is in charge of hosting the pageant and looking after the group of Muppet performers, each puppet features its own set of values and thoughts. Following the success of Sesame Street, it was Jim Henson's goal to have a show that would be enjoyed by people of all ages. While many of his puppets, like Fozzie Bear and Kermit seemed innocent enough for young audiences, puppets like Dr. Teeth and Sgt. Floyd Pepper were often provocative with double meaning in their speech. In Sex and Violence, a controversial conversation transpires in the green room between Sgt. Floyd Pepper and Sam the American eagle. The two puppets share, only a brief conversation, but their aesthetic features point to very different points of view. Symbolically, Sam is conservative. A very sharp looking Muppet, Sam's large pointed beak opens widely, at the bottom of his flat head. His dark eyebrows are prominently tilted downward over his large pensive eyes. His dialogue reflects his personality as he is very mater-of-fact. Rarely does Sam applaud anything that is abstract, or questionable. Throughout many of the episodes, Sam is seen as the authoritative sensor, making sure each production has socially redeeming value. Floyd however is Sam's opposite. As the gangly, stripped-shirt-clad bass player for the Electric Mayhem, Floyd has a round face, with orange flowing eyebrows, that cover his deep, black eye sockets. Floyd rarely addresses issues directly, and frequently uses words like "cosmic" to describe his reality. Floyd embodies what the show's pitch reel referred to, as dirty-cynical-puppets. The pitch reel claimed that society's dirty-cynical-hippies would like these puppets. The fact that these two characters are able to engage in conversation, underlines the value of opposing viewpoints, being able to meet in an artistic setting. This was the essence of The Muppet Show; that opposite character types could exist together to create a compelling performance. While Sex and Violence was not hosted by Kermit, and while Miss Piggy did not yet have her karate chop defense, it was clear from the pilot, that Jim Henson had the makings of a hit.

Throughout the episodes, each Muppet maintains their distinct personalities, and while it may seem trivial that Gonzo consistently embody an estranged weirdo, or that Miss. Piggy always appear a head strong, love struck hog, the fact that these characters remains consistent, is a tribute to the acceptance of audiences to faithfully watch and enjoy The Muppet Show. Every show features chaotic conflicts between the staple Muppet personalities, but by the end of very show, the Muppet cast manages to achieve their goal of producing a half hour show. The values derived from this allow audiences to believe that it is not only beneficial to have opposing characters and values in society, but essential to the creation of public expression.

A sub category of the show's community value is embodied in Kermit's ability to run the show with flexible authority. Kermit's ability to hold power over the other Muppets is based on his fair judgment and ability to listen to and consider various points of view. The premise of each Muppet Show episode, is for the Muppets to host and perform a successful "vaudeville show," to a diverse crowd of theater-going Muppets. Each show features a series of acts, and the agonizing process of getting each act to run smoothly. In a few episodes, Kermit strives to please Scooter, the young gofer whose uncle owns the theater. In one episode, Kermit has reservations about letting Scooter perform a number with his "dancing dog." Kermit eventually gives in, however, allowing Fozzie to substitute for Scooter's prideful pooch, who refuses to dance onstage. This type of compromise often allows the Muppet characters to maintain their individuality throughout their vaudevillian style show, and allows for Kermit to remain in control.

Art

The second prominent value of The Muppet Show is the exhibition of art. While American puppetry was fairly standard and predictable at the time, Jim Henson filled his shows with new and unusual puppets and puppet styles (Miliano). This is especially true in Sex and Violence, when a flock of colorful birds flutter onstage, against a black background. At first glance, the round, bug-eyed birds seem to be flying. However, upon closer inspection, it is noticeable that the puppeteers are clad in black, giving the convincing illusion that the birds are capable of un-tethered flight. While this form of the invisible puppeteer was common in stage plays, it was not common in television, thus Jim Henson showed a decision to advance the art of television puppetry.

A similar style of puppetry was discovered when Jim's puppeteers discovered an artistic use for air-duct piping. Perhaps, one of the most unusual and yet provocative puppet models is a small "u shaped" puppet seen in episode 22. The puppet seems to be made from about 15 inches of flexible air-duct piping. It is bent into an upside down "u" and given fuzzy feather tufts for faux feet. Small bulging eyes perch at the top of the "u" and stare foreword. This puppet dances in front of a black background, until it is upstaged by a smaller "u" shaped puppet. While the larger puppet appears to be a good dancer, the smaller puppet is made to evoke audience sympathy, for it is initially shoved off stage by the larger puppet. However, in a triumphant return, the smaller puppet successfully dances, his way into audience favor, and eventually becomes a little cannon and blows the larger, more aggressive puppet offstage. This sketch, artistically illustrates the show's value of overcoming adversity, while keeping a light and unusually appearance.

In the first episode of The Muppet Show, Juliet Prowse appears as a guest, but ends up dancing with a herd of green eyeless gazelle-like puppets. Her performance is slow but stirring, and as she begins her dance, she is but a small, pale figure, against a dark forest set. However, as the song progresses, Juliet is joined by long necked, solid form puppets. The puppets move gracefully, led by long black rods, made almost invisible by the dark background. Atop each gazelle head is a tuft of green feathers that accentuates the quick and fluid motions of the silhouette looking creatures. These puppets serve as an artistic rendering of animal freedom, and participate in a dance that represents mankind's longing to be in harmony with nature. Although the dance is brief and, at first glance, inconsequential, it served as the foundation for creativity and artistic value that became a staple of each episode of The Muppet Show.

Exposing Celebrity

In addition to Muppet solo sketches, each episode also features a special guest, usually a famous real-life celebrity, who is often ogled by the Muppet cast. Florence Henderson, made famous as Carol Brady on The Brady Bunch is one of such stars who appears on The Muppet Show. Throughout the show, Florence differs little from other guest stars, in her attempt to adapt herself to the unusual world of Muppets. The theme of "exposing celebrity" is apparent throughout The Muppet Show, and no celebrity was safe from the surprising and somewhat embarrassing antics of the Muppets. It was this element of the show that set it apart from other puppet shows. Jim Henson upheld his value for exposing celebrity by featuring a variety of guests, and subjecting them to a world in which anything could happen. Jim Neibors, also known as Gomer Pyle on The Andy Griffith Show, appears in episode six of The Muppet Show. For his musical number, which by this episode is standard, Jim attempts to sing, but as an apparent "Gone with the Wind" theme arises, pieces of the set, and eventually Jim Neibors's pants, blow away. In other episodes, Twiggy is forced to enact the part of a milk maid and recite a lively, tongue twisting poem by A. A. Milne, entitled The King's Breakfast. While it is apparent that Twiggy is talented in her ability to perform the sketch, the obscurity of her character asks audiences to reconsider popular celebrity. In another episode, Ethel Merman sings a medley in which several Muppets try to upstage her. Julie Andrews and Steve Martin, are also subject to Muppet fancy, and find themselves left helpless to the whim of the Muppet world. The show's ability to showcase such a variety of celebrities, and still treat them equally, implies that celebrities are people too, and can be just as awkward as anyone, when given the proper circumstances. This unique approach to social criticism helped The Muppet Show earn its place as one of the most famous puppet shows of all time.

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Puppets in Primetime: Part 3

Alf (1986 - 1990)

In September of 1986, a furry brown alien named Gordon Shumway, crashed into the Tanner family's garage and into the living rooms of NBC viewers across America (Alf, tv.com). A small, aardvark-looking creature, Alf's warm appearance contrasted with his sharp wit and humor. In a response to the cute, lighthearted movie success of E.T., Alf focused on a slightly more edgy look at suburban life with a being from another planet. Fortunately for the Tanners, Gordon Shumway was fluent in English, but his unique alien perspective raised questions about American social norms. The show primarily, focuses on Alf's cultural shock response to life on earth, and the Tanner Family's constant adjustments to hiding an alien from the neighbors. Five years after The Muppet Show finale, the time had come for another puppet to work its way into prime time. Alf became a four-year success, with an animated spin-off and movie special. (Alf, Sitcoms Online)

While Alf may be remembered as a comedy, the show's values, pointed toward an egalitarian society, focused on humanism and loyal commitment. In a time when American society was concerned with the Cold War and terrorism; shortly after a US plan to attack Libyan terrorist cells, Alf focused on acceptance. While the world was still responding to nuclear concerns, Alf emphasized the threat of nuclear war that ended his planet. For a prime time, network comedy, Alf proved to be more than light social entertainment. The struggles of the Tanner family and their new friend set an example for an American standard of community that embodied the hopes of humanitarian values.

Egalitarian Acceptance

In the pilot episode of Alf, the Tanner family is seen at home, seated around a dinner table. The show begins as a normal sitcom, focusing on the typical suburban nuclear family. Lynn, the Tanner's teenage daughter wants to borrow the family car on a school night, and Brian, the eight-year-old Tanner son refuses to eat mashed potatoes. While this is clearly a shameless writing ploy aimed at establishing the Tanner's as members of the elusive American upper middle class, the family's exchange of dialogue and handling of difficulties, suggests a progressive family that is open to opposing viewpoints. When Willie, Mr. Tanner, becomes frustrated with what to do about his growing daughter, he retreats to the family garage, which symbolically exhibits a commitment to learning. The fact that the Tanner's garage hosts a computer, ham radio set, telescope, small library and a train set, point toward the values the Tanner family subscribes to. These features serve as symbols that cue viewers into the things the Tanner family holds as important (Patchette, 2004)..

In the pilot episode, Willie retreats to the garage, followed by Brian. Upon entering the garage Brian scampers to the telescope and immediately begins commenting on what he sees. Willie assists Brian in his celestial search, while tuning a ham radio set. The interaction between father and son focus on communication between educated parties. Willie emotes understanding and knowledge to Brian, who is very receptive to teaching. Willie also explains that he is about to contact his Slovenian friend via ham radio. This point is highlighted by Willie's command of the large radio, equipped with monitors, electronic devices and its own series of beeping noises. The fact that Willie has a Slovenian friend illustrates that the Tanner family considers it normal and beneficial to have relations with friends on a worldwide scale. Willie passes this value on to his son further illustrating the egalitarian Tanner value system.

Later in the episode, Alf's space ship crashes through the garage roof, and while at first the family is shocked and scared, their concerns graduate to an acceptance and fondness for the unexpected creature. Unconscious and wrapped in a large towel, Alf is carried into the Tanner living room. Rather than setting him on the couch, Kate emphasizes her uncertainty of the creature, by insisting Alf be placed on the more rugged, coffee table. The Tanner's previously plausible existence is changed with the appearance of Alf, and their justification for further actions in the show is based on their egalitarian acceptance of Alf. While they do not instantly embrace Alf, the Tanners move from shock and amazement, to supposition, concern and, eventually to acceptance. Upon suspecting the creature might be dangerous, the Tanners consider turning him into the authorities. This seems a logical thing to do, given their circumstances, but the Tanners move a step further in their decision process, and wonder what the proper authorities might do to such a creature. As the family discusses the horrible tests the American government might subject the creature to, Gordon Shumway begins to wake. Upon realizing that Alf has a personality and is in serious need of help, the Tanners grow to accept Alf as a member of their family.

Throughout this episode, Kate emotes concern over whether Alf's presence will affect her family in a negative way. She closely watches Alf and Brian discuss and watch Sesame Street. At this point in the show, Kate still emotes primary concern for her son, over Alf. While this is a concern to be expected of parents, the fact that Kate lets Brian form a noticeable bond with her child shows that her thinking is progressive, more than protective. However, her boundaries are stretched, when the two decide to get a drink, Kate immediately insists that Brian refrain from soda, or food, because it is almost dinnertime. Alf and Brian assure Kate that they don't need to be told what to do,the two emerge from the kitchen, each carrying a beer. Kate insists that neither can have beer, and also explains that Brian is eight years old; far too young to drink alcohol. Throughout the show, Kate's boundaries are stretched, but as she learns how to handle each conflict, and exactly what is important. While Kate does not approve of her son drinking beer, she still lets Alf and Brian remain friends, thus showing acceptance, and willingness to negotiate problems as they happen.

By the end of the Alf pilot, the Tanners have decided to let Alf live with them. The challenges that brings in later episodes, proves risky and complicated, but the pilot establishes that the Tanners consider Alf a family member, despite the fact that they are of different species. Every challenge they face only binds them closer together, and while this may sound like a utopian concept, the values the show conveys remain consistent. The Tanner family is very accepting of the creature from another planet, who manages to show them their own humanity

Humanitarian Concern

In October, 1986, the fourth episode of Alf aired; Pennsylvania 6-5000. In this episode, Alf has discovered the many uses of the telephone. At this point in the season, it is clear that Alf is a little bored at home, for unlike other family members, he is not at leisure to leave the Tanner house. Alf has taken to the telephone, because it is an easy safe way for him to connect with people. The fact that Alf feels a need to connect with the outside world, shows his interest in communication, Communication requires thought and concern, which by this episode, Alf clearly has.

In a simple conversation with the Tanners, the subject of nuclear weaponry is addressed. It is here that Alf announces that his home planet, Melmak, was destroyed by nuclear weapons. The Tanner family is sympathetic to Alf's dilemma, but since they are incapable of providing an immediate solution, Alf decides to take matters into his own hands and simply call the president on Air Force One. While Willie is later blamed for making the call, Alf addresses his concern for the planet on which he now resides. Although misunderstood, in his innocent attempt to ask the president to refrain from using nuclear weapons, Alf's misguided attempt echoed with the political views of many Americans, who were concerned with nuclear warfare, and America's roll in nuclear weaponry (Evans, 1998). Alf's value of humanity and wellbeing is exhibited in the Pennsylvania 6-5000 episode, and while the show examines the absurdity of calling and talking to the president, it also gives voice to the political concerns of Americans who have reservations about nuclear war.

Puppets in Primetime: Part 4

Unbiased Commitment

Throughout the seasons of Alf, the Tanner Family and Alf exhibit extraordinary commitment to one another. In the pilot episode, the Tanners consider the possibility of turning Alf over to the government. However, when they realize the quality of life Alf would have under government care, the Tanners decide to do their best to help and house the alien. This is one of the committed values that the Tanners exhibit toward Alf. In choosing to accept this stranger as one of their own, the Tanners align themselves with progressive values, and open-minded viewpoints. It is their concern for a stranger that allows them to learn to love Alf. Their love is returned throughout the episodes, when Alf finds the family cat, and catches a burglar. Throughout the episodes, Alf manages to bring the family closer together.

In episode 11, On the Road Again, the tanners are forced to reevaluate what it means to have Alf as part of the family, when they discuss their vacation. While the family first considers the usual vacation destinations, the come to realize that they need to go somewhere Alf would not be noticed. The family reaches a compromise when they decide to rent an RV and go camping. Later in the episode, when the family is camping in a thundershower, Willie and Alf get into an argument. Alf decides to leave, and Willie refuses to go after him. When Willie later decides to find Alf, he has to buy him from local mountain men, who were intent on eating the aardvark looking alien. Willie and Alf make up, realizing that they both need each other. The episode is touching, but it focuses on the level of compromise and commitment that it takes to live in a dynamic family environment. While there is a point in which Willie refuses to go after Alf, it is the persuasions of Kate, Lynn and Brian that make Willie realize how much the family needs Alf. Willie's decision to find Alf, despite his personal pride, exhibits his level of commitment, not only to Alf, but to the needs of his own family.

Greg the Bunny (Fox, 2002)

It had been ten years since the airing of Alf's last episode, and twenty-four years since Jim Henson's Sex and Violence had hit the air. The time had come for another adult based puppet show. The next incarnation of puppets in prime time was edgier than previous shows, and put a new twist on what it means to live in a world with puppets. By the time he was on Fox, Greg the Bunny was no newcomer to television. The fuzzy brown, button-eyed bunny had started as a host for the IFC and worked his way up from NYC's Manhattan Neighborhood Network, long before he joined the long list of short-lived shows Fox desperately threw at viewers (Milano, Greg the Bunny Insider). Greg the Bunny however, did not enjoy a glamorous half-decade run. In fact, there were only 13 episodes of Greg the Bunny created by FOX. The show was not canceled because it lacked humor, wit or intelligence; instead, it was canceled for more complex reasons, and the void left in television has remained unfilled.

The premise behind Greg the Bunny is ultimately the story of puppet/human interaction, and although it seems simple, the show examines and questions cultural norms of a post nineties society, in which the individual is explored in its community, or lack thereof. The show takes place, largely behind the scenes of a fictitious children's show; Sweet Knuckle Junction (Greg the Bunny, Milano). Dealing with off-set conflict on social, economic and political levels, the character interaction seems very candid. The primary values and themes of Greg the Bunny are class criticism, friendship and the ever present; human/personal struggle. These values separate Greg the Bunny from previous puppet shows, in that they were suited to a post-nineties audience, via the values they upheld.

Class Criticism

One of the most prominent themes of Greg the Bunny emphasizes that suffering is not exclusive to any one class. Throughout Greg the Bunny, it is made clear that no one has the 'good life.' The show emphasizes people and puppets in different classes, from different backgrounds, interacting, fighting, struggling and learning. The show emphasizes a variety of classes, and the individual struggles that characters go through. While The Muppet Show and Alf dealt with conflicts and interests on social, personal and political levels, Greg the Bunny is set apart for questioning American social class. Life in the world of Greg the Bunny, is raw and sometimes difficult for it's characters. Warren, the show's intellectual ape, has a drinking problem. Junction Jack, the show's disgruntled child television actor, is a cross-dresser. Even Jimmy, Greg's roommate, struggles to find his own identity as a sub-middle-class American, while coping with feelings of withdrawal and envy toward his dad; Gil. Gil happens to be a network executive that directs Sweet Knuckle Junction, and while Gil is supposed to be in the upper classes of Greg the Bunny's cast, his success has brought him isolation and an inability to relate to his wife and son.

Greg the Bunny addresses the social classes in very specific and personal ways. The show exposes the isolation of individuals in the upper classes using two characters; Alison, the network executive of Sweet Knuckle Junction, and Gil, the director of Sweet Knuckle Junction. While Alison, is a symbol of authority to the cast, the atypical approach is taken to her character, when the show calls for Alison to interact on personal levels with the characters. Alison, while authoritative on-set and in the office, finds herself estranged and awkward in after-work settings. This point is highlighted when Alison notices that other members of the cast get along when she isn't around. Alison tries to become more personable, but her struggles are largely in vein.

Gil also finds himself alienated, and desperately tries to reconnect with Jimmy, after years of distanced parenting. Jimmy, unsure of what to make of his dad's sudden interest in parenting is resentful of the fact that Jimmy is beyond the age of needing a strong father figure. Socially, while Gil seems to have a good job, and steady life, Greg the Bunny examines the infrastructure of Gil's social web and points out holes in social connection that prohibit Gil from making the most of his relationships. Gil, while the producer of a successful children's show, finds himself alone, and past the chance of relating to his own offspring.

Addressing social classes is something that Kermit the frog, and Miss. Piggy never dealt with. While The Muppet Show focused with artistic expression and mild social commentary, with problems concerning character relationships, Gonzo never told anyone that he was segregated as a "weirdo." In fact, the Muppets lives seemed, only to be in front of the camera. Exactly where Kermit resided after the show was never investigated. Miss Piggy's house was never brought up on the show. It was as if the Muppets only existed for the entertainment of audiences, while Greg the Bunny was everything the cameras failed to see.

Friendship

The first episode of Greg the Bunny establishes the friendship between Greg and his roommate, Jimmy. While Jimmy is a human, and Greg a "fabricated American," the two exhibit signs of familiarity and friendship that are upheld throughout the show. Through Jimmy and Greg's relationship, the show exhibits the value of helping friends. However, the show also places value on the motivation behind helping friends. There are two types of motivation that Jimmy and Greg exhibit in the show; selfish motivation and selfless motivation. These motivations are constantly explored throughout the episodes of Greg the Bunny, and both are given their own values.

Puppets in Primetime Part 5

The Human/Personal Struggle

Greg the Bunny features a variety of different personalities, from Tardy, the well meaning yet clueless creature, to Warren the Ape, who is intelligent, well versed and usually too self concerned to help anyone. Each character is awkward in it's own way, but one of the show's most awkward and unusual characters is Susan, the seven-foot tall, googol-eyed, shaggy monster. At first glance Susan is a good comic relief, used to tell one-liners. Her appearance is partially disturbing, due to her swirling eyes having no direct pupils, and therefore no point of connection for an audience. Unlike Jim Henson's Sweetums, a tall full body puppet, with brown hair and yellow eyes, Susan is composed of contrasting colors, complimenting personality. Susan's fur is deep purple, while her sweater is bright orange. Her personality is also conflicting in several scenes. Susan often appears silently in a shot, next to a lead character. While her presence is uncomfortable, Susan usually offers information that is extremely open, and liberated. However, since her openness is highlighted by her overwhelming physical presence, her friends are often surprised or even weary of her.

Like Sweetums, Susan's mouth opens widely, with a deep voice, however Susan is a much more controversial character. At first glance she seems to embody traditional male characteristics, but she clearly refers to herself as a female, as do the show's other characters. This conflict raises questions about what it means to be female, as well as what it means to be male. The values celebrated and explored throughout Greg the Bunny not only embrace such dichotomies, but also explore the struggles characters face because of them. Susan's male/female characteristics embody awkwardness and as strength. In an episode where Susan makes advances to Jimmy, Greg's small, human roommate, Susan is very open and direct about her feelings for Jimmy. While this is, at first, uncomfortable to the show's other characters, Susan takes a confident standpoint and eventually earns Jimmy's attention. Using her physical size to her advantage, she is able to communicate with Jimmy, helping him see the inner person.

The Rise of Competition Based Reality Television

Look, if you had one shot to sit on your lazy butt and watch all the TV you ever wanted, until your brain turned to mush, would you go for it or just let it slip?

Weird Al (Yankovic, 2003)

While Weird Al may not be a scholarly media critic, he manages to sum up the current state of American television, in a parody of Eminem's Loose Yourself. In the years since puppets have left Network Prime Time, there have been sightings of puppets in Round Table Pizza Commercials, Crank Yankers and brief sock-puppet cameos on The Man Show. However, the traditional art of puppetry, which once commanded audience attention among adults, is almost extinct. While children's shows like Sesame Street, Bear in the Big Blue House and Between the Lions serve as useful vessels of education and social integration, there are no longer innovative, though provoking examples of puppetry on Network Prime Time. Instead, the networks have turned to something much more suited to today's consumer culture; reality television.

Although American television has always been closely linked to advertising and programming schemes, there is an abundance of programming, but little worth applying thought to. This may be largely due to the corpratization of media. The majority of America media is controlled by a few corporations, and while there are hundreds of channels to choose from; there is a scarcity of variety. Many of America's movies and magazines, record companies and most television stations, depend on one of corporations. When the expression and communication of a society is forced to mass filtration, the result can only be a limited expression, geared not toward individuals in society, but the mass of society itself. Since mass communication and expression is only able to address certain aspects of individual lives, individuals receiving these messages are bound to find gaps in artistic and intrinsic value. The individual in such a society is left with programming intended for "everyone" but not the individual

Today's networking planners judge the potential of new shows on how well similar shows did in previous seasons. Movie studio executives base the sell-ability of a script off of what recent blockbusters. One of the most recent incarnations of this would be the fascination of movie trilogies. While it used to be admirable to produce a great movie, and let it stand, movie studios have found a way to live off the success of the same story line, for years. Movies like The Matrix, Spiderman, Lord of the Rings and Harry Potter, all derive success from multiple movies based on the same character structure and story. While there is an appearance of variety in American artistic expression and communication, the effects of corporate ownership run deep in society's issues with isolation.

In Search of Puppets

Puppets are fortunate-they can do and say things a live performer wouldn't touch with a stick.

Jim Henson (Inches 77, 2004)

The Muppet Show, Alf and Greg the Bunny exhibited values that embodied the concerns of their respective audiences. The values of these audiences were captured by said shows, in a way that had the appearance of objectivity, with the familiarity that puppets provide. Today's audiences are not ready for such an embracing of prime time puppetry, due to the current use of Kermit in advertising and guest appearances. This is an injustice to the image of Kermit, as he is only used in reference to his previous success on The Muppet Show, Sesame St. and the Muppet movies. Where Kermit's initial success stems from prime time, this is a place where he is currently unable to achieve, therefore, audiences aren't ready to accept puppets in society.

Alf's recent incarnation of television on Nick at Night; Alf's Hit Talk Show, indicates that society is not yet ready for puppets in primetime. The show received little press and failed to appear on any of the networks. Greg the Bunny, however, still appears on the IFC as himself; a puppet struggling with his own identity as a puppet, while looking for work and parodying movies. Greg the Bunny, along with Warren the Ape and Count Blah are still seen, regularly on television because of their ability to relate with current audiences. However, there are currently no puppet shows on any of the networks during prime time.

In conclusion, puppets are a valued part of society because of their instant ability to express the human condition, and appeal to audiences. They transcend culture as well as generations, and are bound to show up in future television prime time, due to their acceptance by audiences. Though today's television puppets vary from the leather Balinese shadow puppets, or the ever feisty Punch and Judy, puppets will continue to have a place in human expression. The availability of such puppets to network primetime is, however subject to time.

CITATIONS

Alf. (n.d.). Retrieved Dec. 17, 2005, from Sitcoms Online Web site:http://www.sitcomsonline.com/alf.html.

Alf. (n.d.). Retrieved Dec. 17, 2005, from tv.com Web site:http://www.tv.com/alf/show/761/summary.html.

"Alf" (1986) {tv-series 1986-1990}. (n.d.). Retrieved Dec. 17, 2005, from IMDB Web site:http://imdb.com/title/tt0090390.