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*sighs dreamily* what a fucking weirdo

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Finally got a clear shot of noonoo carrying her spring, it's her favourite toy

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more Eph and Nami besties agenda because I love them!! 😇⛓️

part 1

[base refs by @albanenechi]

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Never-before-published model sheets for canned Amblin Cats movie 🐈‍⬛✏️👁️

Hi all. As promised, I am sharing a comprehensive .PDF of model sheets that were created for the Amblimation Cats movie that never saw the light of day. Most of these model sheets have not been published or posted anywhere on the internet as far as I'm aware. I'm going to get ahead of some questions for the good of the order:

Are these real? I certainly didn't sit and create all 117 pages myself for the sake of an elaborate hoax!

How did you get these? I work in the animation industry. A senior coworker caught wind of my cats obsession and said he had the Xeroxes and asked if I wanted him to bring them in. Internally, I flipped my shit. And then I digitized his hard copies.

How did your coworker get these? They were found in the library of the university he used to go to. (Not super unusual at an arts school in southern California.) He made photo copies back then and has been holding onto them. The thing is he knows nothing about CATS; isn't a CATS fan, never seen it, etc. I guess he just felt it was something worth holding on to!

Can you upload better quality? Unfortunately what you're seeing as good as the quality gets. These are scans of photocopies from the 90s. There is nothing to be done for the crunchiness.

What about (missing characters)? I'm showing you everything I was personally given!

Which character is (nondescript drawing of a cat)? If the image isn't labeled, your guess is as good as mine! I put all the misc./unlabeled cats in the back of the PDF. The only exceptions are ones that I felt were abundantly obviously supposed to be a specific character.

Who are the artists? Unfortunately, there's no way I can tell for sure. None of the sheets are signed. I wouldn't even go about guessing because many concept artists can perfectly emulate more "well known" illustrators whose styles were sought after. My coworker said he might be able to figure out who the draftsmen were; until then it's a mystery! If I find out, I will come back to this post and update it with that information.

Are these all the model sheets ever? No! In fact, there are model sheets that have been posted online that are not in the bundle I was given. I have no idea of the sum total of model sheets in existence.

Where's the link?! Here it is! Have fun kitties!

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Went to Disneyland today, and I saw that they had the Merrin figurine!! I was so excited, and I’m so happy that now I can have Cal and Merrin together

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my diva :3c

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You are trapped in an elevator with the person on your lockscreen. Who is it?

Reblog with who you get stuck with~

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A fictional guy should only be made blonde to signify that there's something wrong with him

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Nothing’s quite as bad as the wedding favor I saw with a Lolita quote on it 😬

When somebody shares a quote by a famous author like it's something the author personally said and believed, but you know it was actually spoken by a character you're not supposed to like... 😐

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Stupid sketches that I had to get out of my system after I finished the "A Bright Bouncing Boy" stranger mission from RDR2. I now call that mission "The time when Arthur Morgan helped Dr. Doofenshmirtz build Norm the robot at Doofenshmirtz Evil Inc."

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One of the things that makes the family conflict in Lilo & Stitch work narratively is that Cobra is correct in that Lilo and Nani's current situation is non-sustainable. And yes, Nani is not prepared to handle everything by herself. But losing the custody is not the solution either, and to a degree Cobra seems to believe the same (he legit does not want that to happen), but if Nani can't solve the problem, then from his perspective it's the least harmful solution.

And the conflict is solved because what Lilo and Nani need (what they REALLY needed) is a support net. Someone, anyone to be there to take at least SOME of the burden from Nani and give her breathing room.

Which is why Jumba and Peakley joining the family alongside Stitch, and become a constant pressence who share the burden of the household, makes all the difference.

And this does not solve all the problems, because the movie is not about magically resolving those problems, it's about putting the characters in a situation in which they can move forward as a family. And for their desire to be a family and be together as a family, to be respected.

Anyway, someone told me what the remake did for the ending

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Ghost star…

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The man turned and offered a small smile, like Shishou never did. 

Read here!

Happy birthday, Chrissy. And a biiig thank you to you and @kikaiz for makin this crazy story. i’m love it very much.

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Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."

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How we all doing after episode 2?

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Thinking about the Joel and Tommy window symbolism