Pop Culture in Review: 1992
Alright guys, we’re switching back over to a non-scrapbook view for a moment.
As we leave the year 1992, we must explore the most important pop culture events of the year. 1992 sure was an interesting time. Sure, the 4 decades of Russian Roulette that was the Cold War had finally ended with the Soviet Union dropping dead the year before - but not all was well in the world. Between the riots on the streets of Los Angeles in the name of justice, to the civil war and ethnic cleansing in the disintegrating Yugoslavia - 1992 was a year of ups and downs. This can be reflected in pop culture.
We will basically run down everything as possible, including movies, television shows, popular music, cartoons and anime, and finally video games. With that let’s get started.
The Highest Grossing Films of 1992
- Aladdin (Walt Disney Pictures/Buena Vista Pictures Distribution) ($504,050,219)
Disney is back at it again with another masterpiece of the Disney Renaissance era, Aladdin. Adopting the One Thousand and One Nights tale to life - this film tells the tale of the eponymous street urchin who discovers a genie in a magic lamp (famously voiced by Robin Williams) - who leads him on a rags to riches journey to win the heart of the Sultan’s free-spirited Princess Jasmine. All the while, the Sultan’s evil vizier Jafar plots to steal the magic lamp for his own gain.
With its dazzling animation that meshes 2D animation with 3D computer animation, unforgettable songs and music score by Alan Menken, Tim Rice, and the late Howard Ashman, and compelling storytelling, Aladdin has become an instant classic amongst the various films of the Disney Renaissance.
- The Bodyguard (Warner Bros. Pictures) ($411,006,740)
Whitney Houston and Kevin Costner star in this romantic drama thriller - with Costner playing an ex-Secret Service agent now gaining work as a professional bodyguard. He finds work protecting a Hollywood actress and music pop star - played by Houston - who is being harassed by a creepy stalker.
Critics were not particularly kind to this film. Much of the criticisms were directed towards the contrived plot, and also the chemistry between Houston and Costner being uninspired and unconvincing. Really, if there’s anything the film’s defenders and detractors can agree on - it’s that the film’s soundtrack is absolutely stellar. Apart from you-know-what, there’s also the soulful “I Have Nothing” and “Run to You”. It is no surprise that the film’s soundtrack eventually went on to become the best-selling soundtrack album of all time.
- Home Alone 2: Lost in New York (20th Century Fox) ($358,994,850)
The sequel to the 1990 holiday classic features Kevin McCallister getting into trouble once again - this time where he is accidentally sent to New York while the rest of his family are on vacation in Florida. There, he just so happens to also run into the Wet Bandits - who escaped from prison during a riot. And he must also face a scary-looking old person who later turns out to be a kind-hearted soul. Do you see the problem?
Basically, one of the main criticisms of the film is that like many sequels - it’s too similar to the first one in an effort to recapture its magic. There was also criticism that the film upped the ante when it came to its slapstick violence compared to the first film - which while funny in the context of cartoons - merely comes across as brutal in live-action. Nevertheless, reception to the film in the years after its release would become more positive - with some claiming that Lost in New York executed ideas better than the first, as well as praise directed towards Tim Curry’s always-camp performance.
- Basic Instinct (Carolco Pictures/TriStar Pictures/Sony Pictures Releasing) ($352,927,224)
This erotic thriller gained much controversy upon its release for its graphic violence and sexualized imagery. The film stars Michael Douglas as police detective Nick Curran - on the hunt for the perpetrator of a rock musician’s brutal murder. However, after finding who he believes to be the prime suspect - crime novelist Catherine Tramell (played by 90s sex symbol Sharon Stone) - he becomes enveloped in a passionate love affair with her. Much ensues.
This film would receive polarizing reviews - particularly for its explicit nature and provocative themes. While Basic Instinct for its daring and unapologetic approach to storytelling, and Sharon Stone was praised for her captivating performance as Catherine Tramell, others decried it for its gratuitous violence and sexual content, accusing it of crossing the line into sensationalism.
- Lethal Weapon 3 (Warner Bros. Pictures) ($321,731,527)
Another installment in the cash-cow Lethal Weapon franchise, this time Martin Riggs and Roger Murtaugh are up against their next big threat– an enigmatic arms dealer known as "The Viper." As they chase down leads in a high-stakes battle, the duo uncover a web of corruption involving powerful figures.
While critics and audiences agreed that the film was fun to watch in its own right, some have felt that the magic of the franchise is starting to slip up compared to the first two Lethal Weapon films. The film has all the action-packed moments the franchise is known for and the dialogue is quite witty, yet some believe that the franchise is starting to lose its luster. Only time will tell.
- Batman Returns (Warner Bros. Pictures) ($266,822,354)
The sequel to Tim Burton’s version of Batman (1989) significantly darkens the tone of the already edgier interpretation of the Dark Knight. In this film, Batman is in conflict with a deformed criminal known as the Penguin and his ally - corrupt industrialist Max Schreck - who both try to take control of Gotham City through a mayoral election. All the while, a disgruntled ex-secretary of Schreck - Selina Kyle - seeks revenge after Schreck’s attempt to murder her for discovering his plans results in her transformation into the aggressive and seductive Catwoman.
Batman Returns received praise for its acting - with Michelle Pfeiffer’s role as Catwoman earning universal praise - but also criticism for its plot, with some arcs feeling disjointed and the ending rushed. There was also backlash against the darker and more violent content compared to its predecessor - which played a role in the film’s relative underperformance. It also alienated high-profile marketing partners such as McDonald’s - which pulled their Happy Meal tie-ins for the film. Nevertheless, the film is becoming more appreciated as we speak.
- A Few Good Men (Columbia Pictures/Sony Pictures Releasing) ($243,240,178)
This critically-acclaimed legal drama follows JAG Corps lawyers Lieutenant Daniel Kaffee (Tom Cruise) and Lieutenant Commander Joanne Galloway (Demi Moore) as they prepare a case for two U.S. Marines being court-martialed for the supposed murder of their fellow Marine.
Rob Reiner's direction and Aaron Sorkin's sharp screenplay bring this thought-provoking legal thriller to life, leaving audiences riveted by the performances of its talented cast and the moral quandaries it raises. This enduring film serves as a powerful reminder that the pursuit of justice often requires unwavering dedication, even in the face of formidable adversaries and the unsettling truths that lie beneath the surface of honor-bound institutions.
- Sister Act (Touchstone Pictures/Buena Vista Pictures Distribution) ($231,605,150)
Starring Whoopi Goldberg, this fun comedy became an instant classic upon its release in 1992. Goldberg shines as Deloris Van Cartier, a lounge singer forced to go undercover as a nun after witnessing a murder. Overtime, her trials and tribulations mark her transformation from a self-centered diva to a caring sister both hilarious and heartwarming.
Sister Act masterfully blends humor, music, and a dose of spirituality, making it a timeless feel-good movie that continues to entertain audiences of all ages. With a strong supporting cast and a soundtrack filled with unforgettable tunes, this film remains an enduring favorite that captures the joy of redemption, friendship, and the power of music.
- Bram Stoker’s Dracula (Columbia Pictures/Sony Pictures Releasing) ($215,862,692)
The renowned Francis Ford Coppola’s take on the classic horror icon has the makings of a classic in the realm of vampire cinema. This film reimagines the age-old tale of Count Dracula with a blend of sensuality, horror, and romanticism. With the addition of excellent performances by Gary Oldman as the enigmatic Count and Winona Ryder as Mina Harker, a striking visual style thanks to the work of production designer Thomas E. Sanders and costume designer Eiko Ishioka, use of terrifying and grotesque practical effects and makeup overseen by Greg Cannom - the film is a fantastic work of dark, gothic cinema.
The film received favorable reviews from critics, but was not without its flaws. These included Keanu Reeves’ subpar and miscast performance, along with the film not being totally faithful to the original source material. Nevertheless, Coppola's Bram Stoker's Dracula remains a captivating and influential cinematic achievement.
- Wayne’s World (Paramount Pictures) ($183,097,323)
Based on the Saturday Night Live sketches, the film captured the essence of the beloved sketches and brought them to life on the big screen with an irreverent and comedic flair. Myers, who played the titular Wayne Campbell, and Carvey, his sidekick Garth Algar, delivered pitch-perfect performances that solidified their places in comedy history. Their chemistry and hilarious antics as two rock 'n' roll enthusiasts who host their public access TV show, Wayne's World, resonated with audiences, making the film an instant hit.
The movie's memorable catchphrases, iconic scenes like the "Bohemian Rhapsody" car sing-along, and its ability to break the fourth wall made it a unique and endlessly quotable experience. Directed by Penelope Spheeris, the film managed to blend satire and slapstick humor with a genuine affection for its characters, creating a timeless comedy that continues to entertain and connect with new generations of fans.
Other Notable Films in 1992
My Cousin Vinny (20th Century Fox)
This witty comedy about two lawyers arrested for a murder they did not commit was praised by critics and audiences alike for its sharp humor and excellent delivery by Joe Pesci and Marisa Tomei. It’s also noted for its legal accuracy with its depiction of voir dire and cross examination.
White Men Can’t Jump (20th Century Fox)
In this sports comedy, a partnership forms between black and white street basketball hustlers as they team up to enhance their odds of winning cash both in street court games and a basketball tournament. Clever, cool, funny, and all-around entertaining to watch, this film would become a sleeper hit.
Beethoven (Universal Pictures)
Although it received little love from critics, audiences adored this cute, light-hearted family comedy about a family taking care of a runaway dog for its charm and sweetness. A worthy 90s cult classic.
Thunderheart (TriStar Pictures/Sony Pictures Releasing)
A harrowing Neo-Western tale about the 1973 Wounded Knee standoff, Thunderheart offers a gripping and thought-provoking exploration of Native American struggles and identity in the modern era. Thunderheart masterfully combines suspenseful storytelling with a poignant social commentary, shedding light on historical and contemporary issues while delivering a powerful cinematic experience.
Alien 3 (20th Century Fox)
The third installment of the Alien franchise, Alien 3 marked a significant departure from its predecessors in terms of tone and setting. The movie took the series to a bleak, maximum-security prison planet, where the xenomorph menace once again terrorizes Ellen Ripley. Unfortunately, this installment had a rocky production history - and was plagued by executive interference and creative setbacks. The final product was ultimately deemed inferior to the film’s pre-POD predecessors. Where this would lead the Alien franchise would be up in the air for now.
A League of Their Own (Columbia Pictures/Sony Pictures Releasing)
This heartwarming and inspiring sports drama tells the captivating story of the All-American Girls Professional Baseball League (AAGPBL) during World War II. With an ensemble cast including Geena Davis, Tom Hanks, Madonna, and Rosie O'Donnell, and its strong focus on female empowerment, camaraderie, and the challenges faced by women in a male-dominated world of sports, the movie not only celebrates the history of women in baseball but also addresses broader themes of resilience and teamwork.
Honey, I Blew Up the Kid (Walt Disney Pictures/Buena Vista Pictures Distribution)
A sequel to the unexpected hit family film Honey, I Shrunk the Kids, continued the zany adventures of inventor Wayne Szalinski, portrayed by Rick Moranis. This installment now has Wayne accidentally enlarge his toddler son, Adam, into a giant. The film was praised for its special effects work, but also criticism for its overreliance on a gimmicky premise.
Buffy the Vampire Slayer (20th Century Fox)
Buffy the Vampire Slayer introduced audiences to a high school cheerleader-turned-vampire slayer, Buffy Summers. While the movie leaned into campy humor and horror elements, it also laid the foundation for the strong-willed and empowered character of Buffy, who would go on to become an iconic figure in pop culture.
3 Ninjas (Touchstone Pictures/Buena Vista Pictures Distribution)
This cheesy yet fun family action-comedy film is about three young brothers who learn martial arts from their Japanese grandfather. While it may not have achieved critical acclaim, 3 Ninjas combines the charm of youthful adventure with martial arts action, appealing to a young audience's sense of empowerment and fun.
The Last of the Mohicans (20th Century Fox)
Directed by Michael Mann, The Last of the Mohicans is a visually stunning and emotionally gripping historical epic set against the backdrop of the French and Indian War. Acclaimed for its breathtaking cinematography, evocative score, and intense action sequences, The Last of the Mohicans immerses viewers in a visceral tale of love, courage, and survival.
The Mighty Ducks (Walt Disney Pictures/Buena Vista Pictures Distribution)
This heartwarming sports comedy tells the story of a down-and-out lawyer who is forced to coach a ragtag youth hockey team as part of his community service sentence. Through its humor, memorable characters, and feel-good message, The Mighty Ducks became a beloved sports film that resonated with audiences, inspiring a successful franchise and even the formation of an NHL team, the Mighty Ducks of Anaheim.
Reservoir Dogs (Miramax Films)
The feature-length debut of promising film director Quentin Tarantino, this stylish and ultra-violent crime thriller, set mostly in a single location, introduced audiences to Tarantino's unique storytelling style, marked by non-linear narrative, sharp dialogue, and eclectic pop culture references. Reservoir Dogs has quickly gained cult status for its storytelling, soundtrack, and willingness to confront the audience with moral ambiguity.
Malcolm X (Warner Bros. Pictures)
Spike Lee’s Malcolm X traces the life journey of influential civil rights leader Malcolm X, from his early years as a small-time criminal to his transformation into a prominent advocate for African American rights and empowerment. The film not only serves as a biographical epic but also delves deep into the social and political upheaval of the era, offering a thought-provoking exploration of race, identity, and the struggle for equality.
The State of Television in 1992
In the past few years up to 1992, the state of television has shifted and stirred. Not only has the rise of cable challenged the “Big Three” major television networks - ABC, NBC, and CBS - but new broadcast networks such as the Fox Television Network have challenged the field of television so long championed by the Big Three. As a result of this increase in viewing options - the content shown on television has become less constrained and uptight, and more edgy and raunchy.
Sitcoms of this era provide a clear example of this. As a backlash to the increasingly sanitized and cornball sitcoms of the 1980s, sitcoms by 1992 have taken a decidedly raunchier turn. Shows like Fox’s Married... with Children and In Living Color have found massive success by embracing edgy and provocative humor. Shows like Seinfeld meanwhile have taken a different path, offering a more sophisticated and observational approach to comedy. Sitcoms with minority representation, already on the rise in the two previous decades thanks to The Jeffersons and The Cosby Show, have continued to make strides in 1992, with series like The Fresh Prince of Bel-Air and Martin, led by African American comedians and actors, breaking new ground in showcasing diverse perspectives and experiences within the sitcom genre. These shows, while providing laughs, also serve as important cultural touchstones, addressing issues of race, identity, and community in a way that resonates with a broader audience.
But while this year and decade has plenty of its barrier-breaking, smart and subversive shows, it also has plenty of sappy, family-friendly and safe comfort shows. One must look no further than ABC’s TGIF (Thank Goodness It’s Funny) block and its slate of family sitcoms, including Full House, Family Matters, Step by Step, and Dinosaurs. These shows have become popular staples of family-oriented television, delivering heartwarming lessons and entertainment for viewers of the whole family. They have also acted as a foil to the rougher edges of contemporary sitcoms.
On the flip side, dramas also reflect the evolving landscape of television. While some dramas have continued to embrace traditional storytelling and familiar themes, others have taken bold steps to explore new territory, pushing the boundaries of what is possible in the medium. Shows like Law & Order and Northern Exposure have found success by adhering to the tried-and-true formula of episodic crime and medical drama, offering viewers gripping and procedural storytelling, often inspired by real-world issues and dilemmas. In a rapidly changing television landscape, they provide a sense of stability and reliability, attracting audiences who appreciate the comforting familiarity of these narratives. However, there are also darker dramas that have broken the mold as the 1990s have marched on, with Twin Peaks leading the way as a surreal and genre-defying series that seamlessly blends mystery, horror, and the supernatural.
But as we move further and further into the 1990s and culturally out of the 1980s, the existing, still running sitcoms of the 1980s are starting to die out - being relics of the previous decade. This includes African-American comedy sitcom The Cosby Show, family sitcoms Growing Pains and Who’s the Boss?, acclaimed sitcoms such as The Golden Girls and Night Court, and action series MacGyver. Cheers - a staple of television sitcoms since its debut in 1982 - has also entered its final season - however there are murmurs of a new spinoff series continuing the story of psychiatrist Fraiser Crane to premier on NBC for the Fall 1993 season. Overall, the television landscape of 1992 is witnessing a changing of the guard as the next generation of series takeover in the 1990s.
The State of Music in 1992
The state of popular music in 1992 is almost a fresh new world from that of the 1980s, defined by the mainstream rise of hip hop and alternative rock, and the evolution of pop music and country music.
Hip hop first emerged in the late 1970s and steadily grew in popularity throughout the 1980s. By the 1990s, hip hop had become mainstream - thanks to artists the likes of Public Enemy and their 1990 breakthrough album Fear of a Black Planet, Ice Cube with his debut solo album AmeriKKKa’s Most Wanted, and A Tribe Called Quest and their breakthrough album The Low End Theory. While hip hop has gained much appreciation from critics and audiences alike by 1992, some are noting fissures in the nascent rap scene. For one, the genre is quickly being mainstreamed by artists with questionable street cred, such as MC Hammer and his massive hit song “U Can’t Touch This”, and white rapper Vanilla Ice and his massive hit song “Ice Ice Baby” - both of which have become irresistible earworms within mainstream America, but do little for the authenticity of the genre. The former has also played a role in another key fissure of the rap scene - the East Coast-West Coast rivalry. This feud, characterized by tension and competition between East Coast and West Coast hip-hop artists for supremacy, has led to a series of high-profile conflicts within the genre.
Alternative rock - or in some cases grunge rock - represents a transformative movement within the dominant rock genre. As a result of the nigh endless amount of artificial and superficial hair metal and new wave rock music of the 1980s, a growing movement - prominently inspired by punk rock and heavy metal and mainly originating from the Pacific Northwest - emerged that emphasized raw, unfiltered expression, stripped down instrumentation, and lyrics that delved into the darker aspects of life. Among the ringleaders of the emerging genre include Pearl Jam - with their emotive and introspective sound, Eddie Vedder's passionate and soulful vocals, and their earnesty - Soundgarden - with their heavy and experimental instrumentation, complex song structures, and their dark and brooding tone - and most famously Nirvana - with their blending of punk's aggression with pop's accessibility, Kurt Cobain's unique songwriting, and their angsty, rebellious, and authentic. It is in 1992 that Nirvana becomes more popular than ever, with their success in 1992 best explained by the one-two punch of two particular singles. The first is “Smells Like Teen Spirit” the unexpected lead single of their breakthrough album Nevermind (1991) - with its raw and powerful guitar riffs, Kurt Cobain's raspy vocals, and lyrics that resonate with a generation of disaffected youth. "Smells Like Teen Spirit" has become an anthem for a new generation, capturing the spirit of rebellion and disillusionment. The second single is their 1992 standalone single “The Yodel Song” - a brooding, nihilistic, folk-inspired tune about a demented serial killer the speaker hallucinates about. Having first appeared on an episode of the popular Nickelodeon cartoon The Ren & Stimpy Show, the single has soared in popularity to become the most popular song of 1992. Overall the future holds bright for the new sounds changing the dominant genre of rock and roll.
In parallel, the state of pop music in 1992 witnessed the ascent of several vocal powerhouses who left an indelible mark on the music industry. Whitney Houston continued to reign supreme with her powerful and soulful voice. Her album The Bodyguard: Original Soundtrack Album from the movie of the same name, released in 1992, included the iconic track "I Will Always Love You," which spent 13 weeks at the top of the Billboard Hot 100. This not only showcased her vocal prowess but also solidified her status as a pop legend. Mariah Carey, known for her five-octave vocal range and whistle notes, also enjoyed a remarkable year in 1992. Her album Emotions featured the titular track, which displayed her impressive vocal agility. And this year, she further bolstered her talent with her appearance on MTV Unplugged - earning rave reviews with her 5-octave range. Mariah's ability to blend pop, R&B, and gospel influences has created a unique sound that has resonated with a broad audience. Boyz II Men, a talented R&B vocal group, achieved notable success in 1992 with their debut album, Cooleyhighharmony. The album's blend of soulful melodies and heartfelt lyrics struck a chord with listeners. Tracks like "End of the Road" and "It's So Hard to Say Goodbye to Yesterday" showcased their impeccable harmonies and emotional depth, earning them noted popularity. Their impact on the music landscape of 1992 showed that the best music has yet to come.
Country music witnessed a renaissance by 1992, spearheaded by visionary artists like Garth Brooks and Alan Jackson. Garth Brooks, known for his electrifying live performances and innovative marketing strategies, released his album The Chase in 1992. This album featured hits like "We Shall Be Free" and "Somewhere Other Than the Night," which showcased his ability to infuse contemporary elements into country music without losing its authenticity. On the other hand, Alan Jackson's album A Lot About Livin' (And a Little 'bout Love) provided a fresh take on traditional country themes. Songs like "Chattahoochee" and "Mercury Blues" exuded a sense of nostalgia while embracing a modern production style. Jackson's straightforward storytelling and traditional country instrumentation resonated with both longtime country fans and a new generation of listeners.
The State of Animation in 1992
As of 1992, the Animation Renaissance is in full swing. Disney, Viacom, and to a lesser extent Warner Bros. and Fox, are leading the way in redefining the image of Western animation. All of these projects have brought American animation out of the blunder years of the 1970s and 1980s - with high-quality animated movies and television series.
For The Walt Disney Company in particular, the early 1990s harbors a renaissance of their own - the Disney Renaissance. Following years of stagnation after the death of Walt Disney in 1966 and an aborted corporate takeover by Saul Steinberg, the Disney company was taken over by former Warner Bros. executive Frank Wells, and former Paramount Pictures executives Michael Eisner and Jeffrey Katzenberg, in 1984. From there, the company embarked on a creative and commercial resurgence that would redefine the animation industry and leave an indelible mark on popular culture. In their theatrical animation department, Disney would make timeless classics such as The Little Mermaid (1989), Beauty and the Beast (1991), and most recently the aforementioned Aladdin (1992). The latter two films’ animation are notable for their technical prowess - utilizing the CAPS (Computer Animation Production System) technology perfected by the up-and-coming Pixar Animation Studios. This technology not only allows for traditional animation to forego the traditional ink and paint process in favor of digitally-driven ones, but also allows for the incorporation of 3D computer animation and extra depth in the drawings - such as the ballroom scene in Beauty and the Beast. Furthermore, in the television department, Disney continues to reign in afterschool television with their syndicated block - The Disney Afternoon. The Disney Afternoon showcased a lineup of animated series that became beloved favorites among children and adults alike. These included DuckTales, Chip ‘n Dale: Rescue Rangers, TaleSpin, and most recently - Darkwing Duck and Goof Troop. These shows captivated audiences with their engaging storytelling, memorable characters, and imaginative worlds - from the action-packed adventures seen in DuckTales, Chip ‘n Dale: Rescue Rangers, and Darkwing Duck, to the light-hearted TaleSpin and Goof Troop. In addition, Disney also has their own cable television service - The Disney Channel. However, as in 1992, the channel is only really showing existing Disney Afternoon content and classic Disney movies, and has yet to complete the jump from premium cable to basic cable. Yet, with the success of the Ren & Stimpy episode “Yodelin’ Yaks” - rumors are abounding that the House of Mouse may want to accelerate that transition to compete with Nickelodeon.
However, while Disney may be at the top of its game, the company is not exactly smooth sailing. For one, there was the opening of Euro Disneyland in Paris, France in March, which faced numerous challenges and setbacks. These included criticism for not fully understanding and adapting to European tastes and preferences, labor disputes and customer service issues, and lower-than-expected attendance - causing significant financial losses in its initial years of operation. Additionally, behind closed doors, tensions are simmering between Michael Eisner, Roy E. Disney, and most importantly Jeffrey Katzenberg. Roy has started to question Katzenberg’s motives and leadership within The Walt Disney Company during the Disney Renaissance. Between Eisner’s questionable decisions and Katzenberg’s growing ego - Disney faces a potential crisis in the near future. Still, Disney remains dominant in the early 1990s, especially in the theatrical animation department. With this year’s closest competitor being the distant Ferngully: The Last Rainforest, with the rest being forgettable shlock such as Rock-a-Doodle and Freddie as F.R.O.7.
But while Disney may be the king of theatrical animation, it is arguably Nickelodeon and MTV - each at the moment owned by Viacom - that are the kings of television animation - now more than ever. In the previous year, after years of syndicating British and Canadian animated series, Nickelodeon introduced their first three original animated series - “Nicktoons” - with a bang. These included Doug - a slice of life series about an adolescent boy navigating through school life, Rugrats - an imaginative series about a group of toddlers whose day-to-day lives and experiences are exaggerated by their vivid imaginations, and most importantly The Ren & Stimpy Show - a wacky, slapstick dark comedy about a mentally unstable chihuahua and a happy-go-lucky cat and their misadventures which often involve copious amounts of gross-out humor, surreal images and close-ups, and witty jokes. It is in the year 1992 that the results are starting to show, as Nickelodeon’s dominance in television animation reaches new heights during the 90s Animation Renaissance - helped by the massive success of Ren & Stimpy. Ren & Stimpy’s success in 1992 can be best explained by the one-two punch of two particular episodes - each of which saved the show from cancellation. The first is the Season 1 finale “Black Hole/Stimpy’s Invention” that aired back in February, specifically the latter half in which Stimpy - upset at Ren being angry all the time - puts a “Happy Helmet” on Ren to make him happy, only to drive him to insanity as the two dance to a song called “Happy Happy Joy Joy”. The second and even more famous Season 2 episode “Ren’s Toothache/Yodelin’ Yaks”, specifically the latter half in which Ren and Stimpy hike up Mount Pilatus with the help of a talking yak guest voiced by Nirvana frontman Kurt Cobain - who performs Nirvana’s 1992 hit single “The Yodel Song”. The latter episode brought in Nickelodeon’s highest ever viewed program in cable ratings as of 1992. Meanwhile, at MTV, the traditionally music-themed network has started experimentation with animated content - having launched the show Liquid Television the previous year in 1991. Among its standout shorts include Aeon Flux - an avant-garde sci-fi series about a femme fatale secret agent sent to destroy her nation’s enemy - and Frog Baseball - a crudely comedic cartoon featuring two dumb teenage boys named Beavis and Butt-Head and their chaotic, sophomoric adventures - such as torturing a frog with a baseball bat. The latter in particular has already been greenlit for a full series set to debut in the Spring of 1993 - further bolstering MTV’s street cred in the animation game.
However, even with this great success, Nickelodeon must not let their guard down. Apart from Disney’s potential expansion of Disney Channel, Atlanta businessman Ted Turner has launched a new family cable channel. Having found prior success with one of the earliest cable networks - TBS Superstation - and the first 24/7 cable news channel - CNN - Turner went ahead and launched the first 24/7 cable channel dedicated to animation on October 1st of this year: Cartoon Network.
Cartoon Network was the byproduct of Turner Broadcasting System’s various media acquisitions - from the film and animation libraries of Metro-Goldwyn-Mayer and (pre-1950) Warner Bros. in 1986 to the cash-strapped Hanna-Barbera Productions in 1991. By far the greatest selling point of Cartoon Network to cable subscribers was its 24/7 broadcast of classic cartoons of all decades - particularly in the highly lucrative 8pm-10pm time slot - where research has concluded that more children than any other time are awake to watch cartoons on TV. This is all while other networks usually go off air or show different programming. And with a rich programming library ranging from the wacky slapstick of Tom & Jerry and Looney Tunes to the childhood touchstones of Huckleberry Hound, Yogi Bear, The Flintstones, The Jetsons, and Scooby-Doo, such a niche would make Cartoon Network an unstoppable force.
But as of 1992, CN lacks original programming resembling Nickelodeon’s Nicktoons. Yet, with Turner owning an animation studio with a rich history in dominating television animation, who already has successful animated programming on TBS Superstation in the form of the environmentalist cartoon Captain Planet and the Planeteers. Where this will lead to, only time will tell…..
Warner Bros. Animation is also starting to emerge as a fledgeling competitor on the animation scene. After years of neglecting their animated properties, Warner Bros. relaunched their animation studio in 1980 after riding on the success of package films of their earlier shorts. In 1990, their first animated series - Tiny Toon Adventures - hit the airwaves in syndication and was a massive success. And this year the studio has another hit on their hands - Batman: The Animated Series - the latest iteration of the Dark Knight, except now darker and poignant than its previous wackier adaptations. This series would thus go on to receive critical acclaim for its mature storytelling, complex characters, and exceptional animation quality. Down the future studio pipeline include a Looney Tunes crossover movie with famed basketball player Michael Jordan - largely thanks to a high profile Nike Super Bowl commercial which featured Bugs Bunny outsmarting several famous basketball players during a game of basketball. Elsewhere, another project with the Tiny Toons staff is on the horizon - about a sibling group of zany cartoon characters that harken back to the wackier days of Looney Tunes. It is set to hit the airwaves on the Fox Kids in the fall of 1993.
Oh, and speaking of Fox, 20th Century Fox and the wider Fox Entertainment Group - including the Fox Television Network - have also been spearheading the Animation Renaissance as of late. In 1989, American television was fundamentally changed forever when The Simpsons premiered on Fox. The Simpsons was a simple animated sitcom about a yellow-skinned, dysfunctional family and their lives around the unknown town of Springfield - which gleefully took cynical aim at satirizing and subverting the cliches associated with saccharine, Reagan-era family sitcoms and how they clashed with reality. First popularized as a series of shorts on The Tracey Ullman Show, The Simpsons would become a truly massive pop culture phenomenon that revolutionized the world of animation. The show's irreverent humor, sharp wit, and willingness to tackle controversial topics not only pushed the boundaries of what could be done in animation but also provided a platform for social and political commentary. And the latest season proves that the show is only sharpening that success. Apart from episode classics such as “The Itchy & Scratchy Movie” and “Mr. Plow” - viewers of Season 4 will notice improved animation quality - as a result of the show’s animation services switching from that of error-prone Klasky-Csupo to the crisper quality of Film Roman (though really, actual services switched from mainly Anivision and AKOM to Rough Draft Studios Korea - which also animates for Nickelodeon’s Ren & Stimpy with Carbunkle Cartoons of Canada).
Fox’s Saturday morning children’s block - Fox Kids - has also been a boon for the network. As the traditional “Big Three” networks begin to wind down their own programming blocks - Fox Kids has kept marching on - with its big hits of the year including the aforementioned Batman: The Animated Series from Warner Bros, X-Men: The Animated Series from Marvel (not to be confused with the struggling Marvel Productions), and even their own Ren & Stimpy-esque series - Eek! The Cat from Canadian animation studio Nelvana. While Fox has also yielded hits such as Bobby’s World from Film Roman and Tom & Jerry Kids from Hanna-Barbera/Turner, for every hit such as Batman, X-Men, and Eek, there have been flops such as Attack of the Killer Tomatoes and Little Shop - both from the sinking ship that is Marvel Productions, Piggsburg Pigs! from Ruby-Spears Productions (another Turner acquisition), and the oddly short-lived The Plucky Duck Show from Warner Bros. As of 1992, it is difficult to see what the future holds for the decades-long staple of children’s television that is Saturday Morning Cartoons - and how they would compete with fast-growing cable television - after having been handicapped by the Children’s Television Act of 1990. That act placed limits on lucrative advertising and the amount of non-educational children’s programming.
There are other studios who have projects on the horizon - such as an adaptation of Sega’s Sonic the Hedgehog by DiC Entertainment, newly-reformed Universal Cartoon Studios off to a slow start after the failure of Back to the Future’s animated adaptation, Film Roman has made a good profit with Garfield & Friends and Bobby’s World, and Don Bluth Entertainment is licking its wounds after the critical and commercial disappointment of Rock-A-Doodle - with some figuring it is only a matter of time before Bluth comes crawling back to Steven Spielberg. Additionally, a foreign type of animation is on the rise in the Western world. That of Japanese animation - or anime for short. Among the standout new anime to debut is one Sailor Moon - a series about a schoolgirl who gains magical powers and transforms into a superhero to battle evil forces.
The series has been acclaimed for its unique blend of magical girl elements, compelling character development, and a strong, diverse female cast. Sailor Moon has quickly amassed a dedicated fanbase in its home country Japan, but has yet to make its mark on the Western world - namely in North America. As of 1992, anime in the United States is generally not highly looked upon in the entertainment industry - with most regarding anime as a cheap means of animated filler. Worse, said anime is subject to heavy-handed localization when dubbing into English - in which one can look no further than Harmony Gold USA’s Robotech - in actuality three separate unrelated mecha anime (Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross, and Genesis Climber MOSPEADA) - and their aborted attempt to dub Dragon Ball. It will ultimately take a change in industry attitudes for Hollywood to market anime for American audiences faithfully.
The State of Video Games in 1992
The gaming market in 1992 is fiercely competitive. Although there are many companies competing to be the top dog in the industry - it is the twin titans of Nintendo and Sega that dominate the industry. Both companies' dominance emerged from the ashes of the video game crash of 1983-85.
Nintendo, with its legendary Nintendo Entertainment System (NES), played a pivotal role in resurrecting consumer interest in home gaming. The NES boasted a robust library of iconic titles like Super Mario Bros., The Legend of Zelda, and Metroid, captivating the imaginations of gamers worldwide. The NES's influence on the industry cannot be overstated, setting the standard for home consoles and establishing Nintendo as a household name.
On the other hand, Sega, while not as successful with its Sega Master System, continued to refine its approach. It was in the fourth generation of video game consoles that Sega truly raised the stakes with the introduction of the Sega Mega Drive, known as the Sega Genesis in North America. The Genesis showcased its technical prowess with titles like Sonic the Hedgehog, sparking the iconic rivalry between Sonic and Mario, which would define the era's console wars. This fierce competition between Nintendo and Sega was not limited to hardware alone; it extended to the software and marketing fronts. Sega's "Genesis does what Nintendon't" campaign is one notable example of the aggressive marketing tactics employed during this era. The Super Nintendo Entertainment System (SNES) meanwhile, would continue to build on the success of the NES, offering a rich gaming experience with classics like Super Mario World and The Legend of Zelda: A Link to the Past. This rivalry between Nintendo and Sega was a driving force behind the innovation and creativity seen in video games during this period, as both companies pushed each other to deliver cutting-edge technology and compelling gameplay experiences.
In 1992, this rivalry is reaching its peak, captivating gamers' attention and driving innovation in both companies. Each console offered a unique gaming experience, and the competition spurred the development of groundbreaking titles, many of which will be considered classics for years to come. The new battlefront for the two companies at this point is a growing technological revolution: the Compact Disc, or CD.
First introduced in 1982, the Compact Disc has gone on to revolutionize not only the music industry, but also the computing and video game industries with its ease of manufacture, high quality audio (and soon video) storage compared to tape and vinyl formats, and massive data storage. As such, it has been considered by the gaming giants to replace the clunky, expensive cartridges with simpler, more reliable optical discs. Sega has thus beat Nintendo to the punch by releasing the Sega CD in late 1991. The add-on clearly has issues however, with one needing a Sega Genesis console to add the Sega CD onto, and the flood of poor quality full motion video (FMV) games threatening the add-on’s reputation. Nintendo has also had issues with their own CD add-on for the SNES, with original hardware partner Sony having pulled out of the contract and Nintendo forced to partner up with the tenuous Philips. Eventually, Nintendo and Philips were able to forge a strong partnership to release the SNES-CD by the holiday season in 1993 - and it would not have happened if not for a huge disaster that occurred for Philips’ own console - the Philips CD-i.
Having released their own console in late 1991, Philips intended for CD-i to become a popular multimedia player - but sales were sluggish due to a lack of dedicated target market and its lackluster hardware and third-party support. In an attempt to turn the tides in their favor, Philips management attempted to cash in on the success of Nirvana’s “The Yodel Song” by creating what they thought would be the system’s killer app: Yodel Boys. Being a FMV-driven puzzle game that was rushed through 3 months of development, Yodel Boys was panned for its erratic cutscene animation, lackluster controls, mediocre gameplay, and the main characters ripping off Ren & Stimpy.
Sales also plummeted - making the game an enormous flop - resulting in Philips discontinuing its CD-i multiplayers and integrating the technology’s most successful attributes into the future SNES-CD. The new deal entails a 50-50 split in game input - with Philips being allowed to release any game - so long as they vow to a minimum quality standard set by Nintendo. In return, Philips would provide the necessary sound and graphics processors needed to ensure the console’s optimum performance during gameplay. Nintendo has also forged a joint partnership with Viacom - owner of Nickelodeon and MTV - allowing high quality games to be made based on Viacom properties, including the ever-popular Ren & Stimpy - for a strong launch library to be available by the time of the console’s launch in 1993. The future overall, holds bright for the SNES-CD, and the gaming industry as a whole.
Conclusion
In conclusion, 1992 was an immense year of transformation for pop culture. encapsulated a cultural shift towards more authentic, diverse, and innovative forms of entertainment. It set the stage for the dynamic and ever-evolving pop culture landscape of the years to come, leaving a lasting impact on the entertainment industry and the way we experience and consume media. But there is more exciting stuff on the horizon, so join me as we exit the year 1992, and enter the year 1993!!!
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