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A television program (usually television programme outside North America), also called television show, is a segment of content intended for broadcast on television. It may be a one-time production or part of a periodically recurring series. A single program in a series is called an episode.

A television series that is intended to comprise a limited number of episodes is usually called a miniseries or serial. Series without a fixed length are usually divided into seasons or series, yearly or biannual installments of new episodes. While there is no defined length, US industry practice tends to favor longer seasons than those of some other countries.

A one-time broadcast may be called a "special", or particularly in the UK a "special episode". A television movie ("made-for-TV movie" or television film), is a film that is initially broadcast on television rather than released in cinemas or direct-to-video, although many successful TV movies are later released on DVD.

A program can be either recorded—as on video tape or other various electronic media forms—or considered live television.

Program content[link]

Television programming may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television movies), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.

A drama program usually features a set of actors in a somewhat familiar setting. The program follows their lives and their adventures. With the exception of soap operas, many shows especially before the 1980s, remained static without story arcs, the main characters and the premise changed little. If some change happened to the characters lives during the episode, it was usually undone by the end. (Because of this, the episodes could be broadcast in any order.) Since the 1980s, there are many series that feature progressive change to the plot, the characters, or both.

Common television program periods include regular broadcasts (like news), series (usually seasonal and ongoing with a duration of only a few episodes to many seasons), or miniseries, which is an extended film, usually with a small predetermined number of episodes and a set plot and timeline. Miniseries usually range from about 3 to 10 hours in length. In the UK, the term "miniseries" is only usually used in reference to imported programmes, and such short-run series are usually called "serials".

Older American television shows began with a title sequence showing opening credits at the bottom lower third of the screen during the beginning, and included closing credits at the end of the show. However, beginning in the 1990s some shows began with a "cold open", followed by a title sequence and a commercial break. Many serial-type shows begin with a "Previously on..." (such as the series 24) introduction before the new episode. And, to save time, some shows omit the title sequence altogether, folding the names normally featured there into the opening credits. The title sequence has not been completely eliminated, however, as many major television series still use them.

While television series appearing on TV networks are usually commissioned by the networks themselves, their producers earn greater revenue when the program is sold into syndication. With the rise of the DVD home video format, box sets containing entire seasons or the complete run of a program have become a significant revenue source as well. Many of the prime-time comedy shows and Saturday morning cartoons were digitally remastered for United States television around mid-May 2008, as there are more original and reissued DVD sets of television programs containing either entire seasons or complete series to come. Typically, a DVD of a series or TV movie may contain extended or additional scenes not shown during the broadcast, scenes not allowed for broadcast (due to censorship rule), or additional background information/documentaries.

Television has changed throughout the years, from wholesome family sitcoms and dramas of years ago, to the reality shows of today. When watching television became popular in the mid-20th century, the whole family watched one set together. Also, many channels have deviated from their original programming focus throughout the years because of channel drift.

Most television networks throughout the world are 'commercial', dependent on selling advertising time or acquiring sponsors, broadcasting executives' main concern over their programming is on audience size or eyeballs. Once the number of 'free to air' stations was restricted by the availability of channel frequencies, but cable TV (outside the USA, satellite television) technology has allowed an expansion in the number of channels available to viewers (sometimes at premium rates) in a much more competitive environment.

Genres[link]

Scripted entertainment[link]

• Animated
• Award shows (partially scripted)
• Drama—which includes:
  • Action-adventure or Thriller
  • Comedy-drama
  • Family drama
  • Legal drama
  • Medical drama
  • Police procedural
  • Political drama
  • Science-fiction / Fantasy / Horror / Supernatural drama
  • Serial drama
  • Soap opera
  • Teen drama
• Miniseries and Television movies
• Comedy
  • Mockumentary
  • Satire
  • Sitcom
  • Sketch comedy

Unscripted entertainment[link]

• Game shows
• Reality
• Talk shows

Informational[link]

• Infomercials—paid advertising spots that are up to an hour long
• News programs
• Documentaries
• News magazines—dealing with current affairs

Development[link]

United States[link]

When a person or company decides to create a new series, they develop the show's elements, consisting of the concept, the characters, the crew, and cast. Then they offer ("pitch") it to the various networks in an attempt to find one interested enough to order a prototype first episode of the series, known as a pilot.

To create the pilot, the structure and team of the whole series must be put together. If the network likes the pilot, they pick up the show to air it the next season (usually Fall). Sometimes they save it for mid-season, or request rewrites and further review (known in the industry as Development hell). Other times, they pass entirely, forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage.

If the show is picked up, the network orders a "run" of episodes—usually only 13 episodes at first, though a season typically consists of at least 22 episodes. (The last nine episodes are sometimes called the "back nine"—borrowing the colloquial golf term).

The show hires a stable of writers, who usually work in parallel: the first writer works on the first episode, the second on the second episode, etc. When all the writers have been used, episode assignment starts again with the first writer. On other shows, however, the writers work as a team. Sometimes they develop story ideas individually, and pitch them to the show's creator, who folds them together into a script and rewrites them.

United Kingdom[link]

In contrast to the US model illustrated above, the UK procedure is operated on a sometimes similar, but much smaller scale.

The method of "team writing" is employed on some longer dramatic series (usually running up to a maximum of around 13 episodes). The idea for such a programme may be generated "in-house" by one of the networks; it could originate from an independent production company; it sometimes is a product of both. For example, the BBC's long-running soap opera EastEnders is wholly a BBC production, whereas its popular drama Life on Mars was developed by Kudos in association with the broadcaster.

However, there are still a significant number of programmes (usually sitcoms) that are built around just one or two writers and a small, close-knit production team. These are "pitched" in the traditional way, but since the creator(s) handle all the writing requirements, there is a run of six or seven episodes per series once approval has been given. Many of the most popular British comedies have been made this way, including Monty Python's Flying Circus (albeit with an exclusive team of six writer-performers), Fawlty Towers, Blackadder and The Office.

Production[link]

The executive producer, often the show's creator, is in charge of running the show. They pick the crew and help cast the actors, approve and sometimes write series plots (some even write or direct major episodes). Various other producers help to ensure that the show runs smoothly.

As with filmmaking or other electronic media production, production of an individual episode can be divided into three parts. These are:

Pre-production[link]

Pre-production begins when a script is approved. A director is chosen to plan the episode's final look.

Pre-production tasks include storyboarding, construction of sets, props, and costumes, casting guest stars, budgeting, acquiring resources like lighting, special effects, stunts, etc. Once the show is planned, it must then be scheduled; scenes are often filmed out of sequence, guest actors or even regulars may only be available at certain times. Sometimes the principal photography of different episodes must be done at the same time, complicating the schedule (a guest star might shoot scenes from two episodes on the same afternoon). Complex scenes are translated from storyboard to animatics to further clarify the action. Scripts are adjusted to meet altering requirements.

Some shows have a small stable of directors, but also usually rely on outside directors. Given the time constraints of broadcasting, a single show might have two or three episodes in pre-production, one or two episodes in principal photography, and a few more in various stages of post-production. The task of directing is complex enough that a single director can usually not work on more than one episode or show at a time, hence the need for multiple directors.

Principal photography[link]

Principal photography is the actual filming of the episode. Director, actors and crew gather at a television studio or on location for filming or videoing a scene. A scene is further divided into shots, which should be planned during pre-production. Depending on scheduling, a scene may be shot in non-sequential order of the story. Conversations may be filmed twice from different camera angles, often using stand-ins, so one actor might perform all their lines in one set of shots, and then the other side of the conversation is filmed from the opposite perspective. To complete a production on time, a second unit may be filming a different scene on another set or location at the same time, using a different set of actors, an assistant director, and a second unit crew. A director of photography supervises the lighting of each shot to ensure consistency.

Post production[link]

Once principal photography is complete, producers coordinate tasks to begin the video editing. Visual and digital video effects are added to the film; this is often outsourced to companies specializing in these areas. Often music is performed with the conductor using the film as a time reference (other musical elements may be previously recorded). An editor cuts the various pieces of film together, adds the musical score and effects, determines scene transitions, and assembles the completed show.

Budgets and revenues[link]

In the United States, the average broadcast network drama costs $3 million an episode to produce, while cable dramas cost $2 million on average.^[1] The pilot episode may be more expensive than a regular episode. In 2004, Lost's two-hour pilot cost $10–$14 million, in 2008 Fringe's two-hour pilot cost $10 million, and in 2010, Boardwalk Empire was $18 million for the first episode. In 2011, Game of Thrones was $5–$10 million, Pan Am cost an estimated $10 million, while Terra Nova's two-hour pilot was between $10 to $20 million.^[2][3]

Deficit financing is the term used to describe how many scripted network television shows in the Unites States are financed. A studio finances the production cost of a show and a network pays a license fee to the studio for the right to air the show. This license fee does not cover the show's production costs, leading to the deficit. Although the studio does not make its money back in the original airing of the show, it retains ownership of the show. This ownership retention allows the studio to make its money back and earn a profit through syndication and DVD and Blu-ray disc sales. This system places most of the financial risk on the studios, however a show that is a hit in the syndication and home video markets can more than make up for the misses. Although the deficit financing system places minimal financial risk on the networks, they lose out on the future profits of big hits, since they are only licensing the shows.^[4]

Costs are recouped mainly by advertising revenues for broadcast networks and some cable channels, while other cable channels depend on subscription revenues. In general, advertisers, and consequently networks that depend on advertising revenues, are more interested in the number of viewers within the 18–49 age range than the total number of viewers.^[5][6] Advertisers are willing to pay more to advertise on shows successful with young adults because they watch less television and are harder to reach than older adults.^[7] According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average.^[8] Due to its strength in young demos, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers during the seasons they were on the air together.^[5] Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS.^[9]

Distribution[link]

After production, the show is turned over to the television network, which sends it out to its affiliate stations, which broadcast it in the specified broadcast programming time slot. If the Nielsen ratings are good, the show is kept alive as long as possible. If not, the show is usually canceled. The show's creators are then left to shop around remaining episodes, and the possibility of future episodes, to other networks. On especially successful series, the producers sometimes call a halt to a series on their own like Seinfeld, The Cosby Show, Corner Gas, and M*A*S*H and end it with a concluding episode, which sometimes is a big series finale.

On rare occasions, a series that has not attracted particularly high ratings and has been canceled can be given a reprieve if DVD sales have been particularly strong. This has happened in the cases of Family Guy in the US and Peep Show in the UK.

If the show is popular or lucrative, and a number of episodes (usually 100 episodes or more) are made, it goes into broadcast syndication (in the USA) where broadcast to the program rights are then resold.

[edit] Seasons/series

The terminology used to define a set of episodes produced by a television series varies from country to country.

North American usage[link]

The term "series", in North American usage, refers to a connected set of television program episodes that run under the same title, possibly spanning many seasons. A new series is often ordered (funded) for just the first 10 to 13 episodes, to gauge the audience interest. If it is "picked up", the season is completed to the regular 20 to 26 episodes. The term "midseason replacement" usually refers to an inexpensive short-run (10–13 episode) show designed to take the place of an original series that failed to garner an audience and has not been picked up. The term "series finale" can lead to confusion outside of North America. A series finale is the last show of the series before the show is no longer produced. (In the UK, it means the end of a season.)

In North America the term "television season" is used inconsistently. A "full season" typically runs from September through May, with a hiatus between December and February. This broadcast programming schedule typically includes 20 to 26 episodes. A full season is sometimes split into two separate units (confusingly also termed seasons) with one before and one after the hiatus. These smaller "seasons" usually contain half the number of episodes (10–13).^{[citation needed]}

Since the 2000s, these shorter seasons have been referred to as ".5" or half seasons, where the run of shows between September and December is labeled "Season N", and the second run between February and May labeled "Season N.5". This is typically done to increase DVD sales of the show.^{[citation needed]} Distributors release the first half of the season in stores just before the second half first airs to increase interest in the season's second half.^{[citation needed]} Examples of this include the 2004 incarnation of Battlestar Galactica, ABC's FlashForward, and ABC Family's Make It or Break It.

UK and Australia usage[link]

In the United Kingdom and other countries, these sets of episodes are referred to as a "series". In Australia, the broadcasting may be different to North American usage, however, the terms "series" and "season" are the same. For example, Battlestar Galactica has an original series as well as a remake, both are considered different series with their own number of individual seasons. It helps to avoid much confusion when talking about a TV Series.

Australian television does not follow "seasons" in the way that US television does. So there is no "Fall Season" or "Fall schedule", for example. For many years popular night time dramas in Australia would run much of the year, and would only go into recess over the summer period (December–February) where ratings are not taken. Therefore popular dramas would usually run February–November each year. This schedule was used in the 1970s for popular dramas including Number 96. Neighbours and other dramas continue this routine as of 2011. Australian situation comedy series usually have seasons of about 13 episodes, and might premiere at any month between February and November.

British shows have tended toward shorter series in recent years. For example, the first series of long-running science fiction show Doctor Who in 1963 featured forty-two 25-minute episodes, which had been reduced gradually to fourteen 25-minute episodes in 1989. The revival of Doctor Who has comprised thirteen 45-minute installments. However, there are some series in the UK that have a larger number of episodes, for example Waterloo Road started with 8–12 episodes but from series three onward, it increased to 20 episodes, and season seven will contain 30 episodes. Recently, American non-cable networks have also begun to experiment with shorter seasons for some programs, particularly reality shows such as Survivor. However, they often air two seasons per year, resulting in roughly the same number of episodes per year as a drama.

This is a reduction from the 1950s, in which many American shows (e.g., The Twilight Zone) had between 29 and 39 episodes per season. Actual storytelling time within a commercial television hour has also gradually reduced over the years, from 50 minutes out of every 60 to the current 44 (and even less on some networks), beginning in the early 21st century.

Japanese usage[link]

The Japanese have sometimes subdivided television series and dramas into kūru (クール^?), from the French term cours for course, which is a three-month period usually of 13 episodes. Each kūru generally has its own opening and ending image sequence and song, recordings of which are often sold. The number of episodes permitted per season ranges from three to 65. (See also Japanese television programs.)

[edit] Running time

In the United States, in general, dramas usually last 44 minutes (an hour with advertisements), while sitcoms last 22 (30 with advertisements). However, with the rise of cable networks, especially pay ones, series and episode lengths have been changing, with 55–60 minutes per episode, and shorter seasons overall.

See also[link]

• Category:Television schedules (by country and year)
• List of animated television series
• List of television programs by name in alphabetical order
• Lists of television programs
• Network programming (television)
• Radio programming
• Television advertisement

References[link]

External links[link]

• FCC

v t e Lists of television series by country Africa Algeria Burkina Faso Cameroon Egypt Kenya Ivory Coast Libya Moroccan Nigeria Senegal South Africa Asia Bangladesh Cambodia China Georgia Hong Kong India Indonesia Iran Iraq Israel Japan North Korea South Korea Lebanon Malaysia Mongolia Nepal Pakistan Philippines Singapore Taiwan Vietnam Australasia Australia New Zealand Europe Albania Andorra Armenia Austria Azerbaijan Belarus Belgium Bosnia-Herzegovina Bulgaria Croatia Cyprus Czech Republic Czechoslovakia Denmark East Germany Estonia Faroes Finland France Germany Greece Hungary Iceland Ireland Italy Kosovo Latvia Liechtenstein Lithuania Luxembourg Malta Moldova Montenegro Netherlands Norway Poland Portugal Romania Russia Serbia Slovakia Slovenia Soviet Union Spain Sweden Switzerland Turkey Ukraine United Kingdom Yugoslavia North America Canada Quebec Cuba Dominican Republic Haiti Jamaica Mexico Puerto Rico United States South America Argentina Bolivia Brazil Chile Colombia Ecuador Guatemala Honduras Nicaragua Panama Paraguay Peru Uruguay Venezuela

The Annoying Orange is an American comedy web series created by Dane Boedigheimer in 2009. It stars Boedigheimer as an anthropomorphic orange who annoys other fruits, vegetables, and various other objects by using crude-humored jokes. Due to the popularity of the show, The Annoying Orange has also become the subject of a TV series, a video game, a range of toys, and a t-shirt line, despite the show's negative reaction. Other accessories, such as costumes of the series characters, have also appeared on the market.

Summary[link]

The show is centered on Orange (voiced by Dane Boedigheimer), who resides on a kitchen counter with other objects such as his best friend Pear, a Bartlett pear (also voiced by Boedigheimer). Other fruits include Passion, a female passionfruit played by Justine Ezarik, grapefruit, a tiny apple known as Midget Apple (though he prefers the name Little Apple), a small marshmallow, and an elderly lemon named Grandpa Lemon, all of whom were not main characters until later episodes. Most episodes consist of Orange heckling other characters until they meet a sudden and gruesome end, usually by evisceration with a chef's knife (although the implements used to cut them up range from a blender to a toy pinwheel). Usually, Orange tries to "warn" them before it happens, blurting out the weapon-in-use, such as "Knife!"^[1]

Orange has several recurring mannerisms. He often begins an episode by repeatedly yelling "Hey, (name of character)!" until the character responds. Orange also often refers to said character as something that plays on the object's name or appearance (such as calling Grapefruit "Apefruit"). If he does not like an object, he will often say, "You're an apple!", even if the object is not (e.g. a tomato). Orange uses various tactics, such as telling rude and offensive jokes, burping, and making childish noises with his tongue, to get attention. He also has a loud, braying laugh.

Characters[link]

Main[link]

• Orange is the lead protagonist (or antagonist, as he literally annoys others until their death) and main character, appearing in every episode since the series began on October 9, 2009. He has yellow teeth, grey eyes, and a braying laugh. He is known for his annoying puns which he uses in every episode, although hardly any of the fruits seem to find his puns amusing. His standard reply, uttered after being taken to task for being so annoying, is, "No I'm not. I'm an orange!"^[1]
• Pear made his initial (albeit brief) appearance in the first episode, before becoming a regular character since the episode "Passion of the Fruit". He is a Bartlett pear who inhabits the same kitchen counter as Orange, his best friend. Despite their friendship, he is often annoyed by Orange, and initially wants to die early on, although he subtly warms up to Orange's antics afterwards. Pear tries to help others maintain control, and is depicted as more intelligent than Orange.
• Passion Fruit (voiced by YouTube vlogger iJustine), or simply "Passion," first appeared on February 19, 2010 in "Passion of the Fruit". Passion is offended by insults, attempts to settle issues, and scolds Orange and other characters. Unbeknownst to Passion, Orange has a crush on her. She has a twin sister named Mandy, who appeared in "Wishful Thinking," and is in love with Pear.
• Midget Apple was first seen in the episode "Crabapple" on August 6, 2010. Also voiced by Boedigheimer, he is a tiny Red Delicious apple. A friend of Orange, Pear, Passion, and especially Marshmallow, he dislikes being called "Midget Apple," preferring the term "'Little Apple."
• Marshmallow debuted in the episode "Annoying Saw 2: The Annoying Death Trap" on September 24, 2010. He is a small, childlike, squeaky-voiced marshmallow that becomes friends with Orange in the episode. Marshmallow is typically presented as cheerful and happy, and claims to love "puppies, and unicorns, and bunnies, and rainbows, and clouds, and kittens, and bunnies, and rainbows." The character is shown to absorb significant damage to his body, from cuts, fire, and throwing stars, but still emerges largely unscathed. Despite his cuteness, size, and cheerfulness, when something or someone angers him, he tends to act destructively, both towards his friends and the area around him. Although his theme song calls him a "he", it was stated by Boedigheimer that it only referred to the term "marshmallow", which is a masculine word, and not the character itself. Thus, Marshmallow's true gender is male, because he has the face of Dane Boedigheimer.
• Grapefruit (voiced by Robert Jennings) first appeared in "Passion of the Fruit" as Orange's archenemy. He often engages in juvenile insults with Orange. The character was killed by Knife in his debut, but became a recurring character after being resurrected as part of the Frankenfruit monster in "Frankenfruit."
• Grandpa Lemon (played by Kevin Brueck) is an elderly, forgetful lemon who has a habit of falling asleep at rather odd and annoying times. First appearing in "Grandpa Lemon" on June 4, 2010, he is unfazed by Orange's taunts about his memory loss and sleeping habits. Sliced in half by Knife in his debut, he became part of the Frankenfruit monster in Frankenfruit, and has become a recurring character ever since.

Recurring[link]

• Knife (voiced by Kevin Nalty) was initially introduced simply as a kitchen tool in "Annoying Orange". He appears when Orange announces his presence, proceeding to slice up the other fruits and vegetables. His first appearance as a character was in "No More Mr. Knife Guy." Knife is shown to be at odds with his role in the series, hating his life because of how he is used. His mortal enemy is a knife sharpener due to the pain involved.
• Liam the Leprechaun (played by Robert Jennings) first appeared in the episode "Luck o' the Irish" as a bad-tempered leprechaun, who loses his pot of gold to Orange. Orange tends to call him "Jolly Green Giant." Crushed by his pot of gold at the end of the episode, Liam is currently a recurring character, and is also the title character of a former spin-off series on his own YouTube channel.^[2] He still continues to return to the Annoying Orange series as a recurring character.
• Squash has appeared in quite a few episodes over 2011-2012. He is similar to Knife, only the fruits get squashed to death, not cut to death. He also appeares as a main fruit in an episode on certain occasions.

Background[link]

Dane Boedigheimer
Born	(1979-09-28) September 28, 1979 (age 32)[3] Harwood, North Dakota
Residence	Los Angeles, California
Nationality	United States of America
Alma mater	University of Minnesota
Occupation	filmmaker, Youtube celebrity
Years active	2004-present
Notable work(s)	The Annoying Orange

Dane Boedigheimer frequently made home videos as a teen.^[4] During his college years, he studied filmmaking in Minnesota, where he met Spencer Grove as an undergraduate.^[5] After finishing college, Boedigheimer and Grove moved to Bakersfield, California and then in 2004 moved to Los Angeles,^[4] where they both worked as production assistants for MTV's Pimp My Ride.^[6] After finishing working for the show, Dane decided that he didn't want to pursue a career in television; "It wasn't me," said Dane. "I wanted to be creative and do things my own way."^[7]

Boedigheimer and his production company, Gagfilms, slowly built a core of fans. In 2006, he opened two Youtube channels named Daneboe and Gagfilms, producing several video series.^[6] Dane's videos have been viewed over 500 million times and have been featured on TV, popular entertainment, news, and video sharing websites.^[8][9] He is also known for his ongoing "Video Game Mashups" series of videos.^[10] In 2010, Boedigheimer's YouTube channel had almost 350 million views and earned an income of $288,000 from ads.^[11]

Before The Annoying Orange, Boedigheimer had done many talking food videos for his channel and other sites including JibJab. He said in an interview that the idea for The Annoying Orange was a combination of the talking food videos, puns and special effects he came up with and did before.^[12] The original video was initially meant to be the only Annoying Orange video on YouTube. However, many viewers requested more videos,^[1][13] and after the 4th one, Boedigheimer decided to make a full-time series. Following the success of the series, he created a channel dedicated to The Annoying Orange under the name "realannoyingorange" on January 11, 2010.

New episodes of The Annoying Orange are released on a weekly basis, with a few exceptions. The episodes are released every Friday on realannoyingorange's YouTube channel.^[1]

Reception[link]

The series was rated as the most viewed web series of February and March 2010 by Mashable, with over 52 million views.^[14][15] On April 26, 2010, the series had over 108 million views on YouTube.^[1][16][17] In June 2010, the channel had received 137 million views.^[13] By August 13, 2010, it received had 1 million subscribers. On June 2011, the channel was ranked as the eighth most subscribed and 30th most viewed, with more than 2,000,000 subscribers.^[18][19] On January 13, 2012, the series hit 1 billion channel views and 2.3 million subscribers.^[20][21]

Despite the show's popularity, it has received some negative critical response. Liz Shannon Miller considered the show to be "annoying for many reasons."^[22] In the web series column Pass the Mustard, Ned Hepburn called the show "pure, pure unfunny, highly concentrated, in droplet form, just purely nonsensical riffing from an Annoying Orange." Hepburn concluded, "the Annoying Orange series is one of the few that I had a physically bad reaction to. It was horrible."^[23] 411mania.com called the show "idiotic" and "creepy as hell",^[24] while other publications have referred to it as "third grade humor."^[1]

Merchandise[link]

Since late 2011, The Collective has produced many accessories, toys and clothing with toymaker The Bridge Direct and clothing retailers such as JCPenney, Shopko and rue21.^[25] On November 10, 2011, GeekDad announced a giveaway for an Annoying Orange T-shirt from JCPenney and a toy from Toys R Us. GeekDad started taking entries through Friday at 11:59 PM.^[26] The Collective also announced a partnership in December of that year with costume manufacturer Rubie's Costume Company to produce children and adult Halloween costumes and accessories featuring characters such as Orange, Pear, Marshmallow, and Midget Apple from the web series.^[27]

Games[link]

A video game developed by Bottle Rocket Apps named Kitchen Carnage was released for the iPod Touch and iPhone on April 7, 2011. The game was later released in HD for the iPad on May 6, 2011, and for Android devices on October 14, 2011. Players throw various produce items across the kitchen at a series of blenders and other kitchen utensils.

TV series[link]

References[link]

External links[link]

• The Annoying Orange official website
• The Annoying Orange official YouTube channel