The webseries lacks the nihilistic frustration of Gen X and darkly humorous cynicism of Gen Z, leaning instead into chill vibes and light-attitudes. These were just facts of life stated without political or external commentary, and Bee and Pupp圜at were often on the receiving end of their own jokes. What mattered most was Bee, Pupp圜at, and their misadventure of the day.īee and Pupp圜at was an unabashed product of its era even when it was released, oozing Millennial charm with each off-handed comment about the difficulties of simply existing in a world with high rent, reality TV, and blatant consumerism. A more complex story hovered just on the periphery of the slacker narrative, but it was never a core of it. Characters never grew nor changed, and the overarching plot was present, if thin cash-strapped characters were too focused on disparate wacky adventures for a spiritual metamorphosis to occur. It was adult without needing to be crass or gory, instead lazing along from episode to episode. The animation was simple but eye-catching, and the dialogue focused on naturalism and misunderstandings, often including characters changing thought mid-sentence or mispronouncing words. The series endeared itself to droves of online fans due to its shoegaze storytelling and awkward nature. Thanks to both VRV and YouTube (where the full series would eventually air in 2018), the world of Bee and Pupp圜at expanded, introducing love-interest and terrible baker Deckard Wizard, his sister Cass, seven-year old British landlord Cardamom, and his dog Sticky. The second half of the season even premiered as a VRV exclusive-a fandom-based streaming service that I frankly forgot existed until doing research for this article. The pilot quickly became a fan-favorite, leading to a wildly successful Kickstarter campaign to fund a full 10-episode season, which aired on Cartoon Hangover sporadically from 2014-2016. Lackadaisically scraping by in life, the two often take odd jobs as intergalactic temp workers to appease their relatable but nevertheless ridiculous desires. Conceived of and written by character designer Natasha Allegri, the two-part pilot introduced Bee, a spaced-out and quirky girl who lives on a vaguely magical island, and Pupp圜at, her feline-dog of indeterminate species from Outer Space. Fronted by long time executive Fred Seibert, Cartoon Hangover was the adult-oriented branch of Frederator Studios, which produced classics such as The PowerPuff Girls and Adventure Time. The series was originally created for Cartoon Hangover’s pilot incubator series Too Cool! Cartoons. It’s impossible not to romanticize this bygone era when watching Netflix’s recently released animated series Bee and Pupp圜at because, for better and worse, it’s almost literally a product lost in time. Anything was possible, and everything was blissfully cringe. User-generated content was the shit, and Smosh and Pewdiepie dominated the YouTube landscape long before late-night hosts would capitalize the market. It was a peak time to be a Millennial on Tumblr, a haven for “haz-ing cheeburgerz” and thinking deeply about posts from the Philosoraptor. Social media crawled out of its infancy and started running along the path to become the societal behemoth it is today. 2013 was a time, an epoch, an indelible moment in humanity.
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