This show deserves particular mention for its prescient ability to blend elements especially appealing to adults. There were constant references to animated shows of the past. The show was highly self-referential, irreverent and off-kilter. Much of the host’s actions consisted of actual cel footage taken from the original series. Cultural references abounded. The celebrities appearing on the show ranged from the famous to the nearly obscure, and they delighted in abusing — and taking abuse from — the host and his crew. The entire effort was an unabashed parody of Hanna-Barbera’s superhero genre, TV talk shows and the culture in general. In short, SGCTC set the next standard for adult animation in America.

When the ratings for SGCTC hit unexpected heights, a second series, The Brak Show, followed in 2000. Brak, a minor villain from the original Space Ghost series, found new life as a pubescent lad in a surrealistic 1950s family sitcom. That same year saw another series launched from SGCTC that retained and furthered the conventions of its parent show. Harvey Birdman, Attorney-at-Law was the apotheosis of the SGCTC formula. The erstwhile star of the 1967-68 Hanna-Barbera series, Birdman and the Galaxy Trio, now toiled in a tawdry law firm, taking cases involving former HB “stars.” Scooby-Doo and Shaggy could show up as recreational drug users, or Fred Flintstone as a Mafia don; other HB stars took cameos at the drop of a gavel. The series brimmed with abundant irony and humor, yet there was a dark, seamy element to the brightly colored proceedings.

Aqua Teen Hunger Force featured “plots” that were simply vehicles for loopy animation and the peppy hip-hop score, but it seemed to be exactly what the coveted 18-34 year-old demographic wanted.

The last great alumnus of SGCTC set the stage for Cartoon Network’s future. Matt Maiellaro and David Willis warped the cartoon superhero genre in an entirely original way with a team consisting of giant, humanized fast-food products. Aqua Teen Hunger Force is as non-linear and incoherent as its title suggests… and that’s the good news. Frylock, Master Shake and the barely comprehensible Meatwad faced off against incompetent foes (and, frequently, each other) in cheaply animated, rowdy adventures beginning in December of 2000. Much of the time the “plots” were simply vehicles for loopy animation and the peppy hip-hop score, but it seemed to be exactly what the coveted 18-34 year-old demographic wanted. ATHF was, as suggested above, the ramp-up for CN’s three-pronged master plan.

Adult Swim, whose very name belied CN’s intentions, hit the airwaves on Sept. 2, 2001. As of this date, Adult Swim represents the most complete attempt at viable adult entertainment yet presented. CN’s tripartite plan was as follows: First, original entertainment as described above, much of it done by Williams Street Productions. CN had already hit upon enough winning formulas here to earn a fan base in the desired demographic. Second, CN engaged in the reclamation of animated series ditched by other networks. Third, the importation of anime series that played to adult sensibilities. I mentioned in Part One of this treatise that it was not possible to emulate the Japanese. It is, however, possible to acquire and air their animated output.

Still, programming for the 18-34 year-old audience is never easy. Most sociologists (and more importantly, marketers) can further dissect that demographic bloc into countless splinter groups based on age, race, class, income and education. If the market is expanded to include ages 35-49, the target becomes even fuzzier. Ironic detachment does not sell to all markets. It is not even contestable that the live primetime landscape has been littered with misfires, flops and failures. Quality efforts co-exist (however briefly) with concepts so misbegotten that one is stupefied by the fact that they make it to the air.

Boondocks is perhaps the greatest victory for CN. It has made a marvelous transition from comic strip to animation and could be used as a template for further productions.

This is the conundrum currently faced by Adult Swim. As purveyors of Saturday morning animation discovered, it is easy to market to kids. Countless half-hours of offal came and went, with nary a tot taking umbrage over the quality. If Adult Swim wanted to ply the waters of its target demographic, however, it had to take the same kind of risks as its live-action counterparts. The dangers were obvious; an attempt to program an adult animation block at Spike TV failed disastrously despite the formidable presence of John Kricfalusi and his revamped version of Ren & Stimpy.

The original programming in Adult Swim is variable (but for the most part successful). Perhaps the greatest victory for CN is the production of Aaron McGruder’s mordant comic strip Boondocks. McGruder’s strip is largely about two young African-American boys slowly coming of age in a society conflicted by racial differences. The Boondocks made a marvelous transition to animation. The series is animated in a lush style that reflects the sophistication of McGruder’s work, and the scripts to date have pulled no punches. This controversial cartoon has made people of both races uneasy at times, but a cartoon designed for adults should contain some cause for reflection. There is only one minor complaint on my part; much of the show could be depicted in live-action. Still, The Boondocks is a clear winner, one that CN could use as a template for further productions.