And, no- I'm not joking.
Leaving behind the overly sweet and condescending kiddie nature of the show and performances, I think this is a sensible and successful use of full body puppeteering applied to CG rendered content. The conventional wisdom on mo-cap has been that it was only good for realistic stuff like VFX and for Zemeckis' zombies, and that it looks like crud when applied to a more cartoony style. And true enough there have been very poorly performed mo-cap driven CG shows and projects over the years. But sooner or later I knew we'd see somebody do it right. Henson's artists have been performing in body suits for 40 years and they know what they're doing. You can't play the old bitter animator card and say that it's done by a bunch of talentless hacks, either. Anybody who's ever seen the muppeteers at work can attest that they are performance artists of the highest order. I worked at DNA a few years ago with Karen Prell (an animator who was a former Henson muppeteer). On those occasions when she would walk around the animation department with a puppet it was nothing short of pure magic to behold. In general Henson's pupeteers are great performance artists. And that's what the audience buys into- the performance. By merging the pupeteers' skills and talents with the CG rendering you can start to feel the humanity and the individuality involved. A sense of human weight and presence begins to shine through. That has a kind of appeal that's attractive.