*the animating of live action*

It seems that cable is giving the networks a run for its money. The Sopranos, which rightfully earned TV Land's Second Annual "Future Classic" prize, is now at the forefront of quality television. It's no mistake that it is on HBO. After all, cable is a province that allows the full fruition of television programming content-wise. This means that the puritan standards which are attached to network fare are not found. Because of this trend, networks have to compete for demographics with cable. Network drama is now mixed with risky and "over the top" elements that seem to add a distinct quality to the storylines. This is even found in the most subtle and conservative of dramas such as Law and Order: Special Victims Unit.

But the program that will be of focus here is the break-out ratings hit, Malcolm in the Middle. In the season premiere, this show had taken these elements to a higher level. Scheduled among animated programs, it too has to go where "live action" shows have never gone before: anarchy and the breaking down of societal convention. And it has an uphill battle. Action!--following the same path--was a critical hit…but a ratings nightmare. Malcolm will have a fight on his hands before the creators have the paramedics put a sheet over his head as well.

However, this "in-your-face" attitude that Malcolm has seems to work with the viewers. According to the January 11-17, 2000 Hollywood Reporter, about 22.4 million viewers tuned in to watch the antics of Malcolm and his family (6). What is even scarier is that the show is ranked second highest in audience demographics for a premiere episode on FOX. The Simpsons, which began in 1990, was the first with 24 million viewers. What makes Malcolm stand out? It has finally taken the tact of the animated sitcom.

The reason why I love animated sitcoms such as Daria, Dilbert, Futurama, South Park , The Simpsons and King of the Hill is the fact that they would tackle subjects that live action television were afraid to touch and would get away with. Because the characters within these programs are simply "toons", writers could wrestle with the unspeakable and collapse these ideas with subtle in-jokes that reward the viewer if they pay attention. These aspects of society and popular culture are attacked with such wittiness, that the seriousness of the message seems to seep through. Within 30 minutes of animated fare, you could learn lessons about politics, relationships, social mores as well as history. All of these shows work with different aspects of the human experience that seem so natural that you forget that it is a "toon". Thus, this way of using sarcasm and irony within the prime time toon leads to messages to dwell upon with humor and intellectual awareness--if you think about it. So far, Malcolm also literally uses its subversive antics and defies being caught for these actions. Humor is the key. By making every scene literally hilarious, laughter distances the viewer from being horrified at Lois and Hal's (the parents) penchant for being nude. Let alone being shocked by Malcolm cursing at the Guidance Counselor who tests his IQ.

The debut episode (despite loyalty to Futurama, a show that used to occupy Malcolm's time slot), was interesting because it disassembled what the Camdens--TV's most "perfect family" with moral values--tried to build on 7^th Heaven. While the Camden house is seen as heaven, then surely Malcolm's home is like hell. Chaos and crassness reigns throughout the house in the midst of family tension during Malcom. While Matt Camden's greatest sin is trying to leave the family roost for his own apartment, Francis--Malcolm's older brother---is shipped off to military camp for setting fire to someone's car. While Mary, Lucy and Simon deal with a slap on the wrists for small offenses regarding teen-aged sin, Malcolm undergoes constant ridicule and cruelty from his classmates (even down to that red paint on the back of his pants). But he doesn't lie down and take it. Nor does he act saccharine about his position within the household. He deals with the antics of his family in his own way. Although some of the things that Malcolm goes through are kind of excrutiating--and hard to laugh at--these aspects carry their own sense of humor that seems precocious at times.

However, what makes Malcolm likable is the fact that his family (or the titled character) isn't perfect. Instead, he seems more like everyone else who had to struggle with being buried within the family pecking order. And what is even more, he adds a new perspective to the experience of being unpopular within the school atmosphere. Yet, the show doesn't quite carry it off like Daria. Even if that is the case, Malcolm still provides yet another voice for people not perfect and pretty enough to be a Dawson's Creek teen or a Camden kid. In fact, the lack of attractiveness regarding his situation and family makes viewing life's situations much more normal and less contrived.