‘Yo Gabba GabbaLand!’ brings back a colorful crew, with even more music and dancing

As a movie critic who spent my childhood glued to the television set during the golden age of Saturday morning cartoons, I must say that “Yo Gabba GabbaLand!” is a breath of fresh air that takes me back to those days when creativity and fun were the main ingredients of children’s programming. This new iteration of the beloved series has expanded on its original charm, offering vibrant visuals, catchy tunes, and a whimsical sense of humor that appeals to both kids and adults alike.

In August 2007, a vast, white expanse emerged on Nickelodeon’s Nick Jr., and into this space stepped a man dressed in an orange tracksuit and a furry orange hat, accompanied by a boom box. Upon opening the boom box, it was revealed to be a case holding five figurines: DJ Lance Rock (Lance Robertson) carefully placed these figures – four monsters named Muno, Foofa, Brobee, Todee, and a robot called Plex – into four dioramas spread across a long table. With a touch of enchantment, the figurines sprang to life-size, marking the beginning of an exciting party.

As a child who grew up in the late 90s and early 2000s, I vividly remember the vibrant and lively world of “Yo Gabba Gabba!”. This unique kids show, with its name derived from hip-hop and the Ramones, stood out like a beacon of funkiness amidst the sea of children’s programming. While “Sesame Street” was undoubtedly funky in its own right, it never quite matched the energy and star power that “Yo Gabba Gabba!” brought together on stage with artists such as Questlove, Bootsy Collins, Biz Markie, Mark Mothersbaugh, and Erykah Badu.

In “Yo Gabba GabbaLand!”, the monsters are returning, accompanied by some fresh faces, for a revamped 10-episode series debuting this Friday on Apple TV+. As before, it’s the brainchild of Scott Schultz and Christian Jacobs, who are also known as MC Bat Commander from the Aquabats! band – a group that blends neo-new wave, ska, punk, and synth-pop genres. Taking over from DJ Lance is Kammy Kam, a 13-year-old named Kamryn Smith, who, like her predecessor, dons orange attire and welcomes viewers with a bright “Hello, friends!”

In my admiration, I’ve noticed that these dioramas have evolved into immersive landscapes – a vibrant spring meadow, a sun-kissed desert in summer, an autumn forest, and an arctic winter scene, all arranged in a central hub reminiscent of Disneyland. Each landscape is interconnected with a monster whose color scheme mirrors its surroundings. The visual aesthetics of this spectacle are influenced by design trends from the mid- to late 20th century, cleverly blending practical stagecraft with digital effects. Theatrical flats are strategically placed in three-dimensional space to enhance the experience.

As a movie critic, I’d rephrase it like this: This show is designed for preschoolers and captures the unbridled energy of young children. The characters dance exuberantly, transitioning from believing they are great dancers to actually becoming one. They also make hilarious facial expressions. The digital effects are ingeniously used, placing them in whimsical dreamscapes such as floating on a sea of giant rubber duckies or steering a barrel with feet towards a parrot perched in a cowboy boot.

In a consistent feature, a child partners with a famous personality (such as Utkarsh Ambudkar, Gillian Jacobs, Sam Richardson, Chelsea Peretti, Flea, Diplo) in creating a Mad Libs-inspired tale, where the child fills in the gaps. The ensuing visuals – like a cloud forming an “angry sandwich” shape or a bird nesting within “a friendly bear” – would fit well at the Cabaret Voltaire. A collection of brief movies showcases kids worldwide, demonstrating their breakfast meals, homes, and playtime activities.

While adults might watch it too, children’s programming like “Yo Gabba GabbaLand!” offers unique elements that adult TV often overlooks. It’s vibrant, whimsical, and stylistically innovative, creating its own rules. You’ll find songs, dances, and frequently, puppets. Unlike many children’s shows, which are often shaped by educational or psychological agendas, this show seems to stem more from a purely artistic perspective. In a way, it mirrors its own genesis: the unrestrained use of imagination is both the focus of the show and what brought it into existence.

As a die-hard fan, I can’t help but get excited about “Yo Gabba GabbaLand!” – it’s more like an extension of playtime than a break! It’s a wild dance party for those who aren’t quite tweens yet. The Linda Lindas, dressed as shrimps, set the rhythm, while Portugal. The Man and Paul Williams keep things groovy. Betty Who brings the wind with her tunes, Thundercat rocks on his six-string bass, and Big Daddy Kane and Reggie Watts bring the beat of the day! Kurt Vile reigns as King Silly, leading a silly parade that’ll have you dancing all day long. So if you want to get silly, this is the place to be… but maybe not right before bedtime!

In simpler terms, this piece assures that there are peaceful intervals. It talks about monsters discussing emotions, including the less desirable ones, and offers suggestions for managing them. The audience is encouraged to embrace themselves as they are – size, color, or shape. Some sections could be considered trippy if not too intense for younger viewers. There’s a focus on sensory experiences, such as feeling the warmth of the air, observing moving clouds, and engaging with water by listening, singing, or dancing with it.

It always comes back to dancing.

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2024-08-10 01:19