Late last night as I was battling worry and insomnia, my TV remote transported me to the Cartoon Network where I encountered, for the first time  in 40 years, a minor Hanna-Barbara animated series called “The Perils of Penelope Pitstop.” Like all Hanna-Barbara shows, but especially the Saturday morning variety, “Penelope” was crudely drawn and aimed its humor at the lowest common denominator: compared to it, Woody Woodpecker is Faulkner. Drawn in by the comforting sounds of great vocal artists of the era like Mel Blanc and Paul Winchell, however, I watched about ten minutes of the show and realized, to my horror, that I now found it offensive…and not for the reason that I found it annoying in 1970 (it is, after all, moronic).

The plot of  every episode of “The Perils of Penelope Pitstop” (a spin-off of H-B’s more successful but just as repetitious and silly “Wacky Racers”) was the same. A female auto racer who is also a blonde, helpless bimbo with a Southern accent is stalked by a villain called “The Hooded Claw,” voiced by the great Paul Lynde.  The Hooded Claw, for no discernible reason,  concocts elaborate plots to kill Penelope, but is foiled, at the last second, every time. The cartoon is an obvious riff on “The Perils of Pauline,” the famous Pearl White silent movie cliffhanger serial in which each segment ended with the heroine tied to a railroad track or falling to earth dragging a collapsed parachute. Yet I found it impossible to appreciate the cartoon’s meager charms because of the loud clanging of  ethics alarms in my brain. Why is the only woman in the show portrayed as a walking, talking Barbie Doll? And why are kids being encouraged to laugh at a woman being stalked by a homicidal maniac? Because he’s an inept homicidal maniac? What could possibly be funny about stalking, an insidious phenomenon that every year leads to multiple murders?

“Oh my God,” I thought. “I’m politically correct!” Continue reading →