We’re in a renaissance of television animation at the moment. As the medium’s come to be taken more seriously in the West and been given more leeway in the kinds of stories it tells, there’s been a push to grapple with more substantive content. There was Aang’s struggle to remain a pacifist in Avatar: The Last Airbender, Adventure Time’s later seasons have flirted with a bizarre existentialist sort of vibe, and Steven Universe is hard at work trying to grapple with the question of whether peace, love, and understanding can really heal all wounds.
By that same token, the gulf between those more experimental series and animation “for kids” seems to grow wider by the day, leaving some shows to fall into the gulf of growing pains the medium is currently experiencing. On the one hand, shows like Steven Universe are appealing to a broad audience intentionally (“Bismuth” ranked number one in ratings for the P18-49 demographic when it aired), as opposed to peripheral audience that have always sort of existed around shows like Spongebob and My Little Pony or the brief spate of shows from MTV’s animation dearly departed animation division (which ran more toward the late teens to adults audience that The Simpsons had carved out a space for). But while Cartoon Network and now Netflix (leading with the new Voltron) have embraced the change in intended viewing audience to a broader spectrum, Disney still seems to operate on a binary (so what else is new).
This is how Wander Over Yonder found itself falling into relative obscurity (you can read an overview of the show here). Have a seat and let me tell you the sad tale, readers. The show was created by Craig McCracken, one of the most pedigreed names in TV animation since the 90s as the creator of The Powerpuff Girls and Foster’s Home for Imaginary Friends. It had Lauren Faust as part of the crew in the first season, before she went on to work on her own individual projects, and Noelle Stevenson of LumberJanes in season 2. And yet, all of that couldn’t save it from an early grave, with only two out of three planned seasons making it to air.
News of the show’s cancellation reached the team after season two had been written but before it had even premiered – it seems that Disney thought that 80 episodes was “enough,” and the fact that the show garnered better ratings in repeats than premieres seemed to bolster that. While the crew was both open and optimistic in their discussions about Disney’s handling of the show, as a fan it was pretty disheartening to see that Disney both refused to let the show take a serialized turn in season 2 (which discourages repeat viewings) and then doubling down on that by cancelling the show once there were enough episodes to squeeze some rerun money out of (the latter is perhaps my mildly cynical take).
The compromise the writers reached after being turned down for serialization – to have four 22 minute “plot” episodes and the rest as 11 minute stand-alones – earned the series a bit more spotlight (including a review slot on the AV Club), but also some accompanying frustration from fans who came in looking for that more narrative driven Gravity Falls sort of experience rather than a stylistic hybrid. It’s a weird, earnest show that was only starting to find its niche before it was cancelled (the letter writing campaign is really quite moving, though now that the crew has all moved onto different projects it’s become an increasingly long shot). And that’s a terrible shame.
I tell you all of that partly because the show’s production history, with the unusual openness on the part of the (very kind) crew, has been an interesting insight into the current landscape of animation. But I also just wanted to give the show a eulogy, because it was truly something special. When I initially reviewed the show I told y’all about the bright colors and the sincerity and the really clever homages to classic animation. And I’ll repeat what I said then: Wander, as a protagonist, is very special.
I stumbled on this show when I was in a particularly low place – something I can see clearly now, even if at the time it felt normal. It was a surprising, unexpected to be able to watch an idealistic character who wasn’t young and inexperienced, but who had seen the horrors life had to offer and fought to hold onto the belief that hope and trust are worth holding onto. That enemies are friends you haven’t made yet.
And yes, the real world is more complicated than that. I love seeing Steven Universe tackle mental illness and trauma in raw ways that can sometimes be difficult to watch. It’s downright important. But as much as that show can be uplifting it’s also challenging, and there are times when I, at least, wasn’t up for it. Wander was there for me in that moment, set in a universe that was purely, beautifully aspirational and hopeful at every turn. It’s not a perfect show (there are certainly critiques I could make about the early writing for Dominator, much as I found her a fun character), but it is a deeply comforting one. It was smart in its willingness to be silly, inventive in its form, and endearing in its constant attempts to do better. Its moments of quiet could be breathtaking (one late game episode evokes the quiet melancholy of The Little Prince), and its goofiness was often inspired (I’m still not over Weird Al as an Evil Supervillain Banana).
It deserved more than it got, and more notoriety than it will probably have in future (given Disney’s disinterest in more than a handful of merch and its current unavailability for easy streaming). But that doesn’t make its existence less special or worthwhile, and I’d encourage you to give it a shot. In the meantime, a very fond farewell. And to the WOY crew, my deepest thanks for putting on one heck of a show.
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Which episode are you referring to as The Little Prince-esque? I only watched some of the first season, but that sounds right up my alley.
That’d be “The Flower.”
I’m curious as to what problems you had specifically with Dominator’s character early on? Though I remember Craig saying he writes characters before concepts, to me Dominator felt more like a concept (what if a real competent villain invaded the show) before character, as in whatever personality she has just revolved around her status as evil. At least Hater seemed like he was written to be a moody teen before he was written as evil.
The whole “bwuh, a GIRL?” reveal is a pretty tired thing, and Dom’s early appearances were fairly inconsistent with how flourished as a character after “My Fair Hatey” – she more or less existed there to perpetuate the crush arc a little longer, and her willingness to flirt stuff out of Hater was at odds with her later approach of just taking things by force. She really didn’t get to be fun until she got her villain song.
Please let it be renewed. I just deserve WOY to be renewed for a third season, because I love this best, awesome show! I’ve learned and understand about a true friendship between Wander and Sylvia and I love it when they hugged. I’ll remember what he said, “a little lump of love will take the buck out of the bronco” and “it never hurts to help”. I hope WOY will be renewed for a third season. I always love this show and Wander and Sylvia were the greatest heroes in all the galaxy and always be best friends forever. I love you, Wander…and Sylvia, too! Never hurts to help!
I have my hopes. Shows have come back after longer, after all. Nothing wrong with holding out hope.
In that case: http://savewoy.savedisneyshows.org
For those interested in saving the show, go to this site to sign a petition (34,800+), polite written letters, Personalization Shop merch, legal purchases of episodes, Watch App, reruns (if available as there are none on Disney XD at the moment), and requesting Hulu to stream Wander (cause Gravity Falls and Star Vs got lucky there for their high ratings status as Wander is not for its low ratings to be counted in Hulu).