Oral History: When Tickle Me Elmo Ruled the World

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Location: Walmart Supercenter, Fredericton, New Brunswick, Canada. Date: December 14, 1996. Victim: Stock room employee Robert Waller. Injuries: A broken rib, pulled hamstring, and concussion.

Cause of emergency room admission: Tickle Me Elmo.

The 27-year-old stock clerk had been working the overnight shift during the holiday rush when he was spotted holding the giggling, vibrating toy by a crowd of frantic shoppers. The ensuing melee left him looking like he had just been in a minor car accident. Someone had even torn the crotch from his jeans. The last thing he saw was a white Adidas sneaker kicking him in the face before he lost consciousness. 

All across North America, shoppers and retail workers alike were reduced to their primal instincts in an effort to obtain Tyco’s must-have toy of the holiday season. Tickle Me Elmo combined the appeal of Sesame Street’s breakout character—a three-and-a-half year old monster with charmingly clipped speech—with a novel design that allowed him to be “tickled” until he was practically out of breath.

It was impossibly adorable, and impossible to get: Tyco, which was anticipating a modest success, found themselves chartering private jets in order to get inventory from China more quickly; John Gotti Jr. made headlines for a top-secret Elmo pick-up at a Queens Toys "R" Us; bomb threats were called in to Tyco; one Elmo disappeared from a New York City police station; a toy designer carrying parts through airports was suspected of being the Unabomber.

With Hasbro re-releasing the toy for a new generation of kids this winter, we assembled the inventors, designers, marketers, and industry insiders who helped make Tickle Me Elmo one of the biggest success stories in the history of playthings to talk about how the furry red monster became a pop culture phenomenon—one that parents would literally step all over someone to get.

I: TICKLISH

Tickles the Chimp. Courtesy of the Strong, Rochester, NY

With an interest in art and a degree in clinical psychology, Ron Dubren had been making board games and toys for 15 years. A mutual friend had introduced him to the late Stan Clutton, who held inventor liaison positions with a number of companies. Clutton was always willing to listen to Dubren’s ideas, but had rarely said anything other than "no." That’s not unusual in the toy business, but it was still gratifying when Dubren—who had only had modest success with games like Babble On—finally heard Clutton say “yes” to a prototype he made: a chuckling primate named Tickles the Chimp.

Ron Dubren (Co-inventor): I had been in the park one day watching a bunch of kids tickling each other. It brought back childhood memories—how much I loved tickling or being tickled. There was usually a kind of build-up of this laughing jag until you just finally lose it. I thought that would make a great toy.

Patricia Hogan (Curator, The Strong National Museum of Play): There was some precedent for putting electronics into a plush-type toy. There was Teddy Ruxpin, who had a cassette recorder in his torso. He read the story to kids like a sort of surrogate librarian.

Dubren: I can’t tell you why I used a chimp. I somehow associated chimps with laughter, or maybe I saw J. Fred Muggs on the Today show when I was a kid. I don’t know.

Mark Johnson-Williams (Electronics Designer): I had been doing design for Tyco for years. There had been talking dolls since you could pull a string. What made this different was the right sound and right personality.

Dubren: Sound was becoming inexpensive for toys at that point. We were getting into sound chips. It was too expensive to make one, so the prototype had a cable connected to a computer.

Johnson-Williams: Later on, I basically wrote the program for the circuit board that tells the motor what to do. I had done a talking Cabbage Patch Kid.

Dubren: I called up [co-inventor] Greg Hyman, who was a sound engineer and had recently lost his business partner. The original idea was a chimp that tickled you, but it wasn’t feasible. Greg and I worked on developing a prototype to show around. We were turned down by 12 different companies.

Dubren, who refers to the toy business as “the failure business,” wasn’t dissuaded. He finally came around to Clutton, who was working as vice president of marketing at Tyco’s Preschool division, in 1994.

Dubren: We showed it to Stan, and his immediate reaction was, “This would be great as an Elmo, but we don’t have the rights.”

Janice Yates (former Associate Vice President of Marketing and Development, Tyco Preschool): We had the plastic rights. Hasbro had the plush rights.

Dubren: The meeting lasted about 15 minutes before Stan referred me to another guy at Tyco, Gene Murtha. He knew that side of the company had the rights to Looney Tunes. I met Gene that day.

Gene Murtha (former Vice President of Marketing, Tyco): I instantly liked what he had. It was kind of reminiscent of Curious George.

Dubren: He looks at it and says, “This would be a great Tickle Me Taz.”

What remains of Tickle Me Taz. Courtesy of the Strong, Rochester, NY

Murtha: I don’t think I said it to Ron, but I thought it would be a great feature product for our Looney Tunes license, which we had at the time.

Yates: The concept was when it came in that you’d tickle it once and it would laugh. Tickle it a second time and it laughed harder. Tickle it a third time and it went hysterical.

Dubren: That escalation was important. It just keeps laughing harder and harder. There was a beginning, middle, and end.

Murtha: We might have looked at doing Tickle Me Tweety. But at the time, Warner Bros. was pushing the Tasmanian Devil and had all kinds of research indicating how popular he was. Boys loved the gruffness of him. The market was reaching a saturation point with Tweety. There had been a lot of Tweety.

Johnson-Williams: No one wants to take care of a Tasmanian Devil. You don’t want to be his friend.

Murtha: We did do a Taz prototype. It was functioning, with the electronics and everything. We had someone do a voice to simulate his grunting sort of laugh. I remember taking it to Warner Bros. and they were like, “Yeah, fine.” It wasn’t memorable on their part. They could have had the Tickle Me license under their property.

Despite Murtha's enthusiasm, Taz would not get the opportunity to become the must-have toy of the year.

Hogan: When you think of that character, tickling doesn’t seem the least bit compatible.

Yates: It was good for Taz, he had a crazy personality, but during the evaluation, Tyco decided not to renew the Warner Bros. license.

Murtha: In those days, Tyco had no email system. We all communicated via fax. I remember being at the offices in New York after hours—it was me, Stan, and a few others. I walked past the fax machine and it was spitting out a notice that Tyco had dissolved their agreement with Warner Bros. I walked to Stan and said, “Why don’t you take this and make Tickle Me Big Bird?” And he said, “No, it would be Tickle Me Elmo.” And by this point, they had gotten the Sesame Street license.

Dubren: The guy Stan worked for, [former Tyco president] Martin Scheman, had the idea to pursue the license to Sesame Street and create feature items they’d promote on TV. Marty went to Stan and said, “I need a feature item.” And Stan said, “I’ve got an idea.”

Yates: We had a long-term relationship for plastic toys for the Sesame license. The relationship had grown and they gave us the opportunity to bid on the plush portion and to become the master toy licensee.

Ann Kearns (former Vice President, Licensing, Sesame Workshop): StoryMagic Big Bird was really our first big item. It was pretty low-tech, but it was a huge success. Before Elmo came along, Big Bird was the star of the show. He was the quintessential 6-year-old and Elmo was the quintessential 3-year-old.

Sesame Workshop

Dubren: I got a call from Stan saying, “Guess what?” That’s when I came up with Elmo’s Law: Anything that can go right will go right.

Yates: From the time it got kicked back to us, we all felt the best use for the concept would be with Elmo.

Murtha: I was delighted for Stan to take it over. It was 70 percent done. I was able to take the internal development costs, which were between $50,000 and $100,000, and move them over to Stan’s profit and loss margin.   

Bruce Maguire (CEO, Freeman PR): Elmo hadn’t really been translated into toys yet.

Yates: Elmo was starting to come to the forefront on Sesame Street. This was around 1995. He was becoming more and more popular with parents and children.

Kearns: We didn’t do a lot of Elmo products at first, but in the early 1990s, we started getting calls from parents. “My kid loves Elmo, my kid wants to go to sleep with Elmo.”

Dubren: At the time, Sesame Street was sort of a sleepy license for toys. They were perceived as educational, and that’s a death knell for toys.

Johnson-Williams: The character had to be on long enough for people to go looking for him.

Murtha: The whole character changed with Elmo’s skin. It gave it a gentle, loving ambiance.

Yates: His character lent itself to the laughing and giggling element. It was perfect.

II: GOOD VIBRATIONS

Courtesy of the Strong, Rochester, NY

Work began on turning Tickle Me Taz into Tickle Me Elmo in early 1995, with the expectation that it would be ready for a February 1996 debut at New York’s Toy Fair. Dubren and Hyman had licensed their concept and would be paid a royalty, although the end result would be markedly different from Tickles the Chimp.  

Dubren: I don’t have a proprietary feeling about it. A lot got changed, developed, and improved.

Johnson-Williams: I have a lab near a main street and there are windows. At one point, there were Elmo skins all over without any of the electronics. It looked like a toy factory exploded. People would walk by and go, “What happened?”

Murtha: The next pieces they put in were friggin’ awesome.

Yates: We brought in our ad agency to take a look at the concept. Bob Moehl came to the meeting. He looked at the toy and there was just dead silence.

Maguire: It was a line review. I remember being there. They said, “This is going to be our lead item.”

Bob Moehl (Advertising): I, as the ad man, said it was a waste of money to advertise a sound toy. Television is about motion. The thing ought to move

Yates: He said, “It’s adorable, it’s great, but television is a visual medium.” And off he went.

Maguire: Bob said, “It’s great, but can you make it shake, like a Santa Claus belly?” That one little change had such a payoff.

Dubren: I think what happened was, someone had remembered seeing a shaking monkey that had been on the market.

Neil Friedman (former President, Tyco Preschool): The line review was just about the time I had come on board the company. That mechanism became the third component.

Jerry Cleary (former Vice President, Sales, Tyco Preschool): With the laughing and shaking together, I thought we had something compelling.

The secret to Elmo's success: a vibrating sound box.

Johnson-Williams: They showed me this shaking, shrieking monkey, showed me Elmo, and asked me to build one with all of those elements.

Yates: I remember at the time people had those old-style flip phones on the table. They were vibrating and shaking as they were ringing. And a light bulb went off.

Dubren: My wife actually saw Tickles the Chimp and said, “Wouldn’t it be great if it shook?” I said, “Yeah, but no one is going to put that kind of money into it.”

As with most licensors, Children’s Television Workshop—which later changed its name to Sesame Workshop—was fiercely protective of its intellectual property.   

Yates: There were serious concerns from Sesame. They weren’t sure if they wanted Elmo to shake in case parents thought he was having a seizure. It was a conversation over the course of several meetings, winning them over.

Kearns: I don’t recall that. She may have spoken to someone else about it. What I recall is that we wanted to make sure the shaking was confined to the giggle, so he was only shaking when he was giggling, and then it stopped. There’s no reason for the body to move without that.

Johnson-Williams: It was a conversation with Janice on how to get the motor to run a little, then a little more, then run full blast.

Dubren: They tested it with moms, and no one seemed to care it was going to be $30 instead of $20 because of the motor.

Yates: We did some informal research, and no parent thought Elmo was having a seizure. 

Johnson-Williams: Every licensor does this. Every one. I remember one company had to stop production on a Minnie Mouse because her bow had nine polka dots. Disney said, “No, she has 11. Start over.”

Dubren: It was a big payoff, or surprise ending. The vibration is what makes people start laughing along with it.

Johnson-Williams: At one point, we had him saying, “Stop, stop tickling me.” And there was something sinister about that. Elmo is a child and you can’t have a child saying, “Stop, stop.”

Hogan: Almost all of us have memories of being tickled or tickling. It’s fun, but it’s also a little uncomfortable. There’s a tension there that’s part of the appeal. Elmo recalled that.

Johnson-Williams: I flew the prototype back to show them. They’re professional toy people. It’s not like they clapped.

grac_rahi via eBay

While a lot had to go right in order for Tickle Me Elmo to succeed, one key component would be the notion that parents and their children would be able to see Elmo in action before spending $29.95.

Yates: Martin Scheman originated the concept of “Try Me” at retail, which means presenting a product to a consumer in packaging with batteries included so you can press it and get a demonstration. That was a critical piece of Tickle Me Elmo.

Murtha: I wouldn’t say originated, but there was a mastery of it. We had to do a lot of Try Me because Tyco Preschool wasn’t advertising on television.

Friedman: I forced the factory to put batteries in because I wanted it to be a Try Me.

Maguire: You’d be walking down the aisle, squeeze his hand, and he’d laugh right on the shelf.

Johnson-Williams: That was a relatively new idea. One of my theories when I wrote the program was, most people have an attention span of less than eight seconds. The Tickle Me Elmo would have to get to the punch line in less time than that. Any longer and people walk away.

Dubren: Try Me showed off everything about the toy. It laughs, it escalates, it starts to shake, and you get it right away.

Yates: You could experience it at the retail level but it would not wear out the batteries. Engineering had flagged us about using battery life for a toy with sound and a motor. They were concerned about dead batteries at retail if the toy played in its full mode.

Johnson-Williams: Once you took it home and pulled the cord out, it would play in the full mode.

While Johnson-Williams worked on getting Elmo to laugh and shake in the right ratio, he would sometimes be interrupted by calls or visits to his office in Half Moon Bay, California from the Federal Bureau of Investigation. He was suspected of being the Unabomber.

Yates: I was on a plane to San Francisco with a bucket of parts on my way to meet with Mark. I was interrogated at the airport because I had all these wires, batteries, and tapes. They asked me who I was going to see. That’s how they got Mark’s name.

Johnson-Williams: The FBI basically had 10,000 people on a list, and one of the ways to get on was to order a bunch of electronic parts. They were trying to find this guy and casting as wide a net as possible.

Dubren: The media picked up on that and turned it into him being the creator of Tickle Me Elmo. It got to be a little uncomfortable.

Johnson-Williams: There were some funny coincidences. He was seen in Utah, supposedly, at the same time I was shooting a toy commercial in Utah. One day he said he was going to blow up San Francisco and then I flew into San Francisco. Every few weeks, they’d make a call and ask a question.

After an 18-year search, the FBI caught Unabomber Ted Kaczynski on April 3, 1996. While that was a relief for Johnson-Williams, the pressure was building for Tyco Preschool’s core team, which had never before been charged with delivering such a high-profile item.  

Murtha: That division of Tyco was considered to be kind of a stepchild. There was a critical meeting where four or five of us sat with Dick Grey, the CEO, at Gramercy Park. And he basically scolded and berated us.

Cleary: I think he was challenging us, which was his job. The discussion was about who was going to be promoting it.

Murtha: We showed him Elmo and thought we had something special and wanted to handle the advertising. He wouldn’t allow it. I thought we’d be fired.

Cleary: In so many words, he told us we didn’t know what we were doing. And then they finally reconsidered.

Murtha: This is around the time Neil Friedman came in [as president of Tyco Preschool]. He had a very keen marketing eye for what the consumer will respond to.

Cleary: Elmo was done by the time Neil came to the company, but he did a remarkable job selling it.

Friedman: It was not done. The packaging still needed to be designed and there was more work to do.

Maguire: She wasn’t his wife at the time, but Amanda Friedman designed the original Tickle Me. A lot of people became lifetime friends from working on it.

Tickle Me Elmo’s push began during the February 1996 Toy Fair in New York, the annual event for companies and buyers to get an idea of what the coming year will bring. 

Yates: I remember waddling into Toy Fair very pregnant at the time. I was presenting it to buyers and having meetings. The reaction was positive, but it wasn’t, “Oh, my God, we have a phenomenon.” It was, "Okay, it’s cute, great."

Johnson-Williams: They stuck a bunch of them on a wall.

Maguire: The primary line at Toy Fair was Tyco’s line of RC Cars. So the media would go through this tour and wind up at Tyco Preschool, where Elmo was. It was probably one of the first animated plush licenses next to Big Bird. They may have thought, “Oh, okay, they’re just doing what they did before.”

Johnson-Williams: My wife at the time had a friend who didn’t like anything I did. She was kind of a curmudgeon. When she touched Tickle Me Elmo, she smiled, and I knew it was going to be a big deal.

Maguire: Al Roker from the Today show was there, and he loved it. This was pre-[gastric] surgery, so he was a little chunky then. He laughed and his belly laughed and Elmo laughed.

Ellie Bagli (Senior Vice President, Freeman PR): Al was being Al and Elmo was being Elmo. It was a great visual.

Maguire: It brought Elmo to life in a way that had never been done before.

Yates: Neil was at a baseball game when he ran into a buyer from Toys "R" Us. And the guy said, “Oh, my God, Neil. We just got an initial point of sale report and this thing is flying off the shelves. You guys better ramp up.” It had been out three or four weeks.

Friedman: We were monitoring it from the moment it hit shelves. It wasn't because of running into anyone. We were getting calls from buyers right away. It was selling far better than any $30 plush would have sold in those days.

III: THE TICKLE MONSTER

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Thanks to Elmo’s popularity and the novel Try Me packaging, Tickle Me Elmo was off to a solid start when it hit store shelves in July 1996. But without the viral marketing of today, a toy’s best shot at hitting the stratosphere was exposure to children—and their parents—on television.

Yates: The Today show had aired a segment about the new hot toys. Bryant Gumbel and Katie Couric were sitting there playing with the doll and getting a kick out of it. It was great exposure.

Maguire: Bryant was not considered a warm guy, so for us, it was great. He was not the type you’d expect to have Elmo on his lap. It seemed to humanize him.

Bagli: He held it the entire time. I don’t think it’s ever been done before or since.

Yates: Freeman PR was responsible for getting Rosie [O'Donnell].

Maguire: Ellie was taping her show almost from the start. Rosie would create a kind of game show atmosphere and give her audience products.

Murtha: It was perfect. This was September, and the kids were going back to school.

Dubren: It helped her show as well. She was just starting out.

Yates: You couldn’t just send Rosie items. It was all about whether she liked it or not. If she didn’t, it wasn’t going on her show.

Bagli: It was early October. We had sent her son one and then she talked on-air about how he had flushed it down the toilet. So I jumped on the phone with Tyco and said, “Get every Elmo we have. Get some red tissue paper.” I got a call from her show an hour later saying, “This is great. Can we have enough for the whole audience?”

Murtha: She eventually brought Neil Friedman out and he did a great job pitching. Elmo did a great job pitching.  

The packaging, the character, and O’Donnell’s endorsement put Tickle Me Elmo on the map in a very prominent way. As the holiday season began, the media took note of shoppers waiting anxiously outside toy stores in groups resembling "Depression-era bread lines.” Unlike most dolls and many plush items, Elmo was a “gender-free” gift that boys and girls were demanding in equal quantity.

Hogan: If it were a plastic doll, chances are most boys wouldn’t have wanted anything to do with it.

Murtha: Going into September, we were forecasting 100,000 pieces. Within a week of Rosie, we were forecasting a million.

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Bagli: It was virtually sold out from the day after Thanksgiving through Christmas.

Maguire: All of a sudden, demand got really strong, and Tyco was in a position of, “How many more can we make before the end of the year?”

Murtha: You line up factories for 100,000. A week later, it’s a million. There’s just no way to get them into the marketplace.

Cleary: I was on the phone with Hong Kong three nights a week. The tools could burn out on high manufacturing runs, so we were figuring out how to build new tools.

Friedman: The plush was not the limiting factor. The problem is producing the mechanism. We were building new tools every week.

Yates: We ended up not running the full TV campaign, pulling some of the back-half media because we didn’t feel it was right to continue to advertise the item to gain awareness and sales when we could barely support all of the pent-up demand.

Maguire: That’s the irony of the motor. It was made for television and they never needed television.

Following Black Friday, Tickle Me Elmo turned into the most coveted holiday item on wish lists. The scarcity led to a tsunami of media about toy aisle mayhem. John Gotti Jr., son of late mafia boss John Gotti, was seen entering a Toys "R" Us after hours and walking away with several Elmos; Cartier Jewelers offered Elmo free with the purchase of a $1 million necklace. One Toys "R" Us district manager pushed a pallet of Elmos out and watched in horror as parents tore into them without regard for anyone’s safety. He started to cry.  

Yates: People would call the Tyco offices threatening to do something if we didn’t release more Elmos. Bomb scares. “I’m going to blow the place up.” It was overwhelming.

Dubren: There were people acting primitive, but that happens every Christmas. A kid laughing with his parents doesn’t get to be a news story.

Kearns: Did it make us cringe? A little. It was nothing we promoted, but there was nothing we could do about it. It was just demand.

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Yates: The media kept saying that we planned it, and it was just great marketing. It wasn’t.

Dubren: Nothing of the kind ever happens. They’re in business to sell stuff. The problem is, they don’t want to be stuck with inventory.

Maguire: The media was doing negative stories, saying it was artificial. Sometimes they want to build up a thing to knock it down. Everyone thought there was a bunch in storage somewhere. Tyco was a public company. You couldn’t mess around like that.

Friedman: Plan a shortage? No one plans a shortage. You can't just say, okay, we want a million. You need to buy chips and other materials, and that can take 60 days.

Cleary: You have a responsibility to the shareholder. That’s the last thing we’d do.

Moehl: [We just] underestimated how the thing would take off. Nothing succeeds in the toy business like shortages.

Yates: Neil was so influential in getting us more goods, as much as we could possibly produce. We went from 400,000 to shipping a million units.

Dubren: Stan thought Neil was crazy to do that, that it was way over the line.

Maguire: He wanted to put the pedal to the metal, where Tyco as a whole wanted to be more cautious. Big toys have put companies under. Teddy Ruxpin killed Coleco. You can’t flood the market. Neil convinced them.

Friedman: It was completely my decision. 

Dubren: They were shipping them by boat, but then they started to fly them in.

Friedman: We air-freighted them in on a regular basis, over and above the goods arriving on water.

As Christmas neared, it was clear not everyone who wanted a Tickle Me Elmo was going to get one. A toy phenomenon had become a cultural symbol of how determined shoppers were to land the coveted monster. To prevent thefts or fights, Toys "R" Us would call raincheck holders and leave vague messages that their “item” was in. In the store, they would be handed a pre-wrapped package so they could slip out of the store without being obstructed.

Dubren: For me, it hit home when I was on a plane to Chicago in early December and The New York Times had the front page of their business section talking about Tickle Me Elmo. It was a pinch-me moment.

Maguire: Harvey Weinstein at Miramax contacted us and sent us a bunch of Oscar-nominated movies on VHS. The Letterman people called and traded us sweatshirts. Brett Favre called Neil.

Cleary: Al Gore called. I told my secretary to tell him I’m Republican.

Murtha: Jill Barad, the [former] CEO of Mattel, walked past my office one day and saw him. “Oh, my God, you have an Elmo!” I gave her mine.

Maguire: Some people at Nintendo traded us N64s, which were the other hot toy, for Elmos.

Dubren: The internet was pretty fresh back then. Most people had dial-up. But there were a few on eBay already.

Yates: I was riding the train home from New York one night and Stan asked me to go do a radio interview. I get on the phone and did the interview. I look up, and everyone on the train is looking at me. “You work for that place? Can you get me an Elmo?” I really felt like my life was in danger.

Maguire: You had to say no sometimes to needy people who would benefit, like charities. You became the gatekeeper for this toy.

Cleary: We tried to distribute it evenly. But we were able to use it and say to retailers who were slow to pay invoices, “Look, we gotta clean this up or we can’t allocate any product to you.” And everyone paid their bills.

Murtha: We took Tyco Preschool from being the losers in New York to, “Oh, those are our guys.”

Maguire: When Tickle Me Elmo sold out, you couldn’t come home empty-handed, so you bought some kind of Elmo toy.

Kearns: It was a halo effect across the entire Sesame line. There was always another Elmo on the shelf to buy. We had T-shirts, books.

Maguire: They could have sold 10 times as many if they had them.

Murtha: Mattel was in the process of buying Tyco and merging Tyco Preschool and Fisher-Price together when Elmo was coming out. I would say the entire purchase price of Tyco [$737 million] was recovered over the next two to three years by Elmo.

IV: ELMO GETS EXTREME

Courtesy of the Strong, Rochester, NY

By the end of 1996, Tickle Me Elmo had taken his place among the most popular toys of the 20th century. Over 1.2 million of the dolls had reportedly been sold, making Tyco a name that could stand among the Hasbro and Mattel brands as a leading supplier of hot holiday items. But unlike past fads, Elmo wasn’t going to be forgotten quickly.  

Dubren: I think it took until the following June for Toys "R" Us to honor all of their rainchecks for 1996.

Friedman: I'm not going to tell you the number. We sold well over a million in 1996. And we sold many, many more Elmos in 1997. In fact, we sold more Elmos in the first quarter than we did for the entire year before.

Cleary: We sold one million Elmos in 1996 and four million Elmos in 1997.

Kearns: It may have been the first time a toy did better in year two than year one.

Yates: It was an exciting time, but Stan gave me a reality check. He wanted to know what we were going to do the next year.

Maguire: It became a franchise out of nowhere.

Yates: We did Sing and Snore Ernie, which did almost as well as Tickle Me Elmo.

Friedman: The biggest thing I found following the craze was walking into a toy department and seeing people pick up a plush toy and squeezing it to see if it would do anything. We needed to keep bringing soft toys to life, and that's what we spent a lot of time doing.

Kearns: Ernie was very popular in Europe. Elmo actually wasn’t on Sesame Street in Europe at the time.

Yates: We also did a line extension with Baby Tickle Mes—Cookie Monster, Ernie, Zoe.

Kearns: There was no Tickle Me Oscar. The toys always had to be true to the character.

Cleary: We sold 4 million Baby Tickle Mes. There was just so much demand we couldn’t fill.

Gina Sirard (former Vice President of Marketing, Fisher-Price): One of my main strategies when I got to Fisher-Price was to have people asking, “What is Elmo going to do next?”

Bagli: You’ve got to give them credit. Every year, they did a new Elmo. Chicken Dance Elmo won a Toy of the Year award.

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Yates: There was a Toss and Tickle Me Elmo.

Dubren: You threw him up in the air, he’d laugh, you’d catch him, and a motion sensor switch would get him to stop laughing.

Cleary: Elmo as Elvis.

Yates: Rock and Roll Elmo was also Greg Hyman. I was there until 2008 and there weren’t any real dogs.

Girard: Pogo Elmo got a lukewarm reception. It was the only one that wasn’t really a huge success.

Dubren: To some degree, I’ve been told it saved Children’s Television Workshop at the time. The success spread to the entire license.

Maguire: As funding for public television deteriorated from the government, the private sector was coming into place through royalties. Now you were seeing the characters on applesauce and snacks.

Kearns: What I would say is that any non-profit is constantly challenged with ways to drive income. Any success story is a big plus. [Workshop founder] Joan Ganz Cooney gave a speech where she said Tickle Me was such a big success it allowed them to expand internationally.

Under Mattel’s Fisher-Price banner, Elmo made annual appearances right on through 2006. For his 10th anniversary, the company launched TMX Elmo, or Tickle Me Elmo Extreme, a doll that had to be seen to be believed. 

Dubren: TMX was fabulous. I wish I could say I developed the mechanism, but I didn’t.

Bruce Lund: (Owner, Lund and Company): We had actually shown them the mechanism for Elmo’s fifth anniversary. Later, one of us came to the other and wanted to take the concept further into extreme laughter.

Sirard:  It didn’t work out for the fifth anniversary. When he bought it back, we added the slapping on the ground and the rolling over.

Lund: It was something we used in a toy called Baby Go Boom—not the same, but an earlier version. Baby Go Boom could basically fall from a standing to seated position, then lay down, then sit back up. And then we realized we could get her to stand back up, and that became Somersault Sara.

Gabriela Arenas (Vice President of Licensing, North America, Sesame Workshop): TMX was really an attempt to recreate how a 3-year-old would laugh when being tickled—rolling on the floor, giggling, having fun. The mechanism was able to translate that.

Kearns: I remember Fisher-Price did a mock-up to show us and we just fell over laughing. It was a no-brainer.

Lund: Getting the Elmo skin on was an issue. The mechanism can work fine on its own, but the fur adds friction.

Maguire: We were able to recreate the hysteria, which was pretty huge.

Kearns: Gina Sirard was the genius behind the marketing of keeping the whole thing under wraps. Retailers would buy it without having seen it.

Sirard: We did ads with Elmo in silhouette.

Maguire: I had been working with Tyco for 25 years and it was the first time they made me sign a non-disclosure agreement.

Lund: There is satisfaction in seeing people mystified. It was a simple mechanism, but people thought it was a mechanical marvel.

Sirard: The whole goal was to make Elmo seem as real and alive as possible.

Lund: One time we had temporarily lost a sample and Fisher-Price was a little upset. We did find it. They wanted everything kept top secret.

Maguire: We stole a little from Steve Jobs and didn’t let anyone see the product until it was at retail.

Bagli: There were maybe 20 people in the world who saw it before then. We kept the product a secret until the day we revealed it on Good Morning America.

Lund: It was really marketing genius.

Bagli: The package looked like a metal briefcase with a warning, “May Contain Uncontrollable Laughter.”

Lund: We had shipped samples in a diamond-plate pattern metal with foam inside, sort of an attaché case that fit the model properly, because they were so valuable. That was ultimately the inspiration for the packaging.

Kearns: They made a package where you just saw the eyes through a tiny little flap.

Lund: It was also good because there was no on-shelf demo, and so the batteries wouldn’t wear out.

Maguire: Diane Sawyer had it in a little vault.

Bagli: Most holiday sales started on Black Friday, but this pushed it ahead two months. We called it the Elmo Effect.

Fisher-Price

Maguire: People were lined up outside of Toys "R" Us and put 10 in a cart to sell on eBay.

Bagli: It was like getting election results. You get the East Coast, and then West coast numbers pop up.

Arenas: It created that must-have expectation with consumers.

Maguire: The toy industry was in the doldrums that year. All of a sudden people got excited to go to big box stores in September and it turned out to be a good year. Everyone benefited from TMX Elmo.

Hogan: I suspect the appeal was more for adults who had grown up with Tickle Me Elmo and now had kids of their own. It was very exaggerated and very funny.

Lund: According to Mattel, it sold more toys on its first day than any other toy in history to that point. That doesn’t include video games.

Sirard: I remember getting calls every hour from Walmart. It was incredible. I think the number was 250,000 sold that day. I don’t know if there’s been a product since that’s done that.

After countless variations—including backpacks, foreign releases, and more—Elmo and the rest of the Sesame Street license returned to Hasbro in 2011. Their Love2Learn Elmo offers children guidance on potty-training; a slightly smaller version of the original is also in stores. Sesame Street, which is now premiering new episodes on HBO, still considers Elmo its biggest licensing success among preschoolers.

Dubren: Ironically, there had been a tickle-me baby on the market the same year Tickle Me Elmo came out. But there was no TV promotion and no character.

Getty

Bagli: People still use Tickle Me Elmo as the standard. “What’s the next Tickle Me Elmo?”

Lund: When I did TMX, I had people come to me and go, “Oh, man, why didn’t you bring it to us?” What would you do with it? Make a teddy bear? Who cares? When it’s Elmo, that’s when it matters to people.

Dubren: There had been big toys, but this transcended the typical toy phenomenon. It was more human than something like Furby or Tamagochi. It became something adults were aware of.

Kearns: It became what the industry came to call “feature plush.” There had been talking toys, but this was wiggling, giggling, and vibrating.

Murtha: I’ve worked on a lot of these. Strawberry Shortcake, Trivial Pursuit, Cabbage Patch—it’s what you work for. When it comes together, all you can say is wow.

Dubren: Tickle Me Taz probably would have vanished overnight.

Kearns: It was a perfect storm, the right character with the right mechanism. No one wants to hug Taz.

Dubren: It’s simple. It gave people joy. It may have only lasted a couple of moments, but that’s one of the precious things about life.

Kearns: At the time, my sister-in-law was going through some very serious radiation and chemotherapy for cancer. I would visit her and talk about what we were working on. I once brought a Tickle Me to show her and she got the biggest smile on her face. Even with all these tubes and chemicals, she smiled. All the doctors and nurses played with it. It showed me Elmo’s appeal went beyond preschoolers.

She passed away. I still have her doll. Everyone loves Elmo.

10 Reusable Gifts for Your Eco-Friendliest Friend

Disposable tea bags can't compete with this pla-tea-pus and his friends.
Disposable tea bags can't compete with this pla-tea-pus and his friends.
DecorChic/Amazon

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

By this point, your eco-friendly pal probably has a reusable water bottle that accompanies them everywhere and some sturdy grocery totes that keep their plastic-bag count below par. Here are 10 other sustainable gift ideas that’ll help them in their conservation efforts.

1. Reusable Produce Bags; $13

No more staticky plastic bags.Naturally Sensible/Amazon

The complimentary plastic produce bags in grocery stores aren’t great, but neither is having all your spherical fruits and vegetables roll pell-mell down the checkout conveyor belt. Enter the perfect alternative: mesh bags that are nylon, lightweight, and even machine-washable.

Buy it: Amazon

2. Animal Tea Infusers; $16

Nothing like afternoon tea with your tiny animal friends.DecorChic/Amazon

Saying goodbye to disposable tea bags calls for a quality tea diffuser, and there’s really no reason why it shouldn’t be shaped like an adorable animal. This “ParTEA Pack” includes a hippo, platypus, otter, cat, and owl, which can all hang over the edge of a glass or mug. (In other words, you won’t have to fish them out with your fingers or dirty a spoon when your loose leaf is done steeping.)

Buy it: Amazon

3. Rocketbook Smart Notebook; $25

Typing your notes on a tablet or laptop might save trees, but it doesn’t quite capture the feeling of writing on paper with a regular pen. The Rocketbook, on the other hand, does. After you’re finished filling a page with sketches, musings, or whatever else, you scan it into the Rocketbook app with your smartphone, wipe it clean with the microfiber cloth, and start again. This one also comes with a compatible pen, but any PILOT FriXion pens will do.

Buy it: Amazon

4. Food Huggers; $13

"I'm a hugger!"Food Huggers/Amazon

It’s hard to compete with the convenience of plastic wrap or tin foil when it comes to covering the exposed end of a piece of produce or an open tin can—and keeping those leftovers in food storage containers can take up valuable space in the fridge. This set of five silicone Food Huggers stretch to fit over a wide range of circular goods, from a lidless jar to half a lemon.

Buy it: Amazon

5. Swiffer Mop Pads; $15

For floors that'll shine like the top of the Chrysler Building.Turbo Microfiber/Amazon

Swiffers may be much less unwieldy than regular mops, but the disposable pads present a problem to anyone who likes to keep their trash output to a minimum. These machine-washable pads fasten to the bottom of any Swiffer WetJet, and the thick microfiber will trap dirt and dust instead of pushing it into corners. Each pad lasts for at least 100 uses, so you’d be saving your eco-friendly friend quite a bit of money, too.

Buy it: Amazon

6. SodaStream for Sparkling Water; $69

A fondness for fizzy over flat water doesn’t have to mean buying it bottled. Not only does the SodaStream let you make seltzer at home, but it’s also small enough that it won’t take up too much precious counter space. SodaStream also sells flavor drops to give your home-brewed beverage even more flair—this pack from Amazon ($25) includes mango, orange, raspberry, lemon, and lime.

Buy it: Amazon

7. Washable Lint Roller; $13

Roller dirty.iLifeTech/Amazon

There’s a good chance that anyone with a pet (or just an intense dislike for lint) has lint-rolled their way through countless sticky sheets. iLifeTech’s reusable roller boasts “the power of glue,” which doesn’t wear off even after you’ve washed it. Each one also comes with a 3-inch travel-sized version, so you can stay fuzz-free on the go.

Buy it: Amazon

8. Countertop Compost Bin; $23

Like a tiny Tin Man for your table.Epica/Amazon

Even if you keep a compost pile in your own backyard, it doesn’t make sense to dash outside every time you need to dump a food scrap. A countertop compost bin can come in handy, especially if it kills odors and blends in with your decor. This 1.3-gallon pail does both. It’s made of stainless steel—which matches just about everything—and contains an activated-charcoal filter that prevents rancid peels and juices from stinking up your kitchen.

Buy it: Amazon

9. Fabric-Softening Dryer Balls; $17

Also great for learning how to juggle without breaking anything.Smart Sheep

Nobody likes starchy, scratchy clothes, but some people might like blowing through bottles of fabric softener and boxes of dryer sheets even less. Smart Sheep is here to offer a solution: wool dryer balls. Not only do they last for more than 1000 loads, they also dry your laundry faster. And since they don’t contain any chemicals, fragrances, or synthetic materials, they’re a doubly great option for people with allergies and/or sensitive skin.

Buy it: Amazon

10. Rechargeable Batteries; $40

Say goodbye to loose batteries in your junk drawer.eneloop/Amazon

While plenty of devices are rechargeable themselves, others still require batteries to buzz, whir, and change the TV channel—so it’s good to have some rechargeable batteries on hand. In addition to AA batteries, AAA batteries, and a charger, this case from Panasonic comes with tiny canisters that function as C and D batteries when you slip the smaller batteries into them.

Buy it: Amazon

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Oral History: In 1985, Mr. Snuffleupagus Shocked Sesame Street

Sesame Workshop
Sesame Workshop

On November 8, 1971, during the third-season premiere of Sesame Street, Aloysius Snuffleupagus was introduced to the world and proved immediately indispensable: Lacking a watering pot, Big Bird was delighted to see the massive, lumbering creature use his trunk to tend to his garden. The two became fast friends.

No one else, however, could be absolutely certain that Mr. Snuffleupagus actually existed.

Time and again, “Snuffy” would shuffle into the frame, just missing the adult residents of Sesame Street. Big Bird would try to convince them his pal was real. They’d humor him, but never really believed it.

So it went for 14 years, until the show’s producers began to hear of a growing concern among viewers: In the wake of news reports about child abuse cases, Big Bird’s implausible eyewitness testimony about his oversized friend might have real-life consequences. If adults were ignoring Sesame Street's biggest star, would kids feel like they wouldn't be heard, either?

The solution? Get rid of the ambiguity and let Snuffy loose. Three decades after his coming-out party, Mental Floss spoke with the writers, producers, and performers who had the delicate, important task of restoring Big Bird’s credibility and resolving his droopy-eyed friend’s identity crisis.

I. The elephant in the room

Sesame Workshop

Sesame Street was just two years old when Jim Henson decided he wanted to incorporate a massive presence on the show: A puppet that required two men to operate. Dubbed Mr. Snuffleupagus, the character debuted in 1971. News media described him as a “large and friendly monster resembling an anteater.” Then-executive producer Dulcy Singer and writer Tony Geiss agreed he would be Big Bird’s not-quite-real friend—a reflection of the wandering imaginations of the show’s preschool-aged audience.

Norman Stiles (Writer/Head Writer, 1971-1995): The character was kind of a collaboration between [executive producer] Jon Stone and Jim Henson. I think the initial idea was really to be ambiguous in the sense that, well, Big Bird says he’s real and the audience sees him and yet he always manages to not be there when the other people were there—so is he real or isn’t he real? The whole idea was to not really answer that, but to leave it as an open question.

Emilio Delgado (“Luis,” 1971-2017): It was going with the whole thing of a child’s imaginary playmate, which a lot of kids have. Big Bird was the only one who could see him. When adults came around, he would be talking about Snuffy this, and Snuffy that. We’d just say, "Yeah, sure, OK." We didn’t believe him.

Carol-Lynn Parente (Executive Producer, 2005-2016): There was a lot of humor to be mined from the issue. We never explained whether he was imaginary or not. Kids were able to see him, but adults couldn’t. You never really knew—was he imaginary? Playing with that question was a lot of fun; kind of a healthy ambiguity.

Stiles: You really had to believe that it was just terrible coincidences and quirks of Snuffy’s own personality that made it so that he just wasn’t there when Big Bird wanted him to be there to introduce him to his friends.

Delgado: Jerry Nelson originally did the voice and was inside the puppet, in the front. Bryant Young was in the rear. Boy, did we get jokes out of that.

Parente: He’s one of the tougher puppets to operate. Just the massive size of him requires certain [camera] blocking. It’s very physical, and very warm inside his belly. It’s only so long the performers can go through takes before they stop and need to be fanned off before they can start again.

Delgado: Later, Jerry stopped doing it. Maybe his back was bothering him. That’s when Marty took it over.

II. Identity crisis

2004 Sesame Workshop

“Marty” is Martin P. Robinson, a puppeteer who assumed the front end and voice of Mr. Snuffleupagus in 1981. For the first 10 years, the character had been a proverbial one-joke pony (or elephant), catching sight of adults and getting so excited he somehow wound up missing them. This would continue for several more years, which eventually began to wear on the nerves of both Robinson and Caroll Spinney, the actor who has portrayed Big Bird since his inception in 1969. Robinson was especially vocal about Snuffy not being a figment of his friend's imagination.

Martin P. Robinson (via Still Gaming: Lee & Zee Show Podcast, 2009): He was never imaginary. I say that a lot. And I say it with great strength of conviction. He was my character, he was never imaginary; he just had bad timing. He was shy, he had bad timing, and the joke was, he’s big, you can’t miss him, but adults being the way they are—preoccupied, going to work, you know—they miss those little details. And Snuffleupagus just happened to be one of those little details that they kept missing year after year after year. So he was a good, real friend to Bird; it’s just that no one else ever took the time to actually meet him.

Delgado: How long can you play a joke out? As performers, as Muppeteers, as artists, you can only carry a story so far before you have to do something else with it. They probably felt that’s what was happening.

Robinson: Those scripts just got so old. Caroll and I would look at the scripts and say, "Oh, lord, this one again."

Delgado: The adults would play along, knowing he didn’t exist. At the same time, I liked the idea of Marty saying, "OK, he just happened to be there at the wrong time." People were barely missing him.

The actors’ desire to play off a new dynamic was soon joined by a more pressing, potentially catastrophic issue. In the early 1980s, news programs like 60 Minutes were reporting on troubling statistics involving child abuse both at home and in daycare centers. If Big Bird—ostensibly the show’s stand-in for the 6-year-old viewing audience—was being brushed aside when trying to convince people Snuffleupagus was real, there was the chance children might not be convinced adults would believe them if they came forward with more troubling claims.

Stiles: We started getting some letters from people who worked with children who had experienced some kind of abuse, and what we were told was that they often don’t think they’ll be believed because the stories are so fantastic in their minds.

Michael Davis (Author, Street Gang: The Complete History of Sesame Street): I remember having my own internal conversations about Snuffy. My kids were in daycare and there were a lot of those stories about what was happening in daycare, a lot of those stories about children being abducted and kids on the back of the milk cartons and all of that. It became kind of a national focus, sometimes bordering on a mania.

Parente: All this was really stemming from a specific set of incidences in the news, claims of sexual abuse going on in some daycare centers, and kids being questioned about what was going on. The fear was that if we represented adults not believing what kids said, they might not be motivated to tell the truth. That caused us to rethink the storyline: Is something we’ve been doing for 14 years—that seemed innocent enough—now something that’s become harmful?

Delgado: It was a very serious consideration. It was something that could happen in their lives, and the [Children’s Television] Workshop was very attuned to things like that.

The CTW—now Sesame Workshop—is the organization comprised of researchers, psychologists, and freelance child experts who generate and evaluate the show’s themes and messages to make sure they’re going to be understood. Revealing Snuffleupagus required a concentrated effort to make certain Sesame Street’s writers and producers were communicating the idea effectively.

Parente: The process has been pretty much the same all these years. We look to experts in childhood development and that helps guide us—what’s the best way to address what we want to address? That’s the model Sesame was founded on, with writers, producers, educators, and researchers all working together.

Davis: I do think that the result from Sesame Street was a smart one because Big Bird, as a character, is a projection of a 6-year-old. So to have a situation where the 6-year-old’s eyewitness reports are being doubted so deeply and ridiculed ... They are kind mocking him a little bit and rolling their eyes at him.

Parente: It’s rare a children’s show is grounded in the real world. Much of our competition is in the animated world, where fantastical things happen. This is a real neighborhood. We think of it as kids coming to a play date with real friends, and it requires a real investment in how you tell a story.

Lawrence Rubin, Ph.D. (Child Psychologist): The writers took a real-world concern and asked themselves, "Are we helping or hurting kids by keeping Snuffy in the imaginary closet, and do we have a moral imperative to respond to a real issue by changing something about the show?"

Stiles: We wanted kids to know that grownups will believe them, but we wanted to preserve the fun that we were having, so I proposed that we have some of the grownups believe Big Bird, and that was the first step.

For the show’s 16th season in 1984 to 1985, producers laid the groundwork for the eventual reveal by depicting Big Bird as knowing the difference between fantasy and reality, with a handful of adults taking him at his word even with Snuffy still at large.

Robinson: They devised this two-year scheme, where in the first year they would have some of the cast members learn from Bird that Bird could indeed tell the difference between what was real and what was imaginary, that he knew the difference and was very clear about it. And once they got that from Bird, they said, "Okay, you know the difference. If you say Snuffy is real, then he’s real and we’d love to meet him, whenever the timing is right." And the other half of the adults said, "What, are you crazy? He’s imaginary! There’s no such thing as a Snuffleupagus."

Stiles: That changed the dynamic between the grownups ... Now, Big Bird wasn’t alone. He had grownups believing him, and we had a new dynamic where the grownups who believed him would now actually try to see Snuffy. That went on, I think, for about a year. I don’t remember the exact combination of conversations, but we finally decided, alright, let’s move. Just creatively, this has run its course.

III. The reveal

The show’s 17th season premiere aired on November 18, 1985. As promised, Big Bird made arrangements to introduce Snuffy to the adults on Sesame Street by telling them he’d yell out a secret word (“Food!”) when they were ready. Unfortunately, Snuffy is too nervous to remain idle, and Big Bird has a few false alarms that make the adults even more dubious.

Rubin: Watching this now, I’m 60 years old, sitting on the edge of my chair, going, "Oh, God, don’t go away! Stay there! Wait!"

Stiles: [Our goal] was to do what we had always done before, which was, "If you stay here, he’ll be here."

Robinson: They did it in one show ... I always thought it would have been nice if they could have revealed him to one person at a time. So that one person would have actually seen him, and then go back screaming to the rest saying, "I saw him!"

In a somewhat bizarre non-sequitur, talk show host Phil Donahue appears to pick up his broken toaster from Luis’s Fix-It Shop and begins to engage characters on the merits of Big Bird’s preferred code word.

Davis: You know, the first thing that comes to mind is that bimodal audience that they always talked about and writing something that would be appealing to adults as much as it would be to kids. Having Phil Donahue being the protagonist kind of making fun of himself and his show was hilarious.

Parente: There are plenty of studies that prove kids get more of the educational value when there’s co-viewing going on, so things like Donahue and other celebrities are by design. When you have a parent viewing with their child, they can ask questions and spawn a conversation.

After some protracted teasing of the audience—Snuffy can’t seem to stay put—the entire cast meets Snuffy and stares at him in awe.

Robinson: He’s starting to peel off and Elmo actually grabs onto his trunk and holds him down. There was a shot when they actually pinned Elmo onto the trunk, and I’m whipping him around in the air like a pinwheel. But it held him up just long enough so that the cast actually showed up, and saw him there. And so, one by one, down the line, it was this line of shocked faces. And they all came up and shook hands with him.

Delgado: We were all amazed that this giant elephant-looking thing was actually real. You get a big reaction from everybody, and everybody was very happy Big Bird had been telling the truth all along. He was very happy people believed him.

Stiles: Big Bird [said] "Well, now what do you have to say?" You know, that was really his moment, and I just loved giving him the opportunity to say that.

Rubin: It was incredibly respectful of a child. The conversation did not diminish Big Bird, it wasn’t dismissive or pandering. It’s how you hope a conversation with someone wishing to be heard would go.

Delgado: It was kind of a big party. And Big Bird has a child’s mind, so he was satisfied. Like, "See, I told you he was real!"

Near the end of the episode, cast member Bob McGrath makes a pointed comment: “From now on, we’ll believe you whenever you tell us something.”

Rubin: It was so honest. Some parents get caught up in authoritarian mode and don’t have the flexibility to retract, recant, or acknowledge a kid’s reality. He was the collective voice of parents—"Sorry, we should’ve listened."

Parente: [A line like that] is exactly what we look to the child experts for, bringing in or soliciting experts to weigh in on specific dialogue to get it right. Simplicity is key, particularly with kids. It’s not about making it flowery with jokes, not doing it in the form of song. Songs are great, but often lyrical messaging is not necessarily the best takeaway. When it’s simple and straightforward, that’s when you have your best chance.

IV. Aftermath

Sesame Workshop

In 1985, Sesame Street was averaging 10 million viewers a week, making any pivotal episode hugely influential with its young audience. Later that year, they depicted the characters of Gordon (Roscoe Orman) and Susan (Loretta Long) adopting a child. Coupled with acknowledging the real-life death of cast member Will Lee (Mr. Hooper) in 1982, Snuffy’s status as a real Sesame citizen was part of the show’s overall evolution from teaching the alphabet to imparting life lessons.

Davis: I think it was a really smart thing for them to eliminate that as a possibility for the viewer and to say that even as outrageous as the claim sounded at first, here was this real-life big woolly mammoth of a friend that they just had not yet met. I give them a lot of credit for changing with the times and I remember some people saying, "Oh, it was politically correct," but it’s not that at all. It’s more that society changes and the way that we view things changes and Sesame Street has successfully negotiated those waters through the years.

Snuffy got topical again in 1992, when the show decided to depict his parents going through a divorce. Unlike his big reveal, this one didn’t go so well.

Parente: It was the first time in history we ever taped an episode and then didn't air it.

Stiles: He had kind of this family going and it helped that we had this family. There weren’t any other puppet families that we had, so I think it was a natural choice.

Delgado: He got a little sister later on.

Davis: It is interesting that they choose to have Snuffy’s parents get divorced because that character, he’s a little bit of a downer. He’s got a little Eeyore about him.

Parente: We knew enough to put it through the rigors of testing before it would air. And it was a lovely episode, but we found kids were upset after watching it. They were just not familiar with what divorce was.

Delgado: Kids freaked out.

Stiles: The shows weren’t necessarily for the child who’s watching whose parents are divorced, although that was part of it. It was, I think, more so that children would understand if they meet other children whose parents are divorced … The whole thing is difficult, because you’re opening up this can of worms for children who may not have even thought of the possibility that their parents might get divorced. Now all of a sudden, they walk into the kitchen and see their parents arguing about something and they go, "Uh-oh."

Parente: Snuffy’s family was going through it in real time, right in the midst of the crisis. We learned if we can see the characters after coming through divorce, it’s a better way of approaching it.

Despite the hiccup, Snuffy has remained a high-profile and viable member of the Sesame gang for well over 40 years. Most recently, he’s been spotted on Twitter, where he follows just one account: Big Bird’s.

Parente: One of my favorite things is to see people meet Snuffy for the first time. He’s bigger than life. He takes your breath away.

Davis: Sesame Street at its finest moments always found a way to include humor and to use it to help smooth things along and to help it go down in a way that was acceptable. You can’t give enough credit to the writers for brilliantly finding a way to make things funny for people who drink from sippy cups and people who drink from martini glasses.

Parente: We want to be helpful and useful for kids as well as parents. I think that’s why we’re here, 46 years later, always paying attention. What is it kids and parents need from us? In 1985, what they needed us to do was to stop that storyline and present a model of adults listening to children.

Delgado: It's definitely one of the biggest things to happen on the show.

Parente: The appeal of Snuffy is that he’s Big Bird’s best friend. People love Big Bird, so he benefits by association: "If that’s Big Bird’s friend, he’s my friend, too."

This story has been updated for 2020.