In 2002, the Children's Television Workshop threatened to take legal action against Peter Spears, the director of "Ernest and Bertram," a parody documentary about two male puppets who become heated lovers. This isn't the first time Sesame Workshop has had to refute claims that the famous PBS characters were gay. Even earlier, rumors swirled that the two puppets were more than just friends, with TV Guide receiving dozens of letters in 2003 attacking "Sesame Street" for condoning a homosexual relationship.″ />
Like all the Muppets created for Sesame Street, they were designed to help educate preschoolers. The Children's Television Workshop had to issue a press release similar to the recent statement back then: "Bert and Ernie, who've been on Sesame Street for 25 years, do not portray a gay couple, and there are no plans for them to do so in the future. Bert and Ernie are characters who help demonstrate to children that despite their differences, they can be good friends." They are puppets, not humans.
Even though they are identified as male characters and possess many human traits and characteristics … "As we have always said, Bert and Ernie are best friends," said the nonprofit education organization behind the PBS series. "They were created to teach preschoolers that people can be good friends with those who are very different from themselves. they remain puppets, and do not have a sexual orientation."
For now, the duo will remain just pals, but that won't stop fans from continuing to ship the two sweater-wearing icons.
This comes after ex-"Sesame Street" writer Mark Saltzman said in an interview Sunday that he wrote the relationship between Bert and Ernie based off his own with his partner, the late editor Arnold Glassman.
After a former "Sesame Street" writer said the characters Bert and Ernie were a couple, Sesame Workshop issued a statement on Twitter denying the claim.
How could it not permeate? "That’s what I had in my life, a Bert and Ernie relationship. The things that would tick off Arnie would be the things that would tick off Bert." "I don’t think I’d know how else to write them, but as a loving couple," Saltzman told Queerty.

I just want to just say again, the need for more programming is something we've been very aware of since before AT&T. If we get to a level where that is not happening, that will be a problem. What we're having conversations about now is what's the right level of programming for us to be able to keep quality control in place and have a hands-on approach. But we're very excited that John and AT&T have come along talking about investing in HBO. This is something that Richard [Plepler, HBO chief executive] has been talking about for years. This did not just hit us like a thunderbolt out of the blue. It's been a long time since anyone has been talking about giving us money as opposed to HBO sending its money uptown to Time Warner. The number one thing is that showrunners feel that they are being taken care of, that this show is a priority for us, that the entire organization is focused on launching their show and supporting their show. Let me just back up to before the question.
The spending increase is part of nascent plans to better position HBO as a competitor to other direct-to-consumer entertainment services such as Netflix and Amazon. John Stankey, the longtime AT&T executive tapped following that company's acquisition of Time Warner to lead the newly acquired media portfolio as head of Warner Media, talked on an earnings call Tuesday about AT&T's intentions to invest more in HBO's programming.
Is it going to be AT&T saying, 'Okay, here's more money,' then you greenlight eight new shows? What will the investment from AT&T look like?
He was joking about that.
[AT&T CEO] Randall Stephenson talked about doing "Game of Thrones" shorts … AT&T has talked about putting Warner intellectual property on mobile in short form.
When I said there's no plans to dilute the HBO brand, there's no plans to get into reality programming or something like that. No, in the conversations Richard and I have been having, and with John, what we've been talking about is doing more of what we do. It's doing more of what we do.
How do you picture AT&T impacting the culture of HBO?
That joke aside, have there been conversations about short-form content?
There's always anxiety whenever there's a change — a merger, acquisition, what have you. This is something they've talked a lot about and we've thought a lot about. Richard's been very, very protective of our ability to do what we do. I don't see our day to day life changing. I don't think that they have interest in coming in and changing our culture. I honestly don't see that changing. So I understand there's going to be anxiety. They've been vocal about that. We survived AOL We've always been, even with Time Warner, kind of off doing our thing in Santa Monica. But who knows what the future holds.
A day later, HBO kicked off the Television Critics Association's summer press tour. HBO programming president Casey Bloys spoke there with Variety about how the acquisition by AT&T will affect the pay cabler.
To some extent, when you're doing more original programming, more overall deals come. The creator will get an overall deal. We have an overall deal with David Simon, and a lot of things have come from that. So getting into business with Mischa Green, Issa Rae, Joss Whedon, I'm assuming that if we're lucky and we do our job well, we'll get a great show, and these are creative people that have other ideas. But if the question is are we on the hunt for a Shonda- or Ryan-like deal, probably not. Because I think that level of volume is just still not going to make sense for us. I'd rather focus on the project that makes sense for us, but we have overall deals with producers, and have and will continue to have. But we kind of take a little bit more of a show approach.
Could you all get to that point? Netflix and Amazon try to be all things to all people.
What do you make of these nine-figure showrunner deals?
I think it's an iconic brand that meshes well with HBO, and they have "Esme & Roy" and some other things that they've done. That is a larger discussion about resources and where you want to deploy them. But to do more kids programming, you can't just do one or two shows. You have to jump in. That is a questions that I think will take some time to answer, and part of that is investment from AT&T. "Sesame Street" has done very well for us.
"Sesame Street" was big investment for you a couple years ago, and you all are doing "Esme & Roy" with Sesame Workshop. Do you envision building out that kids programming vertical?
How that looks, I don't know, because I've never been in a company where a corporate parent said, "Here's some money!" It's very rare. It's exciting. I don't know. This is something Richard has been planning. But to have someone really wanting to invest in us — this is new territory for us to not have to send a majority of our profits to another corporate entity. Again, we're talking about what the right level.
But we've had no discussions about HBO doing anything other than what we've historically done, just being funded to the point where we can do more of it. In terms of short-form programming, if that makes sense for a larger platform for them, that may be. John has been very supportive with Richard, with me, in the conversations about doing more of what we do. They've said they don't want to be involved in programming decisions. They seem adamant about that.
Are there types of shows that you're not doing now that you could be doing?
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I don't want to lose that handmade approach. But again, I want to make sure it's at a level that there's not a show being developed or produced that I'm not aware of. It is a logical assumption that if we're going to be doing more, we're probably going to need more executives.
So will you need to add people and internal resources?
But as you get this increased investment in the parent company, do you foresee more money being spent on growing your stable of creators?
If you're going to scale up the size of your programming, are you also going to have to grow the size of the organization?
Our brand stands for excellence in programming. So I don't want to get into the volume business where we've lost that. I do believe that we can do more and keep that brand as our north star and not lose what it stands for. There is an implicit promise that when a subscriber turns on HBO, of quality. No. If that changes, we have a problem.
I think for places that are into high-volume business, I think it makes perfect sense. Even with doing more programming, I don't see us being able to support that level of output. If you're a place that is looking to get volume quickly, those deals make sense. I've said this before, Shonda [Rhimes] and Ryan are rare in that they are prolific creators.

"Sesame Street" creators on Thursday filed a lawsuit against STX Entertainment, alleging that its marketing campaign for “The Happytime Murders,” an R-rated Melissa McCarthy film featuring naughty and foul-mouthed Henson puppets, tarnishes the "Sesame Street" brand.
The film centers on the story of a puppet cast from a 1980s television show that begins to get murdered one by one, prompting a police investigation that ropes in McCarthy’s character and her puppet partner to look into the homicides.
The trailer, released recently, and other promotional materials make clear the film is not kid-friendly, showing scenes of drug use, sex, and other foul behavior by puppets with a tagline that reads: “No Sesame. All Street.”
An STX spokeswoman on Friday issued a tongue-in-cheek response, attributing the company's statement to a fictional puppet named Fred, Esq. “STX loved the idea of working closely with Brian Henson and the Jim Henson Company to tell the untold story of the active lives of Henson puppets when they’re not performing in front of children,” the statement said, in part.
Brian Henson, son of the late Jim Henson, directed the picture and The Jim Henson Company also helped produce the picture.
It is only defendants' deliberate choice to invoke and commercially misappropriate 'Sesame's' name and goodwill in marketing the movie — and thereby cause consumers to conclude that 'Sesame' is somehow associated with the movie — that has infringed on and tarnished the 'Sesame Street' mark and goodwill." The marketing campaign “seeks to capitalize on the reputation and goodwill of ‘Sesame Street,’” the suit says. But "Sesame Street" creators are incensed at the reference, arguing in the lawsuit that it will confuse audiences and harms the "Sesame Street" brand. "While the trailer at issue is almost indescribably crude, 'Sesame' is not trying to enjoin defendants' promotion or distribution of their movie.
It continued: “While we’re disappointed that 'Sesame Street' does not share in the fun, we are confident in our legal position. We look forward to introducing adult moviegoers to our adorably unapologetic characters this summer.”
Filed in New York, the lawsuit also contains screen captures of social media reactions. One tweet read, “I’ll never look at muppets/sesame street the same way." According to the suit, Sesame Workshop, the nonprofit behind the television show, sent a letter on May 18 to in-house counsel of STX and the Jim Henson Company, which is a producer on the film, demanding they stop making references to "Sesame Street" in the marketing materials.
Todd Berger wrote the screenplay. 17. “The Happytime Murders” is scheduled to hit theaters Aug. In addition to McCarthy, the film stars Elizabeth Banks, Maya Rudolph, and Joel McHale.” />