It took too long for a Captain underpants show to be made but I'm just glad I lived to see it. But she just has to be SO PERFECT all the time, it's bland and annoying. They wanted someone who can kind of be a foil to George and Harold which is very logical. They wanted to throw in a black girl, which is cool. My biggest negative about this show is Erica. Developed by Peter Hastings with narration from Sean Astin, this show follows the new adventures of Captain Underpants, a superhero who is actually a hypnotized. The cast of characters has been expanded greatly and it gives a lot more for each individual episode to play around with I especically like "mah HAAR". None of the original stories survive but I can respect that. They even change the setting for long periods. They mix up the stories by adding some reoccurring elements each season which is admirable. The fast talking narrator makes things even more overwhelming. Too often they design a villain in their comics and BY COINCIDENCDE that villain turns up in real life. Mr Krupp is much more of an idiot than he was before but that makes sense. Considering there are like 12 books and over 50 of these episodes, they do get formulaic after a time and there are SO MANY verbose episode and chapter names that I needed to take a break from this show several times. This is neither a good thing nor a bad thing by itself but you really need to get your bearings before you dive into one of these adventures. This is good, healthy stuff.I loved the books as a kid but even I think this is so high glucose that it's actually quite overwhelming. (The show has something of the feel of “If ‘Rocky and Bullwinkle’ and ‘Ned’s Declassified School Survival Guide’ had a baby,” which, I know, could not happen.) There is a joke about “Iffypedia, the Free, Yet Very Questionable Internet Encyclopedia,” and a series of hellish school dances with names like “Night of Magic Spelling Dictation,” “Midnight Standardized Placement Test Jamboree” and “Enchanted Waiting Room.” One of the boys fills out a 10,000-word paper by signing it with 2,011 middle names. The humor is smart and silly, qualities more closely linked than adult society likes to give out. Like the books, which regularly issue warnings to the viewers of something potentially distasteful ahead - perhaps a kind of trolling of the series’ critics - the cartoon keeps calling attention to the terms of its own construction, with lines like “We can’t actually show the collision because that’s not nice, but we can show you this big cloud of smoke and stuff drawn in an elaborate anime style - so cool,” and references to “the red tablecloth cleverly established earlier in the scene.” Nothing serves children better on the road to maturity - I say this as a one-time child fairly happy with how he turned out - than letting them know that the world is as absurd as they suspect it is, and that much of what has been constructed upon it is arbitrary and even stupid. (Backgrounds are not something Pilkey typically bothers with.) As in the books, every episode is divided into chapters and contains a “comic-book” portion, rendered in childlike scrawl and narrated manically - maniacally? - by Hastings himself. Best friends George and Harold scheme together a number of pranks at school involving their principal, whose alter ego is a superhero they created called. Overseen by Peter Hastings (“Animaniacs,” “Pinky and the Brain,” “Kung Fu Panda: Legends of Awesomeness”), the show plays off some of the visual world-building of the movie, but is presented in a 2-D style more appropriate to Pilkey’s jaunty drawings, and more than usually reminiscent of classic cel animation, with bold outlines and bright, angular, askew backgrounds.
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