
The Australian children's cartoon Bluey has been in the news a lot lately. Disney is planning to add Bluey attractions to its theme parks and cruise ships. The show will be getting a full-length feature film with an expected release date in 2027. The show's creator, Jeff Blum, will also be leaving the production of the show in order to focus on the creation of that feature film. Will the show be the same without him? Who knows?
More interestingly, people on social media freaked out when Bluey was nominated for the US Critics Choice awards for 2023's "best animated series". Its competitors were Harley Quinn, Bob's Burgers, Scott Pilgrim Takes Off, Star Trek: Lower Decks, and Young Love. Many people were upset and (in some cases) "offended" by a children's cartoon being nominated alongside those other, more serious, "adult" shows. They argued that Bluey could be a nominee for "best children's cartoon", but that it should not be a serious contender for "best animated show".
Bluey was nominated for "Best Animated Series" in 2023, alongside Harley Quinn, Lower Decks, and others.
Those people are wrong, because whether you're a child or not, Bluey is a fantastic TV show. It is full of heart and clever writing. It also excels at visual storytelling, making the most out of its short run-times (each episode is less than 8 minutes long) to tell densely-packed (but easily-digestible) stories. It has plenty of silly episodes about children doing child things, but it also has some genuinely moving episodes that should be enjoyable to people of all ages.
To put this into a context that more of my readers would probably understand, when Bluey is at its best, it features emotional moments that make me tear up like the most sentimental episodes of Futurama. Think of moments from Futurama such as the epilogue of "Jurassic Bark", with the dog waiting outside the pizza shop for Fry to return. Or the twist in "Luck of the Fry-ish" when Fry finds the memorial to his "brother" on Mars. Or the montage at the end of "Leela's Homeworld" when we get to see all those little "happy coincidences" that followed Leela around through her youth. Or the ending of "The Devil's Hands Are Idle Playthings", when Fry performs his opera for Leela. Bluey is full of those sorts of moments, and whenever they come around, the show absolutely nails them, every single time!
And I think Futurama is an especially apt comparison because so many of Futurama's best, most tear-jerking moments are about the relationships between family (or in some cases, pets).
season 4, episode 7. © Fox
season 4, episode 2. © Fox
The only cartoon that I can think of that has as much heart as Bluey is Futurama.
Yes, it's true that you probably won't relate to Bluey as much if you aren't a parent. But there's also plenty here for siblings to relate to. Or if you have ever been a care-giver or baby-sitter for a young niece or nephew.
Similar to Pixar movies, Bluey is loaded to the brim with jokes, sight gags, and content that adults (parents in particular) will relate to and be amused by. Whether it's the messiness of the backseat of the car, or being kicked by a child sleeping in bed with mom and dad, or noticing a few extra gray hairs or rolls of fat, adults will see themselves and their family reflected in many of Bluey's expertly-crafted scenes. The show also does not shy away from talking about (or at least hinting at) very adult and serious topics. Several episodes focus on growing old and dealing with declining health. Other episodes touch on infertility and failed pregnancy. Yet others are about the stress or anxiety of starting a new job. Everything may be filtered through the perspective of the children, but adult subjects are brought up, and they can sometimes hit very hard.
So yes, Bluey is really that good! It deserves to be nominated for every award that it is nominated for. I haven't watched all the shows that were nominated against Bluey, so I cannot speak as to whether Bluey deserves those awards more than the other shows, but it definitely deserves to be in the discussion.
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Tags:Bluey, BBC, Ludo Studio, Jeff Blum, cartoon, children's cartoon, Australia, children, parenthood, family, imagination, Futurama
Last summer I wrote that my experience with the COVID-19 pandemic at that time was "pretty pedestrian". At the time, I was optimistic that the pandemic would soon be well under control, despite the absolute ineptitude of our government's initial response. But here we are, a year and a half later, and community spread of COVID is still causing almost as many deaths on a weekly basis as it did at the height of the pandemic a year ago. This is despite the widespread availability of free, CDC and FDA-approved vaccines!
Vaccines are now available for children as young as 5.
My partner and I are vaccinated, as are most of our friends and relatives, but we have a 11-year old child attending public school, and a 2 1/2 month old infant. Neither child is vaccinated yet. The vaccines weren't approved for use in children under 12 until recently, and even then, they are only approved for children as young as 5. We had scheduled for our 11-year old to get the first vaccine shot in early November (the week after it was approved for children in her age group). But in a twisted bit of irony, COVID made it into our household before she could get that shot.
Close calls
We narrowly avoided contracting COVID earlier in October. I was asked by a neighbor to walk their children to school one morning because she and her husband had to go into work early. I was happy to oblige. It's the neighborly thing to do. What I didn't know was that the father is unvaccinated. Had I known, I likely would have refused. And I would have been vindicated in that refusal because their entire household came down with COVID that week. The father is a teacher and was required to do weekly testing. He tested on Monday, I walked the kids to school on Tuesday, the father received his positive result on Wednesday, and the kids and their mother began showing symptoms that weekend.
Lucky for us, none of us got sick. The kids either weren't contagious yet, or we just weren't close enough to contract it from them. And don't worry, our neighbors and their kids are all recovered now.
The next exposure, we weren't quite so lucky.
Our luck runs out
The week before our daughter was scheduled to get her first vaccine shot, my partner contracted COVID. The likely vector for the virus was another child of un-vaccinated parents who went trick-or-treating with our daughter on Halloween. The mother of one of our daughter's friends had been watching him on weekends because his deadbeat mom kept dumping him off on her. He had been feeling sick the week before, but didn't bother to tell us, nor did his mother bother to tell us. I think she just wanted to get him out of the house so that she could get some booty calls.
It's too bad the CDC couldn't have authorized the vaccine for younger children before Halloween.
I imagine we weren't the only ones to catch COVID while trick-or-treating.
We had 2 occasions in which we socialized with children of un-vaccinated parents, and in both cases, we were exposed to COVID. We had been rigorous about making sure that any adults we socialized with were vaccinated. But children couldn't be vaccinated, and we couldn't deny letting our daughter visit with friends. All of her friends' parents were vaccinated, so it never really occurred to us to make a policy of verifying the vaccination status of other childrens' parents. It seems obvious in hindsight, but we just never thought of it.
We avoided COVID for a year and a half,
but our luck ran out this November.
Anyway, he tested positive the day after Halloween, and our kid's friend's mom tested positive a couple days after that. A week after Halloween, my partner started sniffling and coughing while breast-feeding our son. I had her take a home COVID test, and sure enough, it was positive. We promptly put her into quarantine in our guest room (thankfully we have a house large enough to allow us to keep a guest room). And since we couldn't be certain that we had quarantined her before she spread it to myself or our 11-year-old, we were forced to all start wearing masks in the house whenever we were around each other, or whenever any of us was handling the baby.
It sucked. You think it's uncomfortable and inconvenient to wear a mask in public? Imagine having to do it all day in your own home! [More]
At the end of April, our family's beloved cat, Gynx passed away. My father found him lying dead next to the curb outside the house. There were no apparent signs of injury or trauma, so we don't think he was hit by a car. Perhaps he had a heart attack or a stroke? Because nobody was there to witness it, we'll never know for sure.
My sister took it particularly hard. She had just fed him his breakfast 20 or 30 minutes before my dad found him outside. All seemed well. Just another routine morning. My how suddenly things can change...
She was hit hard with grief, and felt responsible. "If only I hadn't let him outside", she said. But it wasn't her fault. She had no way of knowing. He could just as easily have passed inside the house.
Our cat Gynx died this month after 20 happy and loving years.
Yes, I do wish that we could have had some warning. One of my friends once lost an old cat who had become ill. She got to hold her cat and pet him and make him comfortable as he slowly passed and breathed his last breath. If I were a cat, that's how I'd want to go: comfortably resting in the lap of my beloved human. I wish that Gynx could have had that as well.
But as I said, none of us can feel responsible or guilty. We can't have known that his time was coming. He was healthy and active right up till the end. We all worried that someday he'd go outside and we'd never see him again, and over the years, it became harder and harder to let him go. But he loved to be outside, so keeping him locked inside would have just made him miserable and stressed, and probably only accelerated his demise.
A life worth celebrating; not grieving
I've written about the loss of pets before on this blog. Back in 2014, Nipper, a tortoise that I had since I was about 7 or 8 years old died after apparently becoming trapped in her burrow. The following year, I also lost my baby tortoise Koopa to some kind of tragic accident. Like with Gynx, I have little-to-no idea what actually happened, since I wasn't there to witness the event itself. The sudden and tragic loss of those tortoises was gut-wrenching and depressing, and I grieved very hard, and for a very long time.
I was much more prepared for Gynx's death than I was for the deaths of my tortoises Nipper and Koopa.
Though Gynx's death was also sudden, it was not altogether unexpected. Gynx was 20 years old, which is very old for a cat. I had thought cats only lived for 15-ish years, so I had spent the past 5 or 6 years thinking that Gynx's time could come any day now. I didn't expect for him to hit 20! So when his time finally came, I think I was emotionally prepared for it -- had been for a long time, in fact. I knew that phone call from my mom, dad, or sister would be coming eventually, and when it came, I knew what it would be.
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Oh boy, this is going to be a tough one to talk about. I have very mixed, and somewhat polarized views of how this turns out, and as such, I'm struggling with whether or not I can offer a recommendation. The first five or six episodes are fantastic! After that, however, I really feel like the show peters out, begins to meander and run in place, and then kind of unravels in the end. Those first five or six episodes are so good, however, that I think I can recommend the series as a whole based on the strengths of its first half.
I can't discuss this show without getting into spoilers, so be warned that the further down you read, the more spoiler-y this will become.
A masterfully suspenseful start
Each of the first five or six episodes is told from the point of view of a different sibling in a family that is tormented by a summer spent in a haunted house. This structure creates a deeply textured and nuanced tapestry, in which each episodes recasts the events of the previous episodes in a new light. Giving each character his or her own episode provides us with a rich character study that helps us to understand each character's attitude when they all get together and the family drama gets rolling. All the while, the subtle supernatural elements create a building sense of intrigue as the mysteries surrounding Hill House, and the family's last night there, continue to mount and the plot continues to thicken.
Each of the first six episodes is told from the perspective of a different character.
I really love the camera work! Slow pans and zooms are used with excellent effect to draw out scenes and add tension and keep the scene mysterious. Sometimes, there's a creepy detail in the background. Other times, there's an ominous lack of anything creepy to see as the camera slowly pans from character to character across a room or down a hallway. In any genre other than horror, these labored camera movements would seem wasteful and pointless, but they really add to the atmosphere here.
The set design is also really great. The gothic Hill House provides an excellent and ominous set piece, but the other sets are also uncanny and unnerving in their own right, especially Shirley's funeral home. Around episode 6 or 7, I was really starting to struggle with reconciling the geometry of Hill House, and this is something that is paid off really well at the end of the series.
The geometry of Hill House becomes a source of unease as the series develops.
A meandering, incoherent ending
Unfortunately, the series faltered a bit for me after the sixth episode. At this point, all the characters are together in one place, and so no one character receives the focus of the narrative. The story starts to meander a bit here, while also running in place, as the intrigue that was so carefully crafted in the preceding episodes is squandered, new plot points and concepts are thrown at the audience, and old plot points and concepts just disappear.
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The Finch family is, as we are told, cursed. It's not a spoiler to say that every member of the family dies a tragic, premature death. The family tree in the sketchbook tells you as much at the start of the game.
We play, ostensibly, as 17-year-old Edith Finch, the last surviving member of the Finch family, but also an expecting mother. Her son will carry on the name and legacy of the family. She returns to her childhood home to learn the stories of all her cursed relatives, as she debates internally with whether to share these stories with her son, or to let the past (and its myriad tragedies) fade away and die.
The Finch family is cursed by tragedy.
The house itself, is a whimsical generational home in which each member of the family is given his or her own unique room. As more members of the family are born, new rooms are added onto the house, including a towering structure on the top that makes the house look almost like a castle. After losing both of her sons, Edith's mother began sealing off everyone's rooms so that Edith (and any future children) would not become aware of how the others died. But, each room has alternate ways in and out, including some secret doorways and tunnels.
Despite the whimsical, fantastical nature of the house, everything feels surprisingly real and lived-in. The house is cluttered with the paraphernalia of the family (since they were apparently also hoarders), and each room has a very distinct personality. Even the shared spaces that do not belong to any one individual still exhibit a sense of personality to them. This is a family that takes great pride in their history and the connectedness that they have towards one another.
The Finch home is a whimsical, generational house.
As she learns about these stories, Edith questions whether the family members should know about the stories of their relatives and the supposed curse? Or does that knowledge make tragedy a self-fulfilling prophecy? Should she share these stories with her unborn son, at the risk that the knowledge may cause him to also fall victim to the curse? Or is he cursed either way, and has a right to know it?... [More]
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Tags:What Remains of Edith Finch, Edith Finch, vignette, walking simulator, indie gaming, story, interactive, art, family, generational living, children, history, house, dramatic irony, destiny, fate, self-fulfilling prophecy, curse, surrealism, whimsy, Tim Burton, Gone Home
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