Due to the current age of my firstborn, I have suddenly found myself immersed in the colorful, Hensonian world of ‘Sesame Street’ for the first time in two decades. And, just like 20 years ago, I am mesmerized and delighted with the show on a level that cannot be described. Of course, these days, my awe is perched on a different level entirely.
The most remarkable thing about ‘Sesame Street’ is that the show bases itself around simple absurdist quasi-dramas amongst an intra-species cast of characters and has found success in this humble formula for almost four freaking decades. (That’s right; there are kids who were watching the show’s first season 38 years ago who are now going through their mid-life crises and perking up for retirement.) While the show has taken a few occasions over the years to acknowledge major life experiences (Luis and Maria’s Wedding, Gordon and Susan having baby Miles, the ballsy move of tackling death when Mr. Hooper passed away…) the show primarily focuses on basic discussions and conflicts usually requiring basic skills of deduction from audience members and/or the more childlike of characters (usually Elmo, Zoe, and the ever-annoying Telly.)
To say that ‘Sesame Street’ is among the ranks of any other children’s shows that have come and gone during its run is not only ludicrous, but is pretty ignorant and unbelievably disrespectful to the work of Jim Henson in general. Unlike such traditional children’s shows like ‘Mister Rogers’, ‘Captain Kangaroo’, and ‘Howdy Doody‘, ‘Sesame Street’ shook up the industry by taking a more interactive style to education and entertainment and thus, more successfully integrated itself into a long-term staple within the American childhood experience. And I’m not even going to begin to delve into the revolutionary effects Muppeteering had on the world of puppetry, both creatively and as an industry. (Seriously, folks, I could prattle about the genius of Henson for weeks if given a chance.) So yeah, comparing the “Street” to shows like “Yo Gabba Gabba” or “Barney” not only belittles the genius simplicity of such an effective educational technique, but refuses to acknowledge the incredible creative revolution that is realized within the show’s very existence.
Or, to simplify, calling “Sesame Street” just a children’s television show is directly equivalent to shrugging off The Beatles as just another pop culture trend. Gah-ross.
So yeah, there’s all that to think about during my daily excursions to ‘Sesame Street‘. And then there’s the cultural aspects of the legendary show to take into consideration. Over the years, the show has literally hosted over a thousand celebrity guest stars who don’t take any time to boast about their celebrity statuses to the oblivious children at home but who, instead, take a moment to perform in relative obscurity and really enjoy themselves. Just in the last week, I’ve watched Neil Patrick Harris discuss the word “curly”, Jenny McCarthy discuss the word “insects”, Jonah Hill talk about the magic of having a moustache, and the sexy sexy sexy Mike Rowe host an episode of “Dirty Jobs” right from Oscar’s trashcan. (This, of course, only added to his unrelenting, undeniable ruggedly-handsome sexiness. I believe this move was a shoutout to all the housewives who were watching. So, see? The Children’s Television Workshop is watching out for us, too.)
Regardless of the glitzy celebrity status of the show, millions upon millions of children across the globe tune in to watch “Sesame Street” every day. In fact, the show is so widely broadcast that additional characters have been integrated into other countries’ broadcasts to incorporate aspects of foreign cultures. For example, the South African broadcast of the “Street” routinely supplements sketches with a character named Kami, who is HIV-positive and educates children about this rampant disease and encourages acceptance of those who are infected. (Although she garnered massive protests from the shielded, xenophobic fearmongering stay-at-homers in America, she has been received with tremendous appreciation and critical acclaim for her success in reaching out to her international audiences. She even did a PSA with President Bill Clinton to discuss her disease with the children of America. Pretty cool.)
Now, naturally, the show isn’t all sunny days and weather-thwarting singing. Frankly, I think it’s an abomination that Kevin Clash has taken it upon himself to monopolize the last third of every single show with a segment called “Elmo’s World.” So, not only are we guaranteed at least 20 minutes of high-pitched incessant giggling from what used to be a sideline character, but, if Elmo is integrated into the daily plot of the episode, then we can look forward to a whole hour with this single 3-and-a-half-year-old character who really isn’t any more notable than any other character. And yeah, okay, I get that Tickle Me Elmo was a massive phenomenon that one Christmas where people were beating the everloving piss out of each other to get this vibrating plush doll, but you know what? That was 15 YEARS AGO. The youngest sect of kids who were privy to this consumerist event are now graduated from high school and classifying themselves as voting, smoking, porn-reading adults. So, I think it’s safe to say that they’re no longer a target audience. And if anyone’s been paying attention, it’s just common knowledge that Elmo marketing hasn’t seen nearly the amount of attention or success that it did in the mid-90’s. And still, because of this “Elmo’s World” noise (which my daughter happens to love) the show has sidelined dozens of classic, dynamic characters, including the incomparable Grover, who is imperative to the educational benefits of teaching humility. Cookie Monster is now just a passing nutritional spokesmonster (SACRILEGE!), Bert and Ernie are reduced to claymation figures who appear eeeevery so often, and nobody hears from Super Grover, Herry, Barkley, the Two-Headed Monster, Frazzle, or Reporter Kermit anymore. For shame.
But, if I’ve learned anything in my years visiting the street, it’s that the show continues through the good and the bad. Perhaps the crap Elmo’s World years are just retribution for giving us a few years of a young-and-not-yet-famous Savion Glover to play with before he went off to making Broadway history.
Still, though, there are a few visible cracks in the pavement that tend to tug at my heartstrings in every episode. I remember watching Maria and Luis fall in love, get married and have their daughter Gabrielle. Now they are two weathered actors whose lines and general fatigue seep through the genuine excitement they still bring to every performance. Seeing the actress who plays Gina as Steve Buscemi’s girlfriend on “The Sopranos” a few years ago and seeing the actor who’s portrayed Gordon as a tiny, voiceless character for four minutes on “Sex and the City” broke my heart in more ways than one. First, of course, because the illusion of these characters I’d watched since I was a child was finally, ultimately snatched away from me at the tender age of 23. Secondly because the budgetary cuts were forcing actors on the most beloved show on television to seek other work. These glaring realities were something I always assumed I was safe from through the ongoing magic of television and any Henson subreality.
I don’t know; maybe that was “Sesame Street”s ultimate objective. The nurturing of children during their most formative years and then gently setting them afloat in the world with the harsh face of reality?
Whatever the case, I will continue to watch, attentively, and create these same realities for my daughter where monsters are friends and one’s greatest problem lies in discovering the location of the Letter of the Day. It feels like the alliance I made with the late Jim Henson has now become a winking comraderie, in which I am responsible for continuing his great vision to generations after him. This is a duty I’m more than elated to carry out, no matter how foolish such an idealized reality may seem to my adult eyes.






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