The Bullwinkle Show

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I think one of the reasons Rocky and Bullwinkle still holds up is that when we watched it as kids, we probably weren’t getting half the jokes! The kids got a flying squirrel, a goofy moose and Boris and Natasha constantly trying to cause trouble, while the adults were getting political satire, pop-culture references and some pretty clever wordplay.

The show actually started in 1959 as Rocky and His Friends before moving to NBC in 1961 and becoming The Bullwinkle Show. What surprised me was how much talent was packed into those voices. Bill Scott, who played Bullwinkle, was also the show’s head writer and co-producer. June Foray voiced both Rocky and Natasha, Paul Frees played Boris, and that great narrator’s voice belonged to William Conrad, who many of us later knew as Cannon.

Here’s another one I didn’t know: Bullwinkle’s name reportedly came from a real person, Clarence Bullwinkel, who owned a car dealership near Berkeley and was known by creator Alex Anderson.

And despite how simple the animation sometimes looked, that almost became part of the charm. A lot of the animation work was done in Mexico to keep production costs down, while the writing remained incredibly sharp.

I went back to these cartoons expecting pure childhood nostalgia, but they’re actually funnier when you’re old enough to understand what the writers were sneaking past us!

Rocky and Bullwinkle

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Rocky and Bullwinkle was one of those cartoons that worked on two levels. Kids saw a flying squirrel, a goofy moose, spies, fairy tales, and silly adventures. Adults heard the puns, political jokes, Cold War humor, and smart little digs that went right over a lot of kids’ heads.

The show began in 1959 as Rocky and His Friends on ABC, then moved to NBC in 1961 as The Bullwinkle Show. Rocky was Rocket J. Squirrel, the brave flying squirrel, and Bullwinkle J. Moose was his well-meaning but not always brilliant best friend from Frostbite Falls, Minnesota. The show originally ran until 1964, with reruns continuing for years, including ABC Sunday mornings into the early 1970s.

What made it different was the variety-show style. You did not just get Rocky and Bullwinkle fighting Boris Badenov and Natasha Fatale. You also got Fractured Fairy Tales, Peabody’s Improbable History with Mr. Peabody and Sherman, Aesop and Son, Dudley Do-Right, Bullwinkle’s Corner, and all those cliffhanger endings with ridiculous titles.

The animation was not fancy, even for its time, but the writing was the real star. Jay Ward and Bill Scott leaned into wordplay, satire, narrator jokes, and absurd situations. That is why Rocky and Bullwinkle still feels different from a lot of old cartoons. It was funny for kids, but it was also sneaky smart for the adults in the room. UCLA’s Hammer Museum called the series a “rare gem” and credited its wit to the Jay Ward team, including Bill Scott, June Foray, and the show’s writers and animators.

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