The Good, The Bad, and The Wallaby / Trash-O-Madness

"The Good, The Bad, and The Wallaby"/"Trash-O-Madness" is the sixth episode of the first season of the animated television series Rocko's Modern Life by Joe Murray.

The Good, The Bad, and The Wallaby

In this episode, Rocko and Heffer Wolfe go to Rocko's uncle's farm. Once there, Heffer decides to stay with the other cows, but when the farm plans to transform Heffer into store meat, Rocko must rescue him.

George Maestri, a writer for the series, stated that his favorite episode is "The Good, The Bad, and The Wallaby" because the episode was the first that he wrote. In the original version of the episode Heffer encounters a milking machine and has a brief affair with it; he experiences an orgasm while with the machine.

Trash-O-Madness

In this story, Rocko has to deal with taking out the trash, while also dealing with many other obstacles, including the local dog Earl. This episode is an expanded version of the original pilot for the show.

Production of Trash-O-Madness

Joe Murray originally wrote "Sucker for the Suck-O-Matic" as the pilot episode; the executives decided that Heffer would be "a little too weird for test audiences." Murray, instead of removing Heffer from "Sucker for the Suck-O-Matic," decided to write "Trash-O-Madness" as the pilot episode.

Murray co-produced the pilot episode with Maestri, Marty McNamara, and Nick Jennings at Joe Murray Studio in Saratoga, California, United States. McNamara assembled a cadre of animators. Murray animated half of the pilot, and several San Francisco Bay-area animators such as Robert Scull , Maestri, Jennings , and Timothy Björklund animated the other half. Jennings created all of the production backgrounds.

Murray hired a camera company. Once the plan fell behind schedule, Murray, Nick Jennings, and George Maestri modified a 35 millimeter camera to film during the night. Tom Schott acted as the cameraman. In the daytime the team transported the film via automobile to San Francisco for processing. After viewing the completed portions, the team arrived in Saratoga to continue the production. Murray rented a motel room for team members to take shifts sleeping and showering ; Murray, Jennings, Maestri, and Schott took shifts at the motel. Policemen visited the animators on numerous occasions due to noise produced by the studio.

The team completed the film on schedule; the crew later expanded the film to 11 minutes for use in the series. Murray describes the animation of "Trash-O-Madness" as containing "variations in the Rocko models" and "a lot more stretch than usual" in the animation.

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