A re-creation of a classic Channel 101 show, created by the talented Morgan Locke, Willy Roberts, and Dan Murrell.

It's a tough gig working for the Water Department, and it's also a tough gig working in Power. Dan Harmon and Ryan Ridley show you why.

The real fun carebears! a cartoon!!

(Whose Trapped Inside A Synthetic Drum Machine). An animation by Kelsy Abbott.

When asked to say a few words about Reporters, Justin Roiland replied, "It's a modern tale and struggle of... uhm... I dunno. A fantastic epic following the struggles of two well-meaning newspaper reporters and their out-of-the-ordinary boss." He then left the room and returned moments later to add: "A.K.A. a slapdash turd of a Channel 101 show." This insane attempt from Roiland, Vatche Panos, and Kelsy Abbott charmed audiences just enough in January of 2007 to fill the Prime Time void left by the Phone Sexxers self-cancellation. Even later, Justin returned to add that "Reporters is the only Channel 101 show that has AIDS. You should put that."

When Phone Sexxers premiered in the summer of 2006 the audience granted the simple show about Phone Sex the honor of another episode. Ryan Ridley and Abed Gheith took their good fortune and ran with it, re-inventing themselves with every episode, right up until the end of the 2006 season. They managed to juxtapose the inner workings of the male phone sex industry with situations ranging from high-rise bloodbaths to the depths of hell, and did it with the kind of class and skill that landed the show Best Editing, Best Special Effects, and Best Writing at the 2006 Channy Awards. In January of 2007, Phone Sexxers ended their legacy with a touching self-cancellation that would make Mike Nichols proud.

Losting was a phenomenon of videos made by alumni of Channel 101

Rock Gods, as a followup to the much loved but short-lived S.O.S. Fantome, officially established The Valley Pals as recognizable, bankable talent within the 101 universe. The second episode in particular felt like a group of young writer/performers truly finding their own unique voice, after which point it's easy to imagine that the tedious chore of animating this show became less attractive. Having realized that they could probably get just as many votes for one tenth the labor, The Valley Pals voluntarily retired their own hit show by going over the time limit in a very memorable fourth episode.

What can be said about Yacht Rock that hasn't been said by various magazines, newspapers and disc jockeys across the country? J.D. Ryznar and Hunter Stair's saga detailing the unknown mythical origins of a previously obscure genre of music struck the audience like a lightning bolt on its first episode, much like fellow 101 breakout House of Cosbys. Unlike HoC, however, Yacht Rock was never sued by its iconic characters' real life counterparts. In fact, it is said that at one time or another, just about every musician lovingly portrayed in the series has witnessed and enjoyed it behind closed doors. Yacht Rock enjoyed success on levels and in ways previously unattained by 101 shows, its title becoming a household phrase at radio stations, a bin at your local record store and a category on iTunes. But beneath its pop cultural triumph was an artistic one that often went undescribed: Yacht Rock's stories were always clever and sometimes downright genius in their assembly, weaving trivi...

Rock Gods, as a followup to the much loved but short-lived S.O.S. Fantome, officially established The Valley Pals as recognizable, bankable talent within the 101 universe. The second episode in particular felt like a group of young writer/performers truly finding their own unique voice, after which point it's easy to imagine that the tedious chore of animating this show became less attractive. Having realized that they could probably get just as many votes for one tenth the labor, The Valley Pals voluntarily retired their own hit show by going over the time limit in a very memorable fourth episode.