THE SHOW
AF ACADEMY is an adult animated comedy about Groypert and Baked Nebraska — two patriot eighth graders who mostly just want to get through the school day.
The internet has completely eaten their school. Every adult around them is an extremely online archetype who has fully committed to the bit: the conspiracy podcaster, the streamer with a parasocial following, the undercover fed, the tech billionaire waiting on a prophecy from his own computer. They speak in podcast voice. They are all completely certain, and not one of them is right.
Groypert and Baked are the only two people in the building who can tell that all of it is insane — and being right never once helps them.
Every episode starts somewhere ordinary and ends somewhere it cannot come back from. And because it is made fast, the show gets to be about what the internet is arguing about right now.
WHO MADE THIS?
I’m Preston. Twenty-nine, half white and half Iranian, based in Texas.
Everything in this bible is mine: the scripts, the boards, the character designs, the voices, the edit, the games. Ten episodes written, fifty-one characters designed, one finished.
Thirty thousand a year is not a lot of money. It is also not the point. I am not a wagie — I set my own schedule, I answer to nobody, and I have never once had to raise my hand and ask a boss if I can use the bathroom. I make cartoons alone, on my own terms, and I have been doing it long enough to know exactly which parts of the job used to be flat-out impossible.
WHY ME AND NOT SOMEBODY ELSE
I did it the hard way first. That is the whole advantage.
Frame by frame. Drawing every in-between, learning why a walk cycle reads wrong before you can fix it.
Then rigs. Building skeletons, weighting joints, learning the tools studios actually run on.
Then every new model the week it drops. Testing, breaking, and working out what it is genuinely good for.
Almost nobody has all three.
Most people using these tools never had the beginning — the years of failing at it by hand, where you learn what actually makes a shot land. They can generate something. They cannot tell you why it is not working, because they never had to fix one manually.
And most people who did learn it properly are too proud or too spooked to keep relearning their job every few months. I get why. Watching a tool do in a minute what used to take you a week is not a nice feeling.
I am not precious about it. I just want the show made.
So you get someone who can storyboard, direct, write, cut and score it — and who will have tested the new model before you have heard of it. That combination is what makes a season at this price possible. It is not the software. Anyone can buy the software.
OKAY, BUT WHY A.I.?
Fair question, and it gets asked constantly. Here is the honest answer: I did it the long way for years. That is exactly why I know what it costs.
Real animators cost real money — correctly, because it is real work. A single episode animated traditionally is not a line item an independent can cover. So the choice was never “AI or hire a team.” The choice was this show exists, or it doesn’t.
So here is what changes.
By integrating AI throughout development, storyboarding, voices, animation, lip sync, sound and post-production, AF Academy can be produced faster and at a dramatically lower cost than was previously practical for an independent animated series.
That speed isn’t just a production advantage. It’s part of the creative model.
Episodes can react to internet culture while the people, jokes and events they’re satirizing are still relevant.
FASTER TO MAKE. LESS EXPENSIVE TO PRODUCE. CLOSER TO THE CULTURE.
AF Academy is an animated show built for the speed of the internet.
AI IS NOT JUST TYPING A PROMPT
The assumption is that “AI animation” means someone types a sentence and gets a picture. That is the smallest part of it. AI touches every stage of the pipeline — development, storyboarding, voices, animation, lip sync, sound design and post. The savings compound at every step.
Storyboarding used to be the bottleneck.
Boards meant hours at a corkboard. Index cards, thumbnails, sticky notes, and a full re-pin every time a joke changed. A single sequence could eat a day before anyone saw a usable frame — and what you had at the end was a rough you still could not show anybody.
Now the board is the comic.
I generate finished comic pages about as fast as I can think of the scene. The board is no longer a rough placeholder that gets thrown away — it is presentation-ready art that works as the storyboard, the shot list, and the pitch material at the same time. Roughly ten times faster, and what comes out the other end is something you can put in front of somebody.
And to be clear — I don’t even like comic books. Never read them, never collected them, always thought they were kinda gay. I don’t do this because I want to make a comic. I do it because it is the fastest way on earth to direct a scene: the staging, the shot, the timing and the joke all sit on one page, the character designs come along for free, and you can read a whole episode in two minutes without me animating a single frame first.
SOUND EFFECTS
Sound effects used to be built in the real world.
Foley is real craft, and it is slow and expensive by nature. Getting a single usable effect meant going out into the world with thousands of dollars of recording gear, hitting objects in unusual ways, and hoping one take was the one. Studios could afford that. Independents could not — which is why most indie work ends up settling for whatever already exists in a stock library.
Now I describe the sound and have it in seconds, tuned to the exact shot: right weight, right length, right room — and cleared, because it was made for the show. No equipment, no studio time, no licensing problem. Voices work the same way.
LIP SYNC
Dialogue used to be the most expensive thing you could put in a scene.
My characters are dimensional, so lip sync meant authoring a facial rig and a full set of blend shapes for every character before a single line got animated — fifty characters, fifty rigs. And any rewrite meant redoing the sync pass. That is why so much independent animation is quiet.
Unlimited lip sync. Five dollars a month.
No rigs, no blend shapes, no per-character setup, flat monthly rate with no per-minute cap. Dialogue stops being a budget decision and goes back to being a creative one — a joke can be punched up after the scene is animated and it costs nothing to re-sync.
That is the real advantage. Not one prompt, one picture — an entire pipeline that moves at the speed the jokes do.
THE GROYPER ARMY ANIMATES IT
The show has a built-in animation studio: its own audience.
To be clear about the load: I animate the heavy, heavy majority myself. Nothing depends on volunteers turning up — everything ships whether anybody else contributes or not. The army adds on top of that.
They have already proved they can organise.
Look at what these same artists did around $QENIS — dozens of people who had never worked together, producing on-model edits at the same time, with no producer and nobody assigning shots. I am a fan of the coin and I want it to win, but a coin can get rugged. A show cannot. Point that energy at something permanent and the community owns an asset instead of a chart.
Start them on bumpers. Promote them to episodes.
New creators earn in on the low-stakes stuff, where a miss costs nothing and a hit airs with their @handle on it — a tryout that doubles as marketing. The ones who can hold the style get handed a scene, then a sequence, then an episode. Production capacity grows with the fanbase instead of with the budget.
WHY A CARTOON
Nobody argues with a frog.
When an audience sees a face they have already made up their mind about, they stop listening. They are not weighing the joke, they are weighing the man. The reaction is loaded before the sentence finishes, and whatever gets said next lands on a wall.
Animation puts a mask on it. There is no face to dismiss, no voice to pattern-match, no history attached to the thing on screen. A green frog in a red hat gets a hearing that the personality behind the idea never would.
The cartoon is a mask.
That is not a modern trick, it is the oldest one there is. The jester could say to the king what no advisor could, because he was wearing bells. Every great animated satire has made the same trade — South Park, Boondocks, Adult Swim at its best — a construction-paper kid can say the thing a commentator cannot, and the audience laughs before it decides whether it agreed.
Same material. Same targets. A form the audience will actually sit through.
IT’S ALSO A MUSICAL
There are original songs running through the season — written, composed and produced for the show.
This is the part people don’t expect. AF ACADEMY is a musical comedy: the songs are not needle-drops or parody covers, they are original numbers built into the story, and they arrive at the exact moment a scene is about to become unbearable. The joke is the sincerity — a genuinely good song, performed with total conviction, about something completely deranged.
They land roughly every other episode — often enough that the audience starts waiting for one, rare enough that it never becomes the format. When an episode has a song, the song is the centrepiece; when it doesn’t, nobody misses it.
FOUR FROM THE SEASON
Finished tracks from four different episodes. Press play.
DIVERSITY STOLE MY BIKE
Big Bear’s piano practice Sung dead straight, like an opera aria.Big Bear sits down to practice, and what comes out is a full parlour ballad about the theft of a bicycle — played completely straight, which is what makes it land.
EAT THE RICH
Assan’s theatre class rehearsal A full Broadway ensemble number.Assan and the socialist bugs of the theatre class rehearse their protest musical. Total commitment, jazz hands, and not one person in the room can define a single word they are singing.
THREE YEARS FOR A MEME
The tower dungeon A drunk pub singalong.Groypert and Baked Nebraska ask the other prisoners what they’re in for. The answer is a full cell-block lament — every man inside doing hard time for a post, a repost, or a joke somebody screenshotted.
SAVING FREEDOM
Peter Teal’s introduction A gay club music video — for Peter Teal.The finale’s villain explains himself to Groypert and Baked Nebraska the only way a man like that would — a soaring, self-mythologising anthem about how everything he does is for your own good.
IT STARTS REAL. IT DOES NOT STAY THERE.
Every episode opens somewhere completely ordinary — and then the floor gives out.
The first half of an episode is grounded. A bike gets stolen. There is a substitute teacher. Lunch is bad. The comedy is observational, and everyone in it behaves like the situation is normal, because to them it is. That is what makes the turn work.
Then, somewhere in the back half, it stops being normal.
Not a gag — a full commitment. The episode goes somewhere it cannot come back from, plays it completely straight, and ends there. Nobody in the show acknowledges that anything strange happened. Next week the school is a school again.
A goat pageant dispute escalates until reality tears open and he is selling courses in Ancient Rome, plague protection in medieval Europe, and miracle tonic in the Wild West — hunting untapped demographics across history.
A stolen bike becomes a full breakdown, and the back half turns into a genuine pursuit — played with the intensity of a horror sequence, over a bicycle.
A courtroom episode about internet speech ends with the boys challenging the British legal system to medieval combat, and a judge ruling it “perfectly acceptable precedent.”
That structure is the engine. The grounded half earns the absurd half — and because the show resets every week, it can go as far as it wants at the end without ever breaking the world.
FIND THAT QENIS
There is a Qenis hidden in every episode of season one. Good luck.
Sometimes he is in the background of one shot for half a second — in a crowd, behind a window, on a poster, in a fish tank. Sometimes he is not hidden at all and just quietly plays a character for the whole episode without anyone mentioning it. Nobody in the show ever acknowledges him.
Same trick South Park played with the Visitors.
Those aliens have been tucked into backgrounds since 1997, and people are still going frame by frame looking for them almost thirty years later. It is the cheapest, most durable audience mechanic in television: it costs nothing to produce, it makes the show worth watching twice, and every person who spots one takes a screenshot and posts it.
Reference: South Park (Comedy Central) — shown to illustrate the mechanic.
An episode you already saw becomes an episode you have to check again.
Every find is a screenshot, and every screenshot is a post we did not pay for.
The people already organising around $QENIS get something to hunt for every week.
It also quietly does the thing the whole show is trying to do: rewards the people paying closest attention, and means nothing at all to anyone who is not.
WEARABLE PRODUCT PLACEMENT
The characters can wear real merch from fuentes.store — on screen, in the comics, in the bumpers.
Every shirt in the show can be a shirt you can actually buy. Instead of inventing fictional wardrobe, Groypert and Baked Nebraska wear real product, and every episode doubles as a lookbook for it.
It costs nothing to produce, it never reads like an ad because the characters were always going to be wearing something, and the drop is already designed — the art below is real store product placed on the leads.
The episode is the catalogue.
Swap the shirt, swap the campaign. Wardrobe can change per episode, per season, or per drop.
I ALREADY MADE A ROUGH ONE
Episode 1 — Diversity Stole My Bike — a rough pilot, start to end. Eleven minutes and twenty-seven seconds.
Not an estimate and not a projection. That is what it actually cost to put this on screen — boards, voices, sound, lip sync, animation, post. Everything described above is what that number buys now.
Press play. It is a whole episode.
WHAT’S STILL WRONG WITH IT
It is a rough cut and I would rather point at the problems than have you find them. None of these are hard to fix — they are the difference between a proof of concept and a broadcast master.
- The James Brown track has to go. It is a placeholder and it would never clear. Gets replaced with an original cue — and after the songs above, that is the part I am least worried about.
- The Nike swoosh on Groypert’s shoe needs to come off. It is on the character in a lot of frames, so it is a real pass of work, but it is not worth carrying a trademark into a season for a detail nobody needs. It gets redesigned.
- Big Bear’s voice drifts. It is not consistent take to take — an early-pipeline problem from before the voice workflow settled. Re-recorded against a locked reference.
- The ending isn’t finished. The last beat is not landed yet. It is written; it is not cut.
The rest of this bible is nine more like it — scripted, boarded, cast and designed. The only question left is how many get made, and how fast.
WHERE THIS IS IN TWO YEARS
There is slop in this. I know there is. That is the least interesting thing about it.
- Four-second clips
- Faces melted between frames
- A character could not survive two shots
- No usable lip sync
- Text turned to garbage
A party trick. Will Smith eating spaghetti. You could not tell a story with it.
- An eleven-minute episode
- Fifty-one characters that stay themselves
- Lip sync on dimensional faces
- Original songs, original score
- Signage that holds shot to shot
Rough in places. But it is a whole episode, and it cost $147.
Nobody knows.
Ask anyone in 2024 what this year would look like and they would have got it wrong. Whatever exists by then, I will already be building with it.
The slop is temporary. The pipeline is not.
The bet is simple. Whoever is already fluent in this when the tools stop being rough does not have to catch up — they just get better output from a machine they already know how to drive. I have ten episodes written, a cast designed, a season boarded and a pilot cut. When the drift goes away, none of that has to be redone. It just stops drifting.
Waiting two years for it to look perfect means starting from zero in two years, against everyone who didn’t wait.
WHAT I’M ASKING FOR
Two things — and one of them costs you nothing.
1. FUNDING — YOUR CALL WHICH WAY
Option A: give me the go-ahead to run a GoFundMe and let me post it under the AI edits already going up on X. The audience is already there, already watching exactly this kind of content, and already sharing it for free. They would fund the season themselves. It costs you nothing but the word yes.
Option B: you fund it directly. Faster, cleaner, no public campaign, and you keep control of the whole thing. A full season here runs a fraction of what one traditionally animated episode costs — the numbers are further up this page.
And either way the money stays in-house. Animation at this level normally gets outsourced overseas — that is the standard way a cartoon gets made cheap, and none of that money ever comes back. Here the budget goes to me and to a handful of AI artists who are already in this audience. They get paid, they keep posting, and every one of them is also a distribution channel. The production spend and the marketing spend become the same spend.
2. VOICES
Half this cast is people you already know. Getting Alex Jones to voice Coach Jones, or Zherka to voice Zherka, is the difference between “an AI cartoon” and a show people screenshot and repost for a week. There are two tracks, and they solve different problems.
Our guys — two ways, whichever they prefer. With their okay we can either clone the voice from audio that is already all over the internet, so they never have to book a session or record a single line — or, if they would rather do it properly, they record it themselves and we cut it in. One costs them nothing but a yes. The other gets a real performance. Either works.
Everyone on the other side gets parodied, never cloned. Those voices are performed as their characters — exaggerated, obviously a bit, clearly satire. That keeps us clean on likeness and copyright with the people most likely to come looking, and it is funnier anyway: nobody wants an accurate impression of these people, they want the cartoon version.
3. HOW IT REACHES PEOPLE — YOUR AUDIENCE, YOUR CALL
A few ways it could go, and they all work:
- Behind the $100 a month tier. The show becomes a reason to subscribe and a reason to stay subscribed — ten episodes of something nobody else has, dropping on a schedule.
- Public on the site. Maximum reach. It becomes the front door: the thing people get sent, watch for free, and follow back to everything else you do.
- Both, split. Episodes public so they travel, with early access, extras and the bumper archive for members. The free half does the recruiting, the paid half does the keeping.
- Take it to a network or streaming service. With a finished season and a proven audience already attached, this goes into a distribution conversation from a position of strength rather than as a pitch deck. We would not be asking anyone to gamble on an unmade show — we would be bringing them a completed one with the audience it was built for. You would be the partner on it, and the terms would be whatever you wanted them to be.
DIVERSITY STOLE MY BIKE
Groypert's bike gets stolen and the only witness detail he remembers ruins his life.
WHO KILLED CHARLIE KIRK?
A murder mystery. Every suspect has a podcast.
GO GROY
The 8th-grade Special Olympics basketball finals vs the Lost Angels Coin Clippers.
NO E-GIRLS! NOT EVEN ONCE!
A new girl at school loves their favorite streamer a little TOO much.
RED PILL AVENGERS
The popular kid runs a nightclub, a gym, and a bone-smashing 'temple of discipline.'
THE RED SCARE
Detention with the history teacher who is definitely not a history teacher.
BROWN CLOWNS AND KHAZARIANS
The Mud Jester rises. The preschool doesn't stand a chance.
U.K. CENSORSHIT
London trolls do hard time for their worst crimes: memes, posts, and digital mayhem.
21 JAKE STREET
The new kid is the coolest Groyper in school. That's the problem.
PETER TEAL'S GREASY FACE
Every clue from the whole season points to one underground fortress.
DIVERSITY STOLE MY BIKE
Groypert's bike gets stolen and the only witness detail he remembers ruins his life.
After Groypert's bike disappears outside a bizarre 1950s-style diner, he's forced to continue his day on foot and head to Big Bear's farm for piano practice. There, a simple lesson about diversity sends him down a strange path that somehow makes his missing-bike problem even more confusing.
THE FINISHED EPISODE
VIDEO EXAMPLES
ORIGINAL SONG
DIVERSITY STOLE MY BIKE
Big Bear’s piano practiceSung dead straight, like an opera aria.Big Bear sits down to practice and what comes out is a full parlour ballad about the theft of a bicycle — played completely straight, which is exactly what makes it land.
THIS ONE WAS FREESTYLED
Diversity Stole My Bike was made without a comic. No boards, no character sheets — I wrote it, designed it and animated it shot by shot as I went, making every call on the fly. That is why this page is nearly empty: there was never a plan to show you.
Every episode after this one is boarded first. The designs get locked and the beats get drawn before a single frame is animated — which is why the rest of this bible looks the way it does, and why those episodes will come out sharper than the pilot. This one is the floor, not the ceiling.
WHO KILLED CHARLIE KIRK?
A murder mystery. Every suspect has a podcast.
Baked Nebraska and Groypert become obsessed with solving a mystery they are spectacularly unqualified to investigate. Their search drags them through podcasters, mansions, parking-garage raves, sewers, forests, and increasingly ridiculous conspiracy theories — only for the trail to become stranger at every turn.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1THE SUPERCHAT1 pages
SEC 2THE RAVE3 pages
SEC 3CHIMPACE OWENS6 pages
SEC 4TURNING DOWWARD usa3 pages
SEC 5CHUCKLE CARLSON POD4 pages
SEC 6A FURRY DID IT2 pages
GO GROY
The 8th-grade Special Olympics basketball finals vs the Lost Angels Coin Clippers.
Groypert and the AF Academy Patriots face the seemingly unbeatable Coin Clippers in the biggest basketball game of the year. Between espionage, blackmail, experimental GAYTORADE, and Michael Judan's unstoppable purple aura, the Patriots will need an actual miracle to win the championship.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1lunch explosion3 pages
SEC 2COIN CLIPPERS PRACTICE3 pages
SEC 3BLUE CRYSTAL METHLYANE INDESTRUCTO BUS MISSION3 pages
SEC 4PRACTICE MAKES GROYFECT3 pages
SEC 5GAME 1ST HALF4 pages
SEC 6HALF TIME SPEECH8 pages
SEC 7THE FINAL WHISTLE5 pages
Bill Murray — Meatballs (1979)
0:00 – 1:46The “it just doesn’t matter” locker-room speech. This is the beat the motivational speech in Go Groy is parodying — the same escalating chant, played completely straight.
NO E-GIRLS! NOT EVEN ONCE!
A new girl at school loves their favorite streamer a little TOO much.
Baked, Groypert, and Kevin are thrown into three disastrous dates after Francesca decides to fix their love lives. Toy trains, basement shrines, mysterious illnesses, and one extremely depressing funeral teach the boys a lesson they'll never forget: no e-girls, not even once.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1beardson & francescas e-girl hook up4 pages
SEC 2three houses, three dates3 pages
SEC 3grilled cheese, mysterious doors, and australian std's3 pages
SEC 4pigs, frazzlenick, and kangarussies3 pages
SEC 5picnicks3 pages
SEC 6trains, escapes, and death3 pages
SEC 7kevin's funeral1 pages
RED PILL AVENGERS
The popular kid runs a nightclub, a gym, and a bone-smashing 'temple of discipline.'
Baked and Groypert find themselves surrounded by a collection of larger-than-life internet personalities convinced they're the heroes society desperately needs. Unfortunately, combining that many egos, rivalries, and insane ideas in one place creates a disaster bigger than the problem they were originally trying to solve.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1THE E-GIRL BOUNCE BACK3 pages
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SEC 2DADDE SCHAFFER1 pages
SEC 3ENTER ZHERKA'S DRAGON DOJO4 pages
SEC 4ZHERKA'S BENDER5 pages
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SEC 5clayiculars ascencion5 pages
SEC 6the tel aviv nose job2 pages
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ENDING UNDER CONSTRUCTION
The finale isn’t locked yet. These last beats are still being written — the pages here are the ones that are settled.
THE RED SCARE
Detention with the history teacher who is definitely not a history teacher.
While Baked Nebraska develops a hopelessly naive crush on his teacher, Ms. Reddington, he gets pulled deeper into her political worldview just as a student revolution begins brewing beneath AF Academy. When Assan turns the school into his own “People's Republic,” Baked, Groypert, and Doomer must expose the hypocrisy of the new regime before the revolution becomes permanent.
VIDEO EXAMPLES
ORIGINAL SONG
EAT THE RICH
Assan’s theatre class rehearsalA full Broadway ensemble number.Assan and the socialist bugs of the theatre class rehearse their protest musical. Total commitment, jazz hands, and not one person in the room can define a single word they are singing.
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1detention with professor eggroll5 pages
SEC 2ms reddingtons socialism studies2 pages
SEC 3eggroll and assan's meeting3 pages
SEC 4The assan socialist musical2 pages
SEC 5assans live stream4 pages
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SEC 6THE REVOLUTION WILL NOT BE TELEV- LIVE STREAMED3 pages
SEC 7the counterrevolutionary3 pages
SEC 8animal abuser4 pages
SEC 9back to normal1 pages
BROWN CLOWNS AND KHAZARIANS
The Mud Jester rises. The preschool doesn't stand a chance.
AF Academy's annual Goat Beauty Pageant goes completely off the rails, leading Baked Nebraska and Groypert into an investigation of a suspicious grift involving a mysterious Brown Clown. What begins as a ridiculous school pageant quickly expands into fundraising schemes, bizarre characters, and a conspiracy far bigger than either of them expected.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1STORY A: TRAMPOLINE WORLD4 pages
SEC 2ALLAH GUIDED YOU HERE4 pages
SEC 3STORY A: THE PLAN3 pages
SEC 4STORY B: THE BEAUTY PAGEANT4 pages
SEC 5STORY A: SHOW AND TELL5 pages
SEC 6STORY B: NO PIG, LOVE GOAT3 pages
SEC 7STORY A:2 pages
SEC 8STORY B: LGBTALLAH3 pages
SEC 9STORY A:2 pages
SEC 10STORY B: MALCOLM LARP4 pages
SEC 11STORY A: STOLEN ERECTION1 pages
SEC 12STORY B: THE GRIFT IS ETERNAL3 pages
U.K. CENSORSHIT
London trolls do hard time for their worst crimes: memes, posts, and digital mayhem.
Baked and Groypert find themselves trapped in an absurd version of Britain where saying the wrong thing can land you in serious trouble. Their case eventually brings them before the terrifyingly proper Lord Hiney Finklebottom, a judge whose courtroom may be even more ridiculous than the laws they supposedly broke.
VIDEO EXAMPLES
ORIGINAL SONG
THREE YEARS FOR A MEME
The tower dungeonA drunk pub singalong.Groypert and Baked Nebraska ask the other prisoners what they’re in for. The answer is a full cell-block lament — every man inside doing hard time for a post, a repost, or a joke somebody screenshotted.
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1THE SMELLJACKING2 pages
SEC 2SHYLOCK HOLMES1 pages
SEC 3THE TOWER DUNGEON1 pages
SEC 4SIR HINEY FINKLEBOTTOM'S COURTROOM1 pages
SEC 5THE WOBBLE JOUST1 pages
21 JAKE STREET
The new kid is the coolest Groyper in school. That's the problem.
A mysterious new student named Jake quickly becomes Baked's new best friend, but Groypert suspects there's something seriously wrong with him. Food fights, surveillance cameras, secret technology, and a disastrous protest eventually reveal the truth: Jake isn't the rebel he claims to be — he's undercover.
VIDEO EXAMPLES
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1ACT ONE — THE NEW KID3 pages
SEC 2ACT TWO — THE FOOD FIGHT3 pages
SEC 3ACT THREE — BLOCK FLOCK2 pages
SEC 4ACT FOUR — THE BIG YAHU2 pages
SEC 5ACT FIVE - GROYPERT GOES GIA3 pages
SEC 6ACT SIX - THE BIG PROTEST3 pages
SEC 7ACT SEVEN - JAKE'S ARREST2 pages
PETER TEAL'S GREASY FACE
Every clue from the whole season points to one underground fortress.
The conspiracies surrounding AF Academy finally lead Baked and Groypert toward something much bigger. With Peter Teal, Alex Karpshade, and Lucky Palmer pushing AI, surveillance, drones, and increasingly dystopian technology, the boys stumble into a battle against the people quietly trying to control their entire world.
VIDEO EXAMPLES
ORIGINAL SONG
SAVING FREEDOM
Peter Teal introduces himselfA gay club music video — for Peter Teal.The finale’s villain explains himself to Groypert and Baked Nebraska the only way a man like that would — a soaring, self-mythologising anthem about how everything he does is for your own good.
CHARACTERS IN THIS EPISODE
SECTIONS
SEC 1GOY LASER BEAMED2 pages
SEC 2PETER TEALS CHADDING TAINT TOSS2 pages
SEC 3COACH JONES BATTLE BUS RESCUE2 pages
SEC 4COACH JONES FORTRESS1 pages
ENDING UNDER CONSTRUCTION
The finale isn’t locked yet. These last beats are still being written — the pages here are the ones that are settled.
This one is done. Not a pitch, not a board test — a finished, watchable episode of the show. Everything below is cut from it: six scene sections, each with its own comic strip, assembled into one episode. Use the scene buttons to jump straight to a beat.
THE SIX SCENES
THE BIKE
0:00 – 1:35Bedroom, backpack, the ride through the neighbourhood — then it's gone. Groypert barely sees the thief, and the one detail he remembers is the one that ruins him.
THE POLICE REPORT
1:35 – 2:45He files a report. The officers taking it hear the description and the room turns. The help becomes the problem.
THE DROP-OFF
2:45 – 3:55Mom's car, a dirt road, and the sign for BIG BEAR FARM — FAITH FAMILY FREEDOM. Piano lesson day, and nobody cares that the bike is gone.
THE PIANO LESSON
3:55 – 7:35Big Bear turns the stolen bike into a ballad. The farm animals join in. It becomes a full musical number nobody asked for, and a funeral for a bicycle.
HOW TO BE A MAN
7:35 – 9:15The kitchen, the jars, the pickles, the lecture. Big Bear explains manhood using unpasteurised everything.
BIG BEAR UNRAVELS
9:15 – 11:27The lesson turns. The shed comes out. Groypert runs through the woods and the pilot ends the only way it could.
WHAT THE PILOT PROVES
THE TONE LANDS
The joke isn't the premise, it's the delivery — a stolen bike treated with the gravity of a national tragedy, then scored as a farm musical. Eleven minutes is long enough to prove the comedy sustains.
THE PIPELINE WORKS
Written, boarded as comic strips, then produced end to end. Six sections cut into one episode — the same process scales to the other nine.
AARON
5 images
ALEX KARPSHADE
2 images · 1 video
AMY DANGERSLUT
2 images
ANNA MARXPARIAN
2 images
ASSAN
9 images · 2 videos
BAKED NEBRASKA
13 images
BEARDSON
1 image
BIG BEAR
4 images
BIG YAHU
1 image
BROWN CLOWN
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BRYAN HALLIMONITOR
design pending
CALI PIGGY
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CHAD NEWSOM
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CHADDING TAINTUM
4 images
CHIMPACE OWENS
3 images · 1 video
CHOPPED CHAMPION
design pending
CHUCKLE CARLSON
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CHUD
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CLAYVICULAR
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COACH JONES
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COIN CLIPPER TEAM
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DADDE SCHAFFER
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DAN KHAZARIAN
5 images · 1 video
DASHA
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DOOMER
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FAITH
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FRANCESCA
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GROYPA
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GROYPERT
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GROYPERTS MOM
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IAN PIZZABOY
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JABBED SHIELDS
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JAKE STREET
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JDEEZ NUTS
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LONDON TROLLS
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LORD HINEY FINKLEBOTTOM
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LUCKY PALMER
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MEXICAN GROYPER
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MTG
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MUDDY SHARK
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NICK FUENTES
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OFFICER T
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PATRIOTS SPECIAL NEEDS TEAM
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PETER TEAL
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PROFESSOR JUNG
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SHYLOCK HOLMES
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SOY WITHERS
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TENRYO
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TOM MASS
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TORTAOC
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TYLER RUSS
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VAN LIFE GROYPER
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WET BANANAS
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WILLIE
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ZHERKA
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THE CONCEPT. A parody of Adult Swim's legendary "bumps" — the quiet little cards between shows: scenic shots, time-lapses, surreal edits, dry lowercase text, and the network logo hiding somewhere in the frame. Ours end the same way: [AMERICA FIRST] tucked into the scenery.
HOW THEY'RE USED. These play between scenes — dropped in wherever a commercial break would normally land. They cover the act breaks, reset the pace, and give the show its own network identity without ever cutting to an actual ad.
THE TWIST — IT'S A COMMUNITY. The internet is already flooding X with exactly this energy: AI edits, surreal loops, absurd cinematic moments. Instead of producing every bump in-house, the show runs an open pipeline: creators tag their edits, the best ones get the [AMERICA FIRST] treatment and air as official bumps — with the creator's @handle credited on screen. The audience literally builds the connective tissue of the show between segments. 9 creators have contributed so far, and every bump below is credited to the artist who made it.
REFERENCE: ▶ [adult swim] — "Best Bumps #1" — the format the show parodies
THINK MDE VIBES
Million Dollar Extreme is the tonal north star — public-access static, deadpan lowercase text, edits that sit a beat too long, and a punchline you only catch on the second watch. The bumps are where the show gets to be that: no plot to serve, no scene to set up, just tone.
That is the register we are aiming for between segments. Adult Swim built the format; MDE is the attitude we are pointing it at.
BEESTON
27 clipsSUPERBOB
5 clipsEGOPRRY
3 clipsGROYPCORE
3 clipsQZOOMER
3 clipsRIZZAH
3 clipsCATECHUMENGROYP
2 clipsADJACENT GROYPER
1 clipARIKUSCHNIR
1 clipI built these the same way I build the show: fast, cheap, and out of scenes that already exist. Every one is a browser game in the old Flash-portal spirit — no download, no install, no store. Click it and it runs.
Each is pulled straight out of an episode. Spelling Bee is the preschool bee Jabbed Shields loses in Episode 7. Khazarian Kannon comes out of the same classroom. Coach Jones is in the shop — back soon. Teal Toss drops Chadding Taintum down Peter Teal’s tower from the finale. Qenis Moon Jump takes $QENIS — the coin, the creature, the movement — to the moon, one green candle at a time.
They cost nothing to make and they give the audience somewhere to go between episodes — the same argument as the bumpers, in a different form.
🏆 HALL OF FAME
Live scores from everyone who plays — anywhere in the world. Crack a game’s top five and you get to put your name up here.