DT: That was his second appearance, right? He first showed up in "Robin Hoek" as a sheriff, right?

JK: Yeah, and he was in "Dog Show." Right after "Man's Best Friend" we're going to have a little intermission, a sort of question-and-answer period. After that we're coming back with "Boo Boo Runs Wild." That's very rarely seen, and I don't know why they don't run the hell out of that because every time I run it in a movie theater people go crazy. It's got that great "Ultimate Fighting" scene at the end where he beats the living crap out of Ranger Smith — who doesn't want to see that?

I'd been drawing Hanna-Barbera caricatures ever since I was a kid. In fact, I used to do all these wacky caricatures of Ed Benedict's style. Ed's the greatest, one of my big heroes of all time. I showed them to (Cartoon Network's) Mike Lazzo and Fred Seibert. They both loved them and said, "We gotta make some cartoons like this." That was a life's dream. I didn't think there was any way in hell that somebody would let you monkey with their trademarks. I don't know why they didn't build a series on that.

By now we could have made 122 episodes! I'd never run out of stories for those characters. The early Hanna-Barbera characters had so much ingrained in them; they had Ed Benedict's great designs, great voices by Daws Butler, Don Messick, Jean Vander Pyl, Janet Waldo, Mel Blanc, Bea Benaderet, all those great people.

The one thing about Hanna-Barbera, though — they never took it far enough. They had all the ingredients in their earlier cartoons, but I guess it must have been their system; they didn't really have a director system. Had they given that raw material to powerful directors like Bob Clampett or Tex Avery, they really could have done something with them! I love those cartoons and I still watch them to this day. They're very conservative, yet very solid in character development and design. If somebody would let me, I would just keep making Hanna-Barbera cartoons forever. There's something about the first three years of the Hanna-Barbera cartoons that feel really good.

John Kricfalusi is a fan of the first season of The Flintstones, which just arrived on DVD earlier this year.

The first season of The Flintstones was great. It had Ed Benedict's designs, it had Walter Clinton's layouts and Art Lozzi's absolutely amazing backgrounds. He used more subtle, more harmonious colors Lozzi was an unsung hero and not too many people know about him. There was a guy who later became head of the background department named (Fernando) Montealegre. His colors were real garish, all pink, bright purple and fluorescent colors; I've never really liked that. Most cartoons you see today still have garish color; they're pink, purple, and green. Genndy Tartakovsky's cartoons are exceptions — they have great color.

After the Hanna-Barbera tribute we're going to show an episode of "Weekend Pussy Hunt" that no one has ever seen, episode 12, the one that never made it to Icebox. After that we're going to show an educational cartoon. People don't know that side of me. Not only do I want to make people sick to their stomachs when they watch cartoons, but I also want to better them! So we're going to run "What Pee Boners Are For" because I know everyone's wondered that and this cartoon explains it. The cartoon stars Slab and Ernie, George Liquor's little nephews. It's designed and drawn by Aaron Springer and I, and AnnMarie McCarty — who'll also be at the show — did the Flash animation. Her and I created Flash animation back in late 1996, and the first cartoons appeared on the Internet in 1997.

MSN had contacted us saying they wanted to start a network online. I had the same idea only I didn't know how to do it because I didn't know of any technology that would allow for animation. They told me that there was this new animation technology called Flash but it wasn't really being used for animation, it was being used for banner ads. MSN said, "Why don't you try making cartoons with it?" By coincidence, AnnMarie had appeared at the doors of Spumco about a week earlier looking for a job. She met with Kevin Kolde, the founder of Spumco and told him all about Flash.

AnnMarie was a huge fan of mine, knew every one of my characters, even the ones that had only appeared in comicbooks. Kevin told me to call her because she knows how to do Flash. We believed that we could make cartoons with it, so we started working on The Goddam George Liquor Program. All the techniques we pioneered on George Liquor and Weekend Pussy Hunt are now in use not only on the Internet, but on television.