I’m starting to notice a pattern in Sapphic couples in animated shows lately that there’s the happy go lucky bi girl and her girlfriend is a lesbian is more quiet and tough
To be clear I’m not mad at this at all. I’m very happy we’re getting more rep regardless! I’m just wondering why is this becoming a pattern and curious what your opinions about this are
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There’s something about Elemental that I love but I can’t quite seem to articulate.
[Spoilers by the way]
At the end of the movie, Ember and Wade leave together so Ember can take her internship at the glass company. This is supposedly a full time thing for her, which means she’s moving. Like yeah, she underestimates herself like “oh it probably won’t go anywhere and I’ll be back home soon,” but that’s a very “ooh this is a big step and I don’t feel ready to move out” mentality (literally told my parents I’d be back at the end of my first year’s lease, it’s just a mental safety net, but boy was that a relatable line for me). Regardless of her lack of confidence in herself and this potential new job, she is moving out. And Wade is going with her.
She had said “I want to travel the world with you.” That’s great, and I hope they do, but that’s not what’s happening here. It’s said that this is several months, maybe even a year after the main events of the movie. The majority of the movie itself spans a couple weeks or so (edit: I counted, it’s about 8-12 days). So by the time they leave for Ember’s internship, Ember and Wade have been dating for a while. Anywhere between three months and a year. Wade is leaving with her, and it’s difficult for me to believe they’re going anywhere but the same place. Which means they’re moving in together.
Now I know that it sounds like I’m just freaking out and being incoherent about a ship, but the truth of the matter is, that’s really mature of Pixar.
Family friendly and kid-centric animation tends not to push anything but the “fall in love, kiss, get married, move in, have babies” pipeline. But what I loved about Elemental was that it portrayed a REALISTIC, HEALTHY, and MATURE relationship. One where the couple has arguments about real things that matter and after space, they talk it out. One where “I don’t understand” isn’t an invitation to shut down (even if Ember meant it that way in the heat of the moment), but an invitation to try and learn. One where anger and “I’m leaving” can be met with “I’m coming with you,” and one where the couple doesn’t just love each other right off the bat, they have to DATE MANY TIMES AND GET TO KNOW EACH OTHER, SEE EACH OTHER IN THE WORST OF TIMES, and THEN, realize they’re in love. AND they said it out loud, which doesn’t happen often either (edit: I am well aware that a week or two is a very short amount of time to fall in love, but I’m gonna cut them A LITTLE slack because it’s not like. 3 days, and also they seemingly saw each other every single day for those couple weeks and had the months after that. It’s rare, but sometimes, when you know, you know).
But beyond that. Beyond dating, getting to know each other, communicating and helping each other out, and deciding “yes, we can and should be together,” Elemental showed these two doing an adult thing together—leaving home and moving out. Because they are ADULTS. And the fact that I felt like this movie was targeted towards me and my peers the same way a PG-13 or R rated movie might be, strictly because of the realism in the character’s interactions and dynamic, that is something that I absolutely adore. Like, Zootopia was a kid’s movie with mature themes. Miraculous is a kid’s show with mature themes. Even Avatar: The Last Airbender was clearly targeted towards children, even though we all know it has something for everyone.
But Puss in Boots: The Last Wish. The Spider-Verse movies. And honestly, Elemental. These feel like our movies. Movies I’m glad the kids can enjoy, but they’re made for us. The 20- and 30-year-olds.
I’m just so happy to see animation studios treating adult characters like real people. Maybe soon people will start to recognize animation as a legitimate form of storytelling, too.
I loved Elemental. I really did.
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55 years ago today, January 4, 1969, the final new episode of Wacky Races aired. It is an American animated television series produced by Hanna-Barbera Productions for Saturday mornings. The series features 11 different cars racing against each other in various road rallies throughout North America, with all of the drivers hoping to win the title of the "World's Wackiest Racer". The show was inspired by the 1965 comedy film The Great Race.
The cartoon had many regular characters, with 23 people and animals spread among the 11 race cars. Wacky Races ran Saturday mornings on CBS from September 14, 1968, to January 4, 1969, and in syndication from 1976 to 1982. Seventeen 20-minute episodes were produced, with each of them featuring two 10-minute segments.
The series spawned numerous spin-offs throughout the years featuring Dick Dastardly, the most similar in theme being "Fender Bender 500" in 1990.
In 2017, the series was remade as a reboot, airing on Boomerang. It aired only once on Cartoon Network on August 13, 2018.
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WAIT, new twilight is getting animated by the BARBIE MOVIES GUYS
This has a potential to be the most memable piece of media in years
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It is sometimes so funny how Adventure Time has been so many Different Things at different times. It experimented with all of these different tones and concepts and different levels of emotionality and seriousness and silliness. And yet, it’s also something you really need to just… watch from the start all the way through to experience fully. Both because part of the appeal is to watch the show gradually develop its tone and its themes and its unique identity beyond just ‘the lolrandom weird show’. And also because everything is so interconnected.
So much Serious Lore is built of random one-off gags from the early seasons, and so much important characterization is built on what seems like silly standalone episodes, and so many seemingly innocuous gag characters end up coming back in surprisingly serious and poignant ways… And you really can’t predict what sort of Silly Goofy Detail is going to be Incredibly Important later or not.
There’s a lot of serial media that offers, like, good jumping-on points especially in moments where there’s Big Shifts in tone or themes. You know, you’ve got a potentially new audience you’re aiming for, a new audience that’s interested in the new direction of the show- you might want to give them a good entryway into the story. But Adventure Time is notable… for never really doing that. I mean, even its first damn episode is kinda famous for being a Weird and Sudden Entryway into the show that explains nothing.
Obviously that other attitude has a lot of perks… but also there’s something very appealing about Adventure Time’s total uncompromising confidence in that area. It’s like "If you can't handle me at my episode about getting finding a way to satisfy a violence-hating mountain a talking frog and a dragon with an itchy butt at the same time you don’t deserve me at my tragic story about a family that was almost but never was"
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Names of the series I have pictured here:
Panel 6 and 8 — American Dragon: Jake Long (2005), Hamster and Gretel (2022), The Rocketeer (2019), Dino Ranch (2021), Miles from Tomorrowland (2015), The Boss Baby: Back in the Crib (2022), Sofia the First (2012), Martha Speaks (2009), Rugrats (2001), Miraculous: Tales of Ladybug and Cat Noir (2015), The Ghost and Molly McGee (2021), Puppy Dog Pals (2017), Glitch Techs (2020), Abby Hatcher (2018)
Panel 10 — Firebuds (2022), Hailey’s On It! (2023), Rosie’s Rules (2022)
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