The Theatre Still Knows Its Rules

Read Time:5 Minute, 20 Second

MOVIE REVIEW
The Muppet Show
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Genre: Comedy, Family, Musical, Variety
Year Released: 2026
Runtime: 30m
Director(s): Alex Timbers
Writer(s): Albertina Rizzo, Kelly Younger
Cast: Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo, Scooter, Statler, Waldorf, Dr. Bunsen Honeydew, Beaker, Sabrina Carpenter, Seth Rogen, Maya Rudolph
Where to Watch: premieres on Disney+ and ABC on February 4, 2026

RAVING REVIEW: What does it mean to bring back a show that shaped generations without letting nostalgia do all the work? THE MUPPET SHOW (2026) enables that question to hang over every joke, musical number, and backstage meltdown, returning to the original Muppet Theatre while fully aware that reverence alone won’t carry it forward. Rather than trying to reinvent itself, the special treats legacy as something to engage with, not tiptoe around, and that confidence becomes its guiding principle.

The original Muppet Theatre is back, the ensemble is intact, and the structure is immediately recognizable. Kermit is still managing chaos with well-mannered desperation, Miss Piggy remains an unchecked force of ego and insecurity, and Fozzie is still swinging for laughs, whether the room is ready or not. Statler and Waldorf are once again doing the Lord’s work from the balcony. That familiarity isn’t laziness; it’s the foundation the entire special is built on.

What differentiates this version is its confident integration of contemporary performers without letting them overpower the material. Sabrina Carpenter’s role as the featured guest works because the show never forgets who the real stars are. She’s game, self-aware, and willing to play along with the Muppets’ logic rather than bending the show around her presence. Her musical contributions fit naturally into the flow, echoing the tradition of past guest stars while acknowledging that pop stardom operates differently now than it did in the late seventies.

Seth Rogen and Maya Rudolph, both appearing as themselves, serve a different function. Rogen’s involvement behind the scenes is mostly felt in the comedy. The jokes move quickly, but not frantically. There’s an understanding that part of the Muppets’ appeal lies in letting bits breathe, allowing awkward pauses, visible failures, and intentional messiness. Rudolph’s appearance leans into the joy of reacting rather than dominating, reinforcing the idea that guests are participants in the chaos, not saviors sent to modernize it.

Alex Timbers’ direction proves to be an inspired choice. Known for balancing spectacle with character-driven humor, Timbers brings a sense of stagecraft that feels essential here. The blocking, sight gags, and physical comedy all benefit from someone who understands the instincts of live performance, even in a filmed special.

The writing, credited to Albertina Rizzo and Kelly Younger, walks a careful line between reverence and irreverence. The humor doesn’t chase trends or contemporary slang, which would have dated the special almost immediately. Instead, it focuses on character-based comedy, backstage mishaps, absurdity, and the ongoing joke that this show barely functions even when everyone involved desperately wants it to. That restraint is one of the smartest decisions.

THE MUPPET SHOW avoids the trap of over-explaining itself. There’s no excessive framing device about why the show is back, no prolonged winking at the audience about legacy or relevance. The assumption is simple: the show exists because it always has. That confidence allows the special to move along without feeling defensive, and it invites younger viewers in without demanding prior knowledge beyond a basic willingness to laugh.

Kermit’s role as the emotional center is particularly important. Matt Vogel’s performance keeps Kermit grounded, slightly overwhelmed, and still sincere. His leadership feels naturally applicable to a world that’s arguably more chaotic than ever. Miss Piggy, voiced by Eric Jacobson, remains gloriously unchanged, and the show is better for it. Her confidence, vulnerability, and self-absorption are treated as features, not problems to be corrected.

The special embraces the tactile charm of practical puppetry. The felt, fabric, and physical interaction remain front and center, reinforcing why the Muppets endure in an era dominated by digital animation.

If there’s a limitation, it’s that this is clearly designed as an event rather than a full season. The runtime feels tight, and some segments could have benefited from an extra beat or two to land. A few supporting Muppets understandably take a back seat, and viewers hoping for deeper ensemble balance may walk away wanting more. Still, those omissions feel logistical rather than conceptual.

THE MUPPET SHOW succeeds because it trusts its own DNA. It doesn’t treat the Muppets as relics or mascots, but as performers who know exactly what kind of show they’re running, even if everything constantly threatens to fall apart. That confidence is infectious. The special doesn’t chase relevance; it assumes it. In doing so, it proves that the original format still works, not because it’s nostalgic, but because it's always been built on strong characters, sharp timing, and an understanding that controlled chaos can be an art form. Fifty years on, the curtain rises, the orchestra stumbles, and somehow, it all still comes together.

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[photo courtesy of DISNEY+, NBC]

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