What I wanted this year was one of the greatest animated series ever, created by one of the greatest animators ever, to blessedly return for a second chance at changing programming as usual.
Last year, I once again interviewed Samurai Jack creator and animation auteur, Genndy Tartakovsky, who told me the samurai’s arrival was imminent. Now here he is, in all of his glory and wonder, when we need him most.
It doesn’t take long (at all) for the stubborn and refreshingly frank Tartakovsky to hold forth on his frustrations with the way Hotel Transylvania 2 and Popeye were handled.
“We moved to completely copying realism. Maybe this is a good time to start going back to the old ways, where anything can happen.”
The situation is made worse by the bot’s relationship with the hottest human cheerleader in school, and by his realization that he can analyze Jackson Pollock‘s splatter art in multiple dimensions but still can’t penetrate its meaning.
Czech playwright Karel Capek popularized the term robot in the 1921 play R.U.R., spawning a deluge of artificial life forms in popular culture.
“Animation has always had the problem of being perceived as purely for kids,” Tartakovsky told me before Sym-Bionic Titan’s stellar launch. “I think things are better than a few years ago, but the stigma still exists.”
The monstrosity rams its entire body down your throat, where its tentacles overtake your body while its crustacean-inspired head lodges inside your mouth.
Cartoon brainiac Genndy Tartakovsky revitalized American animation with anime-inspired knockouts like Samurai Jack and Star Wars: The Clone Wars. Now he’s crashing mecha convention.
David Lynch and Mark Frost’s indispensably surreal soap opera ripped apart television tradition as it riveted viewers with a ceaseless mix of dream-noir intrigue and persistent humor.