Not a Toddler, Not a Parent, but Still Love ‘Bluey’? You’re Not Alone

This image released by Disney+ shows a scene from the television series "Bluey." (Disney+ via AP)
This image released by Disney+ shows a scene from the television series "Bluey." (Disney+ via AP)
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Not a Toddler, Not a Parent, but Still Love ‘Bluey’? You’re Not Alone

This image released by Disney+ shows a scene from the television series "Bluey." (Disney+ via AP)
This image released by Disney+ shows a scene from the television series "Bluey." (Disney+ via AP)

A small blue dog with an Australian accent has captured the hearts of people across the world.

She’s the title character of “Bluey,” a kids’ program consisting of seven-minute episodes that have enraptured children and adults alike. This week’s release of its longest episode yet — at a whopping 28 minutes — prompted an outpouring of appreciation for the show, even from those who are neither toddler nor parent.

“Bluey” follows an Australian blue heeler who, along with her sister (a red heeler named Bingo), navigates the days between home and school. It’s a favorite among children for its playful humor, but it also appeals to adults reminiscing about childhood.

“My childhood experience wasn’t the greatest, so I’ve always resonated with shows where life is good,” says Miriam Neel, who lives in Colorado. “The parents in ‘Bluey’ enable imagination and creativity and really get involved with their kids, and I wish I had those experiences.”

Neel is 32 and has chosen not to have any children of her own. She says the show has become part of her morning routine and is often a go-to choice for background noise when she is working from home.

“I’m not going to speak for the entire generation, but millennials find comfort in cartoons. It’s what a lot of us grew up watching,” she said. “And if I’m going to spend time watching something I’d rather watch something that doesn’t make me afraid of the world, like any of the ‘Law & Order’ shows.”

“Bluey,” which now boasts more than 150 episodes, premiered in Australia in 2018 and began streaming on Disney+ in 2020. It also has been adapted into a digital series where famous fans like Bindi Irwin and Eva Mendes read some of the popular storybooks, and a live theater show that travels around the world.

The show has also won multiple awards, including the Australian Film Institute Award for best children’s television drama every year since 2019 and an International Emmy Kids Award.

The series provides a child’s perspective into morning routines, errands and chores, while also giving viewers a glimpse of what life is like for parents through mother Chilli and father Bandit.

This week’s special episode, “The Sign,” explores the emotions surrounding themes that resonate with both children and adults — moving houses, marriage, infertility and relationships after divorce. In addition to these universal themes, the episode wraps up the third season with Easter eggs for dedicated fans.

Lindsey Schmidt, 40, says the show’s continuity keeps her family looking forward to more.

“There are so many callbacks to previous episodes,” says Schmidt, who lives in Ohio with her husband and three children. “The shows that we watch with our kids regularly don’t reflect our lives like this show does. These anthropomorphic dogs feel just like us.”

But there are mixed feelings about the ending of the episode — SPOILER — in which the Heeler family scraps their move. Some families who relocate often for work found it unrealistic. Meg Korzon, 31, is in the process of a cross-country relocation with her four children because her husband is in the military. It’s her seventh move in 10 years.

“I was hoping it would be an episode that aligned itself with the realities of life, our lives, as a military family,” she says. “I was selfishly disappointed because it could have been an episode about change and growth.”

But the show does not shy away from other difficult topics — and that is part of the charm for adults as well.

“As a parent you aspire to be as good of parents as Chilli and Bandit are as parents. They always have a great way of talking kids through issues,” Schmidt’s 40-year-old husband John says, adding that the couple often refers back to episodes when trying to explain things to their children.

The series has touched on topics of aging, death and making friends as an adult. It also has introduced a character who uses sign language and another with ADHD.

Jacqueline Nesi, an assistant professor of psychiatry and human behavior at Brown University, notes that “Bluey” promotes self-regulation and conflict resolution for children and engaged parenting and patience for adults.

“We see them working through some of the challenges that we, as parents, might be facing, too. And at the same time, they offer a nice model for different parenting skills — asking open-ended questions to facilitate kids’ creativity, using natural consequences when they misbehave, actively playing with them and letting them take the lead,” she says.

The show has also done a lot to expose children to the world of animation, flaunting different styles in the episodes “Escape” and “Dragon,” providing a near-voiceless episode in “Rain,” and breaching the fourth wall in “Puppets,” where the show stops briefly to zoom out on the creation of just a couple seconds of animated frames.

It’s also credited with appealing to dogs — and not because the characters are the same species.

Research has said dogs have vision similar to red-green color blindness in humans, meaning their color spectrum is limited to blue, yellow, brown and shades of gray — which happen to be the colors of the Heeler family. There were more pets named Bluey, Bingo, Chilli and Bandit across the US last year, too, according to Rover.

So it’s fairly safe to say “Bluey” has appeal across species, as well as generations.

“I used to tell people what do ‘The Sopranos,’ ‘The Wire’ and ‘Breaking Bad’ have in common? They all have lower IMDb scores than Bluey. It used to anyway. I watched all these great shows, but I think ‘Bluey’ is still a favorite, maybe because I have kids. But I put it right up there with all of them,” John Schmidt says, admitting that he and his wife have watched the episodes without their children.

Schmidt says the episode tied a nice bow to end the season, and would be a perfect series finale otherwise.

“I get emotional about the potential of Bluey no longer having new episodes,” says Schmidt. “But we’ll see.”



South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
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South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)

Netflix's Korean cult-horror thriller "Hellbound" returned for its much anticipated second season with a world premiere at Busan International Film Festival, showcasing intense performances from the new cast members, particularly Moon Geun-young.

Created by Yeon Sang-ho, known for zombie flick "Train to Busan", the first season of "Hellbound" achieved critical and commercial success with its portrayal of a world where supernatural beings suddenly appear to tell people of their impending death, followed by monstrous entities that drag the condemned to hell.

Yeon, whose early works included a dark animated film about a Korean cult organization, elevates the dystopian thriller into a more philosophical realm in its second season, while still delivering the spectacle of creatures, violence, and collective religious hysteria.

"I believe that the concept of disaster in the work 'Hellbound' refers more to a mental or ideological catastrophe than to a physical disaster," director Yeon said at a BIFF event late Friday.

The show had to let go of actor Yoo Ah-in, who played a key character in season one, after he was charged with illegal drug use. Yoo was subsequently found guilty.

Kim Sung-cheol takes on the role of the charismatic leader of a cult that arose amid the horrific supernatural deaths that triggered a wave of social media frenzy, delivering a convincing portrayal of this intricate character.

But the most captivating -- and gut-wrenching -- performance of the second season arguably belongs to Moon Geun-young, a much beloved former teen actress in South Korea, who portrays a young wife gradually transforming into a deranged cult fanatic.

Yeon said he decided to cast Moon after seeing her in a 2021 TV drama where she portrayed a tormented wife who succumbs to alcoholism while caring for her alcoholic husband.

Moon did not attend this year's BIFF, but fellow cast member Kim Hyun-joo said: "Moon Geun-young made a tremendous contribution. I already knew (she was immensely talented), but I was pleasantly surprised and delighted by her performance."

The series was featured at BIFF in its big-screen theaters, even as the festival faces criticism from cinephiles for selecting a streaming title, "Uprising", also from Netflix, as its opening film this year.

Cineastes blame OTT streaming platforms for some of the challenges encountered by the traditional theater market and independent filmmakers.

"BIFF has been a key player in showcasing fresh Asian films by young, emerging talents in the region, and this has been their priority," Kay Heeyoung Kim, owner of the film studio K-Dragon, told AFP.

"But the lines between traditional independent cinema and big-budget streaming titles have blurred at this year's festival, which is unfortunate to see."

Yeon, who began his career as an independent animated filmmaker, along with his work "Hellbound," is credited with increasing the global visibility of South Korean content in recent years, alongside works like "Squid Game" and "Pachinko."