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Star Trek Muppets

Photo: Jan Thijs/Paramount+.
After 60 years, Star Trek has had a muppet takeover.

I find it reassuring that in dark times, creative people still give us fantasy. And I love how supposed fantasy-haters get drawn in. I know a few grumps (usually guys, but not always) who think fiction in general is a waste of time when you could be learning new facts. Huh! The deeper realities may be beyond skeptics.

Which leads us to the value of science fiction and playing.

Duncan Barrett writes at the Guardian, “When it comes to the latest episode of Star Trek: Strange New Worlds, the life forms in question are less flesh-and-blood and more fabric-and-felt – as the series becomes the latest sci-fi show to embrace the magic of puppetry.

” ‘Level-Five Transporter Accident’ follows in a longstanding Trek tradition that sees crew members undergo unfortunate transformations while beaming up to the ship. This time, the crew suffers an even greater indignity: thanks to a spot of boldly sewing from the legendary Jim Henson’s Creature Shop, the Enterprise team are reconstituted into – quite literally – a bunch of muppets.

“ ‘I thought it would be a big swing for us, but we spent a lot of time discussing how to do it as a Star Trek episode,’ says Strange New Worlds showrunner Henry Alonso Myers. ‘[I] knew if it didn’t feel like Star Trek then it wouldn’t work.’ …

“Despite Star Trek’s six-decade commitment ‘to seek out new life,’ the franchise has remained a puppet-free zone.

“ ‘Star Trek made a big commitment to makeup early on,’ says Dr Chris Nunn, assistant professor of film at the University of Birmingham. ‘So aliens would typically be played by human actors under heavy prosthetic masks, and that trend has continued.’

“So why the unexpected course-correction from a franchise about to enter its seventh decade? The answer, it turns out, is less about the magic of puppetry and more about the tropes of modern TV production.

“ ‘Doing a puppet episode is a TV concept,’ says Myers. ‘One of the things we try to do on Strange New Worlds is go for big swings that haven’t been done before in Star Trek.’ …

“For advice, Myers turned to former Angel showrunner Jeffrey Bell, who worked on the fan-favourite episode Smile Time, which sees its titular vampire, played by David Boreanaz, transformed into a puppet while investigating a sinister Sesame Street-style mystery.

“In Strange New Worlds, Myers flipped the format on its head, keeping Ethan Peck’s Spock as flesh and (green Vulcan) blood, while forcing the rest of the Enterprise crew to become chaotic, muppety versions of themselves.

“ ‘Spock was the obvious character to run into this problem,’ says Myers. ‘Because he’s so logical.’ The episode’s director, Jordan Canning, agrees. ‘Spock was 100% the right choice,’ she laughs. ‘He’s the ultimate straight man.’

“Like the hit Star Wars TV series The Mandalorian, Strange New Worlds uses a giant LED screen known as the Volume rather than building physical stage sets. Sci-fi actors must be particularly adept at playing make-believe, but according to Canning, the puppets made things easier for Peck. …

“ ‘It’s like Ryan Gosling in Project Hail Mary,’ says Nunn. ‘That movie wouldn’t have worked if they’d added the alien in post [production]. The fact that Gosling was reacting live in the moment is what made their relationship feel genuine.’

“For Dawn Dininger, one of five puppeteers who operates Grogu in The Mandalorian, it’s a double-edged sword. ‘The actors always forget that he’s a puppet.’ she says. ‘They just think he’s a baby and start rocking him and playing with him. They never talk to us, even though we’re the ones controlling him. They forget we’re there.’ …

“Dininger was unprepared for the cult status the character would almost instantly accrue. Now, when top Hollywood actors appear opposite the puppet – as Sigourney Weaver recently did – it’s the A-listers who are starstruck.

“ ‘It’s like tagging along with a famous person!’ laughs Dininger. ‘Nobody knows who you are, but they all know him, and they get excited as soon as they see him on set.’ “

More at the Guardian, here.

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Photo: Molly Matalon.
“I wanted her to have eyes that were expressive, that looked real,” said Bonnie Erickson, who designed the first Miss Piggy.

Who doesn’t love Miss Piggy?

In January, the New York Times took a look at the origins of the iconic diva as she put her stamp on the latest Muppets special.

Darryn King wrote, “Nearly 50 years ago, a prima donna pig made her first appearance on The Muppet Show and quickly became its breakout star. Within a few years, she was a sought after Hollywood celebrity, a pinup model and the author of a best-selling book.

“Well, Miss Piggy is ready for her close-up once again. Jennifer Lawrence, Emma Stone and Cole Escola (Oh, Mary!) are currently developing a movie for the character. And a new Muppet Show special will premiere on Disney+ and ABC on Wednesday. Piggy is front and center in that special, making snidely aristocratic remarks in a Regency-era sketch, hijacking Kermit’s duet with Sabrina Carpenter and ‘giving the people what they truly want: Moi.’

“For Eric Jacobson, playing a glamorous pig has been the role of a lifetime. In recent decades, he has become the lead voice and puppeteer behind several instantly recognizable Muppets, among them Bert, Grover and Oscar the Grouch on Sesame Street and Fozzie Bear. But when it comes to aura and cultural significance, he said in a recent phone interview, ‘Miss Piggy’s on another magnitude, as she would tell you herself.’

“It wasn’t always the case. An early version of Piggy appeared as a minor player in one of Jim Henson’s failed Muppet television pilots, which aired in March 1975. The puppet was designed and constructed by Bonnie Erickson, who had fond childhood memories of chasing piglets for her pig farmer uncle. …

“Over a few weeks, Erickson carved the pig out of a 1-foot cube of soft foam using nail scissors, then used a belt sander to smooth the contours and curves. Crucially, by the time The Muppet Show premiered in September 1976, she had infused her creation with something extra: Piggy became the only major Muppet to get eyes with irises. The pupils even have highlights. …

“A sow in opera gloves would have been a decent gag in itself, but it soon became clear that the character was destined for greater things. … A script specified that she deliver a mere slap, but the puppeteer Frank Oz instead had Piggy execute a swift karate chop — preceded by a full-torso windup and accompanied by a ‘Hiii-yah!‘ — that sent Kermit flying. Miss Piggy was born. …

“Oz went on to devise an elaborate back story for the character involving the loss of her father in a tragic tractor accident and a fraught mother-daughter relationship. His voice for Piggy alternated between a dainty coo and a withering growl that recalled Bette Davis in All About Eve.

“Piggy was deeply insecure yet utterly convinced of her own star quality, girlish and refined but occasionally compelled to, say, maul Florence Henderson in a jealous rage. … Balancing those sometimes conflicting impulses could be tricky, according to Jerry Juhl, the head writer for The Muppet Show. Juhl, who died in 2005, said that writing for Miss Piggy hadn’t been easy.

“ ‘You’re walking a fine line with that character,’ Juhl said in an archival interview, as quoted in Jim Henson: The Biography (2013), by Brian Jay Jones. ‘If she isn’t a bitch, she isn’t funny. But you’ve got to feel the other side.’ …

“The new Muppet Show special has Kermit, Miss Piggy and the whole furry, felted company return to the variety show format … with an array of cheerfully bonkers acts, that irresistible theme tune and chaos behind the scenes. …

“The writer Albertina Rizzo said that the writing team had been honored to cook up new outrageous things for one of their comedy heroes to say. ‘Strangely, I think reading Barbra Streisand’s autobiography really helped,’ Rizzo said. Streisand ‘has such a strong sense of self,’ she explained. ‘So if you mix that with a boatload of delusion and some beginner French, you’re kind of on the right track.’

“ ‘The thought process was, What would a reasonable, grounded, normal person say?’ she added. ‘Then write the opposite of that.’ ”

More at the Times, here.

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Photo: Rahmat Gul/AP
Characters from the Afghan Sesame Street. A MacArthur Foundation grant will enable the Sesame Workshop and the International Rescue Committee to roll out a version for Syrian refugee children.

Even if they make it to relative safety, children often suffer the most from wars and dislocation. In addition to the trauma, there is the problem of education, which is unavailable or spotty in refugee camps.

That is why people of goodwill are reaching out with programs that can both comfort and teach. Jason Beaubien reports on one example at National Public Radio.

“The MacArthur Foundation will give $100 million to Elmo, Big Bird and their buddies to massively scale up early childhood development programs for Syrian refugees.

“Sesame Workshop and the International Rescue Committee won a global competition by the MacArthur Foundation seeking solutions to what the judges called ‘a critical problem of our time.’

” ‘The most important thing to remember is that the humanitarian system is designed to reach people’s immediate needs — to keep people alive, feed them, make sure that they have shelter,’ says Sarah Smith, senior director of education at the IRC. The global humanitarian system, she says, isn’t very good at supporting displaced children. ‘And the fact is these children are likely to stay as refugees for their entire childhood.’ …

“The IRC and Sesame Workshop plan to launch what they’re describing as the ‘largest early childhood intervention program ever created in a humanitarian setting.’ …

“It will be distributed over traditional television channels, the internet and mobile phones. It will also serve as an educational curriculum for childcare centers, health clinics and outreach workers visiting the shelters where refugees live. The workers will deliver books to kids and caregivers.

“Sherrie Westin of Sesame Workshop says … ‘These Muppets will be created to reflect the children’s reality so that children can relate with them. … One of the Muppets may have had to leave home. She may live in a tent. She may become best friends with her new neighbors.’ …

” ‘We know that in their first years of life the trauma that children are experiencing has the greatest impact on them,’ Westin at Sesame Workshop says. ‘And yet they receive the least support.’ ”

More at NPR, here.

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