Check out the vids right here (which may or may not be complete) while they last on YouTube!

And if that didn’t sate your Desperate Housewives cravings, you can also watch the DH teaser for Muppets Wizard of Oz as well as DH’s Sesame Street parody right here:

Desperate Housewives season 6 will be available on DVD on September 21!

Click here to get into a catfight (or pigfight?) on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

If you aren’t reading the book by now, you certainly aren’t going to start with a story that has “Part 2” in its title, and nothing I could say would convince you otherwise. If you are, you probably came to this article having already read the comic and looking to hear a second opinion. I’m assuming, then, that either a) you already know all of the SPOILERS or b) you do not care about being SPOILED and are simply a devoted Tough Pigs fan who reads everything on the site. If you fall into the third category – fans of the comic series who simply haven’t read this issue yet – continue at your own risk, knowing that SPOILERS lie ahead.

Still here? Then let’s take a look at what makes this particular issue work, not only as a comic book but as a story about TV’s loveable Muppets. It is my belief that The Muppet Show Comic Book is the single funniest, truest-to-the-characters Muppet project in at least a dozen years. Writer/Artist Roger Langridge started strong from the very first issue, with sketches and songs that felt very much like something out of an episode of the show.

In this issue, we find a perfect example in the Muppet Labs’ Anti-Aging Treatment sketch. I heard Dave Goelz (as Bunsen) and Richard Hunt (as Beaker) in my head as I read it, and the punchline is so ideal that I was surprised it was never done on the show. In fact, I bet that years from now I’ll have a false memory of that exact altered Beaker, certain I saw it in puppet form.

Similarly, this issue gives us the second installment of “Link Hogthrob, Monster Smasher”, featuring the “Pigs in Space” trio as Kolchak-style detectives. It isn’t much of a stretch from their usual antics, but it allows them to have different adventures while retaining the same dynamic they always had. This installment doesn’t take advantage of the comic book medium as well as the sketch in #8 did, but it does give Langridge a chance to show off his crack comic timing, particularly in the gang’s realization that they don’t have to wake the mummified aliens.

The series has grown over the course of its existence, showing an evolution similar to the one experienced in the first two seasons of the show. Early issues featured hodge-podges of largely unrelated sketches in between segments of a backstage plot. Lately, the entire issue has been moving to a logical conclusion, incorporating both sketches and the backstage story. With the current storyline, Langridge is taking that trend even further.

The comic book is very much like one of the show’s “theme” episodes such as Vincent Price or Lynn Redgrave. Every gag relates to the monster-inspired theme of the issue, in this case mummies and aging. Langridge isn’t just telling Muppet-y jokes anymore. He’s taking a theme and telling every single joke about it he can think of, while keeping all of those jokes true to the voices of the Muppets. It’s an impressive feat, especially since he keeps coming up with new variations on that theme right up to the last page.

But all of the Muppet Show-type formatting in the world wouldn’t matter if the characters didn’t seem like themselves. Luckily for the readers, they always have. In this issue, Langridge even begins to develop them in new, surprising – but perfectly logical – ways, starting with Statler & Waldorf.

After creating a city full of lookalikes, and then casting the pair as God-like beings, Langridge returns them to their natural habitat in this issue. However, he explores their relationship in greater detail than usual as they turn their insult-slinging powers against one another. We’ve seen them bicker before, of course, but here their ever-escalating jabs imply that this happens to them all the time. By the time they engage in the big tomato-throwing contest at the end, I was convinced that this is what they do for fun every weekend.

That storyline also gives Fozzie an absolutely perfect moment, when he occupies Statler & Waldorf’s box while they’re on stage. He has just one line in the sequence, but it reveals so much about his character. I could easily imagine a scenario in which Fozzie heads upstairs to give the two old men a taste of their own medicine. But when he finds out how hard it is to see from the balcony, he gets distracted and heckles that view instead. Later, of course, I’m sure he’ll be upset with himself for missing his chance for revenge. In that one panel, Langridge implies an entire story.

Another character to get a great moment is Piggy. She gets her first genuine dramatic moment of the series when she decides it’s time to make a move on Kermit before she gets too old. Of course, this is something she does all the time, whether she’s aging or not. But in Piggy’s mind, it’s a grand dramatic gesture every time, and Langridge superbly captures her attitude during the moment. In true Muppet Show fashion, however, the drama ends up segueing into a sublime bit of physical comedy.

Unfortunately, Piggy regresses later on in the issue, when she sees Kermit in bandages and cries that she turned him into a mummy. She isn’t Link Hogthrob, and I don’t believe that she’d be naïve enough to make that observation. This is a minor quibble, though, as it really is my one complaint about an otherwise terrific issue.

With issue #9, The Muppet Show Comic Book feels more like The Muppet Show the TV series than ever before. All Muppet fans really should be reading it. It’s been terrific for a solid year and a half now, and this issue continues its upward climb. I can’t wait to see where the series goes from here.

Click here to over-analyze funnybooks on The Tough Pigs Forum.

by Anthony Strand

In addition to the big win, Roger Langridge was nominated for two additional Harvey Awards for his work on The Muppet Show Comic Book: Best Cartoonist and the Special Award for Humor in Comics.  He was robbed, I tells ya!

Click here to see the full list of 2010 Harvey Awards nominees and winners.

Congrats to Roger Langridge and everyone at BOOM Studios!

Click here to accept this award on behalf of the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

Joe Mathieu has been illustrating Sesame Street books for the last 38 years and shows no sign of stopping.  He’s drawn practically every Sesame character, both puppet and human, and is responsible for such classic books as Cookie Monster and the Cookie Tree, The Ernie and Bert Book, The Exciting Adventures of Super Grover, and many more (which you’ll read about below).

I’m sure you’ve all fallen in love with your fair share of Sesame Street books, which is why we’re so proud to present our interview with illustrator Joe Mathieu, along with some samples of his artwork, which you can click on to see in a larger format.  Happy reading!

ToughPigs: How did you get your start as an illustrator for Sesame Street?

Joe Mathieu: Actually, I had been freelancing as a children’s illustrator for about a year ( I graduated from RISD in ’71) and I was constantly showing my portfolio to anyone who would see me. I would leave a printed sample of my work wherever I had been. One of these samples caught the attention of an agent named Ted Riley who brought me to meet Michael Frith, the art director at Random House, who was just starting work on some of the first Sesame Street books, and who was looking for illustrators for these projects. I had to beat out an awful lot of competition, but I soon found myself being escorted to the Muppet headquarters where I met Jim Henson and all the Muppet performers and builders. I was also taken to the Children’s Television Workshop where I met all the book people, Sharon Lerner and Chris Cerf in particular. These three companies teamed up to create the Sesame Street books that I worked on.

TP: What sort of preparation or research did you have to do in your early days as a Sesame illustrator? Did this preparation lead to any personal relationships with the Muppeteers or puppet builders?

JM: Since there were no style books in the beginning, I was given access by Jim Henson to the Muppet “morgue” where the characters were stored. I would go in there and put the puppets on and study them. I would sketch and photograph them; it was a lot of fun! I was also allowed to go to the television studio where Sesame Street was taped. I would stand quietly all day watching the show being created. I went so often, I think the security guard at the entrance just thought I worked there. Some tapings were right on the street with Big Bird, Oscar and the human actors. Other days were the Muppet “insert” days where I would watch Ernie and Bert, Cookie Monster, Kermit the frog, Grover etc. I got to know the performers and I even took my wife and kids in a few times. The performers were never too busy to entertain the kids between takes; they were great.

TP: Can you briefly walk us through the normal process of how a Sesame Street book is made from your point of view?

JM: I would typically be sent a manuscript for which I would then draw rough sketches. The sketches were reviewed by everyone at Random House, CTW and finally they were “blue lined” at Muppets so that the Muppet characters were correctly rendered. I would then do revisions and finally finished art which I delivered to the publisher. In the earliest days, Jim Henson himself did the blue lines! Michael Frith eventually moved from Random House to become the art director at Muppets, and he took over the blue lining. Eventually, there were others as well. Western publishing also created a line of Sesame Street books.

TP: What are your favorite characters to draw? Which characters are most challenging?

JM: I really loved drawing all the characters and the way they interacted. I enjoyed drawing the human characters too. I would have to say, though, that I particularly liked Ernie and Bert; there was a simplicity in Ernie’s face that was very difficult to capture, but was very charming. Big Bird, too; very subtle. I always thought the Count was somewhat difficult. I loved the character; he just had a lot going on.

TP: Which of your Sesame Street books are you most proud?

JM: I would say the “Sesame Street Dictionary” for one, because it was a sort of definitive statement at the time, although it looks a bit dated to me now. And “Big Bird’s Big Book”, because it was created with no manuscript; I was given rough concepts for each spread, like counting, or colors, and asked to come up with whatever I wanted. Since I had just taken my young family on a tour around the United States, it became just that! A few words were added after the art was finished. I also like that one because it is so BIG, and I was asked to keep the scale of the pictures small, so you have birds eye views of hundreds of little Muppet characters running around everywhere.

TP: Speaking of The Sesame Street Dictionary, can you explain for us what your role was in the production of that book? And what is your reaction to the book’s success and how well-regarded it is for the writers and editors at Sesame Workshop?

JM: I was given a lot of leeway on this project, too. Back when type was cut out with a blade and glued in place, I felt I needed to do all the type and graphic layout at the rough sketch stage in order to simply fit everything in, in a logical, nicely flowing way, giving some words more room than others. No one could have done that in advance for me. It took two and a half years to complete and it completely wiped me out, but it became the definitive point of reference, I am told, for all illustrators and art directors. If it was in the dictionary, it was official!

TP: You provided the artwork for books based on live-action episodes and specials like “Christmas Eve on Sesame Street”, “I’ll Miss You, Mr. Hooper”, and “Big Bird Visits the Dodos”. How did your approach to these books differ from your work on original stories?

JM: Very simply, I usually had to make up the visual using my imagination, while combining what I knew about the show. When it came to basing a book on an episode, I had to follow what was already created. The difficulty back then was that there were almost no video recorders so I had to watch the episode with a sketch pad in my lap. When the first video players came out, they didn’t have a good pause function, so I still had to draw from the moving image; at least I could play it over and over again.

TP: What sort of tricks or techniques do you employ when drawing Muppets that differ from other types of projects?

JM: The only thing I can think of for this question is that I had to keep my eye on how the characters evolved over the years. Big Bird, for example, got fatter and fatter as more feathers were added with each new version; they had to rebuild the characters from time to time as they wore out and they would change slightly with each new version. This is why the characters look different in the early books; they simply reflect what the characters looked like at the time. The show’s audience also got younger over the years, so the books became cuter.

TP: Have you ever had a book or illustration rejected? If so, did you have to recreate the art, or was it abandoned?

JM: Many drawings were rejected over the years, usually at the rough sketch stage, but not always. They just had to be redone. A particularly tough one was the cover for “Christmas Eve on Sesame Street”. Jon Stone wrote the show and the book and took complete charge of all aspects. Jon was a perfectionist! He saw the finished illustration and said that it “lacked a certain ephemeral quality”! I thought, my God, how am I going to fix that?! Anyway, I redid it and he liked it. The rejected piece is 26 in. by 18 ½ in. I still have it.

TP: Who are your artistic influences? Both from Sesame Street and otherwise.

JM: I think the strongest artistic influence I had when I was a kid were the illustrations in the Saturday Evening Post and Sunday newspaper funnies. I loved the early Disney animations, too; I was drawing Peter Pan and Captain Hook when I was five years old. Later on I liked Al Capp and the Mad Magazine guys, like Jack Davis and Mort Drucker. Still later, Robert Crumb. One of my editors really made an impression on me by exposing me to the paintings of Peter Bruegel. My editor was Ole Risom, a legendary editor who thought Bruegel’s bird’s eye views of village life was just what I needed to see; and I think he was right. “Big Bird’s Big Book’ is essentially my Sesame Street version of Bruegel. I used this approach in many of the books that I did with Ole. I would also add that a John Singer Sargent show that I saw in New York in 1986 had a lot to do with the Big Bird portrait on the cover of Big Bird’s Big Book!

TP: How do you view the “competition” in children’s literature now that there are so many different types of artists and children’s franchises that didn’t exist in the 1970s and 1980s?

JM: I don’t know, I guess there is as much competition for shelf space in the stores as there is for the kids’ eyeballs at home. I think this results in a certain reluctance to do anything that won’t result in instant gratification. I mean Sesame Street doesn’t seem to do story books any longer; it’s almost exclusively novelty books featuring the same one or two characters. You can’t blame them, really; it’s tougher out there.

TP: How has the transition to digital art changed your style and process? How else has your style changed in recent years?

JM: As a result of all the afore mentioned, digital illustration is much more competitive in a world of slick, color saturated images. To be honest with you, though, I honestly love working digitally. I am capable of painting the Muppet characters with much softer, furrier textures and much more vivid color without such a reliance on a black outline. As far as the process, art directors today aren’t going to wait days for revisions when we can upload a revision to a finished piece almost instantly. The revisions can be done seamlessly, too, and faster than we ever would have dreamt a few years ago. All the rules have changed, and the illustrators who haven’t changed in kind are not working any longer.

TP: In your opinion, do you see Sesame Street art moving further away from stylized interpretations of the characters and closer to one specific model for every artist to follow? How has this affected your approach to the characters and stories?

JM: There is definitely more of a trend to draw the Sesame Street characters according to specific, standardized models. There is a real style book today and we are expected to adhere to it. Jim Henson and Michael Frith encouraged each illustrator to find his own version, his own interpretation, of the characters. But I suppose that just doesn’t work in today’s marketplace.

TP: Finally, do you have a message you’d like to pass along to all the fans of your work?

JM: How lucky can anyone be? I have had a ball all these years! I have always felt that I was working with truly exceptional people, geniuses really, and that I just landed in the right place at the right time with just the right thing to offer. I’m glad I had little kids around in the early days; I would run everything by them to make sure that what I was trying to convey was clear. Basically, I’m really glad that I went into this field in the first place! Most people didn’t really think it was a particularly smart thing to attempt, but when I won an all New England award for the cartoons I did in my prep school newspaper, I just had to see how it would all come out! You really can’t predict the future; sometimes you just have to take a chance in life and do what you really want to do.

Many thanks to Joe Mathieu for joining us for this Q&A!  For more about Joe, feel free to visit his website!

Click here to store your brick collection at the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

The Muppets are a National Treasure, and it’s about time people (who aren’t us) start to recognize that.  Thankfully, the folks at the Smithsonian recently took on the original “green jacket and ping pong balls” Kermit the Frog and the Sam and Friends cast to be put on display at the National Museum of American History in Washington, DC.

Click here to see NBC Nightly News’ coverage of this momentous occasion!

We had a few ToughPigs correspondents on the scene of the big unveiling earlier this week, and they did a great job at giving us the scoop on the press-only event which featured Jane Henson, Willard Scott, and yes, Old School Kermit and his pals.  The following is the first-hand account from ToughPigs’ own Matt Wilkie:

With excerpts from Sam & Friends, the original showcase for Jim Henson’s earliest Muppets, playing in the background, staff members of the Smithsonian’s National Museum of American History wheeled in the stars of Wednesday’s dedication ceremony. Almost-forgotten characters like Sam and Yorick were donated by Jane Henson in the hopes of preservation and to re-introduce them the world.

But the real star this day was the very first Kermit, a not-quite-frog-yet puppet made from – as I’m sure we all know how the legend goes – Jim’s mother’s discarded coat and a set of ping pong balls that Jim made himself. In the pre-worskhop days in Washington, D.C. Jim made nine out of the ten characters from Sam & Friends that were donated while still in his teens, Mushmellon being the only one that Jane built. The dedicated puppets also included Harry the Hipster, Professor Madcliffe, Moldy Hay, Icky Gunk, Chicken Liver and Pierre the French Rat. Pierre was one of Jim’s first puppets, whose life began as a comic strip character for his school newspaper, and is the oldest surviving Muppet. If Longhorn and Shorthorn ever surfaced they might duke it out for the title of “Eldest Henson Creature,” but that doesn’t seem likely to happen.

The program began with Museum Director Dr. Brent Glass stating that the Smithsonian is in the “Forever Business” and that the museum’s goal is to tell the story of America, and while Sam & Friends has local importance since it ran on Washington, D.C.’s WRC-TV from 1955 until 1961, they were honored to welcome Kermit and his associates into their collection to highlight the Muppets’ international importance. The Muppets showcase a sense of fun that not many dedications encapsulate, while still being a serious entity when considering the educational value they provide to children all over the world. From an idea that started nearly a decade ago, the museum’s staff was beaming with pride to say, as Curator Dwight Bowers put it, “Welcome home, guys!”

Bowers, who grew up in D.C. and was an avid fan of Sam & Friends, talked about how he would memorize the Muppets’ routines and reenact them for family members and friends when they would visit at the drop of a hat – whether they wanted him to or not. But he wasn’t the only one excited about the dedication. Also on hand for the ceremony were: Bonnie Erickson, builder of many famous Muppets and former Muppet Workshop Head; Arthur Novell, Executive Director of The Jim Henson Legacy; Karen Falk Archivist for The Jim Henson Company; Al Gottesman, President of The Jim Henson Legacy; and Willard Scott, who has worked in Washington for years and is old friends with Jane from their days together at WRC-TV. In fact, in his remarks, Scott mentioned an early show he did with Jim called Barn Party, which broadcast in 1953 on Saturday mornings. It featured Scott as Farmer Willard; Betsy Stelck, who would wave her wand to begin the cartoons; and Jim providing assistance in some unknown capacity, most likely puppeteering.

After signing the dedication papers, Jane took the podium and spoke of how pleased Sam, Kermit and all their friends were to be there. She said that Jim would have been pleased that this was where they ended up, and she hopes that more Muppets will eventually join the collection. She wants everyone to get to know these early characters and can think of no better place for them. These puppets are joining a long line of Smithsonian puppets, including Howdy Doody, Muppet Show and Muppet Movie guest star Charlie McCarthy, and a certain grouchy fellow they may recognize as a distant relative named “Oscar.” There is another Kermit the Frog puppet donated by Sesame Street in 1979 already on display on the 3^rd Floor Pop Culture Gallery where the Sam & Friends puppets will go on display in November 2010. This will no doubt draw attention from the 4.2 million visitors the Smithsonian’s National Museum of American History welcomes every year, and you may be next to another long-time admirer if you decide to visit. When asked if she’ll be in to see them, Jane Henson replied, “Oh, sure.”

UPDATE: We now have video of the event!  Take a look below at the entire presentation:

Matt also provided us with lots of great pictures of the event.  In addition to the pictures above, here are a few of the puppets, Jane, and Willard:

Thanks again to Matt Wilkie for all his great work!  And thanks to Joy Tanenbaum for her additional reporting and to Laura Duff for helping to organize the event!

Click here to profess your love for Moldy Hay on the ToughPigs forum!

by Matt Wilkie (with Joy Tanenbaum and Joe Hennes)

The good news is that all of your Snow White-related questions are finally answered in the final chapter of Muppet Snow White, due in stores this Wednesday, August 25!  The bad news is this marks the end of the fantastic Muppet Snow White miniseries.

In this final issue, everyone and their banana-nosed mother takes a shot at the unconscious Snow White (though I’m not convinced that waking her is at the top of everyone’s priorities).  Meanwhile, Kermit and Piggy share some turbulent flirtations, the 4th wall is pulverized, and monsters, monsters, monsters!

Throughout the whole miniseries, writer Jesse Blaze Snider provided us with one of the most fun Muppet stories we’ve seen from the comic books yet.  He realized that the secret to a good Muppet adaptation is to remember that the Muppets rarely actually put on a successful show.  And through their failures come hilarity.  And through that hilarity comes that classic Muppet feel.  Beyond that, he successfully avoided bad puns (which have their time and place, though they’ve been so overused in the last few years) and proved that he understands how a Muppet story works, especially in the way the story wraps up.  The downside is that this issue lacks a bit in terms of story, but chances are you won’t even notice.  If the Muppet Show was still on, I wouldn’t be surprised if their version of Snow White would turn out just like this comic.

Shelli Paroline has grown leaps and bounds as an artist since her stint on The Muppet Show Comic Book #0.  She continues to find that perfect mix of recognizable characters with her own quirky style.  She managed to squeeze in a slew of fan-favorite and obscure characters, and she gave us what might be my favorite two pages of Muppet comic art so far (look for the reveal right after Big Mean Carl’s appearance… you can’t miss it).  BOOM Studios has continually been building a strong cache of illustrators, and I’m torn as to who I want to see on the next miniseries.

With the talent we’ve been seeing lately, maybe it’s time for BOOM to start publishing a third series?  (Hey, it’s worth a try!)

Muppet Snow White was the greatest book published by BOOM Studios all year.  From the pitch-perfect writing, the funny gags, the stylish art, and the patented Muppet sensibility, Muppet Snow White makes me proud to be a Muppet fan and happy to have had the opportunity to enjoy it over the past few months.  But I’m also saddened to see it end, and I hope there’s another one just like it right around the corner.  Only time will tell if next month’s Muppet Sherlock Holmes will provide some healthy competition!

Click here to live happily ever after on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

Because of the sheer magnitude of questions we got, we were forced to edit a few out.  So if your question didn’t get answered, please feel free to re-send it to us for the next Ask ToughPigs segment!

And also because of that magnitude thing, we decided to split the videos into two.  So in the first video below, you’ll get our regular Q&A, and below that is a special bonus Q&A in which we answer one Muppet Show-related question at length.

In case you missed it, click here to watch the first Ask ToughPigs video!

(direct link)

(direct link)

Many thanks to everyone who submitted questions!  And keep an eye out for our next call for submissions!  And double thanks to Dave Hulteen for making that amazing intro!

Click here to use up all your question marks on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

But that’s not the only thing worth visiting your local comic book store for this Wednesday.  The Muppet Show Comic Book #9 will also be there waiting for you!  Click here to check out our 5-page preview of TMS #9!

And as always, give the images below a click to see them larger than life!

Click here to lock lips with a comatose pig on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

The slightly less scary news is that The Muppet Show Comic Book #9 isn’t the only thing worth buying this Wednesday.  The final issue of Muppet Snow White is also in stores!  Click here to check out our 5-page preview of Muppet Snow White #4!

Both comics will be in stores this Wednesday, August 25!  And remember to give the images below a click to see them in their full glory!

Click here to be creepy, kooky, and positively ooky on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

1. Super Grover 2.0 – Seriously, how can you not be excited about an amped-up, regularly-occurring Super Grover segment?  And he’s cute too!

2. True Mud – This year’s “True Mud” will be the new “Mad Men“.  And if it doesn’t include appearances by both Oscar and The Count, someone will pay.  Oh yes, they will pay.

3. Music Magic – Elmo finds Abby’s magic wand and does a little “Once More With Feeling” on the Sesame Street cast.  Another acceptable pop culture reference: That one episode of Scrubs with Stephanie D’Abruzzo.

4. The Furry Four – Telly, Abby, and Elmo emulate the first super-family (or a disappointing film franchise).  It’s bound to be the best Marvel Comics parody until…

5. Ironing Monster – Y’see, he’s like Iron Man, but with an iron for a head!  Comedy gold!

6. Rakhi Road – Chris and the Muppets bring a slice of India to Sesame Street for Leela, and then everyone does a Slumdog Millionaire dance (thankfully, they’ll be skipping the cattle prods scene).

7. The flying Snuffleupagus – In the episode “Up in the Air”, Abby disproves everything Isaac Newton worked for by turning off gravity, teaching Big Bird and Snuffy about what keeps us on the ground.  You will believe a Snuffleupagus can fly!

8. iSesame – Sesame Workshop sticks it to Apple by giving Telly Monster an iPogo Stick, which ends up being overpriced and disappointing.  Who says Sesame Street doesn’t teach kids real-life lessons??

9. Sesame Street goes up to 11 – Michael McKean guest stars as a David St. Hubbins-esque character who brings a bit of Spinal Tap to the Street.

10. It’s Raining Cookies – Hallelujah!  This might be Cookie Monster’s best song since he left his cookie at the disco.

11-40. Celebrities – Okay, so it’s a bit of a cheat, but 41 is a big number!  And these celebs are worth exaggerating about:

Jim Parsons
Reggie Bush
Katy Perry
Ryan Reynolds
Sherri Shepherd
Idina Menzel
Taye Diggs
Amy Poehler
Jason Bateman
Ty Burrell
Wanda Sykes
Alton Brown
Colin Farrell
Kara DioGuardi
Jude Law
Rebecca Romijn
Terrence Howard
Chris O’Donnell
Jennifer Garner
Julie Bowen
Ellen Pompeo
Anna Faris
LaDainian Tomlinson
Usher
Rachel Griffiths
Natalie Morales
Samantha Harris
Zoe Saldana
Kyra Sedgwick
Michael McKean

41. Video previews – Check out videos of some of the above highlights and more on Sesame Workshop’s press page!

Click here to look forward to Sesame’s early 40s on the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com