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Cartoon Logic Episode 28: Hanna-Barbera (The Flintstone Flyer) (Patreon)

Published:
2020-11-22 21:01:00
Imported:
2021-01

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Our first (of few) forays into TV animation, examining the early days of Bill Hanna and Joe Barbera's "planned" animation empire! We talk about what went wrong at Hanna-Barbera, and what went right in the early days, thanks to folks like Ed Benedict (whom Bob met), Daws Butler, Alan Reed, and Carlo Vinci. We also dissect "The Flintstone Flyer", the first-aired episode of the first primetime adult cartoon show, which shows just how elegantly crude and inventive a prehistoric Laurel & Hardy knockoff can be!

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Comments

Anonymous

Great episode as usual, I'm not a fan of H-B at all but this was still really interesting. I grew up in the middle of nowhere so there was not much to do but watch TV and I watched Boomerang a lot. I grew to despise the H-B output after being pummeled constantly by Dynomutt and the Chan Clan and Sealab 2020, I swear it nearly drove me to the brink of madness lol a big reason why I enjoy the original Adult Swim shows so much is that there's something inherently satisfying about seeing these shows mocked... I do have to admit that the first couple of years of H-B are really nice to look at and I have a fondness for Space Ghost as well

Anonymous

As a Britisher, I can confirm that the name Fred Quimby is more synonymous with Tom and Jerry than H-B here. Given that his name is more prominent in the credits you can't really blame people for this. I think the decision to put Quimby's name on VHS sets was more to reassure people that they weren't buying Chuck Jones or Filmation Tom and Jerry cartoons, though years of dreadful Hanna-Barbera TV shows was no doubt also a factor. I've certainly never heard anyone say 'those Hanna Barbera cartoons were great', whereas I have often heard people say 'those Fred Quimby cartoons were great'.

Anonymous

As someone who grew after all of the Hanna-Barbera shows was off Cartoon Network in the mid-2000s, I don't have that strong nostalgic connection to their shows even the ones specifically produced for Cartoon Network (though I count those more as CN originals). I grew to appreciate most of their shows up to Jonny Quest. I feel like all creativity died at HB post-1964 and didn't return until A Pup Named Scooby-Doo. I love the designs and backgrounds of their earliest work, even if the stories and gags can be antiquated. Though I can't believe you didn't mention the other HB Voice VIP Don Messick.Even if you don't like him I believe there was a good reason for Bill and Joe to cast him in their terrible shows.

Anonymous

What TV era H-B lacked in artistic merit, they compensated for in good writing. Especially when Warren Foster and Michael Maltese were involved. I mostly agree with your assessment of The Flintstones as one of the better H-B shows. The characters are more believable and relatable. (Impractical Joker is one of the funniest).

Anonymous

Thanks for the name check in this episode! I don't remember saying that Butler deserves most of the credit for early HB being suffered, but it sounds like something I'd say, and I'm grateful it resonated.

Anonymous

Also, I've been watching THE FLINTSTONES on MeTV for the first time since the 1970s--when the original shows weren't THAT old--and enjoying them more than I expected. But again, Alan Reed deserves a lot of the credit.

Anonymous

Thad, I'm glad you mention your lack of enthusiasm for the HB cartoons. I always felt that other children of our time period (born in the 80s, grew up in the 90s) were HB fans and that I was the odd man out. My classic cartoon diet always consisted of the WB and MGM shorts on various channels and VHS, and other studios on public domain compilations. I always found the HB shorts boring as a child, but if it was the only thing on at the time, I had no choice but to watch. Ironically, I did enjoy the infamous Jetsons/Flintstones crossover on VHS, which was a Christmas gift from my mother. I assumed the heavy merchandising of those characters in our youth indicated both popularity and quality.

Anonymous

Great podcast once again. I can't help but to love the early H-B stuff it's really appealing to the eyes, and there are some funny moments. It also helps I grew up with this stuff on Boomerang. So there's definitely a nostalgia angle.

Anonymous

On the Jay Ward characters: When they look bad, there are a variety of related explanations, including the generally poor quality of the offshore animation and the fact that nobody involved seems to have worked hard to hew to a particular model. But they CAN look great--in some of the preliminary art in the Van Citters book, in Al Kilgore's strip, in commercials animated in LA, in the little-seen Benny Washam-animated "Bullwinkle Bossanova," etc.

Anonymous

I always wonder about the trope of the shrewish wife in old comedy, and what it says about the time. of course, at the time, the idea that "the man is king of his castle" seemed to dominate. Is it a fear of being emasculated, turned into comedy, or a cautionary tale of "don't let your wife be like this" or does the comedy come from the (stereotyped) role reversal? It could be just misogyny, but something tells me it runs deeper than that.

Anonymous
>>48309548

The Don Messick comment isn't a knock, just an observation. This was another phenomenal episode of my favorite podcast; you guys have great chemistry even when remote.

Anonymous

I'm really excited for this one! Hanna Barbera cartoons have been a huge influence on me for years, and I've always wanted to see you talk about them, even if your thoughts on them vastly differ from mine. The design philosophy of the early shorts, and even some of the stuff Iwao Takamoto did IMO is gold standard in TV cartoon productions, even if some cartoonists took that a bit too far in their work.

Anonymous

Hanna-Barbera's 1958-1965 cartoons featured good, basic cartooning skills, amusing dialogue, & imaginative voice work.