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While I'm not arguing that series shouldn't be aimed at young women or girls, creating show for only one specific audience can put limits on it, but a show for everyone that centers around young girls and invites other genders and age groups into that world then has the opportunity to introduce all parties to something beyond what they're used to seeing on television. If the sight of a dog saying "I many be able to talk, but I sure as heck can't drive" doesn't make your whole world better, then I don't know what will. The idea of feminism in children's cartoons conflicted with the very gender divide that advertisers and product marketing used to make money, but when animator Craig McCracken created The Powerpuff Girls , McCracken gave the series a set of qualities that set it above and beyond the standard for a "girls show" and ended up making a show for girls, boys, women, men, and, well, just about everyone. While The Powerpuff Girls is primarily aimed at children, there are plenty of moments when the show aimed to get a reaction out of an older crowd by using some larger ideas and concepts. For most cartoons of the era, feminism began and ended at "girls are people, too. It always blended these topics in seamlessly with the innocent, accessible tone of the series. They also dedicated an entire episode to re-telling the story of The Beatles' career through a super-villain team-up, which may have been lost on the younger audience, but was surely a treat for parents. The Powerpuff Girls as a show was known for being associated with some pretty interesting music acts, many of whom contributed songs to the show's soundtracks. Over a percussive plane of skittering new wave beats, Kelela sings about the delicate dance between two would-be, could-be lovers, growing more confident and determined with each sensual verse. Almost all of those times had to do with HIM, one of the most unique and terrifying representations of Satan in cartoons, television, or any medium that creates terror in Townsville and instills fear in the audience. Norwegian bedroom pop musician Girl in Red, a. Mary Lambert is charming and infatuated on this sweet indie-pop tune. Later, she admits her inexperience on the chorus. This kind of discourse was happening on a children's cartoon at the turn of the millennium, and is still pretty risky territory for any medium, let alone a children's cartoon. Cushioned within the swirling synths, the two women sing of the heartache, frustration, and lust bursting from a seemingly doomed relationship.
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