“The Boondocks” — “…Or Die Trying”
The last time The Boondocks had a new episode was March 19th, 2006, making Monday night’s premiere of the second season the end of a Sopranos-like hiatus. Adult Swim is a better place now that the series is back. I used to watch the cartoon-block relentlessly during the earlier part of this decade, though over the past couple years my interest has waned as the programming became increasingly focused on non sequiturs, surrealism and Family Guy. And yet under the moniker “Adult Swim” none of these series were particularly mature. The Boondocks is an exception (as is Venture Brothers, but that’s for another post on another day). It’s a show that is made for adults, not for high school kids or pot enthusiasts. More after the jump…
In the current climate, there is very little credibility left in being “edgy” because nothing really seems particularly shocking these days. The Boondocks, however, is. Unlike The Sarah Silverman Program (which is far funnier when it isn’t trying to shock) or god help us The Mind of Mencia, The Boondocks isn’t a series about “saying what you aren’t suppose to say.” Instead, the series makes you actively question why we have certain behaviors, and what the root of those behaviors may be. Though don’t assume you’ll be provided with any answers, McGruder’s world is hopelessly bleak (despite being beautifully water-colored).
In this season’s premiere episode, which I suspect will run throughout the week on Adult Swim, the Freeman’s go to the movies to see Soul Plane 2 — the episode starts with a trailer for the film in which terrorists try to hijack a plane and fly it into a nuclear power plant until they realize they booked their ticket on… Soul Plane! The best moment was the movie-voice saying “…and 50 Cent as Air Marshall 50 Cent” to which we see 50 Cent say for the first of many times, “I’m gonna get these guys… or die tryin’.”
The trip to the theater is made with neighbor-girl Jazmine whose dad told her she couldn’t see Soul Plane 2 because of all of “types of stereos.” Grandpa finds this notion crazy and brings her along anyway. Once there, the gang sneaks in while smuggling a four-course meal in their pants and coats. Much of the rest of the episode is comprised of the Freeman’s evading theater security, while Reily bootlegs the film and Grandpa throws a fit when the concessions worker makes him add his own butter.
Through all of this we get to see a series of increasingly absurd “Don’t Steal Movies” public service announcements that equate the crime with robbing the elderly… or murder, and of course a testimonial from a random stuntman. These ads eat away at the already guilt-ridden conscience of Jazmine before ultimately declaring it to be the worst day of her life.
Meanwhile, junior-revolutionary Huey attempts to break into the projector room and destroy the film (and in the process convincing the workers to unionize). Though here is where The Boondocks goes from being a really smart social commentary to something much greater. The animation is breathtaking and done exclusively in the style of Japanese action anime, where “handheld” effects are added and characters motions are blurred when they do something particularly quick. At the episode’s climax is a battle between Huey and Ruckus, one armed with nunchucks, the other with a bow, in probably some of the best action you’re going to see anywhere on television (certainly animated television, though perhaps the whole spectrum).
The visual aesthetic is so sharp and meticulously detailed it’s no wonder it’s been a year and a half since the series last aired. Really, the character design is a big part of what gives the series it’s rusted edges. These aren’t flattering portrayals in the slightest. Characters are obese and maybe a little deformed, looking not like stereotypes but like ugly Americans.
I’d be lying if I said the show didn’t make me feel a uncomfortable. It sure helps that it’s riotously funny. I’m curious how it makes the New York City Council feel?
