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Emu (puppet)
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| Emu | |
|---|---|
 The logo for the new series of Emu | |
| Created by | Rod Hull |
| Portrayed by | Rod Hull (1960s–1999) Toby Hull (2003–present) |
| In-universe information | |
| Species | Emu |
| Gender | Male |
Emu is a puppet emu which was given to British entertainer Rod Hull in the 1960s while he was presenting a children's breakfast television programme in Australia. Hull adopted the mute puppet for his cabaret act, and took it with him to the United Kingdom when he returned in 1970.[1] The character was given a mischievous and sometimes aggressive onstage persona, attacking celebrity guests (and Hull himself) for comic effect, notably on Michael Parkinson's chat show in 1976.[2] Hull and Emu also appeared on several episodes of The Hudson Brothers' comedy show in the United States.[citation needed]
History
[edit]1970s and 1980s television series
[edit]During the 1970s, Hull and Emu achieved national fame in the UK with their BBC series Emu's Broadcasting Company. The duo moved to ITV in the 1980s, where a succession of shows was produced concerning their ongoing rivalry with Grotbags, a witch played by Carol Lee Scott.
2000s revival
[edit]A new series, simply titled Emu, with Toby Hull replacing his father (who had died in 1999), was produced in Belfast and broadcast on ITV in 2007.[1] A second series was produced in New Zealand and broadcast in 2009.[citation needed]
References
[edit]- ^ a b "Emu set for television comeback". BBC News. 8 June 2006. Retrieved 8 June 2006.
- ^ Bates, Stephen (17 August 2023). "Sir Michael Parkinson obituary". The Guardian. Retrieved 19 August 2023.
| Authority control databases: Artists |
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Emu (puppet)
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Origins and Creation
Development by Rod Hull
Rod Hull, born Rodney Stephen Hull on 13 August 1935 in the Isle of Sheppey, Kent, England, aspired to a career in entertainment from a young age. After completing national service in the Royal Air Force and working as an electrical apprentice, he emigrated to Australia in 1961 with his wife Sandra, seeking opportunities in the burgeoning television industry. Initially employed as a lighting technician at TCN Channel 9 in Sydney, Hull quickly transitioned into performing roles, developing an interest in puppetry through his creation of the character Constable Clot for the silent comedy short films Kaper Cops (1962–1965).[2][4] Hull conceived the Emu puppet as a side project in the late 1960s while co-hosting the children's breakfast television program The Super Flying Fun Show at Channel 9, where he appeared as Caretaker Clot. The puppet's origins stem from an on-air anecdote involving an emu egg sent by a viewer, prompting Hull to improvise by retrieving a discarded emu hand puppet from the station's props cupboard—though some accounts attribute its introduction to producer Jim Badger. Designed as a simple, arm-operated figure resembling the Australian bird, Emu served initially as a mute comedic foil, allowing Hull to experiment with chaotic, unscripted interactions during rehearsals and sketches.[5][2][4] Emu's early testing occurred in live settings on Australian cabaret circuits, where Hull performed as a solo act, honing the puppet's rambunctious, aggressive persona through improvised antics such as knocking over props or "attacking" fellow performers to elicit audience laughter. These cabaret appearances, often in small venues around Sydney, refined Emu's silent mischief as a contrast to Hull's straight-man delivery, building on sketches where the puppet's unpredictability created physical comedy, like hurling objects or disrupting routines. By 1971, convinced of the act's potential, Hull returned to the United Kingdom, bringing the Emu puppet with him in pursuit of greater opportunities in British variety and television.[6][5][2]Character Design and Persona
The Emu puppet is a large arm-length figure modeled after the flightless Australian emu bird, designed for close-up interaction and dynamic physical comedy.[1] Constructed to mimic the bird's tall, slender form, it features a long neck and beak that allow for exaggerated pecking and charging motions, drawing inspiration from real emu behaviors but amplified for humorous effect.[5] The puppet's body incorporates lightweight materials to facilitate rapid, bouncy movements, enabling it to appear agile and unpredictable during performances.[7] In terms of persona, Emu is portrayed as a male bird perpetually exhibiting childlike curiosity and irrepressibility, remaining mute and expressing itself solely through boisterous actions rather than speech.[5] This mischievous temperament manifests as a destructive anti-hero, prone to unprovoked "attacks" on props, scenery, and people, often involving chaotic pecks, grabs, or charges that disrupt the surrounding environment.[7] The character's core appeal lies in this anarchic irresponsibility, serving as a foil to the more restrained demeanor of its operator, Rod Hull, and evolving from a simple cabaret prop—initially developed during Hull's time presenting children's television in Australia—into a fully realized comedic force that embodied uncontrollable energy.[8] Operationally, the puppet is manipulated via Hull's right arm inserted into the body, controlling the head and neck for expressive gestures such as snapping the beak or whipping the neck around.[1] To enhance the illusion of autonomy, a false arm was attached to Hull's jacket, cradling Emu and allowing it to seem independently mobile while Hull physically engaged with the chaos, often tumbling or reacting in mock exasperation.[5] This setup eliminated visible strings or rods, emphasizing raw, physical puppetry that relied on Hull's agility to bring the bird's aggressive persona to life.[7]Early Career and Rise to Fame
First Television Appearances
Emu's debut on British television took place on ITV's Saturday Variety on 22 January 1972, marking the transition of Rod Hull's live act to broadcast media, where the puppet quickly showcased its signature chaotic style by going out of control and attacking performers on stage. This initial exposure highlighted Emu's mischievous persona, as the arm-length puppet darted unpredictably, disrupting the variety format and drawing immediate viewer interest through its physical antics.[2] The act's breakthrough came later that year at the Royal Variety Performance, held on 30 October 1972 at the London Palladium and broadcast by the BBC on 5 November, where Hull and Emu performed before an audience including the Queen Mother. In a memorable routine, Emu wrestled host Dickie Henderson to the ground in a comedic tussle, emphasizing the puppet's aggressive playfulness, while backstage the bird grabbed the Queen Mother's bouquet, generating national headlines and propelling the duo to overnight stardom. This high-profile appearance solidified Emu's reputation for unpredictability and cemented Hull's role as its hapless handler.[9][4] Following these milestones, Hull and Emu secured early guest spots on variety and children's programs, including regular presenting duties on ITV's lunchtime series Happy House from 1972 to 1973, and appearances on shows like The David Nixon Show around 1975, which helped establish the act as a beloved novelty in British broadcasting. Critics praised Hull's physical comedy—requiring him to maneuver the large puppet single-handedly during acrobatic feats—and Emu's irrepressible energy, which brought fresh chaos to staid TV formats, resulting in a surge of bookings for live and televised engagements.[2][10][5] However, adapting to live television posed notable challenges for Hull, including technical constraints of puppet operation in confined studio spaces and the demands of synchronizing Emu's movements with broadcast timing, often leading to improvised adjustments during performances. These hurdles underscored the innovative yet physically taxing nature of the act, as Hull balanced one arm in the puppet while executing slapstick on air.[2]Emu's Broadcasting Company
Emu's Broadcasting Company, often stylized as EBC1, was a British children's television series that aired on BBC One from 1975 to 1980, marking the puppet Emu's first dedicated showcase. In the program, Rod Hull and Emu portrayed operators of a fictional TV station called the Emu Broadcasting Company, set in a mock studio environment where they parodied popular BBC formats such as news bulletins and variety shows. The series emphasized Emu's role as a chaotic "presenter," frequently disrupting proceedings with its unruly behavior, which highlighted the puppet's established persona as an unpredictable force in children's entertainment.[11][12] Episodes typically ran for 25 minutes and featured a mix of sketches, satirical advertisements (like those for fictional "Scunge Chocolates"), weather reports, and interactive segments. Emu often "interviewed" child guests or engaged in comedic "reporting," leading to prop-based mayhem such as knocking over sets or interrupting co-stars, which formed the core of the show's slapstick humor. Supporting elements included recurring human characters like Betty the Tea Lady (played by Barbara New) and versatile performer Billy Dainty in multiple roles, serving as foils to Emu's antics and adding layers to the ensemble dynamic.[13][14][11] Produced entirely by the BBC, the series originated from Manchester studios under directors including Colin Clews, with Hull handling both his on-screen role and Emu's performance single-handedly in early episodes before incorporating guest appearances. It spanned five series, with the first launching on November 18, 1975, and the final concluding in 1980, demonstrating sustained appeal to young viewers through its inventive puppetry and accessible parody style. The show's success helped cement Emu's place in British children's programming, earning a solid audience reception evidenced by its IMDb rating of 7.8/10 from contemporary and retrospective reviews.[15][11]Main Television Series
Emu's World
Emu's World was a British children's television series produced by Central Independent Television for ITV, airing from 1982 to 1988 and featuring puppeteer Rod Hull alongside his mischievous emu puppet in a fantastical setting centered around a pink windmill home. Building on Emu's established TV presence from his prior BBC series, the show introduced a narrative world-building approach, with Emu and Hull as residents joined by a rotating ensemble of young performers serving as co-hosts and participants in the antics. The pink windmill served as the central hub for the program's adventures, emphasizing themes of fun, mischief, and community among the characters and child guests.[16][17] The format innovated by blending comedic sketches, original songs, and interactive games, positioning Emu as the chaotic, unpredictable force who often disrupted the orderly activities led by Hull and the young co-hosts, such as performers Catrina Hylton and Emma Whitlock. Episodes typically revolved around everyday child-friendly scenarios—like baking, animal visits, or magical mishaps—escalated by Emu's antics, fostering a lively, educational yet humorous tone aimed at preschool and early school-age audiences. This structure allowed for creative storytelling within the windmill confines, encouraging viewer imagination through Emu's rebellious persona and the supportive role of the child ensemble. Over its run, the series comprised multiple short seasons totaling 43 episodes, each approximately 20 minutes long, including a final series of 13 episodes in 1988.[18][19][17][20] A key element of the series was the introduction of recurring antagonists, starting with the witch Grotbags, portrayed by Carol Lee Scott, who debuted as a comically inept villain scheming to capture Emu from her nearby lair. Accompanied by her bumbling henchmen, such as Croc (voiced and operated by Freddie Stevens), Grotbags generated ongoing chase-and-escape plots that added tension and slapstick humor to the windmill's otherwise harmonious environment. These characters' futile pursuits of Emu provided a narrative backbone, contrasting the puppet's innocence with the witch's over-the-top villainy and highlighting themes of friendship and evasion through playful conflict.[17][18] The production marked a significant shift for the Emu franchise, moving from the BBC's Emu's Broadcasting Company to ITV, where Central Independent Television provided resources for more elaborate sets and effects, including the iconic pink windmill. Filming took place at the East Midlands Television Centre in Nottingham, incorporating live audience interactions during recording sessions to enhance the energetic atmosphere broadcast to viewers. This transition enabled richer visual storytelling and character development compared to earlier studio-bound formats.[21][17] Notable episodes included holiday-themed specials that amplified the festive spirit, such as the 1983 Christmas edition where the windmill hosted seasonal games and songs with the full cast, and Easter outings featuring Emu's escapades in search of hidden surprises. These specials often incorporated crossovers with elements from other ITV children's programming, extending the windmill universe and engaging audiences through shared characters and themes. Such episodes underscored the series' role in holiday viewing traditions for families.[22]The Pink Windmill Show
Emu's All Live Pink Windmill Show, which aired on ITV from 1984 to 1986, marked the evolution of the Emu format into a longer, live-broadcast series produced by Central Independent Television. Expanding from the shorter episodes of Emu's World, the show ran for approximately 31 episodes across multiple series, transitioning to 42-minute durations that incorporated a studio audience of children for interactive elements. Hosted by Rod Hull and his puppet Emu from their signature pink windmill set, the program blended pre-recorded comedy sketches with live performances, including phone-in games like the Spin Quiz and Emu's Post Office segment, where viewers participated remotely.[23][24][25] Central to the show's appeal were its musical numbers and chaotic comedy routines, often centered on Emu's antics within the windmill, alongside recurring plots involving the villainous witch Grotbags (played by Carol Lee Scott). Grotbags' schemes typically escalated into slapstick chases, as she attempted to capture Emu using gadgets from her accomplice Robot Redford (Freddie Stevens) or enlisting hapless minions like Croc (David L. Tate), leading to live disruptions in the studio. Supporting characters such as King Boggle (also Hull) and Princess Hortensia (Susan Maughan) added fairy-tale elements, while the Pink Windmill Kids—a rotating group of young performers—contributed dances and songs, fostering a lively, participatory atmosphere for the audience.[26][24] The series featured regular child actors alongside occasional adult guest appearances, including musicians like Carl Wayne, who integrated into themed episodes exploring adventures such as haunted castles or seasonal celebrations. Filmed at Central's studios in Birmingham, the production emphasized live energy to culminate Emu's ITV era, with Hull multitasking as performer, puppeteer, and writer. The 1986 series, rebranded as Emu's Pink Windmill Show, served as the finale, after which Hull pursued new ventures beyond children's television.[27][25][24]Notable Incidents and Appearances
Interactions with Celebrities
Emu's interactions with celebrities were characterized by chaotic, improvised disruptions that highlighted the puppet's mischievous persona, often stealing the spotlight from high-profile figures on UK television. The most notorious incident took place on 27 November 1976 during an appearance on Michael Parkinson's BBC chat show, where Emu grabbed the host's nose, pecked at his face and head, tore up his notes, and ultimately knocked him to the floor in a tangle of limbs.[28] This unscripted frenzy created immediate on-air tension, with Parkinson later describing the puppet as "that bloody bird" and expressing frustration that the moment overshadowed parts of his career.[29] Fellow guest Billy Connolly added to the drama by whispering a threat to Hull, stating he would break Emu's neck—and Hull's arm—if the puppet approached him, underscoring the perceived unpredictability of the act.[30] The episode culminated in Parkinson issuing a mock ban on Emu from future shows, though the host repeatedly returned to the event in later years as an emblematic highlight of British television comedy.[1] Similar antics unfolded in other UK appearances, such as those involving celebrities like Roy Castle, Janet Brown, and Henry Cooper, where Emu's unbridled energy frequently upstaged scripted content, turning polite variety formats into scenes of feigned mayhem.[31] These moments extended to Billy Connolly's specials and related broadcasts.[32] Hull, in interviews, portrayed Emu as an intentional troublemaker designed to subvert the decorum of composed hosts and guests, injecting vitality and surprise to elevate the entertainment value.[33] The media response amplified Emu's "naughty" image, with tabloids sensationalizing the Parkinson "feud" and subsequent disruptions as emblematic of the puppet's anarchic charm, fueling public fascination and Hull's notoriety.[34] Parkinson eventually reconciled with the legacy of the encounter, citing it fondly in tributes and reflections as a career-defining, unrepeatable slice of live TV magic.[35] Behind the scenes, Hull emphasized that all such interactions were meticulously controlled to prioritize safety, with the apparent spontaneity crafted to maximize comedic impact without genuine risk to participants.[1]International Exposure
Emu's international exposure began in Australia, where Rod Hull first developed and performed the character. In the early 1970s (1970–1971), while working as a performer on the children's breakfast television program The Super Flying Fun Show on Australian TV, Hull created Emu as a prop inspired by an emu's egg sent to the show. The puppet's mischievous antics quickly gained popularity, leading to nationwide tours across Australia following Hull's initial success on the program.[5] Hull and Emu made their United States television debut in 1974 as regular guest performers on the CBS Saturday morning children's variety show The Hudson Brothers Razzle Dazzle Show, appearing in multiple episodes where Emu's chaotic behavior, such as stealing props and disrupting sketches, entertained audiences.[36] This marked Emu's first significant venture into the American market, showcasing the puppet's physical comedy style beyond the UK. In 1983, Hull and Emu returned to US television for a memorable guest spot on The Tonight Show Starring Johnny Carson, during which Emu famously snatched Carson's pen and interacted boisterously with host Johnny Carson and fellow guest Richard Pryor, despite producer warnings against such antics.[37] Hull also made a guest appearance with Emu on the Australian daytime talk show Midday hosted by Ray Martin in the 1980s, further extending the character's reach in the region where it originated.[38] Emu's mute nature eliminated language barriers, allowing its slapstick humor to translate effectively across cultures, though Hull's thick English accent occasionally posed challenges in non-UK settings. Efforts to adapt the act for broader American audiences, including potential series pilots, did not materialize due to differences in comedic tastes favoring more verbal humor over Emu's purely physical disruptions. Clips from the Hudson Brothers appearances and the Tonight Show incident have endured in popularity, circulating widely on platforms like YouTube and introducing Emu to new international generations through viral sharing.[39]Revival and Continuation
Post-Rod Hull Era
Rod Hull, the British entertainer renowned for his partnership with the mischievous puppet Emu, died on March 17, 1999, at the age of 63 following an accidental fall from the roof of his bungalow in Winchelsea, East Sussex.[40] He had been attempting to adjust his television aerial to watch a Manchester United football match when he slipped, sustaining fatal injuries including multiple skull fractures and chest trauma.[41] The tragedy elicited global tributes from fans, fellow performers, and media outlets, with obituaries highlighting Hull's innovative use of the arm-length puppet to create chaotic, memorable children's entertainment over three decades.[5] In the wake of Hull's death, the Emu puppet was temporarily retired and carefully stored by his family, marking the end of their on-screen collaborations.[3] Toby Hull, Rod's son and heir to the character's legacy, initially showed strong reluctance to revive Emu, prioritizing personal grief and the preservation of his father's independent artistic identity amid the duo's overshadowing fame.[3] This period of hiatus reflected the deep emotional toll on the family, as Toby later recalled avoiding acknowledgment of his father's passing by keeping the puppet dormant for several years. The early 2000s saw archival efforts to preserve Hull's contributions, including auctions of memorabilia from his estate, such as original Emu puppets used in his television and stage performances.[42] Public mourning manifested in a modest funeral service held on March 26, 1999, in Surrey, where close friends and relatives gathered to pay respects to Hull's life and his enduring 30-year bond with Emu, emphasizing the puppet's role in defining his career without any elaborate public spectacle.Toby Hull's Involvement
Toby Hull, the son of Rod Hull from his second marriage, grew up immersed in the world of his father's performances, often accompanying him to television studios and theaters during his childhood. After the family faced financial difficulties in the 1990s and relocated to Australia, Hull pursued studies in television production and later worked in the industry before teaching English in Japan. He received informal training in puppetry through close observation of his father's techniques with Emu.[3] Hull first brought Emu out of retirement in 2003, following a suggestion from a fan, for a pantomime production of Cinderella at a British theater during the holiday season. This marked his initial public performances with the puppet, where he operated and voiced Emu while portraying supporting roles.[44] In 2007, Hull starred in a revived television series simply titled Emu, broadcast on CITV, consisting of 26 episodes each approximately 12 minutes long. Hull operated the puppet and played the lead human character, Toby, a computer games designer who manages Emu's chaotic antics in their shared flat; he also voiced several supporting characters. The series presented a younger, more child-friendly version of Emu as a prequel to the original shows, emphasizing playful mischief over the character's historically aggressive reputation.[6][45][3] A second series of 26 episodes aired in 2009, co-produced by the New Zealand-based Gibson Group for ITV and broadcast locally in New Zealand. Filmed primarily with a New Zealand cast and crew but featuring Hull as Toby, the production adapted the format to center on Toby and Emu running a craft café, incorporating elements of slapstick humor and creative activities while retaining the windmill-inspired chaotic energy for an international children's audience.[46][47] Reviving Emu presented Hull with challenges, including adapting to his father's established performance style after years of audience familiarity with Rod Hull's portrayal, as well as navigating comparisons that arose from the puppet's iconic legacy. Hull focused on evolving the character's relationship with him, making Emu sweeter and more affectionate to suit modern children's programming, while acknowledging the ongoing development compared to his father's decades-long tenure. No major technical updates like CGI were incorporated, preserving the traditional puppetry approach.[3] As of the mid-2010s, Hull has continued Emu's legacy through sporadic live stage shows, operating the puppet in theatrical performances that highlight its timeless chaotic appeal.[48]Legacy and Cultural Impact
Influence on Children's Entertainment
Emu's arm-operated puppetry featured chaotic and aggressive physical antics in British children's television during the 1970s and 1980s.[1] Emu was known for its mute yet mischievous behavior, often involving attacks on celebrities and props. The character had millions of fans and starred in its own TV series.[3] Merchandise such as toys and books became popular in the 1980s British market.[3] The show Emu's World (1982–1988) featured the witch Grotbags, portrayed by Carol Lee Scott.Documentaries and Tributes
In 2003, Channel 4 aired the documentary Rod Hull: A Bird in the Hand, which explored the performer's relationship with his creation, including Hull's resentment toward Emu as the puppet overshadowed his identity. The program included archival footage and interviews with colleagues.[49][50] Following Rod Hull's death in 1999, tributes appeared on the BBC, including coverage of his funeral with reflections from family and colleagues.[51] Recent media has referenced Emu, such as the 2023 obituary for Michael Parkinson in The Guardian, which highlighted the 1976 incident where Emu disrupted the host.[52] YouTube features analytical videos on Emu's history and celebrity interactions.[53] Toby Hull performed with a revived Emu in late 2000s pantomime productions, including Cinderella (2008–2009) at the Theatre Royal Plymouth and Peter Pan (2005) at the Birmingham Hippodrome.[54][55] Fan communities discuss Emu on platforms like Reddit's r/oldbritishtelly and Facebook groups such as "Do You Remember The 70s Fan Club."[56][57]References
- http://news.bbc.co.uk/2/hi/[entertainment](/page/Entertainment)/304418.stm