Everyone really was replicated at the end of "Snatch".
I've noticed that the episode "Girl Hair" seemed to be the place where the series seemed to fully lose it, started to focus less on the interviews/guests and became more random, and whatever cohesion it had seemed to disappear. In the previous episode, the episode was invaded by replicating pods and the end of the episode ended just as the pods opened up and appeared to be about to replicate them. So perhaps they really were replicated, and the reason the show lost it's shit so much was because the characters we're watching are completely different characters.
The cast keeps getting high and drunk as the show went on.
The show was fairly tame in the beginning, and the characters were even close in personality to their old counterparts. The pressure of doing the show and trying to be funny got to them, and finally they started drinking in order to loosen up before the show. By the end of the show it got to the point where they drank and did drugs on the show.
Moltar's true face is a horribly mangled, burned, skeletal face.
Like a cross between Kabal's true face
and Francine's horrible damaged face
◊.- That's actually unknown even on the original show. While the guys on this show were quick to call him a molten man, in his original cartoons, he's the maker of the molten men, never once actually being mentioned as one himself. He may be something even scarier....
, and then [as] Un-Canceled Toonami. And then there's Toonami, the block responsible for the final wave of The Japanese Invasion and thus the love many of the Millennial generation have for Anime, which began with Moltar as its host before TOM was created and took over. Note how this is all the things (aside from endless time-filling reruns of Scooby-Doo) that were most important before the Network Decay. Now, Space Ghost Coast to Coast is, or at least ended up as, a rather surreal show, but at least most of the Cartoon Cartoons were at least internally coherent, and Toonami was amazing for the specific reason that it was so thoroughly coherent that it came as close to the border of the Animation Age Ghetto as the network censors would allow and certainly transcended far past the comedy genre. Thus all that's good with CN is the descendants of Space Ghost, and all that is evil was brought about by the God of Evil Stuart "Satan" Snyder.- That's an interpretation but one that only holds up for part of the older fanbase of the Network. It seems that side forgets the other who had been there in the 90s wasn't thrilled with the Samples direction anymore than the others weren't thrilled with Snyder.
This show and it's spinoffs are the Alternate Universe where the Great Gazoo's invention failed and just made everyone go crazy
It was supposed to blow up the universe instead it made everyone lose their damn minds. Regarding the Dokarian (giant alien mantis) audience sometimes shown in the theater:
Possible reasons for the audience comprising entirely of Zorak's species:- They are fellow criminals, as evil and sadism are commonplace among Dokarians. Much like Statler and Waldorf, their punishment is being forced to sit through a subpar show every single night. Zorak has the slightly worse punishment of having to partake in said show, because of his exceptionally evil crimes.
- Alternatively, they are not criminals, but the freed commonfolk of Dokaria that Zorak once reigned terror over. They relish in the karmatic humiliation of their former oppressor.
- Or, they are still attending out of their own sadistic free will, but not because Zorak did anything in particular to them; watching public humiliation/torture is just a common form of recreation for this sadistic species.
The opening credits are shown from the perspective of Zorak, rushing to his post
The entire journey consists of long, insect-like leaps, and short flights. And crashing through a window is absolutely something Zorak (or really, anyone on this show) would do.- Alternatively, it's one of the many giant mantises in the audience, hoping not to miss the show.
