Monkeying with Authority

The television adaptation of “Curious George”, based on the original books by H.A. and Margret Rey, portrays the adventures of the central character, George the monkey, and his guardian figure, the Man in the Yellow Hat. Each episode centers around George’s curiosity guiding him into actions that adults, especially the Man in the Yellow Hat, disapprove of. However, George’s supposed “failures” mostly result in unexpected successes that outperform the Man in the Yellow Hat’s caution. The best way to examine this dynamic is through the lens of Jack Halberstam’s The Queer Art of Failure. In his text, Halberstam introduces the idea that children naturally challenge adult authority in ways that adults may interpret as a failure. When this is applied to “Curious George,” George’s apparent failures as both a monkey and a child are reframed as a counter to adult authority. In addition, Halberstam talks about the role of anthropomorphism in children’s media. George’s humanlike qualities, from his lifestyle to his facial expressions, lead the viewer to see him as the representative of a human child. This makes him both more relatable to the targeted audience and lessens the responsibility for his actions. Through a Halberstamian lens, George’s apparent failures in “Curious George” can be seen as successful counters against adult authority; however, the show’s use of anthropomorphism defangs this political agenda by framing George’s rebellion as harmless, marketable cuteness.

Originally created by H.A. and Margret Rey, a Jewish couple fleeing Nazi-occupied France, “Curious George” emerges from a time in history heavily shaped by authoritarian control and behavior policing.[1] This context makes the series' celebration of a mischievous outsider especially significant, with George's playful yet authority-disrupting "failures" emphasized by Halberstam's queer art of failure. Understanding this context illuminates why George’s actions, though childish, carry a subtle challenge to authority, preparing the reader for a Halberstamian lens through which his failures function as unconventional knowledge and silent rebellion.

In “Well Done, George,” George, not knowing that the water in his apartment building has been shut off for maintenance, digs a hole in a sidewalk tree pit in an attempt to make a well for his bath. When he accidentally hits the water main, a geyser erupts, appearing at first as if George has caused a massive accident. It is later revealed that the water had been shut off to figure out why the building was losing water pressure, and George’s supposed mistake actually led the plumber to discover a crack in the water main. However, his actions were initially seen as a failure in the eyes of the Man in the Yellow Hat and other adult humans. Notably, the music score reinforces this portrayal-when George joyfully celebrates his discovery of the water, the music is triumphant and positive. But as the camera shifts to the adults panicking, with the apartment building doorman and plumber reacting, the soundtrack strikes a dissonant chord, signaling disaster. Halberstam would argue that this dynamic can suggest the Marxist idea of an uncredentialed outsider uncovering the limits of adult infrastructure. George never threatens the adults’ authority; instead, his curiosity leads him to act simply for the purpose of discovering the answers to all his “what ifs?” Despite this, the result of his actions consistently challenges the adults’ knowledge. The narration frames his disruptions as cute accidents rather than acts of rebellion, as shown by the adults never exhibiting serious anger toward him, no matter how large the mishap. In this way, the series hides institutional incompetence in a playful show of monkey mischief, making it palatable for families and children.

Another example of this dynamic is in the episode “Junky Monkey,” where George and his friends participate in a city-wide garbage-collecting competition. Instead of following the rules and depositing his trash with the rest of the team, George hoards it, confusing and frustrating the adults who believe he is being difficult.[2] This “failure” becomes a Halberstamian success when George reveals that he has used the trash to create a piece of art that is eventually chosen for a museum exhibit. His refusal to obey the structure of the competition and adult expectations exposes their limits as well as highlights the innovative creativity he gains from operating outside of them. Simultaneously, George’s anthropomorphized cuteness and animation shield the audience from his political message. Because the adults view him as a childlike animal who cannot communicate well, his act of rebellion is treated as a misunderstanding. This softens the threat of his rule-breaking and defangs his challenge to authority into harmless mischief.

George embodies a dual status in the series, being treated both as an animal and a human child. He effectively lives a human life, sleeping in a bedroom designed for a child, and is disciplined through routines and expectations that mirror human parenting. For example, the Man in the Yellow Hat enforces a strict bedtime for George and reprimands him when he behaves in ways the Man sees as mischief, all of which reinforce his status as a human.[3] However, the series never forgets to remind the viewer that he is an animal. A common recurring quote by confused adults throughout the series is “is that a monkey doing ___?” when George breaks expectations for animals. The adult-child and adult-animal dynamics are different, and George’s ability to swap seamlessly between the two affects how his failures are treated. Halberstam’s queer art of failure would suggest that George’s childlike and animalistic perspectives allow him to challenge authority and act in ways that humans could not. To humans, George fails at meeting their expectations. But through the Halberstamian lens, George’s failures can represent something more serious: rebellion against adult authority. [4] His status as a monkey with humanistic traits—anthropomorphism—creates a safe space for viewers to witness unconventional behavior. Because he is both young and not fully human, his rule-breaking is entertaining rather than threatening, allowing the audience to explore the limits of adult control.

Curious George is successful in displaying rebellion in a way that parents find acceptable. As a monkey, his actions are not applicable to human children, and his failures become “natural” instead of morally wrong. While the anthropomorphic framing allows the viewers to empathize with George, it protects adults from feeling that the show encourages rebellion in children. Furthermore, his failures always resolve safely, preserving a sense of order and reliability even when the story temporarily disrupts that. Halberstam would argue that George’s monkey chaos disturbs adult authority and is an act of rebellion, but the narration of the show neutralizes this threat, creating a safe space for viewers to digest the content.

Viewed through Halberstam’s The Queer Art of Failure, “Curious George” reveals how a children’s show can hide subtle challenges to adult authority. George’s actions, like trying to dig a well and hoarding trash, divulge the restraints of adult knowledge and control while concurrently demonstrating how childlike ways of thinking can generate unexpected success, challenging the stability of adult authority. Yet the television series ultimately neutralizes the political force of these disruptions through anthropomorphic endearingness, restructuring George’s rebellion as innocent play rather than meaningful resistance. In doing so, “Curious George” also expands Halberstam’s concept of queer failure by not only exemplifying it but exposing how institutions can manipulate the power of failure into safe, consumable entertainment. The series shows how easily failure’s ability to undermine can be packaged, disarmed, and sold back to audiences, leaving only a hint of resistance.

Works Cited

Curious George, 6, “Junky Monkey,” aired April 20, 2012, on PeacockTV,https://www.peacocktv.com/watch-online/tv/curious-george/8456220604370545112/seasons/6/episodes/junky-monkey-jumpy-warms-up-episode-10/35b6ebdc-801f-34c7-baaf-cbd954203270

Curious George, 12, “Say Goodnight, George,” aired January 21, 2008, on PeacockTV, https://www.peacocktv.com/watch-online/tv/curious-george/8456220604370545112/seasons/2/episodes/scaredy-dog-say-goodnight-george-episode-12/90b2574a-46d7-3c9e-a0e9-6a48b010c64e

Galchen, Rivka. “The Unexpected Profundity of Curious George.” The New Yorker, June 3, 2019. https://www.newyorker.com/books/page-turner/the-unexpected-profundity-of-curious-george.

Halberstam, Jack. The Queer Art of Failure. Durham: Duke University Press, 2011.