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I’m not just a Muppet Show fan; I’ve idolized Jim Henson for most of my life. Few shared his creative gifts. He was prolific and smart and used puppetry to tell stories in new and novel ways that we’d never seen before, and have scarcely seen since his untimely death in 1990.
Henson’s Muppets helped make Sesame Street possible, a show I grew up watching in the 1960s and early 1970s. The original The Muppets Show, which aired from 1976 to 1981, expanded the Muppets’ world and reach, introducing a new cast of characters to work with the original leader and (adult in the room) Kermit the Frog (voiced by Jim Henson).
Their apparent acceptance of these fabric creations as real helped the audience accept them and their antics as well. There were few shows I looked forward to more each week than The Muppet Show. It was appointment viewing for my family. I know I laughed and watched with fascination at all of Henson’s incredible creations and how they extended the state of puppet art and artistry.
By the time the show went off the air, I was in high school and perhaps a little less interested in the Muppets (or perhaps I was just feeling the natural peer pressure to be less interested). Also, the Muppets had graduated to films, first with the incredible The Muppet Movie, the 1979 breakthrough film, which finally merged the Muppet Show and Sesame Street puppet casts, and it’s just about perfect.
No other subsequent Muppet film quite reached those heights, though The Muppets Take Manhattan was at least memorable and I have a fondness for 2011’s Muppet Movie revival.
The Muppets returned to television briefly in 2015 with the poorly received The Muppets. which tried, without success, to do for the Muppets what The Office did for corporate life. It failed.
By contrast, the new The Muppet Show is a largely faithful recreation of the original show. It is, at times, a charming and nostalgic trip back. Seeing each character, like Scooter, Fozzie the Bear, Gonzo, Beeker, and others, feels like reuniting with old friends.
Kermit remains a strong central presence, and his interplay with the self-involved Miss Piggy is as dysfunctional as ever.
For devoted Henson fans, it’s not always easy to listen to the slightly different voice characterizations of Kermit over the years. Steve Whitmire did it for decades after Henson unexpectedly died. In recent years, it’s been Matt Vogel. Like Whitmire before him, Vogel does his best to sound like Henson. It’s close, but also distracting if you know the original. New fans will not have this problem.
Don’t call it a reboot
While the structure of this ‘Special Event’ largely follows a format set up during the second season of the original show, there is a nod here that this is, on some level, a sentimental return after a long hiatus.
As the camera pans over Muppet Theatre’s backstage lighting, The Rainbow Connection plays gently on a piano in the background. We see Kermit walking past black and white photos of the original show’s iconic celebrity guests. The scene shifts to a close-up of Kermits’ coffee cup, and then the camera pulls back to reveal Rowlf playing the piano beside him.
“Rowlf, have you been playing this whole time?” Kermit asks before Rowlf responds: “Well, what did you think it was, some kind of sentimental montage in your head?” That forth-wall-breaking and quick shift of tone from sentiment to humor is classic Muppet Show.
The rest of the format is a virtual duplicate of the original show. There’s a short bit between the celebrity guest – in this case, Sabrina Carpenter – and one or more of the Muppets, this time Miss Piggy. It, like most of the bits, is more likely to elicit a groan than outright laughs. After the iconic, giant yellow The Muppet Show curtain drops down, Kermit pops out of “O” in “Show” and enthusiastically announces: “It’s the Muppet Show!”
While the show is mostly bits and musical performances, there is a storyline running through the episode in which Kermit, in an effort to please everyone, has wildly overbooked the show. Everyone is so excited to be back that they all want to participate. That returns later to inspire the show’s most inspired bit.
The Studio star Seth Rogen executive produces the show, and while his brand of sharp adult humor is in short supply here, Kermit’s opening monologue does sound like it might have Rogen’s fingerprints on it: “We are so excited to be back on the very stage where it all started, and then ended, and then is maybe starting again, depending on how tonight goes.”
The old Peanut Gallery
Statler and Waldorf sit in their usual box and make cranky commentary that sounds right at home in a vaudeville show. The joke about the Muppets being broke might be funnier if we didn’t know that Disney now owns the Muppets franchise.
Carpenter’s performance of Manchild in an old-west saloon populated by Muppets is affecting mainly because of Carpenter’s talents and considerable charm. The physical humor is vintage Muppets, though some parents might wonder at the violence (she hits one puppet over the head with a bottle).
There’s a live audience populated with humans and Muppets who provide live applause. However, I can’t tell whether the laughter is also real, a laugh track, or being prompted by the audience handlers, compelling people to laugh.
Rogen does appear, though he’s cut from the show and is ultimately relegated to the audience.
Gonzo also appears but feels underused in his daredevil bits.
There’s a Bridgerton-inspired “Pigs in Wigs” segment that falls flat. Piggy’s cutting comments just sound mean, and the banter falls somewhere between confusing and uncomfortable. The recasting of Pepe the Prawn as Missy Piggy’s lover is a funny sight gag, but as is often the case, the writers seem unsure what to do with Pepe beyond the initial gag.
At one point, Miss Piggy asks, “What is happening here?” and I kind of had the same question.
The less said about the all-rat performance of The Weekend’s Blinding Lights, the better. it reminding me a bit of one of those Kids’ Bop renditions of popular songs and not in a good way.
Saved in the end
As the show starts to come apart at the seams, Kermit apologetically tells Carpenter that they’re “still working out a few kinks,” to which Carpenter replies: “That’s alright, I love a kink.” It’s one of a handful of nods to the adult audience that I think it’s safe to assume will sail over most kids’ heads.
Maya Rudolph also appears as an audience member who falls in love with a large blue Muppet. She’s also at one point declared dead. Don’t worry, it’s all played for laughs, though I do wonder if kids watching will be momentarily concerned as their parents are horrified.
I enjoyed the Dr. Bunsen Honeydew and Beaker Muppet Labs segment, but again, Beaker’s eyes popping out might frighten younger children.
The Kemit-Sabrina Carpenter Islands in the Stream duet is particularly affecting, until Miss Piggy shows up, sabotages it, but ultimately completes the performance. This is in keeping with a show where everything goes wrong.
By and large, this Muppets special event felt like a show trying desperately to find its footing, that is, until the finale, which I found surprisingly touching.
Kermit can’t put on every promised act and leaves the Muppet crew feeling frustrated. Then he stands on stage and says, “I can’t say the show has gone exactly as we planned….maybe we’re a little rusty…I hope you at least enjoyed some of it.” It sounds almost too honest, too real.
Kermit doesn’t announce another act. Instead, he starts singing acapella Queen’s Don’t Stop Me Now. Rawlf joins in on piano and then the entire Muppets cast joins in. It becomes the most joyous number of the entire show, and, if I’m being honest, it was the first thing in the new The Muppets show that left me wanting more.
Verdict
The Muppets Show revival is not the best version of the show that’s ever existed. It’s far from the worst, either. The cornball vaudeville vibe was part of its original charm, but I just don’t know if it’s smoothly translated into 2026.
I think the writing might need to be updated a bit as Rogen and company figure out where the show and its audience live. This is an audience raised on social video and with humor that’s much smarter than what was presented in 1976, or this show 50 years later.
As Carpenter proved, celebrity star power will still help carry the day, but the core of the show remains the puppets. If jokes and performances aren’t as sharp and knowing, or just as charismatic as Carpenter’s, we may not see future episodes.
Disney+’s The Muppet Show special event streams to subscribers globally on February 4, 2026.
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