asterios kokkinos
geoffrey golden
rob asaro
adam daroff
eric larnick
jenni powell
rob morrisonthe adventures of pete and pete: where’s the love? written by asterios on 09/18/06
on the commentary track to “yellow fever”, a season two episode of pete & pete, creator chris viscardi remarks that what distinguishes pete & pete is its mixture of “total randomness and unabashed sentimentality.”
and he’s absolutley right. one second we’re using the steel plate in mom’s head to track an ice cream truck, the next second big pete’s pining over ellen. in order to bond as a family, the wrigley’s all take their clothes off and stack them on the roof of their moving car.
it’s wierd, but it works - my question is: why the hell aren’t major newspapers and television groups listing “the adventures of pete and pete” among the greatest shows of all time?
also: earlier this year, paramount junked its plans to release season 3 on DVD. what the fuck?
well, this bullshit’s over. in the immediate future i’ll be compiling a list of email addresses, pre-written letters to specific executives that’ll be ready to print & mail, and other steps we can take to get season 3 of “pete & pete” released.
i’m also gonna see if i can track down will mcrobb & chris viscardi, the creators of “pete and pete”, for overtimecomedy.com’s first interview.
bullshit ends now. pete and pete’s gonna get the respect it deserves, and we’re gonna make it happen.
filed under nickelodeon, uncategorized
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M.M.A.M.Shagam Sep 18
Seriously. That Polaris song haunted my memories for years until I came across it randomly on a mp3 website. I remember when this show was nothing more than weird commercials, and I still remember it as one of the best examples of joyful surrealism of youth. That and Ren and Stimpy. It seemed like the anger and faddishness (together, inseparable, in the combination of 60’s mainstreaming and 70’s commercial exploitation of incipient cultural brand capitalism/globalism) of the 80’s imploded in either total disaffection or happy-go-lucky accidentiality that gave way to irony-as-sarcasm or irony-as-referentiality; the notion that randomness was an end to itself as entertainment, combined further with the struggle of characters to absorb that accidentiality produced what approached the only authentic art of the 90’s, of which Pete and Pete, if modest in aim and stunted in execution, provided one of the best examples. Further examples: Twin Peaks, X-Files, the films of Richard Linkletter, and the sonic experimentation of Pavement, Sonic Youth, and Beck.
That Is All For Now.