This makes Yellow Guy sad, and he runs away. Duck Guy then kills the butterfly, calling it a "pesky bee" when it landed on a piece of chicken. Yellow Guy starts to laugh as a butterfly flys around him. Red Guy says "Isn't it nice to finally be outside on such a beautiful day?" and duck responds "Yes, and I've packed us a delicious chicken picnic!" as he says this he lifts up the lid of the basket to reveal raw chicken. The video opens up with the three puppets having a picnic. He has a red heart on his chest and a unibrow when brainwashing Yellow Guy.īiography Don't Hug Me I'm Scared 3 He wears black shoes and has yellow wings, which have shapes such as hearts, squiggly lines, stars, rhombus, and circles. He wears three rings, and he has polka dots near his arms. He has two black antennae on his head, with balls on the end. The real lesson, about society’s fetishisation of biological, nuclear families comes via a visit to the twins’ home, where Granny is kept alive on a drip, endless home videos play, the trio are served thick, glutinous tea (“a family recipe”) and a tree growing through the house thrives on the blood of strangers.Shrignold is a butterfly with a turquoise face and a blue mouth. “Not really for me.”) isn’t wholly terrifying.Įlsewhere the three get a lesson on what constitutes a family via a pair of puppet twins Lily and Todney – his name a perfect encapsulation of the series’ entire set-at-a-small-but-wholly-unsettling-angle-to-reality aesthetic. Which is not to say the pink claymation figure constantly melting and reforming in order to try to take the place of dead Duck (don’t worry, it’s an administrative error – he’s back, unfazed, next week. Episode two is about death and is possibly the weakest of the series, perhaps because it’s inescapably creepy even when real children’s shows try to tackle this subject and so some necessary tension is lost. The notional lesson about the value of hard work, sparked by a talking briefcase, is swiftly upended as they are subsumed into the mindless workings of a factory (Peterson’s and Sons and Friends Bits & Parts Ltd – whose bits get recycled into parts and back again) and adult viewers are reminded of why they drink to forget. It repays a rewatch … Don’t Hug Me I’m Scared. I particularly enjoyed catching “Keep an eye on grease fires” written on the whiteboard as part of the trio’s domestic rota. Like The Simpsons, it repays a rewatch with a finger poised above the pause button. The episodes are longer but the characters – never given names, but known to fans as Red Guy, Yellow Guy and Duck (a man in a furry suit and string mop head, plus two puppets, respectively) – the lovingly detailed felt props, the claustrophobia, the growing threat of an existential crisis with every passing minute? They are all as delightfully, thoroughly, relentlessly present as ever. The monstrous nature of time stands revealed by a singing, dancing and eventually screaming clock. A paean to creativity rapidly descends into an offal-stuffed nightmare. The six episodes – lasting a few minutes each – took the happy learning vibe of children’s television and twisted it into something so creepy you could feel it moving under your skin long after the cheery voices had faded into nothingness. It is the gently, gradually but relentlessly nightmarish vision of Becky Sloan and Joseph Pelling, who met as fine arts students at university and, when stuck in post-grad jobs they hated, teamed up with actor/writer Baker Terry and put their artistic skills to use creating a DIY web series that, between 20, became a crowdfunded hit. Don’t Hug Me I’m Scared (All 4/Channel 4) looks like Sesame Street and plays like David Lynch.
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