Disney has finally released its much anticipated one off revival of The Muppet Show, a clear test case to see whether the iconic variety format still has enough appeal to connect with a new generation and justify a full scale return.

Only time will tell, but I must have been enjoying myself because the half hour episode passed remarkably quickly.

Like many long time fans, I approached the special feeling both sceptical and excited.

It was immediately reassuring to see the producers resisted the temptation to reinterpret the show or apply that overused word “reimagine” so often forced onto legacy Disney properties.

Instead, the set design stayed faithful to the original late 1970s production, receiving only a subtle update and a more contemporary finish. The bones of The Muppet Show were clearly respected.

This is where my feelings begin to diverge slightly. On one hand, I was impressed by the crisp high definition visuals, the clarity of the characters, and the slick pacing. On the other, I could not help but feel a quiet sense of loss knowing much of the editing and polish had been done in post production.

Part of the original show’s charm was its unmistakable variety show energy, with timing and rhythm often controlled from a studio control room.

That approach gave the series a feeling of spontaneity and controlled chaos which is difficult to replicate today. That said, this may be nitpicking from a devoted fan.

The return of canned laughter was also welcome, as it has always played an important role in reinforcing the show’s humour. However, this time it felt restrained.

Rather than lifting the jokes, it flattened them. I found myself missing the exaggerated, maniacal laughter of the original series.

While Jim Henson was not initially a fan of canned laughter, he quickly recognised it as a vital ingredient in what helped turn The Muppet Show into a global phenomenon. The absurdity of that response was part of the joke.

Full credit must go to puppeteer Matt Vogel, whose portrayal of Kermit the Frog stayed impressively true to Jim Henson’s original performance style.

Yes, the voice is different, but I found myself warming to this version of Kermit.

The musical segments were another highlight, particularly those featuring Sabrina Carpenter.

She felt like exactly the right kind of guest star for The Muppet Show, which perhaps explains why she was given executive producing credits. She interacted naturally with the Muppets without ever overpowering them, a balance that is essential to making the format work.

That said, I could not help but feel her performances may have landed stronger if she had been allowed to record her vocals live during filming rather than relying on pre recorded tracks.

Long time fans will remember how powerful authenticity was to the original series.

A perfect example remains the 60 Minutes behind the scenes segment showing Raquel Welch and Frank Oz performing Piggy, I Am a Woman with live vocals while the show was being taped.

The boom microphone was positioned just above Welch’s head out of view of the camera shot, while Frank Oz’ vocals were captured using a head set microphone.

That audio detail mattered. It gave the show a sense of immediacy and truth, even though it was still a carefully constructed television production.

That feeling of live authenticity was a crucial part of what made The Muppet Show special. It made the chaos feel earned and the humour feel alive.

Whether this one off special attracts enough viewers to convince Disney to commit to a full series remains to be seen.

But even if it does not, there is something genuinely heartening about seeing The Muppet Show return without irony or cynicism.

In a world saturated with digital spectacle, horrible AI nonsense, the presence of ‘real’ Muppets feels comforting, familiar, and quietly important.