Wonder Showzen was a truly magical time period for all of us. Certain kids would have the spark in their eye. Milone: On Wonder Showzen, there were so many segments, and some were only a few seconds long, and we had to figure out how to transition between them. But we couldn’t find him, and then the helicopter appointment came up. There was one about the Kierkegaard notion of identity, and I was like, “Who the hell is this?” But you could pretty much say anything, and as a kid, I thought that was pretty cool. I licensed a lot of them from a guy down in North Carolina who had a bunch of educational films. Amy Walter and Domenico Montanaro on Trump’s illness, SCOTUS battle, Watch Included in the latest batch of the Podesta 26 files, an email from Jim Tozzi — former regulatory official of the US Office of Management and Budget, now head of the Center for Regulatory Effectiveness — addressed to Podesta, reads: Lee: Eighty percent of the people under 30 did not know who Trevor was dressed up as: “So, who is he? Lee: We had our PAs tell people, “Hey, we’re doing this show where you’re interviewed by a little kid.” And of course, people are like, “Oh, it’s for kids! Gaurav Vasisht. We’re at a point now where people are seeing things that were influenced by Wonder Showzen—like Tim & Eric, or Eric Andre—and don’t even realize it. And they did it with puppets, little kids, and some deeply messed-up animation. It didn’t matter if they were experienced—in fact, it was probably better if they weren’t. And of all the shows we’ve done, its fans are probably the most eccentric and the most nihilist.
Lee: We were literally taking corporate money and throwing it away, and people were like, “You could give it to them.” And we said, “That’s the point!” The joke is that corporations could do a lot for the world, but they don’t—they’d rather throw it down the spring break toilet of the American psyche. Lee: Kids’ shows, as a genre, can have so many different things. This pre-shrunk classic features zero side seams, and double-needle stitched sleeves giving your wardrobe the upgrade it deserves. Mariana Urban. Chatman: I’d whisper lines to the kid, or I’d have them ask a horrifying or offensive question.
It was a mountainous task to get it all done. “And the kind of radical comedy that John and Vernon were doing was like a punch in the face.”, Those big swings included segments like “Beat Kids,” in which a pint-sized reporter approached white-collar workers on Wall Street and asked, “Who did you exploit today?” Another segment found a young kid dressed as Hitler, quizzing passersby on the state of America’s youth. They’re true variety shows. We would be very open with the script: “These are the parts they’ll be saying, but they won’t see this part.” Once parents saw how we were coordinating everything, they trusted the process. Later, he called and said that Barry Diller got a few minutes into the tape, pressed Stop, and said, “Not only are we not doing this show, we’re not doing comedy anymore.” [Chao has no recollection of saying this: “I doubt [Diller] saw or commented on Kids’ Show,” he says. All Rights Reserved. Ultimately deciding “there’s no such thing as compelling television,” he takes a fateful trip to the skies. But we always had terrible ratings. Until he’s at least 40.” Other viewers weren’t as enamored, with one Southern pastor devoting an entire sermon to condemning the show. Calderone: If there’s a regret looking back, it’s probably that we could have fought harder to get more marketing around the show—that’s a legitimate complaint.
Lee: Vernon and I started talking about pitching this tape as a show. “Most TV-show staffers are white guys,” notes art director Alyson Levy, a key Wonder Showzen creative figure.
It was proof that Wonder Showzen is as jarring and unvarnished as it was 15 years ago—and that its targets remain just as fresh. Net Worth: $3.4 Million. Lee: It was this sad little moment: “Oh, right—our show is just a shitty puppet floating in the green mire of New York City, in the snot-green sea of the Hudson. Don’t you just open your hand?”. His work has appeared in Wired, New York, and GQ.
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