The Cleveland Show aired from September 2007-? on FOX.
In this spinoff from Family Guy, everyone's favorite soft-spoken neighbor CLEVELAND BROWN ( voice of Mike Henry)moved to his hometown in Virginia with his 14-year old son, CLEVELAND JR ( Kevin Michael Richardson). Many years ago, Cleveland was a high school student madly in love with a beautiful girl named DONNA ( Sanna Lathan). Much to his dismay, his love went unrequited, and Donna wound up marrying another man. Cleveland once told Donna he would always love her, and if this man ever done her wrong, he'd be there when she called. Well, this man done her wrong.
Donna's husband ran off, leaving Donna with a teenaged daughter and young son. Now she was open to Cleveland and offered him another chance at love. Unattached after the Loretta-Quagmire debacle and true to his word, Cleveland joyously united with Donna, and he and CLEVELAND JR. moved to Virginia to join their new family -- a rebellious new stepdaughter, ROBERTA ( Nia Long and later Reagan Gomez-Preston), a 5-year old stepson who loves the ladies, RALLO ( Mike Henry), and a collection of neighbors that included a loudmouth redneck, LESTER ( Kevin Michael Richardson), a hipster wanna-be, HOLT ( Jason Sudeikis), and a family of talking bears: TIM ( Seth MacFarlane) and his wife ARIANNA ( Arianna Huffington).
A Review from Variety
The Cleveland Show
(Series -- Fox, Sun. Sept. 27, 8:30 p.m. )
By BRIAN LOWRY
.
Produced by Persons Unknown Prods., Happy Jack Prods. and Fuzzy Door Prods. in association with 20th Century Fox Television. Executive producers, Seth MacFarlane, Mike Henry, Rich Appel; co-executive producer, Kirker Butler; producers, Jonathan Green, Gabe Miller, Kara Vallow; animation producer, Brandi Young; supervising directors, Anthony Lioi, Albert Calleros; director, Lioi; writers, MacFarlane, Appel, Henry.
Voices:
Cleveland Brown, Rallo, others - Mike Henry
Donna - Sanaa Lathan
Roberta - Reagan Gomez-Preston
Lester, Cleveland Jr. - Kevin Michael Richardson
Tim - Seth MacFarlane
Seth MacFarlane has won a loyal following among young guys by mixing satire of family sitcoms with wild, rapid-fire non sequiturs -- the latter made possible by the wonders of animation. Spun off from "Family Guy," "The Cleveland Show" is completely of a piece with his earlier efforts -- employing a volume-over-quality strategy that assumes if you're not laughing now, rest easy, another gag will be along momentarily. It's an acquired taste, but in fundamental commercial terms, it ought to fit right in with Fox's animation block.
"Cleveland" does broaden the MacFarlane franchise in two ways: First, it's set in the South (Stoolbend, Va., to be precise), picking up redneck jokes where "King of the Hill" left off; and its hero Cleveland Brown is an African-American, though he's voiced by a white guy (Mike Henry, who co-created the show with McFarlane and Rich Appel), which might seem more outlandish if this cartoon weren't so, er, cartoonish.
In the premiere, Cleveland takes off with his son Cleveland Jr. for California. On the way, they take a detour into Virginia, where he promptly reconnects with an old high-school flame (Sanaa Lathan), who has two surly kids.
Voila, Cleveland has his own instant blended family, which includes stepson Rallo (also Henry), whose afro is bigger than the rest of him; and teenage Roberta (Reagan Gomez-Preston), who in the second episode Cleveland has to accompany to a father-daughter dance.
The rudimentary plots, however, are secondary to the madcap flourishes, which are hit and miss. OK, it's kind of funny in the second half-hour to hear Cleveland Jr. describe his first day at school as "terrible -- worse than an ABC comedy," or a nasty potshot at Jennifer Aniston's love life. But then there's a ridiculous spoof of Halle Berry's Oscar acceptance speech with no discernible rhyme or reason to it. Oh yeah, and one neighbor is a talking bear with a Russian (I think) accent, presumably because the dog talks in "Family Guy" so, well, why not?
For those who buy into the MacFarlane formula -- a running commentary on all things pop culture, complete with naughty jokes that play off double entendres like "Cleveland Jr." -- this is all riotous fun. For the rest of us, it's a bit like Dane Cook's stand-up act -- a reminder that what tickles current teens and twentysomethings is often markedly different from the satirical material that amused their parents.
Much like "Family Guy," "The Cleveland Show's" best attribute is actually its cheeky, catchy, wryly nostalgic opening theme. As for the three-episode preview that followed, watching those felt a little bit like running into a talking bear.
Music, Walter Murphy; editor, Kirk Benson; casting, Linda Lamontagne. RUNNING TIME: 30 MIN.
A Review from the LA Times
TELEVISION REVIEW
September 26, 2009
|MARY McNAMARA, TELEVISION CRITIC
The folks behind "Family Guy" have been saying some of the most alarming things. Like "sweet and funny" and "sense of family." They are using these words to describe "The Cleveland Show," a "Family Guy" spinoff that premieres Sunday night.
Coming from Seth MacFarlane's crew, such descriptions are like tiny time bombs disguised as rubber ducks, or festively wrapped birthday gifts filled with fake vomit and itching powder. Because while executive producer Rich Appel may be sincere when he says "The Cleveland Show" is "kinder and gentler" than its predecessor, he is working from the same warped palette that gave us Stewie, the erudite and profane baby who most recently beat his dog to a bloody pulp for laughs on the Emmy broadcast last Sunday.
So while "kinder and gentler" may squeeze through the door -- in an early episode of "The Cleveland Show," a dog is also killed, but humanely, by a car -- sweet ain't going to make it. Because "sweet" isn't, at least in the current vernacular, synonymous for scatological. Or sophomoric. Or surprisingly slow. All of which "The Cleveland Show" most certainly is.
Following his divorce, Cleveland Brown (voiced by "Family Guy" producer Mike Henry) announces to his friends on "Family Guy" that he is taking his son, Cleveland Jr., and heading west to become a minor league baseball scout. But first he makes a stop in his hometown of Stoolbend, Va. There Cleveland gets sidetracked by his high school sweetheart, Donna (Sanaa Lathan), now divorced from the man she chose over Cleveland. Before long, Cleveland and his son have moved in with Donna, her teenage daughter, Roberta (Reagan Gomez-Preston), and 5-year-old son, Rallo (also Henry), who is a foul-mouthed stand-in for Stewie, channeling blaxploitation films rather than a British accent.
There's a crazy hillbilly neighbor on one side and, on the other, a couple of Germanic bears (the male is voiced by MacFarlane, the female by Arianna Huffington, and I don't even know what to say about this).
No one is safe from ridicule. Not Cleveland, who sounds just like a white guy voicing a black guy (because that's what he is) and spends way more time naked than any cartoon human should. Not Cleveland Jr., who is heavy and therefore stupid. Not Donna, who is so desperate for a man she'll take Cleveland. And certainly not Kathleen Turner, who turns up in a randomly mean aside. Even Kurt Cobain is resurrected in order to make fun of Courtney Love (is anyone else even still talking about Courtney Love?).
"The Cleveland Show" follows a more typical plot formula than "Family Guy" -- a problem arises, messes are made solving the problem, but in the end things seem to be better than before. Jokes about genitalia and pedophilia, about sex and urine and marijuana use abound, none of them funny enough to remember mere moments after they have been made. An extended riff about "playing with Cleveland Jr." as well as a sight gag involving a possum that attaches itself to Cleveland's crotch do linger, however, and much longer than they should, but humor is, alas, not the reason.
For those who love and admire "Family Guy," "The Cleveland Show" offers another version, slightly watered down and, at least it seems to someone who has seen but does not regularly watch "Family Guy," much less smart.
In trying to infuse their trademark raunchy and outrageous humor with something approximating family values, Appel and his team have wound up with something that is neither fish nor fowl. "The Cleveland Show" is neither sweet nor particularly funny, neither a family comedy nor a true satire.
A Review from The Washington Post
Tom Shales On TV: Fox's 'Cleveland Show' Is a Cartoon Blight
The Cleveland Show: Sun., Sept. 27, 8:30 p.m.
The "Family Guy" spinoff follows soft-spoken Cleveland Brown as he and his son move back to his Virginia hometown.Video by Fox
By Tom Shales
Washington Post Staff Writer
Tuesday, September 29, 2009
Seth MacFarlane, the Hollywood trade papers say, has a deal with Twentieth Century Fox worth $100 million over the next few years. If you want to see why he is prized so highly, and what it takes to strike it rich in today's Hollywood, check out the cheap smut, sexual innuendo and scatological humor in "The Cleveland Show," a spinoff from MacFarlane's painfully similar animated half-hour "Family Guy." Both of them air on the Fox network.
The hypocritical myth about these shows is that they're cartoons for adults, sophisticated animation to attract discriminating grown-ups. Ha-ha. Cartoons, if aired at an hour when they are easily accessible (and these shows air before 9 p.m.), always attract children. MacFarlane's leaden efforts are no exception.
Not for nothing did a promo for "The Cleveland Show" air during the TBS screening of "The Wizard of Oz" Sunday night. Likenesses of "Family Guy" characters are licensed for merchandise much as the Peanuts characters or SpongeBob SquarePants are. "SpongeBob" has adult references and can easily keep an adult entertained, but it isn't homogenized filth. It doesn't traffic in kiddie smut.
MacFarlane has found a niche and, in good American fashion, is trying to exploit it to death -- dirty jokes for kids that they can repeat on the playground and at recess. As paths to riches go, the one MacFarlane has chosen is pretty low.
"The Cleveland Show," which premiered Sunday, spins off a character named Cleveland Brown from the "Family Guy" cast. In the debut episode, Cleveland hit the road for California with his son, Cleveland Jr. Asked if there were anything he'd like to see before leaving, Cleveland replied that he'd like to see two neighborhood housewives "kiss each other just once." They not only obliged but were soon going at it on the living room sofa.
No nudity, just heavy petting.
Cleveland is African American, which needs to be mentioned here because the other characters in the show never seem to stop mentioning it. "Bye, chocolate people," says "Family Guy's" precocious psychotic child, Stewie, who has a head shaped like a football and dreams of world domination. Peter, the Family Guy himself, responds to Cleveland's tears upon saying farewell with, "I've never seen a black guy cry before, I always thought you guys just got more pissed off."
That one's so witty, it's repeated later.
In the new neighborhood where Cleveland takes residence, one man says, "Well, we got a black president, it's about time we had a black neighbor." The humor doesn't necessarily promote racial stereotypes, but whenever a crude joke can be made out of it, Cleveland's race is mentioned -- over and over, in scene after scene. The message that young viewers receive is that racial minorities are different, separate, apart from the norm.
Cleveland and his son end up in the Virginia town of Stoolbend, where Cleveland grew up and where he now takes up a neglected romance with Donna, his high school sweetheart. In a flashback to the 1984 prom, the school cool guy asks Donna to show off her "nice fat a--" to his buddies. Donna enters a ladies' restroom to find a man there posing as a toilet. Cleveland admits he spied on her naked when they were young.
It goes on and on, with jokes that mention or refer to "genital mutilation," masturbation, erections, a specific coital position and testicular cancer, described as "nature's vasectomy." A pet dog is run over by a car and killed, and is later eaten for dinner by a family of rednecks. When the head of that family leaves the other members in a truck while he does an errand, he cautions them "no sodomy" before he departs.
One of the strangest things about these MacFarlane shows are the mean-spirited "cultural references," all of them shoehorned in as asides and rarely having anything to do with the plot or characters. In one on the first episode, Dolly Parton is pictured as an infant -- a baby with huge breasts too big for her highchair. Ron Howard movies and Jennifer Aniston get nasty pokes in the second show. In the pilot, Kathleen Turner was ridiculed for being overweight; she was shown getting the role of fat Babe Ruth in a movie.
Cleveland tells his son that "gays are smart" and offers as proof the fact that Gene Hackman has memorized so many lines for all the movies he's been in. Huh? What? Perhaps the most offensive example of name-dropping: the talking bear who lives near Donna says things like "May the peace of Jesus Christ be with you." It's hard to tell if this is mocking religion generally, Jesus particularly or bears pointlessly.
With the rise of cable, television became safe for irreverent humor, and some of it has been refreshingly audacious -- a reaction to years and years of sanitized sitcoms on the networks. But merely toppling taboos doesn't take talent or intelligence, two things that Seth MacFarlane appears to have made a fortune by lacking. He's no better than the dirty old man hanging around playgrounds with naughty pictures or risque jokes as lures.
Trafficking in bad taste or soft-core smut has become a very easy thing to defend, because whenever you're attacked, you simply call the attacker a fuddy-duddy or a prude. You don't really have to be a reactionary to find MacFarlane's comedy revolting, or to see his "art" as the mass-media equivalent of peddling smut to kids, do you? If so, then maybe there are worse things to be called. It's certainly worth the risk.
A Review from The New Republic
Just a Cartoon, But Still: Is Family Guy in Blackface Funny?
by John McWhorter
* October 13, 2009 | 12:50 pm
To strike a note I generally avoid, I am offended. And by a cartoon. Has anybody noticed what a patronizing mess Seth MacFarlane’s new The Cleveland Show is?
Cleveland is the pudgy, mild-mannered drawling pal of Family Guy’s Peter Griffin, who now has, in the parlance of the grand old days of the seventies television spinoff, “his own show.” And indeed, the whole notion of the show is in quotation marks in a sense. The premise, for example, is willfully as hokey as those of the old-time spinoffs (“Mary’s friend Phyliss moves to San Francisco to live with her ex-husband’s parents ...”).
Cleveland stops off in his hometown and ends up marrying his old crush, fortuitously available and interested. Meanwhile he is reconnected to his son, a hyperkinetic tot in a few early episodes of Family Guy who mysteriously disappeared (presumably taken by his first wife Loretta when they divorced in Season Four), who is now for some reason an obese, bespectacled, socially inept Rain Man-ish adolescent. The theme song with words – itself a winky gesture today – is inspired musically by the Diff’rent Strokes theme song, placing us in the seventies mindset. Okay, I get the joke so far.
But the show itself is dishwater, and part of the reason is Cleveland. A Type B Droopy-Doggish fellow, he’s no lead. Like most subsidiary characters in sitcoms, he was used perfectly as someone on the sidelines saying funny things here and there and serving as a plot device. Watching the early appearances of the characters who spun off from All in the Family, Beatrice Arthur’s Maude and Sherman Hemsley’s George Jefferson, they already had such presence that it’s almost hard to believe today that they ever didn’t have their own shows. A show built around Cleveland is as if The Jeffersons had been about Weezy leaving George in Queens and striking out on her own. “The Weezy Show” is a dorm room joke – as is “The Cleveland Show.”
Now – and here is where my irritation starts coming in – just maybe this could have worked out if MacFarlane and company had gone to the trouble of creating an interesting new world for Cleveland. Mary’s friend Rhoda, for example, did not take a job at a radio station with a grouchy boss and a vainglorious announcer – the show, recently released on DVD, worked rather well because the character was situated in a completely different life than Mary Richards’. Or, the geneaology of the spinoff traces back to the radio show Fibber McGee and Molly, which in the forties spun off The Great Gildersleeve and Beulah, a show about the McGees' black maid – as it happens, played like Cleveland by a white man. Both shows were hits – partly because neither aped the parent show at all.
Cleveland, however, has been plunked into a virtual blow-by-blow reproduction of Peter Griffin’s situation in Quahog. The bloated, goofy son is a Chris Griffin retread. The randy, hyperarticulate toddler, an especially shameless retread, is a dusky Stewie. The hillbilly neighbor (white, for the record) is a stand-in for sex addict neighbor Quagmire. The low-key Every-hombre Latino immigrant neighbor who happens to be a bear and yet is casually treated like a person is perhaps the funniest thing on the show – or would be if we hadn’t been enjoying the exact same bit from Family Guy’s dog Brian for ten years now.
And then Cleveland’s new wife barely has an identifiable personality, and differs from Lois Griffin largely in having a big butt. The show is basically Family Guy in blackface – and what isn’t black in it is so shamelessly ripped off from Family Guy that it’s hard to believe it’s the product of creators who are usually so studiously “post-” obvious stunts of the sort. It feels like something Family Guy itself would venture in one of their ironic cutaways, in which case it would have been a choice one. But this is intended as a franchise that will run for years, stacking up something like 200 episodes and running endlessly in syndication. In which case the joke will wear off, and in fact, by my lights, become irritating.
The question is: would the Family Guy people create a show where a white supporting character – say, paraplegic Joe voiced superbly by Patrick Warburton -- moves to another town and settles in with retreads of the Family Guy characters? No – it’d be seen as folly to let that get beyond a conversation over beers. The reason it felt right to pull this with The Cleveland Show is because of a sense that blackness is so much a “thing,” so diverting in itself, that painting the Family Guy people brown makes artistic and commercial sense.
And there was a time when it did – but it was a time we’re all happy to be past. The Cleveland Show is reminiscent of all-black productions of musicals in the old days such as the Hello, Dolly! with Pearl Bailey. The underlying notion was that because you couldn’t cast a black performer in a non-black role in a mainstream production, it made theatrical sense to concoct an occasion for there to be a black Dolly, a black Horace Vandergelder, a black Barnaby singing “It Only Takes a Moment.” What mattered was not the particulars of the performances – the names of the performers in these all-black mock-ups, other than the superstar leads, were quickly forgotten – but the fact that black people were doing them at all.
That was the best they could do back then. Today, that isn’t true. Popular culture is long past black characters held up as a genuflective novelty in their brown skin alone, à la Franklin in the Peanuts comic strip or even Homer Simpson’s drinking buddy “Carl,” with a dopey white working-class voice, and “black” only in tint, as a gesture of diversity 1989-style. Even Cleveland is a character of our own times in that the voice the white Mike Henry gives him is indeed one with a distinct and believable black American cadence, and on Family Guy he has been portrayed as a culturally black man in various ways.
But The Cleveland Show negates this up-to-date portrait of blackness, in that although the black characters are identifiably black in cadence and assorted cultural decorations here and there, no one saw fit to bother to make them interesting – as if the blackness alone was enough. If Family Guy’s troglodytic son Chris is a classic character as the result of a once-in-a-lifetime synergy between the artwork and Seth Green’s vocal performance, then the same character with brown skin and a few adjustments is automatically lame – he’s an instant old joke, like David Brent in the British The Office episode hoping to score with a comedy club audience by dressing as Austin Powers. The five-year-old making strangely knowing comments about sex isn’t funny when Stewie has been doing it forever. I sense that we’re supposed to think it’s funny because he’s doing it with a black accent and a black face. But is “black” so exotic in 2009 that years’ run of a whole show can be based on this sniggering “Hey, they’re black!” take on race?
To wit, Pearl Bailey’s Hello, Dolly! made sense in an America just a step or two past Jim Crow. Today, if The Little Mermaid’s sales started dropping on Broadway, the producers wouldn’t dream of trying an all-black cast (say, with Brandy in the lead). Imagine what a condescending take on blackness that would constitute, as if an all-black cast is somehow “something,” even if performing a show that has nothing to with blackness and gains nothing from being infused with it – especially when the show as it is includes two black leads.
“We can dress as you, but you can’t dress as us!” Cleveland objects when a character walks on dressed and made up as him – with this kind of thing the creators of The Cleveland Show think of themselves as ahead of the curve with the winkiness of it all, as if we are so past the conversation on race that we can just relax and make fun of it.
Which is true to a point. But reproducing a white show with black faces and voices (and sometimes butts) and presenting it as viable weekly entertainment of long-term standing? This is not ahead of the curve, it’s retrograde.
Seth MacFarlane and company are capable of so much better that it’s painful watching them put so much energy into a tired, reductive joke not worthy of their usual artistry. Mr. MacFarlane, just bring Cleveland home. I’ll be interested to see what funny explanation you and the writers come up with to get rid of his “new family” -- and maybe even let Cleveland bring the bear with him to serve as a springboard for some jolly irony in the relationship between him and Brian. But The Cleveland Show isn’t “lame” – it’s just lame, and worse.
An Interview with Kevin Michael Richardson from Eclipse Magazine
The Cleveland Show’s Kevin Michael Richardson Speaks with Michelle!
Posted by Michelle Alexandria on July 21, 2010 ·
in Hollywood Insider,Television
Today, I had a fun talk with The Cleveland Show’s Kevin Michael Richardson. For those that don’t know KMR is quite the industry veteran voice actor, he plays 13 different voices on the Fox Television show including Cleveland, Jr. and he’s won two Emmy’s for his voice work as The Joker in the recent animated series The Batman. He’s going to be at Comic Con this week partaking in panels for The Cleveland Show and the upcoming movie The Penguins of Madagascar. We spent the first 10 minutes of the call just shooting the shit about life and stuff before we got into the guts of the interview.
It’s times like this when I really wish there was an App that would let me record phone conversations. Because it’s always difficult to cut my long winded questions down for these transcripts, plus you don’t get the good give and take. I was honest with Kevin and told him I never watched the show, but after this interview I’m now a convert.
So, The Cleveland Show?
I’m glad we came back they picked us up for a 3rd season. It shows Fox really believes in the show and we’re really jazzed about the show in confidence the Network showed us. We went gangbusters with all of our table reads and are having a lot of fun now that we know we’re going to be here for awhile.
How Did You Come Up with the Voice for Cleveland, Jr.?
I worked with The Family Guy and Seth McFarland and I had no idea that Mike Henry (who is white) was the voice of Cleveland. I thought he was some Fox Executive who was just always hanging around the set. I originally auditioned for Lester the Redneck Neighbor and there was no thought of me doing Cleveland, Jr. Seth said think of a young version of Cleveland. I once played a mentally challenged character on ER years ago and that’s the voice I ended up using.
How difficult is it to come up with an original voice?
It took about 20 minutes to a half hour before I came up with a voice that really worked. It’s can be difficult to create an original voice, especially if you have an idea of what they really sound like and the producers disagree. If you go to a voice audition and there’s more than one person there and you do a character that is supposed to be funny and the audience is laughing that’s a good sign. Also if you are having fun doing it, it makes it really enjoyable.
One of my big peeves with American animated films is that at some point it went away from having unknown actors with distinct voices to relying heavily on big name Hollywood actors who don’t even seem to try and change their voices or bring something to their animated characters?
Oh, man do you have a couple of hours? I agree with you about the idea of using named actors in animated projects. I remember saying to a producer once that it was unfair to professional voice actors to use a big name star. I asked them why don’t they make great voice actors like like Frank Welker (original voice of Fred in Scooby Doo) who did Curious George, or Jim Cummings who did Winnie The Poo household names, instead of hiring mainstream actors? It’s unfair to the people who have been doing this for years.
Kids usually don’t care who is going to be playing the voices in major animated films. Some can bring it and some can’t. Eddie Murphy who is a great voice actor, because he uses his personality to sell his animated characters. I would also blame the directors who don’t bring out the characters in some of these films. I do my best to try and change it up.
What’s it Like Working on The Cleveland Show?
It’s a lot of fun and a lot of work. We do 2 weeks on and 2 weeks off where we do a Table Read and then a Record. We usually have the Read in front of the network executives and sometimes it’s a little nerve racking when I have to do 13 different voices but it’s fun.
How do you keep the voices straight in your head?
Insanity. I have to rehearse at home and practice a lot.
Is it materially different working as a Voice Actor vs. Live Acting?
Number one you don’t have to memorize your lines. You are reading your script. It’s 50/50 if you record alone or if you work with a cast member. When you are alone you really have to be conscious of what you are doing. You rarely have to wash (he’s kiding people). It is very casual and relaxed. Sometimes it’s easier to work with others. On camera there’s a lot more pressure and you have to be physically and mentally present.
Are there Any Rivalries between your crew and the Simpsons folks? Do you guys have knife fights?
(laughs) We get along pretty well and god bless em for getting paid, it helps us all out. Seth and Matt are friendly with each other and I’ve seen them hang out at events like Comic Con and the Upfronts.
What’s it like playing such an Iconic Character like The Joker?
The Joker has to be one of my favorite characters, because there are no limits to him. I’ve been doing him for 4 1/2 years. I loved his highs and lows.
What was your first reaction when you read him?
I was coming home from a long day on the set of a TV Show I was doing and I stopped by my agents office, out of the blue they asked me to read for The Joker. I said I thought this was Mark Hamill’s (A friend of Kevins’)part. They told me this was for a totally different Joker and Batman series. At the time I read it, I was so frustrated and annoyed that I let it all out during the reading. I didn’t think anything else about it, until a few days later when they said they loved what I did.
Did Mark give you any pointers?
(laughs) Mark didn’t verbally say it, but he said it with his eyes that his was still better…
We lost track of time and the clock ran out on us, but I’m going to try and get him back in a few weeks, maybe by then I’ll finally have the EM Radio show up and running.
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