#Hanna do NOT follow his example | Explore Tumblr Posts and Blogs

bikinikillarchives · 1 year

Photo

kathleen in the short-lived lgbt/riot grrrl magazine, Princess Magazine. cover photo found through riotgrrrlbible.

EDIT: full interview can be read here, or in transcript underneath!

“Like there's some people you shouldn't fuck, because the fantasy of fucking them is way better than actually fucking them will ever be. It takes a mature person to figure that out. (...) Sometimes people use stars, though, to mediate relationships. The star is on stage and the audience is on the floor because you need to be on stage so people can see you. But while people are looking up at you, they're not looking right next to them at the person they might really need to be talking to. In some instances, the stage/fan set-up prevents relationships with each other. People focus on the star and live vicariously.”

The following is a conversation between Kathleen Hanna and Kathy Strider discussing the concepts of stardom and fandom--attempting to define them and figure out what they mean socially.

KATHY STIDER: So let's start with a really basic working definition of what you think a star is.. what role does a star play in society, why do stars exist?

KATHLEEN HANNA: I think part of the idea of being a star involves how it separates people: stars are superhuman, or "real" people and everyone else is supposed to be obsessed with their lives. Everyone else is supposed to be following what the "real" people do, which means that everyone else is less than real.

KS: Yes, there is a weird hierarchy that seems to be created. It seems that, if you've achieved some kind of stardom. People think that you've gained some kind of legitimacy or success that they don't have. This can apply even if people don't like or don't care about your work. I'm thinking, for example, of some older guy who's sitting in his house on a Sunday, opens up a magazine and sees a picture of Kim Gordon. He doesn't necessarily know anything about her or her work, but there’s still going to think in some way that she has something that he doesn't, or has some kind of agency that he doesn't. You made a good point in an earlier conversation about stars being in a way, both superhuman and 'dead or cartoonish, not allowed to be real'.

KH: Right, I mean any form of duality is dehumanizing for those involved. In this case, there is this idea that there are "common" people in one place and "royalty" in another. Although I wouldn't say that the "royalty" is oppressed, I'd say that both sides are dehumanized, because they both work in opposition and reaction to each other. And it's not like either side is necessarily recognizing full human agency, although the "royalty" can do that to a greater degree, because they're afforded privilege and position. Both of them become inhuman, like the royalty becomes a cartoon character.

KS: But I think it's important to make this distinction though, that a person who becomes a star is not in reality becoming a cartoon character. They really are people who live in houses and eat food, etc. But to others they [are] becoming less human, even to the point where people throw shit at them on stage, when they wouldn't throw shit at people on the street. I guess what I'm asking you is, why do you think that people feel a need to have people like that in society? What kinds of responses and experiences have you had with people who you think were seeing you that way? What was going on with them?

KH: I guess I can talk about a common interaction that I have with people when they ask me for an autograph. I used to try to disrupt thing by being like, 'well I'm not more important than you.' I talked to them about the idea of autographs, stardom , and fame. I mean, obviously that's not always practical. But then I realized it was kind of condescending, because it was assuming that they were stupid, that they might not know that already. Then I started thinking, 'Wait why are they approaching me?' Approaching someone and asking them for their autograph assumes certain things, like that that person is valuable.

KS: Like you want their name written on something.

KH: Right. I think it was Salvador Dali who said something about how it was the last form of human cannibalism or something. But anyway, I started thinking, 'Well maybe they just want to talk to me' and sometimes they only wanted a friend's phone number or something. But some put me into this idea and if I venture out of it, they get really angry. I mean, I think a lot of people in every day life totally experience that in terms of crushes. You have a crush on somebody, you build them up in your head. Then you actually hang out with them and they're not what you thought they were or what you wanted them to be. People are really creative and imaginative. We reinvent stuff. The thing is we have to be careful not to turn others into objects. Because you need to get some clay or pens or something like that, instead of objectifying people, why don't you just use actual things, and objectify them, rather than using Courtney Love to play out your fantasies.

KS: But I think there's a certain dynamic, there's a reason why people need others to do this. There's something really intense about what happens between a star and a fan , where the fan really sees something about the star (as opposed to a lump of clay) as something they can really work themselves out through.

KH: Yeah, well I've done that , I did that with Evan Dando.

KS: I think everyone does that. I know I've done it. I think it's completely normal. the thing is I just wonder why, what is it about our society that has set up this particular structure. I just wonder how it works into the idea of capitalism, the idea of people selling their performance and others buying it . But then, you know, when it comes time to talk to them you're unable to speak. Like there's this time when I met PJ Harvey and I was unable to speak to her. I felt like such a nerd.

KH: I had that with Karen Finley, too.

KS: She seems really approachable though.

KH: Yeah but it's my idea, I was really afraid that she would disrupt my idea of her and I didn't want her to. Her work changed my life, and I realized I just wanted to keep her in that context. Like there's some people you shouldn't fuck because the fantasy of fucking them is way better than actually fucking them will ever be. It takes a mature person to figure that out. Ha ha ha . Sometimes people use stars, though, to mediate relationships. The star is on stage and the audience is on the floor (because you need to be on stage so people can see you). But while people are looking up at you, they're not looking right next to them at the person they might really need to be talking to. In some instances, the stage/fan set-up prevents relationships with each other. people focus on the star and live vicariously. I think that has to do with capitalism, which dehumanizes everyone into robots. The more people get abused by their families and by sexism, racism, classism and homophobia, and able-body-ism and stuff, the more numb people have to become. And the less we can actually deal with any real confrontation, because confrontation may remind us of all this other stuff, and that's real scary. So we avoid being healthy enough or safe enough to feel a lot of stuff.

KS: Yeah, I think you're very right. So it's like this safe method of exchange, and the fact that it involves someone who you make in to superhuman. You project all your social needs onto this album, or something that you'll never actually deal with. That's kind of scary.

KH: That's a part of it. Also I don't even think of myself as a star, I think of myself as a performer , or a musician, or an activist, or a cultural worker, different things everyday. The people I want to perform for are people who are dealing with themselves when possible. I do want to entertain people out of their misery sometimes because I think that's important and valid. If it allowed them to escape in their own head for the while that they needed to take a break, I think that's really valid. I mean, people don't have to be dealing 24-7.

KS: I think that could be really constructive. I wrote my senior thesis on how I thought a fan/star relationship could possibly work positively in someone's life. I used myself as an example; I had idolized someone for a long time. I didn't go nearly as in depth as I had liked to , but it was a really positive thing.

KH: When we perform in Olympia it's a really different situation from when we perform in New York or Los Angeles or San Francisco because people see me walking around. A lot of people have seen me in other capacities, possibly serving them food somewhere. I think it's really positive for people to see us in the community, and then in this other way on the stage. It's like, 'Oh I saw that girl in the park and then I saw her on the stage' and it's not like I am Iggy Pop and I flew down in a helicopter. They're like 'Oh I could do that.' That's how I started doing things. And that's why I try to, when I can, remain as accessible as possible.

KS: So you're saying that a star thing can work positively if the person is seen as a star as well as part of the rest of the world.

KH: I just hope there's some sort of suture between those two things, between being a star and being a person. I mean I've had to somewhat separate them just for me to be able to function. I had to do the same thing when I was a dancer, which is another type of performance. It was a similar separation, in order to maintain some sort of a livability in the situation. But I just hope that it doesn't always have to be a stripper/customer relationship even in punk rock. That's what I'm trying to navigate right now.

KS: You said earlier that You think or yourself more as a performer and an activist, but in the Evan Dando 'zine, although that was a very contextualized piece, you did talk about yourself as being a star, and obviously there was a reason for that. Although you described yourself as a " superhyper Evan Dando groupie", what made you refer to yourself as a star?

KH: I guess it was just because I wrote that during our first stay in England. The pop-star idea is really big there. We were dealing with media on a really immediate level. The press people, right in your face, trying to talk to you a lot. That's when I felt like I was a star because we were in the papers. And I was like 'Whoa, this is big shit for me'. But I don't really think that. I just wrote that in the moment of ,'Oh yeah, I'm a slutty punk feminist star,' or something like that.

KS: But there's something to it, I think.

KH: Yeah, I know, I'm not saying that I'm totally isolated and don't know what's going on, but it's really hard for me to understand (stardom). It's like when you're in a really bad relationship and everyone's telling you so, but you don't listen. You can't see the situation 'cause you're in it. And that's how I feel sometimes; I don't really understand. I mean I've got a pretty limited amount of notoriety. I'm not like fucking Demi Moore or something. I don't really focus on it that much. I did for a while, mainly because I'm interested in figuring out problems.

KS: It seems like we're still circling around what a star really is. And I'm not thinking of a star as you as a person, I'm thinking of it as a shell, a thing you put on, or that other people put on you. It's even separate from the performance to some degree.

KH: Well I see it as analogous to focusing (o)n a character in a novel. I think in certain ways, because of the media culture now, tabloids, etc., rock stars and movie stars and stuff have replaced characters in novels. And I think that people, including myself, follow stars as if they're characters in a novel and their lives are unfolding in front of you. Is there going to be death, is there going to be addiction, will there be affairs?

KS: What's scary is that it's not fictional characters, they're real people.

KH: Right.

KS: And a lot of people can't seem to tell the difference between what they read in tabloids and the real person. And even me, I try to be really sensitive. I can say that I understand my relation to a star as a fan, but I'll see someone in magazines, etc., and I'll see them on the street and I get really nervous or weird because there's something really intense about them to me. Something about their performance has touched something in me and it's almost like you imagine there's some sort of connection between you and something they they've put out there as work.

KH: There can be a lot of misplaced anger in the way people treat stars. It's really hard for me to deal with the fact that Kurt Cobain killed himself. There's a record store in my community right next to the coffee shop where a lot of people who were close to him go. The day after he died, the store hung up this big poster and t-shirt as a Kurt Cobain Memorial in the window. I'm not saying that I expect everybody to be thinking of [their] feelings a million times a day, but it was really, really insensitive. I went in to try to talk with the guy at the record store. It was interesting because he's met me all these times but he never knows who I am. I think it has a lot to do with the fact that I'm female, so obviously I'm no one in music. I 'm not saying that there's a claim that I am someone or something, but I have been involved in the music scene in Olympia for 7 years.

KS: Well it's your career. I don't think there's any shame in saying that.

KH: So I go in there and it's just the thing of saying, 'You know I live in this town, and I think that's really insensitive and I don't want to have to walk by it.' It's not like I'm trying to censor anybody, or that I'm freaked out about death. It's just about how I feel that when people get into positions like Kurt did, it probably had to do with depression and all kinds of things we can speculate on. But I think part of it has to do with the fact that he was totally dehumanized by everyone. He was really exploited. Sure he was a rock star, but he was also a worker; he was fulfilling a function and getting paid a certain amount of money to do that. And I think that a lot of other people make a lot of money off of him. It was really frustrating to me that they day after he died he was still being exploited. Maybe I'm just really sentimental and goopy, but I just felt it was fucked up, and the guy was like, 'Oh I understand, you're just this little fan of his.' I realized how totally condescending people can treat those who are supposed to be fans. It was like 'oh you cute little groupie.'

KS: It's really funny that he would interpret it that way. Cause the way I see it he was totally projecting onto you. He saw you as the person who couldn't really understand what was going on because you were blinded by your fandom and your girldom combined, while he couldn't see that he was hurting real people. That's exactly what I'm talking about: some people just have no idea when they cross the line, especially when it comes to stars. And I think that relates to regular life, too. There are a lot of people who don't know how to treat others.

KH: I think there's anger involved, because I think people tend to treat stars as if they are an endless resource, that's supposed to just keep giving, and gibing. People are like, 'Well I'm paying you for it.' And it's a negrophilic, fuck-the-dead-body idea. I think it's fucked up, boring and not what I personally want to do. So how are do we fight against it? How do we challenge that idea?

KS: Well, it's like we're saying that there are two things going on. There are people; who idolize people and are shy around them, but they are learning about how they want to be or something, and then there are people who are really fucked up about it, people for whom it 's like a death culture, the star culture. It's a way for them to remain numb, to dehumanize others...

KH: Sounds really pornographic, doesn't it? I mean there are a lot of similar elements, like object identification, commodification and money exchange. It's also about power. I grew up totally ascribing to middle class values, one being that I'm supposed to have a certain amount of control in my life, but in reality don't have a lot of that. I 'm constantly told, if I go out walking, somebody can just totally grab my ass and get away with it, and if I'm at work I can totally get shit on by my boss and have to take it. I'm constantly taught that I don't really have control over what happens, like the government... and hating all the decisions, hating this new fucking Proposition 187 in California, which is basically murdering immigrants by denying them medical care. So I feel like I have no control or power. I find an area that I can get control or power in. I could beat people up. Or I could abuse my one body with alcohol, cigarettes, heroin, or whatever. It's this whole mad rush for getting power and control. But I think that there are healthy ways of getting power. And I don't think having control over everything is necessarily the way that I would want to lead my life anyway. It's boring.

KS: I thought it was really interesting when you said earlier that one of the reasons that people want stars to be cartoonish and never change is because they want control over that person. In a sense it's like being dead, if you never change and never contradict yourself.

KH: Well if you just sell your life for safety, then what kind of safety is that? (laughs) But I just don't want to entirely define power in then negative, and say that's the only possibility because I'm really not into the idea of all power being oppressive. I don't think it has to be that way; I think when we start believing that all power is oppressive that we've lost hope.

KS: You become Catherine MacKinnon.

KH: Right, I just think it signals a loss of hope and I'm just not into it. But we're still in this fight, expecting to have all this power and control, and trying to get it any way we can, even in these really unhealthy ways, like controlling our bodies through not eating or using a person in the public eye. I've had negative fame at certain times ,because I've had really abusive things happen to me in the press. A Flipside article said, "Fuck you, Bikini Kill" 11 times in one article. The Washington Post wrote that I claimed I was raped by my father, but I never talked to them. They completely coined that from songs I had written; I guess they assumed that because I wrote about incest, I had to be speaking from first-hand experience because obviously I'm a woman and I have no imagination. There was a Newsweek article that printed a photograph of our band in bikinis, and that was a private photograph of us together. A girl took that picture of us and then sold it without our permission. And then it was said that I was a feminist, a stripper and incest survivor. That was really difficult for me as an erotic dancer to deal with because my full name was printed and a lot of my customers read it. In the picture of me in a bikini you could see my tattoos which meant that I could be positively identified, and my stripper name was now connected with my real name. That meant I basically had to leave that job. They fucked up my livelihood; I mean they made me lose my fucking job.

KS: It's showing complete insensitivity and people especially don't think of sex workers as having any rights at all. They kind of think about stars in the same way...once you get "out there" in certain ways, people think that they can use you in unbelievable ways.

KH: Right, although I do think that fame and notoriety can actually open doors for me oar allow me to access stuff I never had access to, whereas being a sex worker hasn't afforded me the same privilege. There's a huge, huge difference. What I was getting to was – I've gotten a lot of unhealthy attention...Do you know what I mean?

KS: Yeah, well I've seen it happen at every single show; I mean something seems to click in people's heads when they see you up there. There are certain things about you that they know or interpret, and they decide that you're going to be the one they're going to bother. Why does that happen?

KH: I think part of it is that I won't fit a smooth notion of identity because I contradict myself very boldly...I'm not trying to say that I'm this rad martyr fucking person, but I also haven't been willing to say, 'Okay, I'm a feminist and therefore I'm going to wear these really drab clothes and I'm not going to be sexual on stage and I'm going to sing lyrics that are really dogmatic and obvious, that are right out of feminist theory.' although sometimes I do do that. If I am what these guys think as being somewhat sexual, I'm actually being a whole person, not just a cartoon character of what they think a feminist is, or what they think a feminist is, or what they think a feminist performer is, or whatever. I think that's really offensive to them. They see me as contradictory and therefore my whole project is invalid; therefore I suck and I deserve whatever kind of abusive behavior I get. People see that you are a performer whose not reading off of a script, you're not in a movie; you're challenging the idea of one constructed identity when you stray outside of that, basically what it means is that you're alive and you're experiencing things right here and now. I think some people want to kill that, because it 's threatening. It applies to many things. I can't really afford the purity of never doing anything for a major label, or never doing this or that . I negotiate my decisions based on a lot of factors, economic, emotional, etc. I think that can be really threatening. What is really frustrating is that a lot of people have gotten, like, 'Oh, you're really fucked up, you're this big rock star now' and it's confusing to see me as an individual when people are angry at me for being a rock star when I still have to deal with a lot of shit. If you're angry at me because the Washington Post said that I was raped by my father, and it did a lot to destruct my family, that's fucked up it's not glamourous to go out on stage and have guys call me a cunt. To have to deal with that kind of shit and simultaneously have to deal with people saying, 'Well you're a rock star" and blaming me is hard. I didn't create that. You know what I mean?

KS: It 's true that a lot of people are obsessed with this certain kind of purity in the punk rock world or in feminism. It's a very immature attitude because they can't accept you moving forward or changing your mind about things or not just always saying the same thing over and over again.

KH: Or that there's more than one kind of fucking feminism.

KS: Yeah, it's very threatening. It's almost as if you could draw a line between different kinds of stars and why people like them. There are those who stir things up and those who placate their audience, someone like- I mean I don't want to trash people, but she'll never read this anyway- like Whitney Houston, who I think is robotic in her performance. And a lot of people flock to it, they desperately need it..

KH: I love Whitney Houston.

KS: You love Whitney Houston?

KH: I think Whitney's incredible. For my birthday this year we got a hotel and I watched the Whitney Houston "Live in South Africa" performance, and she did two of my all-time favorite songs, "The Greatest Love of All" and the one that Dolly Parton wrote.

KS: Alright, well... that's how I feel about Whitney Houston, okay?

KH: Don't call Whitney robotic!

KS: She is, too; she's robotic!

KH: She is not.

KS: Well obviously, we have a lot of different ways of looking at things here. It's clear to me that what fans like doesn't have to do with the person as a performer in a way. There's something really different that you and I see in her performance. Not that her personality doesn't inform her performance, but I see a separation between the two. A person can be very different from who they are as a star, and people can see really different things in the same star.

KH: We don't really know what a fan is because threw are a million different readings that can come from a text, a performance, or whatever. Each person brings their ideas, background, privileges and system of identification to it. Whitney does maintain a really big gap between her and her fans. She's probably not reading her mail. She seems to have a pretty complete separation, it seems whereas I'm really navigating that relationship, because I don't really want to commodify myself or be commodified. Especially because I'm an abuse survivor, and it's a traditional position for me to be in, to objectify myself and kind of turn myself into a lamp. I think a lot of performers come from backgrounds like that, have taken a lot of shit as kids or as women or as boys or...

KS: Why do you think people do become stars then, do you think they thing that they have to take the abuse and that it's an abusive thing or do you think they get good things out of it, or what?

KH: Well, all I can talk about again is in terms of me. I don't know why Whitney became a star, and I can't speak for other people, I know that I learned as a child to leave my body for certain reasons which I'm not going to discuss.

S: No, you don't have to.

KH: It's known in the domestic violence/sexual assault community as 'disassociation', although it's not like you have these really severe abuse situations to do it; a lot of people do it. You're able to leave your body and do whatever you have to do, like pretend you're running through a jungle or whatever people do to stay OK. You do it during a painful experience or trauma, when maybe somebody you really love or trust is abusing you, taking advantage of you, objectifying you, or using you in a way that isn't cool with you. That's a survival mechanism and it's completely valid. I see it as a skill, to a certain extent. I don't want to glamorize abuse in any way but I do know that I have learned things from it that I'm not going to belittle, because that's my life.

KS: Well in your life that's the way you learned it , but maybe you would've learned it another way if you had a different experience.

KH: Right. But at the same time, I've learned how not to be in my body for various reasons. What I'm interested in right now is creating safe enough spaces that I can be in my body so that I can deal with painful things that I couldn't deal with maybe when I was a child, or maybe even last year, even at shows where guys assault me. But you know it's hard, because I got really good at dissociating. When I was working as a stripper, that skill really came in handy. People could touch me and I wouldn't feel it. And I think that translates nicely into the performance personality and the star personality of objectifying yourself and being consumed.

KS: But you make it sound like performance is a really bad thing.

KH: I think it is to a certain extent. I've just realized that there's a lot of unhealthiness there and right now, I'm resisting the idea that I'm consumable. I don't always make the best decision. I'm not always doing the most radical, subversive thing. I'm just navigating that and always trying to find a new way to subvert the status quo. If you're doing anything somewhat interesting, you're gonna come up against opposition. Because of that opposition, sometimes I have to numb out. I can't take seriously everybody who calls me rock star or bitch or cunt or slut or whore. Kathleen Hanna cannot deal with internalizing that and sometimes I have too... Kathleen has to go away.

KS: I'm just saying though that there must be things about being a star or an activist/performer that make you believe in it enough that it is worth it for yo to have to deal with that kind of stuff.

KH: Right. These are the things that are the benefits to me: a) I can earn a living with this now, because people will know who I am, b) I can get things done and I can help my friends hook up with other people because I travel a lot and I get told about a lot of things that are going on. I get handed a lot of resources. So I can play intermediary between an activist in one place and a performance artist in another who want to do a benefit. I can be this little point on a map and in between these other people.

KS: Don't you think that your performance itself makes you feel better or helps you work out things or that it does that for fans to some extent?

KH: They say it does, but it's hard for me to say. It does for me sometimes. It's totally powerful for me to be up on stage, to have this microphone and say whatever I want, taking up sonic space. That can be very powerful.

KS: That's very punk rock.

KH: Being female and doing that can be totally powerful. Even the fact that I can do things that are interesting to me and which push me further philosophically and politically makes me cream. I mean it's good, I like it.

KS: Good, that's what I thought.

KH: I say thumbs up.

KS: I say thumbs up, you and Whitney just keep it up.

#kathleen hanna #bikini kill #princess magazine #1996 #Kathy Strider #tw's for mentions of sa/incest/abuse #kurt cobain #writings

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kustas · 6 months

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do you have any favorite bits of trivia about early animation?

the animated version of what pops up in your mind when you think "50s art" is likely to come from United Productions of America. their work gets referenced a lot including by Disney and other big AAA animation companies in the USA. Two famous examples of UPA references people my age likely know by heart include Fantasia 2000's Geschwin short, and the animated credits to Monsters Inc.

Where this is very funny is that UPA was formed by artists who worked for Disney at the time Disney the guy was still alive and on his quest to rid the world of them commies. They striked for better worker treatment in 1941, got fired for striking, made their own studio and that was how UPA started.

And they weren't alone! The Metro-Goldwyn-Mayer studio also took in a bunch of Disney ex-workers following the same strike (and later became Hanna-Barbera). Warner Bros cartoons of Looney Tunes fame was also co-founded by an animator who got booted by mr mouse himself nearly a decade earlier, Friz Freleng.

While UPA's cartoons are by themselves forgotten, as they mostly did shorts some of which are borderline experimental, their influence is still felt to this day. You can find a bunch of them on YouTube for free nowadays. My personal favorite:

youtube

Their influence didn't end in the US too, as one of the (if not The) earliest pieces of Japanese animation I posted about here, The little prince and the eight-headed dragon (1960s), was inspired by Looney Tunes among other american cartoons of the era for its distinct visual style.

Moral of this story: Fuck Disney lmfao

#ask #american animation #animation

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disneybuddy · 1 year

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Why I really don’t like “Jellystone”

I remember when this show was first announced in 2019. I was really excited - finally, Warner Bros. was actually doing something with Yogi Bear, Huckleberry Hound, Snagglepuss, etc.! I love those characters and I think it's a shame that they don't do much with them (I love Scooby-Doo, but it's not the only Hanna-Barbera franchise they own). And the showrunner was C.H. Greenblatt, whose work I really like. And then, in 2021, the first trailer for the show was released, followed a few weeks later by the show itself.

I'm gonna be blunt here. I think Jellystone! is awful. C.H. Greenblatt claims that it's a "love letter to Hanna-Barbera" in interviews, but I'm convinced that he hasn't actually watched most (if any) of the shows that the characters in this show originated from, because it gets the majority of them completely wrong. Yogi, Huck, Snagglepuss, and Wally Gator made it through for the most part unscathed. But the others... they're basically the characters In Name Only. Hardy Harr Harr, for example, bears absolutely no resemblance to his original self. He's supposed to be a loveable sad sack. Here? He's a stereotypical cartoon old lady.

...WHAT? Who looks at this character:

…and thinks "Y'know what we should do? Make this character a stereotypical old lady!". Whose idea was that? I want names.

Other characters fare just as bad. Boo-Boo is Yogi's conscience. He's soft-spoken, kindhearted, and tries to urge Yogi not to do things that "Mr. Ranger" isn't going to like. Jellystone! Boo-Boo, on the other hand, is a loud, obnoxious idiot just as much of a moron as most of the other characters. Half of the characters (Jabberjaw, Loopy De Loop, Squiddly Diddly) have been gender-swapped, which in my opinion is a really bad idea. I know there aren't a whole lot of female Hanna-Barbera characters, but they DO exist. You could've just used them. You didn't have to make Squiddly Diddly a stereotypical valley girl to make the gender ratio more balanced. Quick-Draw is now "El Kabong" 24/7 and his using a guitar as a weapon has been Flanderized into HIM THINKING THAT HIS GUITAR IS A SENTIENT BEING AND BEING IN LOVE WITH IT. Magilla Gorilla is Paul F. Thompkins. Johnny Quest and Hadji are a couple (y'know, despite being adopted brothers?). The Banana Splits are criminals. And Baba Looey... what's the gender-swapped Baba Looey's personality again?

The voice cast was a massive letdown too. I'm glad they got Jeff Bergman to voice Yogi again, and I also like his takes on Mr. Jinks and Wally Gator. Jim Conroy does a great Captain Caveman and an alright Huckleberry Hound. Bernardo De Paula's Mildew Wolf is decent. Everyone else... I like Dana Snyder, but his Snagglepuss impression isn't very good, and he's not even trying to sound like Bill Thompson as Touché Turtle. Much like with the DuckTales reboot, most of the other characters are voiced by celebrities, none of whom make any sort of effort to sound like the originals. Particularly bad is C.H. Greenblatt's horrid Boo-Boo, which sounds NOTHING like Don Messick. What makes it all the more frustrating is that there are so many talented voice actors out there who can do good impressions of the characters - there is no excuse to have Boo-Boo sound like that when we live in a world where Billy West and Eric Bauza exist.

Problem number three: I really don't care for the show's art style. I don't dislike C.H. Greenblatt's art style as a whole, but it really does not fit these characters. It's hard to adapt characters into your style while still making sure they look like the characters - if done poorly, it can just result in the characters looking poorly-drawn. This is one of those cases. The animation just looks crude and sloppy-looking.

And finally, I'm sorry, but I don't find the show funny. In the episodes that I watched, there was only one joke that I was amused by ("I'm a monster! A very handsome monster!"). Every episode is just scene after scene of madcap insanity. Basically what people who don't like Chowder or SpongeBob SquarePants but haven't actually watched either show THINK those shows are like. Those two shows are silly, but they have something that Jellystone! does not: WIT. They don't just have characters acting like spazzes and random weird stuff happening in the hopes of getting a laugh.

For example, there's one episode where Quick-Draw... oh, I'm sorry, El Kabong has his guitar destroyed while fighting the Banana Splits. He tries to find a replacement, but is unsuccessful. So finally he says "I'M the guitar!" and he actually turns into a horse-headed guitar... wait, WHAT?! How the heck does he do THAT? Quick-Draw isn't a shapeshifter, and there's never been any indication that this El Kabong character is either. And it's not like this is just a one-off gag and he's back to normal by the next scene, this is an actual PLOT POINT. I know I just said cartoons don't have to explain earlier, but you need to have SOME logic. Again, Chowder doesn't just have Chowder randomly gain two heads to solve the episode's conflict or have Schnitzel turn into a leopard so he can eat the episode's bad guy or anything like that.

After having to deal with people on Twitter giving me a hard time for not liking Jellystone!, most of them actually trash-talking the original Hanna-Barbera characters and shows as part of their arguments (and claiming that these versions of the characters were more "complex"... I'm not seeing it), I figured something out. This is not a show for Hanna-Barbera fans. Rather, it's a show for people who KNOW about these characters but don't actually care about them or have even watched their shows in years (if ever). Because the show actually requires you be familiar with these characters to find most of the jokes it throws at viewers funny. Boo-Boo saying "I'm being sued for malpractice!" with a dopey smile on his face or claiming that he has experience with a machete is supposed to be funny because you wouldn't expect intelligent, kindhearted Boo-Boo to say either of those things. The Banana Splits being criminals is funny because you wouldn't expect the Banana Splits of all characters to BE criminals. Peter Potamus' sidekick So-So being George Takei is funny because in the original show So-So sounded NOTHING like George Takei. Just have an iconic cartoon character say something out-of-character or do something CRAZY and presto, you've got a joke.

In other words, Jellystone!'s humor is on the same level of intelligence as the humor in that awful Boo-Boo Runs Wild short.

#jellystone!#needed to vent about this for a while #hanna-barbera

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gemini-sensei · 1 year

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You know what I think is one of the most stupid things in early Cobra Kai was?

The whole thing with Hawk’s lip.

I find his scar to be extremely attractive, like a lot. Like scars in general are pretty attractive, but lip scars are so cute and hot, even sexy.

It was just stupid that that was the only thing they could do to make Eli “less attractive” and use as a joke to “not get girls”.

I would have licked that shit so much while kissing him-

-Sensei-Venus

@sensei-venus

I agree, it's stupid, like most bullying is. But I also understand from a visual media standpoint why they chose to go with it.

Giving Eli a visual reason to get bullied was the easiest way to explain why he was being bullied instead of giving us more background information on his character given the runtime of each episode. Using a visual is more effective in that regard, as in other shows have had to use flashbacks to show an embarrassing event or younger version of the character to explain the reason for bullying. Think Hanna from Pretty Little Liars except that's a terrible example because to show she was "fat" before, they stuffed her clothes and made her eat all the time and didn't treat her ED seriously.

However, Eli's scar proves more visual aid throughout the show. In season 1 it's very obvious and catches the audience's eye without it being pointed out. It serves to show how shitty characters like Yasmine and Kyler are and that they are going to be our main characters' antagonists this season. Ofc we know that Yasmine is Aisha's main bully and Kyler is Miguel, Eli, and Demetri's. Making this line clear is important lays out the stakes for not only Miguel, but Eli as well, since it's Miguel that shows Eli he can be strong too.

(This is getting so much longer than I thought it would be lol)

Following season 1, Eli's scar becomes less obvious and this isn't just because of the mohawk and such. This is an intentional makeup choice made so that our eyes are drawn to the mohawk just like Johnny said. His scar is more subtle as his confidence grows, especially in the red Hawk era.

These two pictures illustrate it pretty well. Never mind the fact that one is an extreme close up, it's still obvious that the scar has been changed so that our eyes become drawn to what's most obvious (also notice how basically the same colors are used for this, Eli's scar is almost red in contrast with his skin tone while his mohawk is bright red in contrast with his natural hair color).

In closeups and scenes with bright lighting, it's still obviously there, I think because they're moments where he's talking and it's important to remind the audience that the scar is still there, but it's not at the forefront of your mind because of the action or conversation taking place. This is important because after the forced shave, his scar is used to bully him once again. The contrast comes back as Eli's confidence plummets.

I'm not a film studies student, so maybe I'm reading too much into this. Also I know this had almost nothing to do with anything you said Venus but lol this has been on my mind since day one and I saw my moment to talk about it.

And I know that this had to be intentional because all the way back in S1 for the halloween dance, they still put the scar makeup on Jacob even though he was going to be wearing the mask to hide it the whole time! Whether this was just leftover from filming a previous scene, it still feels very intentional!

All this to say, yes, getting bullied for a scar is stupid and it didn't have to be that for Eli to get bullied. Kids and teenagers, however, can be very cruel. I know; as early as 2nd grade I was bullied for being fat - how original. I was tubby and kids always poked me and laughed at me because I was the only fat kid in class (as well as the new kid). Being different from everyone else is unfortunately one of the big things that gets kids bullied.

Bullies suck, bottom line.

And I agree, that scar is so hot. Honestly anything about the lip area of the face that is different is immediately attractive to me, even just a smile can be so attractive to me. This is probably why the only part of myself I like is my lips because I actually have a freckle on my upper lip, not that anyone else has cared to notice.

Idk what the point of this was. I'm not a film studies student, but I am getting my AA degree 🤷‍♀️ so whatever that counts for ig. Did any of this even make sense? jfc I could write a book about all the ways I could pick apart this show and how much it's actually affected my life in the best way possible.

Starting with sexy lip scars!

#gemini sensei #idk what this is #what have I done #cobra kai #discussion #lol #ig #sensei venus #sensei venus speaks #jacob bertrand #lip scars are sexy #eli hawk moskowitz #eli moskowitz #what are my tags #jfc

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dawnanddorisqna · 2 years

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Have either of you heard about the recent dealings with HBOMax? And if so what are your thoughts about it?

Thank you so much for this question. Anything animation is my favorite topic so this may become a rant. but here we go.

I think everyone in the industry has heard of what's happened. It's devastating and disrespectful. Warner Bros. has a special place in animation history with legacy characters and a collection of classics. They helped move the medium forward and at one point celebrated their place in film by creating an entire network dedicated to new shows, looney tunes, Hanna Barbera and more. They also helped introduce a generation to anime.

Unfortunately, as Warner changed leadership from one company to another, the focus became more on how to make the most income and for whatever reason money people don't see animation as something that can earn. History proves this idea wrong, especially with most animated films typically performing well in theaters, but in the industry animation is always seen as something only for kids. Something that doesn't need to be noticed. Something that people "graduate" from watching. This is old thinking and the new people in charge of Warner have shown almost aggressively that they can only think this way and want to move things way back (saying women don't like genre or written stories? @#$% You!!).

They think these characters can be erased and that no one will care because as they see it the only people saying anything are kids and will grow out of it. It's a cruel and disrespectful way to run a company. It's also, unfortunately, the way most places see this medium. To want to tell an adult leaning story in animation will still garner comments from execs of "Well you don't want to scare away kids" or "Kids don't want heavy stories, don't say anything about grief" "This is too dark" "just make it a comedy" and more. After all that they want live action celebrities attached because "How else will we get adults to watch this?" Imagine spending years perfecting your voice, only to be dubbed over with Chris Pratt because people know his face. (It's not like his face is on the #%$% Poster!). There are films that tell unique stories and don't follow the studio exec kid's gloves requirement. But I guarantee that these films and shows were an absolute struggle to get made, and once they were the studios usually work hard to bury them. (Tron Uprising, Infinity Train)

We always said "Animation is Cinema" and that's true. It's an artform that's now in nearly every film. But that term means nothing if you're still going to treat animation the same way. If you're still going to add fart jokes, only aim it at kids and feel like the only adults watching are parents and you still need to trick them into seeing it. I hear this phrase said so much, but now it feels like it's simply crossed into buzzwords territory to help trick some audience members into giving the studio money. Warner Bros. at one point was one of the studios that seemed like they wanted to treat animation like a real artform. It looks like now they don't even want to remember it exists.

But it's not all doom and gloom. There are people working outside the studio system to actually create some amazing work (Hazbin Hotel for example). Artists want to create. To tell stories and connect to people in ways that studios are too afraid to do. When you find an artist or a group working to tell these stories, I'd ask that you help them by telling as many people as you can about their work, reblogging it on the interwebs, and donating to them when you can.

I think the fans can really help in giving this medium the respect that places like Warner Bros. Discovery refuses to.

Thank you for the question,

Sincerely,

Doris

#Dawn said to add tags so here we go #doris doodle #animation #cartoon #doris and dawn #toontown #dawn doodle #doris #hbo max #discovery #merger #warner #streaming services #looney tunes #hazbin #infinity train #animation is cinema #art

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bettsfic · 9 months

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Hi Betty! I meant to ask this a while ago but I only came around it now. Can you share your opinion on "After the Rain" I remember you reblogging a fan art of the anime from my Tumblr tagging it with: "This kind of disappointed me", and I was so curious about your take on it. Also, do you have any advice about how to approach the theme of a really big age gap? Let me narrow that. I'm thinking about writing a 21 yo woman meeting a 50 yo man and how they handle the age gap. I want to explore how such a couple would survive scrutiny and above all, I want to give her the power. Ok, not that narrow after all, sorry, I'm still trying to give this idea form, but I guess that's truly the core of it. Still, I would love to read you talking about this kind of topic. Thank you so much in advance!

After the Rain just kind of baffled me in its ambitions. like the first few episodes start it off as one thing and then it just kind of falls apart as the two main characters follow their separate trajectories and begin having nothing to do with one another (iirc, it was honestly so bland to me i can't remember a lot of it). the second-act slump is something i see a lot in 12/13-episode series. (and novels. especially novels.) anyway i'm sure the manga is better and i'd be willing to give it a shot at some point.

now to the second part of your question.

so there are really only two kinds of age gap stories: stories where the age gap is the conflict, and stories where the age gap only affects the conflict.

for example, the film Carol is about the relationship that develops between carol and therese. take that relationship away and there's no movie.

The Reader, however, is an age gap story that is actually about the Nuremberg Trials. there's an external plot present that the age gap feeds into. if you were to take away hanna and michael's relationship, there would still be a story, albeit a significantly weaker one. the age gap complicates and elevates the conflict of the story. (note that the movie is worlds better than the book.)

the thing about age gap stories that aren't fanfic is that i haven't encountered a single one where you're meant to want the two characters to stay together. the story tasks you with wanting to see how the relationship unfolds and inevitably ends because it's unsustainable. even the happiest ones with the highest suspension of disbelief tend to end at least bittersweetly, like Harold and Maude. occasionally we're tasked with the characters ending up together but it's a tragic ending because their relationship is super fucked up, like Phantom Thread.

so i guess that's the key: setting your suspension of disbelief. how "realistic" is the relationship and its consequences? The Reader is hyperrealistic and so it has an extremely low suspension of disbelief; both hanna and michael experience the consequences of their actions (mostly hanna's actions) to a degree so high that the entire film is about those consequences.

Harold and Maude, on the other hand, has like a 60 year age gap and the suspension of disbelief is commensurate with that. we're asked to believe maude can steal cars mostly without consequence and harold can turn a jaguar into a hearse. so tasked with believing those things, plus the stylistic elements of the film, the average audience member is pretty on board with harold falling in love with maude.

another consideration is the neurodivergence of the characters. in Leon the Professional, leon himself is a hypercompetent hitman but he's also emotionally very innocent and naive, and he struggles to form intimate relationships. meanwhile mathilda is outgoing, affectionate, and puts on a good front of wisdom. there are a lot of reasons a person's mental and emotional age may not match up with their physical age. in some cases, a person can feel both significantly younger and older than they are simultaneously. and it's those sorts of characters who often find their way into age gap stories. in fact despite what The Discourse would have you believe, very few age gap narratives are about straight-up predatory behavior.

what i find interesting is that in all my research of age gap stories, the only stories portrayed are the whirlwind romance ones. it's seen by default as unrealistic and unacceptable to be in an an age gap relationship. but there are some cultures in which age gaps are normal. but i guess when it's normalized it ceases to be interesting enough to write about. the appeal of an age gap story tends to be in the taboo of it, the "us against society" mentality, where society nearly always wins.

based on your description, it sounds like you have an age gap story where the gap affects the plot, and you also have a low suspension of disbelief. possibly the story may be a character study of the 21 year old, how she overpowers the 50 year old, and the consequences of they experience because of it, in the same way that Lolita is actually about humbert and the mirage of lolita, and dolores can only be seen between the lines. if you want the characters to stay together at the end, the work of the story will be convincing your audience they're right for each other despite being 29 years apart, unless their staying together is a tragedy.

so i would consider who these characters are and how their lives have led them to the feasibility of this relationship. what is it about them in particular that attracts them to one another? what will be their tragic downfall?

in addition to the movies i've cited above, i also recommend Sweet Bird of Youth, Secretary, Oldboy (korean version), Fish Tank, Y Tu Mama Tambien, American Beauty, Magnolia, and The Handmaiden. movies that feature age gap that i didn't particularly like but which still do interesting things are Stoker, Lost in Translation, Girl with a Pearl Earring, Phantom Thread, Call Me By Your Name, and An Education. there are plenty i haven't seen and even more i haven't read but i hope these are a good place to get started to generate some ideas of how you want to approach your story.

#writing advice

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ghostchasersmagazine · 1 year

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!! agree with your last post so much. sure it’s funny that HB kept making a bunch of similar shows after scooby was a hit, but it’s annoying to see all the “clones” get labeled as bad just because “they’re basically scooby doo”. the formula is fun and they do change it up a bit with every show, making it new and entertaining. i think people don’t even want to give the other shows a chance because they feel it’s somehow a disservice to scooby when it really isn’t. i mean, scooby has crossovers with the other shows and the joke in laff-a-lympics is that their team is called the scooby doobies

I definitely agree with all the points you made here, Anon. Thoughts about it all under the cut since I ended up having a lot of them:

Like, I do get why the Mystery Teen shows of the 70s tend to get singled out as proof of why Hanna-Barbera was "uncreative". Not only was Scooby Doo itself heavily prevalent in that time period, but there were eleven other shows following the formula (twelve if you count Ruby-Spears's Fangface). It's like the criticism leveled against the shows in the 1960s following the Tom and Jerry or Yogi Bear formulas or the shows in the 1980s following the Smurfs formula, only amplified because of the sheer amount of examples. Personally, the criticism that "Hanna-Barbera always just recycled its old ideas" was never something that bothered me, as I think its super neat to see how the same starting point can be adapted to different scenarios with different characters, but I do get why it gets brought up so much.

But it's just like you said, it is indeed irritating to see all of the other Mystery Teen shows get automatically dismissed just because they're similar to Scooby. There are distinct differences between each show that frankly you only need to see one episode to notice, maybe two if you're really dedicated to seeing how the characters act (since in some shows some of the characters do act different in the first episode compared to the rest of the series). Sure, one can argue that they are relatively simple changes to make, like the number of characters in the group or the setting, but those are still ultimately very important to the show.

Like, The Amazing Chan and the Chan Clan and The Buford Files are both shows about siblings solving more traditional/down-to-Earth mysteries, but there is an inherent difference between a large set of siblings solving mysteries in international locations and a brother and sister pair solving mysteries in rural Georgia. Goober and the Ghost Chasers and The New Shmoo are both about reporters investigating the existence of the supernatural, but there is an inherent difference between reporters who are paid to investigate these scenarios and have a believer viewpoint and reporters who are investigating these scenarios on their own dime and have a skeptical/analytical view on the matter.

Even how the mysteries are set up is different between a lot of the shows. Captain and the Teen Angels is a classic detective show with them witnessing a crime being committed and having to discover who did it. Butch Cassidy and the Sundance Kids has the characters already knowing who the culprit is, so the mystery becomes how or if they'll be able to stop them. Josie and the Pussycats has the characters accidentally stumbling into trouble and having to solve the mystery just to get themselves out of it.

I think the best way to describe the major distinctions between the shows, especially in comparison to Scooby Doo, is how the shows handles their companion characters. There is a difference between how Scooby talks versus how the other talking dog characters talk. In that, Scooby actually talks to the human characters in his show. Goober only talks to the audience, instead barking normally to the Ghost Chasers. Woofer and Whimper only talk to each other, instead also barking normally to the Clue Club. Buford mumbles out loud to himself, which Woody and Cindy Mae will sometimes overhear and briefly acknowledge, but Buford never has a full-blown conversation with them.

There is also a difference between how the Scooby Doo characters treat Scooby as their pet dog versus how the Speed Buggy characters treat Speed Buggy as their car versus how the Jabberjaw characters treat Jabberjaw as their drummer and fellow aquatic citizen versus how the Funky Phantom characters treat Mudsy as a ghost and mentor figure. Obviously, dogs and cars and sharks and ghosts all have different skills and viewpoints on the world that impact how they interact with the people around them.

(This is just a side tangent I want to make real quick, but one thing in particular I think is disingenuous about some of the criticism the other Mystery Teen shows get is the reaction to what companion character each show has. The shows that do have a dog in them [regardless of if it can talk or not] are hit with the "oh look another talking dog what a rip-off" argument and are automatically dismissed, but the shows that don't have a dog in them get the "haha look at the talking ghost/car/shark how ridiculous!" treatment and get mocked. Is it really a fair criticism if "this character is visually similar to Scooby" and "this character is not visually similar to Scooby" are both the wrong choice to make? I don't think so.)

Going back to what you said, Anon, you make a really good point about the formula itself. It is a fun formula! The "a group of teenagers and their companion get into shenanigans and ultimately end up helping people" formula is one that can be adapted various different ways and all have fun results. It's one reason why Scooby Doo itself has lasted so long I'd argue, because it gives room for variations in setting and personalities and the like without straying too far from what makes it entertaining (how the characters work together to solve their problems and the good they ultimately end up doing through it).

I also think that's an interesting suggestion you brought up, that the reason that people don't like the other Mystery Teen shows on principal is because they think it would be disrespecting Scooby Doo somehow. I think that would be a reason for Scooby fans more particularly not liking them (since I imagine that say, those Hanna-Barbera critics I brought up earlier probably don't like them just because they don't like Hanna-Barbera in general), and one I can at least kind of understand.

Obviously I do agree with you Anon that the existence of the other shows are not a disservice to Scooby Doo, both in a "the existence of others shows does not take away the goodness of Scooby Doo" way and in a "if Hanna-Barbera used the Scooby formula eleven more times it clearly means they liked it" way. But, I do understand the emotional, knee-jerk reactions of "why did you make the show again do you think there's something wrong with the first one?" and "the first one was so good there was no need for another version of it". I do think that fans who feel this way should still give the other Mystery Teen shows a chance though, instead of just assuming that they're all inherently worse than Scooby Doo just because they came out after it.

All of the crossovers you mentioned are another reason why I don't think that the other shows should be viewed as a disservice to/disrespectful of Scooby Doo. Scooby Doo as a franchise as always been pro-crossover and celebrating other media, and this was especially true in the 1970s. I could bring up episodes like "The Weird Winds of Winona" and "The Haunted Showboat" for this, but I think your example of Laff-a-Lympics is probably the best showcase of this. I discussed this in another ask a while ago, but the characters on the Scooby Doobies where specifically chosen because of their shared history with the Scooby Doo franchise (with Captain Caveman, the Teen Angels, and Hong Kong Phooey thematically working as replacements for the characters Hanna-Barbera wanted to use but couldn't due to their crime-stopping nature).

In a way, at least the 1970s version of Scooby Doo is intertwined with the other Mystery Teen shows the same way they are with it. They co-existed together back then with no issue, and both ultimately ended up being important in defining the landscape of Hanna-Barbera cartoons in the 1970s, for however you may interpret that.

#anonymous

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pashterlengkap · 1 year

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Florida educational officials have threatened to revoke the teaching license of a publicly elected school superintendent and possibly remove him from office after he encouraged students and teachers to oppose Gov. Ron DeSantis‘s (R) infamous Don’t Say Gay law. Education Commissioner Manny Diaz Jr. sent a letter to Leon County Superintendent Rocky Hanna earlier this month threatening his license. The letter said that an investigation found several examples of Hanna defying DeSantis’ orders and the recently enacted anti-LGBTQ+ law. --- Related Stories Disney sues Ron DeSantis for “retaliation” after the company’s “Don’t Say Gay” opposition A local attorney said he fully expects Disney to win its case. --- Hanna allegedly issued a memo to teachers after DeSantis signed the Don’t Say Gay law. The memo reportedly told teachers, “You do You!” and instructed them to continue teaching as they always had without avoiding LGBTQ+ content in classrooms as the law demands, ABC News reported. Additionally, Hanna allegedly told parents that their children could have an excused absence from school if they attended a February protest at the state capital against Desantis’s educational policies “[A] free day off of school… is another example of [Hanna] failing to distinguish his political views from the standards taught in Florida schools,” Diaz said of his letter to Hanna. Diaz also said that Hanna had defied DeSantis’ 2021 executive order banning schools from requiring masks during the height of the COVID-19 pandemic. Hanna reportedly required face masks in district schools after a third grader died of the respiratory virus near the beginning of the school year. Hanna’s district was one of many that defied DeSantis’s order, though courts later rejected several districts’ legal challenges against the order. Furthermore, Diaz also accused Hanna of ignoring a policy requiring every school to have an armed guard or police officer following the 2018 Parkland high school shooting. Hanna said the state education department absolved him of wrongdoing after he noted that there weren’t enough available guards or officers for the position. Hanna believes the investigation against him began after a leader of a local Moms for Liberty chapter asked for his removal. Moms for Liberty is an anti-LGBTQ+ “parents’ rights” group that lobbied in favor of the Don’t Say Gay bill. The group has infiltrated school boards and supports the removal of LGBTQ+-affirming books, educators, and students from public schools. Hanna is entitled to an administrative hearing about these allegations, a negotiation about his censure, or a voluntary handing over of his teaching license. He said in a statement that he is undecided about which action to take, but he added, “It’s a sad day for democracy in Florida, and the First Amendment right to freedom of speech, when a state agency with unlimited power and resources can target a local elected official in such a biased fashion.” He continued, “This investigation has nothing to do with these spurious allegations, but rather everything to do with attempting to silence myself and anyone else who speaks up for teachers and our public schools in a way that does not fit the political narrative of those in power.” In August 2022, DeSantis removed another elected official, state attorney Andrew Warren (D), after Warren made statements signaling his unwillingness to prosecute people for providing gender-affirming medical care for transgender youth. Warren’s office didn’t actually have any cases pending on those two issues, but DeSantis suspended him anyway, calling Warren soft on crime and stating that Warren had violated his oath of office by choosing not to enforce these laws “based on his personal agenda.” Warren said that in suspending him and replacing him with a crony, DeSantis effectively tried to overrule the will of the thousands of Floria voters who elected Warren to represent them. Warren sued to be reinstated, but a federal judge dismissed his lawsuit in January. http://dlvr.it/SnDLxz

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casejsaisi25 · 1 year

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Keiko Iwao (My Hanna-Barbera Cinematic Universe OC)

Name: Keiko Iwao

Age: 13, later 14

Occupation: Professor Pat Pending’s student assistant

Weapons: modern technology, mythology, ski poles

Backstory: Born in Little Tokyo, California to Suyin and Hiroshi Iwao, Keiko was happy as any child can be. When she just turned ten on a cold November (the following week), Keiko and her parents went to a ballet in New York City but upon leaving the theatre, a horrid snow storm appeared and despite Hiroshi’s cautious driving, their car crashed into the woods. Keiko survived, but her parents were gone. Now, Keiko lives with her aunt Miyuki and uncle Jiro Chirko, studying with Professor Pat Pending.

Personality: As her own parents died, Keiko is worried that the people she connects with will be gone the second she blinks, so she is mostly spends time with her dog, Bijou (My other HBCU OC) at malls or the tranquility of the forest. She keeps her mother’s necklace from childhood, unknowingly by her made by a young Dick Dastardly as his only gift of love before turning to a life of crime.

Keiko is friendly, street-smart, helpful, book smart, and even motherly in heart, but her insecurity and tragic past makes her shy and lonely. She is engrossed in modern technology but is very sweet to animals from the tall to the small.

Keiko may seem like a strong willed girl but is easily a damsel in destress: if she is about to fall off a breaking bridge or needs a help (for example, to save her from monsters), someone close will come to her rescue. She knows all elements in both modern and ancient history. Despite her fragility, Keiko can be very acrobatic and uses her ski poles to swing her body over anything from ice to stone.

Inspiration:

Her last name comes from Hanna Barbera artist Iwao Takamoto.

Pocahontas (Disney): They have connection with and hold the knowledge of nature and have necklaces of their mothers.

Jane (Return to Neverland): They both wear sweaters over their night gowns.

Tabitha Templeton (Boss Baby: Family Business): both are scientific, intelligent students

Dorothy Gale (The Wizard of Oz): both are girls who are easily frightened and tend to cry.

Tarzan (Disney): Keiko’s athletics and speed

Densia (Hanna Barbera Smurfs): Keiko is loosely based on Densia, both black haired girls who hang out with main villains (Densia with Gargamel, Keiko with Dastardly) but friends with his enemies (Densia with Smurfs, Keiko with the other Wacky Racers).

Role in Hanna Barbera Cinematic Universe:

Keiko chases her scarf while playing ice skating, which heads up in Dastardly’s airship version of the Mean Machine, discovering Dastardly’s soft side. Caught by the surprised Dastardly, who is angry with Muttley for not returning with motor oil for their ship, she runs away in fear and unwittingly reminds Dastardly of an old childhood friend who tragically died. Then by the third encounter, they spark a new friendship and Dastardly treats her with respect due to his constant reminder of her resemblance to his deceased childhood friend. However, he isn’t aware of Keiko is Suyin’s daughter as she isn’t aware of her mother’s friendship with Dick. Dastardly thought Suyin (or Su as he called her when they were kids) died when she fell in a frozen lake. He was a young teen and she was four or five, they had a close bond. When he tried to rescue Su, Dastardly thought he was too late and didn’t see if she was okay due to the cruelty of his father, who threatened both Dastardly and his brother, the Dread Baron until their mom stepped up and took the boys away out of fear. But Su did survive, thanks to the necklace he gave her, only lost hearing in her right ear. They never saw each other again. But Keiko does remind Dastardly of her mom, but they do not know the truth until later on.

Muttley immediately liked Keiko before Dastardly’s first meeting with her, and the feeling is mutual.

The Wacky Racers, especially Professor Pat Pending, Peter Perfect and Penelope Pitstop, are happy upon learning Dastardly and Keiko’s newfound friendship, and they do their best to unite the two loving lonely hearts. Keiko loves Peter and Penelope like parental figures.

Hanna-Barbera series

1960s to 1980s Voice: Lucille Bliss (the original Smurfette voice)/Katie Leigh (Densia voice)

2020s Voice: Probably have any newcomer Japanese-American actress should voice Keiko.

Trivia:

Keiko is presented here as if she would be in Disney series, despite being a Hanna-Barbera OC.

#hanna barbera #my ocs #wacky races #dastardly and muttley #my oc art #original character #dick dastardly #muttley

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casimania · 7 years

Conversation

Hanna: How does Casimiro usually get out of these messes?

Finas: He doesn't. He just makes a bigger one that cancels the first one out.

#hinabn #hanna is not a boy's name #Finas #Hanna Cross #Casimiro #incorrect hinabn quotes #source: catscratch #I don't think it works quite like that #Hanna do NOT follow his example

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stjohnstarling · 2 years

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What follows is, by request, a list of all the titles by category of the books in the example images in my niche romance novel subgenre uquiz. I wish you joy of them

Orc Romance: The Lady and the Orc by Finley Fenn, Her Orc Warrior by Tessa Drake, Orc Brides (Books 1-3) by Tara Phillips, Obscene Orcs (Books 1-3) by Ruby Rivas

Bigfoot Romance: Seduced by Bigfoot and Ravaged by the Yeti by Roche-Poesy, Surrendering to the Sasquatch by Maddy McNeel, Cum for Bigfoot (Volume One) by Virginia Wade, Finding Love and Bigfoot (The Critter Getter Series Book 2) by Allee Mae

Bear Shifter Biker Gangs: Daddy Biker Bear by Roxie Ray, Road Bears (Grit and Growl Book 1) by Becca Fanning, Grizzly Bear Biker by Sky Winters, Next Door Biker Bear by Brittany White

Billionaire Dragon Shifters: Billionaire Dragon’s Nanny (Irish Dragon Shifter Brothers) by Brittany White, Billionaire Dragon - Dragon Mansion by Jada Cox, Billionaire Dragon’s Secretary (Dragon Planet Romance Book 3) by Lynne Murray, Billionaire Dragon’s Mate (Treasure Lane Dragons) by Anya Nowlan

Sea Turtle Shifters (unusual animal shifters): Coming Out of His Shell by J. D. Light, Matched to His Dolphin (an M/M Shifter Dating App Romance) by Lorelei M. Hart & Colbie Dunbar, Taken by the Shark (a Shifter Romance Like No Other) by Jane Rowe, The Crocodile Shifter’s Bride (a Paranormal Mail Order Marriage Romance for Adults) by Jane Rowe

Kidnapped by the Alien Warlord: The Alien’s Kidnapped Omega by Sienna Sway, Alien Warrior Unbeated (Galaxy Games) by Ava Ross, GRR! (Warriors of Gr’Mlakin Series) by Zeta Star, Captive of the Horde King by Zoey Draven

Clean and Wholesome Romance (For Christians): A Godsent Bride Lands in His Arms by Chloe Carley, Matched and Married by Kathleen Fuller, A Nanny for the Grumpy Cowboy by Hanna Hart, A Brave Soldier Arriving at her Ranch by Lydia Olson

Every one one these books was chosen on the basis of 1. how funny I thought the title was and 2. how visually distinct the covers were. I have not read them and in no way do I vouch for their contents.

#original post

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melis-writes · 3 years

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💌 Currently, oneshot fanfic requests are closed.

In-fic suggestions are OPEN via my inbox for the chapters of Moth to Flame: Part II, The Other Woman, Eyes Like Stars, Blood Money and Mafia Wife.

About • FAQ • Original Work Masterlist • Fanfics Masterlist • AO3 • Masterlist of Upcoming Prompts •

Prompts/blurbs (via my askbox) are accepted for the following films/characters:

• Any character (OC or not) from any of my own fanfics.

• The Panic in Needle Park (1971): Bobby Axel. | Smut prompts / Non-smut prompts.

• The Godfather (1972) & The Godfather Part II (1974): Michael Corleone, Sonny Corleone, Tom Hagen, young Vito Corleone, Connie Corleone. | Smut prompts / Non-smut prompts.

• Serpico (1973): Frank Serpico (mention of how you’d like his hair/beard too!) | Smut prompts / Non-smut prompts.

• Scarecrow (1973): Francis Lionel Delbuchi. | Smut prompts / Non-smut prompts.

• Dog Day Afternoon (1975): Sonny Wortzig. | Smut prompts / Non-smut prompts.

• Bobby Deerfield (1977): Bobby Deerfield. | Smut prompts / Non-smut prompts.

• ...And Justice for All (1979): Arthur Kirkland. | Smut prompts / Non-smut prompts.

• Scarface (1983): Tony Montana. | Smut prompts / Non-smut prompts.

• Carlito’s Way (1993): Carlito Brigante. | Smut prompts / Non-smut prompts.

• Heat (1995): Vincent Hanna (x reader only). Smut prompts / Non-smut prompts.

• The Devil’s Advocate (1997): John Milton Smut prompts / Non-smut prompts.

• American Psycho (2000): Patrick Bateman Smut prompts / Non-smut prompts / American Psycho x Moth to Flame.

📚 I'm always taking in-fic suggestions for any multi-chaptered or oneshot fanfics I'm currently working on.

📬 Requests and prompts are only taken via my ask box.

🎭 I can't promise all requests (fanfic or otherwise)/suggestions will be honored but I will consider + save all of them! I do my best to work with a variety of suggestions from you guys and will add them accordingly to chapters they fit best in. Please don't take it personally if I don't post your submission/request. I receive 20+ submissions/requests a day and my writing style keeps all of my fics canon-strict to plot and character personality. Any duplicate submissions, submissions that make me uncomfortable or submissions I'm not interested in adding to my works will not be posted. Please keep in mind while I love receiving submissions/ideas from everyone and happy to incorporate many in my works, I'm not obligated to post or use every submission submitted to me and select them per my personal preference.

📩 Prompt requests will be written/posted in order of submission and the same goes for oneshot fanfic requests (if I have them open).

✨ Please keep in mind that writing is a time consuming craft alongside the fact I'm a perfectionist. 😅 I do my best to write/post requests, prompts, and submissions with the best of my ability down to perfection, but life does get busy and in the way. This doesn’t mean I’m ignoring/neglecting them, but I refuse to rush through any writing (requested or otherwise) for the sake of just having it up and posted right away. I want to take my time to write out a perfect piece for you guys regardless of what it is. You can always send me an ask/reply or a DM to be added to a tagslist and you can follow my regular updates via the tags of the fanfics I’m working on! For general updates from me: #updates or for specific fanfic updates, search the tag with the name of the fanfic. For example: #moth to flame fic.

⏳ Currently, my writing flow is that I write one chapter of each multi-chapter fic at a time before cycling through all of the current fics I'm writing, then I will write a new one. Because of this, chapters to all of my fics are unfortunately delayed. I do my best to write and upload as many chapters as I can for all of my works without neglecting the other chapters. While I love and appreciate my readers' enthusiasm towards specific fics that may be more popular than others, I won't be neglecting other fics by writing chapter after chapter of a popular one due to demand.

♾️ My fanfic update flow currently is: The Other Woman -> Moth to Flame: Part II -> Eyes Like Stars -> Blood Money -> Mafia Wife.

📣 Anyone requesting will get a special shout-out at the beginning of a chapter/work (unless they choose to be kept anonymous/are on anon!).

🔞 All of my fics (and original work) are 18+, smut or no smut. Explicitness ranges in many forms besides smut (like cursing, alcohol, violence, etc). By interacting with my writing and or/requesting, I assume you're 18+ and that you have read all the prementioned warnings for that fic.

What I write. ✍🏻

🖋 I write multi-chaptered fics + series fics, x reader fics, OC fics and any fics with all characters. There's no limit to what you can request/suggest for fic or prompt type!

⌛ I do keep in mind historical accuracy and stay true to canon for all characters, so all suggestions may not work in all chapters or fics.

💘 I write smut of any kind (check exceptions on "what I don't write" below). All of my writing, including steamy smut scenes are very detailed. 😚🤌🏻 I write smut for all characters in my fandoms (unless it is on the exception list).

📜 I write anything from angst, smut, emotion, dialogue, action and more! I don't have a personal preference to write either one, I love them all equally. 🥰 Prompts and fics can end on cliffhangers, angst, happy or even mysterious endings. I have no preference!

🔄 I also write cross-over fics (my fandoms only) but that's on a personal interest basis only. I don't want to write anything I'm not personally interested in/don't like. I am always accepting cross-over/AU prompts for Moth to Flame characters in any of the other accepted prompt categories. For example, Tony Montana x Victoria Ferrari is #Scarface AU. The general tag for crossover prompts is #Crossover Prompts.

📝 My personal style of writing in x reader fics focuses on "persona play", but not always. There are regular x reader fics too! This is my own concept where as the reader, you take on the persona of an OC as the fic revolves around you within the plot. Persona OC's are not explicitly (if at all) physically described; they're relatable for everyone to decide on appearances, etc! I use my persona OC’s for multi chapter/series work almost exclusively. My best known persona OC is Victoria Ferrari in “Moth to Flame”.

🤷‍♀️ At the end of the day, fiction is fiction and my plots/OCs/characters/OC personas are not written/meant to be literally "relatable" to in real life other than physical appearance the reader chooses for x reader fics. That's why it's fiction.

What I don't write. 🚫 (No exceptions).

❌ I do not write any major AU's or headcanons in fanfiction oneshots. I write canon only fanfics, however this does not apply for prompts which I would be happy to take AUs, crossovers, and headcanons!

❌ Requests & submissions are not taken for my original work/novels.

❌ Torture & torture smut.

❌ Incest.

❌Any underage characters or x readers (including children of character's/OCs).

❌ R*pe fantasy or anything similar.

❌ Any kinks or dark themes I feel uncomfortable writing can be rejected.

❌ No specific x reader fics (outside of my "Persona OCs"). X Reader fics are for everyone to enjoy and fill in the blanks of appearance, etc. themselves!

❌ Requests can be rejected if I feel uncomfortable or uninterested in the idea, but please keep in mind it's nothing personal!

#about me #my writing #melly talks #melis-writes

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