#Tom and Jerry or movie era SpongeBob

[popculturebuffet]

Next up for Warner Bros Animation, favorite character from the 2002-08 half of the Kids WB shows with: Mucha Lucha, Ozzy & Drix, What's New Scooby Doo, Xiaolin Showdown, The Batman, Johnny Test (this oughta be interesting since it aired on three different networks with varying seasons of quality with seasons 1-3 premiering on Kids WB, seasons 4-6 being produced for Cartoon Network, and the revival seasons being produced for Netflix), Loonatics Unleashed, Tom & Jerry Tales, Shaggy & Scooby Doo Get a Clue, and Legion of Superheroes? I skipped Coconut Fred since everyone and their mother despises that show (one of the worst of all time).

Jesus Christ that's a lot. Also look given some past entires here, Coconut Fred is being kept on the grounds that it shoudn't be forgotten just for being horrible. like da boom crew which I thankfully haven't seen. So anyways..

Coconut Fred's Fruit Salad Island: I saw it at the time and it.. sure does exist. It's a half hearted spongebob ripoff. I'm talking about it because it did exist but don't have much else. Maybe I shoudl've left it out but i've let worse shows have an entry. This is just.. ntohing.

Mucha Lucha: IT'S A WAY OF LIFE! Senior Hasbena who just had a fun voice and a great early spotlight episode. The show itself is one I need to revisit but is awesome as hell, having a nice respect for luchadore culture while also being pretty nonsesically fun. While I would love a full on wrestling action series, this one was still good fun and needs ot be avaliable to stream in some fashion.

Ozzy and Drix: Drix if only because he was my faviorite in the movie. This series feels.. unecessary. It's not a bad idea but both frank's state at the start and Ozzie and Drix ending up elsewehere make it feel like the first film didn't matter and it feels weird to just.. not keep the setting. If they wanted kid plots, Frank has a daughter. That gripe aside the series was ... eh. Not terrible, but nothing really super special either.

Xiaolin Showdown: Jack Spicer. The boy, the myth the legend and Danny Cooksy's best role by a wide margin. A fun villian who was laughable enough to never get boring and stick around long after he'd been outclassed by newer big bads. Xiaolin Showdown is one of the best cartoons of this era, one of the best of this action show block and one of the best. I rewatched it in college and was amazed it held up so well. The show is genuine about our four heroes working, said four heroes while having familiar archetypes for the most part, are great characters who are a load of fun to watch and the format of the showdowns is engagin: while it does usually lead to some form of fight the contest format adds a nice wild card to it: our heroes can end up in a game where telling the truth is the only way out, a soccer match for OMi's soul, or a battle royale with all present. IT's a wonderful show I wish would get a proper revivial. And no Chronciles dosen't count, chronciles can go fuck itself.

The Batman: Another one to revisit and i'd say clayface as the twist of him being someone batman knew and trusted is utterly guttnig. I gave up on this one early for petty reasons depsite having most of the toys: I hated what they did with mr freeze and felt it couldn't compare to btas. Time has passed and with the later seasons adding some nice swerves i've accepted the show is it's own thing, trying to be a more action oriented shonen to forge it's own identity from the more moody btas. And it did apparently get better and better as it went and having seen a later episode or two casually , I can agree. Plus I admit to loving the touch of having batgirl join up before batman. Also the movie where he fights dracula is fucking dope and wel lworth your time.

Johnny Test: I'd say the twins for being usually hilaroius. As for the show.. it's eh. I used to hate it

But I now see it as an okay show that had some fun bits, and what I saw of the revival, as sadly short lived as it was, was better. It's still not AMAZING, but it wasn't the mindless garbage it got labeled as either. Nor a dexter's lab ripoff.. I do think they took some inspriation from it clearly, I mean look at the twins... but when you look at the cast none of them really match up to dexter's aside from the twins, whose crush on gil and age diffrenate them just enough. It's not an amazing show but it's hate was overblown.

Loonatics Unleahsed: Look the base concept of "The looney tunes as superhero: could be fun. I have a batman daffy and superman bugs on my desk as I type this. They did skits of the kind. The problem is lonatics wanted to be batman beyond with looney tunes and it never worked as a kid and dosen't work now.

Tom and Jerry Tales; I love tom and jerry but i've barely seen this.

Shaggy and Scooby Doo Get a Clue: The timing on this one as good as i've been watching through this on and off with @jess-the-vampire recently. I don't really have a faviorite. As for the show itself it's overhated like the last two entries and honestly.. it's okay. It's nothing amazing thus far, trying to be venture bros by having henchman 2 be an obvious ripoff of 21. Which wouldn't bother me if they did it right but instead he's just annoying. That being said it's still not a terrible series: the theme song is terrible but the show itself is solid, having intresting sometimes bonkers plot and shoudlnt' be vilified for breaking formula. It may not entirely work.. but I can respect TRYING something new an dhope go go mystery machine is a better version of this.

Legion of Super Heroes: Bouncing Boy: this series kept his goofy powers but also what works: someone who badly wanted to join the legion, never gave up and then threw in his reboot self's pilot skills and flsehd out his perosnality.

As for the show i'm a big legion of superheroes fan and this show is part of what brought me to the clubhouse. It's a slick show that nicely merges the two continuties it had to work with: the pre zero our one from the silver age and beyond and the reboot that helped ground things (The third reboot, yes three and there was a fourth long after, was just happening around this time so only star boy being black made the cut from there), while keeping the silver age namesan dastetic from before.

The result is a fun show that loves the legion dearly, has a great cast of characters and despite being made to have a teen superman show dosen't let clark overshadow everyone else: he's the lead.. but most of the main cast get a focus episode over the course of season 1. I"ll admit season 2 isn't quite as good as due to executive mandates the female cast is sidelined in places and imperix is a boring villian, while superman x, superman but EDGGGYYYYY just isn't that intresting. But season 2 isn't all bad with some standout episodes, the addition of chameleon boy and a truly chilling arc with brainy and an old friend I won't spoil for those who haven't seen the show. This series is a little seen gem that needs more love.

I realized as we worked on this I almost forgot something important, a series that begs for the spotlight so..

What's New Scooby Doo: We're comin after you, we're gonna solve that mystery. This is a hard one as the gang is reinvented well but i'd have to go with Fred, whose goofiness begins. After the great prequel that was pup named scooby doo and the success of the live action movie, What's New was a reinvention of the franchise in an odd way: it goes back to the gangs old actors , minus grey delise making her debut as daphne, and old style of writing thigns but updates it in a way that dosen't feel too dated now: sure the gang does extreme sports, but it's not to rocket power levels and fits for Daphne.

This series also cements fred and daphne's new roles going forward, roles that helped keep the character fresh despite the dozens of films and handful of series to come. Fred was dialed back from teh conpsiarcy theroist of pup, but instead became the bumbling tourist, a tad awkawrd in places and a tad over excited in others. It added nice layers to him besides solving mysteries and bullying his best friend and it left the door open for him to get reinvented a lot. Daph meanwhile, got a welcome reinvention that let her fit into the classic gang better: like her pup counterpart she often uses fashion, her wealth is more displayed (if not used as a fucntion) but her friendly nature and willingness to get into things (or easliy getting into activties she hated at first), all debuted here.

What's New is a fun series: shorter than you'd think, but having watched it about twice with jess , it holds up really well, combinging the usual formula with some fun hyjinks and creative setups. Sometimes it was bonkers, but it was a solid return to form that let the series experiment more with the next few, and deserves more credit for helping codify a lot of the modern franchise.

[letterboxd]

Blurring the Line.

As a new Space Jam film beams down to Earth, Kambole Campbell argues that a commitment to silliness and a sincere love for the medium is what it takes to make a great live-action/animation hybrid.

The live-action and animation hybrid movie is something of a dicey prospect. It’s tricky to create believable interaction between what’s real and what’s drawn, puppeteered or rendered—and blending the live and the animated has so far resulted in wild swings in quality. It is a highly specific and technically demanding niche, one with only a select few major hits, though plenty of cult oddities. So what makes a good live-action/animation hybrid?

To borrow words from Hayao Miyazaki, “live action is becoming part of that whole soup called animation”. Characters distinct from the humans they interact with, but rendered as though they were real creatures (or ghosts), are everywhere lately; in Paddington, in Scooby Doo, in David Lowery’s (wonderful) update of Pete’s Dragon.

The original ‘Pete’s Dragon’ (1977) alongside the 2016 remake.

Lowery’s dragon is realized with highly realistic lighting and visual-effects work. By comparison, the cartoon-like characters in the 1977 Pete’s Dragon—along with other films listed in Louise’s handy compendium of Disney’s live-action animation—are far more exaggerated. That said, there’s still the occasional holdout for the classical version of these crossovers: this year’s Tom and Jerry replicating the look of 2D through 3D/CGI animation, specifically harkens back to the shorts of the 1940s and ’50s.

One type of live-action/animation hybrid focuses on seamless immersion, the other is interested in exploring the seams themselves. Elf (2003) uses the aberration of stop-motion animals to represent the eponymous character as a fish out of water. Ninjababy, a Letterboxd favorite from this year’s SXSW Festival, employs an animated doodle as a representation of the protagonist’s state of mind while she processes her unplanned pregnancy.

Meanwhile, every Muppets film ever literally tears at the seams until we’re in stitches, but, for the sake of simplicity, puppets are not invited to this particular party. What we are concerned with here is the overlap between hand-drawn animation and live-action scenes (with honorable mentions of equally valid stop-motion work), and the ways in which these hybrids have moved from whimsical confections to nod-and-wink blockbusters across a century of cinema.

Betty Boop and Koko the clown in a 1938 instalment of the Fleischer brothers’ ‘Out of the Inkwell’ series.

Early crossovers often involve animators playing with their characters, in scenarios such as the inventive Out of the Inkwell series of shorts from Rotoscope inventor Max Fleischer and his director brother Dave. Things get even more interactive mid-century, when Gene Kelly holds hands with Jerry Mouse in Anchors Aweigh.

The 1960s and ’70s deliver ever more delightful family fare involving human actors entering cartoon worlds, notably in the Robert Stevenson-directed Mary Poppins and Bedknobs and Broomsticks, and Chuck Jones’ puntastic The Phantom Tollbooth.

Jerry and Gene dance off their worries in ‘Anchors Aweigh’ (1945).

Mary Poppins is one of the highest-rated live-action/animation hybrids on Letterboxd for good reason. Its sense of control in how it engages with its animated creations makes it—still!—an incredibly engaging watch. It is simply far less evil than the singin’, dancin’ glorification of slavery in Disney’s Song of the South (1946), and far more engaging than Victory Through Air Power (1943), a war-propaganda film about the benefits of long-range bombing in the fight against Hitler. The studio’s The Reluctant Dragon (1941) also serves a propagandistic function, as a behind-the-scenes studio tour made when the studio’s animators were striking.

By comparison, Mary Poppins’ excursions into the painted world—replicated in Rob Marshall’s belated, underrated 2018 sequel, Mary Poppins Returns—are full of magical whimsicality. “Films have added the gimmick of making animation and live characters interact countless times, but paradoxically none as pristine-looking as this creation,” writes Edgar in this review. “This is a visual landmark, a watershed… the effect of making everything float magically, to the detail of when a drawing should appear in front or the back of [Dick] Van Dyke is a creation beyond my comprehension.” (For Van Dyke, who played dual roles as Bert and Mr Dawes Senior, the experience sparked a lifelong love of animation and visual effects.)

Julie Andrews, Dick Van Dyke and penguins, in ‘Mary Poppins’ (1964).

Generally speaking, and the Mary Poppins sequel aside, more contemporary efforts seek to subvert this feeling of harmony and control, instead embracing the chaos of two worlds colliding, the cartoons there to shock rather than sing. Henry Selick’s frequently nightmarish James and the Giant Peach (1996) leans into this crossover as something uncanny and macabre by combining live action with stop motion, as its young protagonist eats his way into another world, meeting mechanical sharks and man-eating rhinos. Sally Jane Black describes it as “riding the Burton-esque wave of mid-’90s mall goth trends and blending with the differently demonic Dahl story”.

Science-classroom staple Osmosis Jones (2001) finds that within the human body, the internal organs serve as cities full of drawn white-blood-cell cops. The late Stephen Hillenburg’s The Spongebob Squarepants Movie (2004) turns its real-life humans into living cartoons themselves, particularly in a bonkers sequence featuring David Hasselhoff basically turning into a speedboat.

David Hasselhoff picks up speed in ‘The Spongebob Squarepants Movie’ (2004).

The absurdity behind the collision of the drawn and the real is never better embodied than in another of our highest-rated live/animated hybrids. Released in 1988, Robert Zemeckis’ Who Framed Roger Rabbit shows off a deep understanding—narratively and aesthetically—of the material that it’s parodying, seeking out the impeccable craftsmanship of legends such as director of animation Richard Williams (1993’s The Thief and the Cobbler), and his close collaborator Roy Naisbitt. The forced perspectives of Naisbitt’s mind-bending layouts provide much of the rocket fuel driving the film’s madcap cartoon opening.

Distributed by Walt Disney Pictures, Roger Rabbit utilizes the Disney stable of characters as well as the Looney Tunes cast to harken back to America’s golden age of animation. It continues a familiar scenario where the ’toons themselves are autonomous actors (as also seen in Friz Freleng’s 1940 short You Ought to Be in Pictures, in which Daffy Duck convinces Porky Pig to try his acting luck in the big studios).

Daffy Duck plots his rise up the acting ranks in ‘You Ought to Be in Pictures’ (1940).

Through this conceit, Zemeckis is able to celebrate the craft of animation, while pastiching both Chinatown, the noir genre, and the mercenary nature of the film industry (“the best part is… they work for peanuts!” a studio exec says of the cast of Fantasia). As Eddie Valiant, Bob Hoskins’ skepticism and disdain towards “toons” is a giant parody of Disney’s more traditional approach to matching humans and drawings.

Adult audiences are catered for with plenty of euphemistic humor and in-jokes about the history of the medium. It’s both hilarious (“they… dropped a piano on him,” one character solemnly notes of his son) and just the beginning of Hollywood toying with feature-length stories in which people co-exist with cartoons, rather than dipping in and out of fantasy sequences. It’s not just about how the cartoons appear on the screen, but how the human world reacts to them, and Zemeckis gets a lot of mileage out of applying ’toon lunacy to our world.

Bob Hoskins in ‘Who Framed Roger Rabbit?’ (1988).

The groundbreaking optical effects and compositing are excellent (and Hoskins’ amazing performance should also be credited for holding all of it together), but what makes Roger Rabbit such a hit is that sense of controlled chaos and a clever tonal weaving of violence and noirish seediness (“I’m not bad… I’m just drawn that way”) through the cartoony feel. And it is simply very, very funny.

It could be said that, with Roger Rabbit, Zemeckis unlocked the formula for how to modernize the live-action and animation hybrid, by leaning into a winking parody of what came before. It worked so perfectly well that it helped kickstart the ‘Disney renaissance' era of animation. Roger Rabbit has influenced every well-known live-action/animation hybrid produced since, proving that there is success and fun to be had by completely upending Mary Poppins-esque quirks. Even Disney’s delightful 2007 rom-com Enchanted makes comedy out of the idea of cartoons crossing that boundary.

When a cartoon character meets real-world obstacles.

Even when done well, though, hybrids are not an automatic hit. Sitting at a 2.8-star average, Joe Dante’s stealthily great Looney Tunes: Back in Action (2003) is considered by the righteous to be the superior live-action/animated Looney Tunes hybrid, harkening back to the world of Chuck Jones and Frank Tashlin. SilentDawn states that the film deserves the nostalgic reverence reserved for Space Jam: “From gag to gag, set piece to set piece, Back in Action is utterly bonkers in its logic-free plotting and the constant manipulation of busy frames.”

With its Tinseltown parody, Back in Action pulls from the same bag of tricks as Roger Rabbit; here, the Looney Tunes characters are famous, self-entitled actors. Dante cranks the meta comedy up to eleven, opening the film with Matthew Lillard being accosted by Shaggy for his performance in the aforementioned Scooby Doo movie (and early on throwing in backhanded jokes about the practice of films like itself as one character yells, “I was brought in to leverage your synergy!”).

Daffy Duck with more non-stop banter in ‘Looney Tunes: Back in Action’ (2003).

Back in Action is even more technically complex than Roger Rabbit, seamlessly bringing Looney Tunes physics and visual language into the real world. Don’t forget that Dante had been here before, when he had Anthony banish Ethel into a cartoon-populated television show in his segment of Twilight Zone: The Movie. Another key to this seamlessness is star Brendan Fraser, at the height of his powers here as “Brendan Fraser’s stunt double”.

Like Hoskins before him, Fraser brings a wholehearted commitment to playing the fed-up straight man amidst cartoon zaniness. Fraser also brought that dedication to Henry Selick's Monkeybone (2001), a Roger Rabbit-inspired sex comedy that deploys a combo of stop-motion animation and live acting in a premise amusingly close to that of 1992’s Cool World (but more on that cult anomaly shortly). A commercial flop, Back in Action was the last cinematic outing for the Looney Tunes for some time.

Nowadays, when we think of live-action animation, it’s hard not to jump straight to an image of Michael Jordan’s arm stretching to do a half-court dunk to save the Looney Tunes from slavery. There’s not a lot that can be fully rationalized about the 1996 box-office smash, Space Jam. It is a bewildering cartoon advert for Michael Jordan’s baseball career, dreamed up off the back of his basketball retirement, while also mashing together different American icons. Never forget that the soundtrack—one that, according to Benjamin, “makes you have to throw ass”—includes a song with B-Real, Coolio, Method Man and LL Cool J.

Michael Jordan and teammates in ‘Space Jam’ (1996).

Space Jam is a film inherently born to sell something, predicated on the existing success of a Nike commercial rather than any obvious passion for experimentation. But its pure strangeness, a growing nostalgia for the nineties, and meticulous compositing work from visual-effects supervisor Ed Jones and the film’s animation team (a number of whom also worked on both Roger Rabbit and Back in Action), have all kept it in the cultural memory.

The films is backwards, writes Jesse, in that it wants to distance itself from the very cartoons it leverages: “This really almost feels like a follow-up to Looney Tunes: Back in Action, rather than a predecessor, because it feels like someone watched the later movie, decided these Looney Tunes characters were a problem, and asked someone to make sure they were as secondary as possible.” That attempt to place all the agency in Jordan’s hands was a point of contention for Chuck Jones, the legendary Warner Bros cartoonist. He hated the film, stating that Bugs would never ask for help and would have dealt with the aliens in seven minutes.

Space Jam has its moments, however. Guy proclaims “there is nothing that Deadpool as a character will ever have to offer that isn’t done infinitely better by a good Bugs Bunny bit”. For some, its problems are a bit more straightforward, for others it’s a matter of safety in sport. But the overriding sentiments surrounding the film point to a sort of morbid fascination with the brazenness of its concept.

Holli Would (voiced by Kim Basinger) and Frank Harris (Brad Pitt) blur the lines in ‘Cool World’ (1992).

Existing in the same demented… space… as Space Jam, Paramount Pictures bought the idea for Cool World from Ralph Bakshi as it sought to have its own Roger Rabbit. While Brad Pitt described it as “Roger Rabbit on acid” ahead of release, Cool World itself looks like a nightmare version of Toontown. The film was universally panned at the time, caught awkwardly between being far too adult for children but too lacking in any real substance for adults (there’s something of a connective thread between Jessica Rabbit, Lola Bunny and Holli Would).

Ralph Bakshi’s risqué and calamitously horny formal experiment builds on the animator’s fascination with the relationship between the medium and the human body. Of course, he would go from the immensely detailed rotoscoping of Fire and Ice (1983) to clashing hand-drawn characters with real ones, something he had already touched upon in the seventies with Heavy Traffic and Coonskin, whose animated characters were drawn into real locations. But no one besides Bakshi quite knew what to do with the perverse concept of Brad Pitt as a noir detective trying to stop Gabriel Byrne’s cartoonist from having sex with a character that he drew—an animated Kim Basinger.

Jack Deebs (Gabriel Byrne) attempts to cross over to Hollie Would in ‘Cool World’ (1992).

Cool World’s awkwardness can be attributed to stilted interactions between Byrne, Pitt and the animated world, as well as studio meddling. Producer Frank Mancuso Jr (who was on the film due to his father running Paramount) demanded that the film be reworked into something PG-rated, against Bakshi’s wishes (he envisioned an R-rated horror), and the script was rewritten in secret. It went badly, so much so that Bakshi eventually punched Mancuso Jr in the face.

While Cool World averages two stars on Letterboxd, there are some enthusiastic holdouts. There are the people impressed by the insanity of it all, those who just love them a horny toon, and then there is Andrew, a five-star Cool World fan: “On the surface, it’s a Lovecraftian horror with Betty Boop as the villain, featuring a more impressive cityscape than Blade Runner and Dick Tracy combined, and multidimensional effects that make In the Mouth of Madness look like trash. The true star, however, proves to be the condensed surplus of unrelated gags clogging the arteries of the screen—in every corner is some of the silliest cel animation that will likely ever be created.”

There are even those who enjoy its “clear response to Who Framed Roger Rabbit”, with David writing that “the film presents a similar concept through the lens of the darkly comic, perverted world of the underground cartoonists”, though also noting that without Bakshi’s original script, the film is “a series of half steps and never really commits like it could”. Cool World feels both completely deranged and strangely low-energy, caught between different ideas as to how best to mix the two mediums. But it did give us a David Bowie jam.

‘Space Jam: A New Legacy’ is in cinemas and on HBO Max now.

Craft is of course important, but generally speaking, maybe nowadays a commitment to silliness and a sincere love for the medium’s history is the thing that makes successful live-action/animation hybrids click. It’s an idea that doesn’t lend itself to being too cool, or even entirely palatable. The trick is to be as fully dotty as Mary Poppins, or steer into the gaucheness of the concept, à la Roger Rabbit and Looney Tunes: Back in Action.

It’s quite a tightrope to walk between good meta-comedy and a parade of references to intellectual property. The winningest strategy is to weave the characters into the tapestry of the plot and let the gags grow from there, rather than hoping their very inclusion is its own reward. Wait, you said what is coming out this week?

Related content

Rootfish Jones’s list of cartoons people are horny for

The 100 Sequences that Shaped Animation: the companion list to the Vulture story

Jose Moreno’s list of every animated film made from 1888 to the present

Follow Kambole on Letterboxd

[shellku]

Film Challenge

Okay guys. Finally did it. As requested.

Have you ever left a theater before the movie was over?

Yes. Only once.

If you ever left a theater what was playing: Savages

Craziest (Random) movie you’ve ever seen:

The Hitchhikers Guide to the Galaxy.

“And thanks for all the fish” -Dolphins

Most disturbing film you’ve ever watched:

Crimson Peak

A film you only watched because (Tom Hiddleston ) was in it: Crimson Peak

A minor role (or movie) with a major actor you greatly enjoyed: Sebastian Stan as Jefferson/The Mad Hatter in Once Upon A Time.

A minor role (or movie) with a major actress you greatly enjoyed: Emma Watson as Pauline Fossil in Ballet Shoes

A movie everyone should see at least once: The Princess Bride

A movie you thought everyone has seen but apparently not: Who framed Roger Rabbit?

A movie you’ve tried multiple times to watch but never get through it: Silence if the Lambs

A movie that legitimately surprised you:

Star Wars: The Empire Strikes Back. While it came out in 1980 I didn’t see it until much later obviously. I wasn’t even ten when I watched it the first time, I and was genuinely shocked.

Movie that you enjoy, that surprises people you enjoy: Scream (1996)

A movie you associated with Religion and it turns out that tracks: The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe

A movie you watched a lot as a kid but your not sure why exactly you watched it so much:

Hook. (And) The Sandlot.

My first movie that made me question my sexualité: The Priâtes of the Caribbean.

Sections

Anime

First Anime: Fruits Basket. Vampire Knight.

Anime I watched with my (brother): Full Metal Alchemist

Anime I tried to get into and couldn’t: D Gray Man

Anime I was surprised I enjoyed: The Neverland Promise. (And) Soul Eater

Anime I always liked (even when it confused people): Black Butler

Anime that makes me cry: Your lie in April

Anime that I love but now makes me sad too: Sword Art Online

Anime I’m just not into: One Piece

One that was recommended that I enjoyed:

Blue Exorcist

One that was recommended that I was ehh on and did not finish: Attack on Titian

One I probably should watch: Pandora Hearts

One I watched Randomly : Castlevania

One that I did not watch until (college) that everyone seems to have watched: Sailor Moon

Cartoons

Cartoons Everyone should see:

- The Peanuts.

- Garfield.

- Scooby Doo.

- Tom and Jerry.

- Pink Panther.

Cartoon I never liked: Spongebob

Cartoon I hate now: Kiayu? Idk. The one with the bald kid that whines a lot. Ugh.

Cartoon I can make myself ‘watch’ with the (niece/nephews): Paw Patrol

Films you would Recommend:

80s: The Breakfast Club

Book Adaption 80s: The Outsiders

Murder Mystery:Murder on the Oriental Express

Jim Henson pick: Labyrinth

(Suicide) Satire:Heathers

Romance: Titanic

‘Horror’ Movie: The Lost boys

Horror Movie: The Nightmare on Elm Street

Spy Flick: Saint (1997)

Mind trips: The Sixth Sense.(1999) Donnie Darko.

Stephen King: The Dark Tower

Stephen King Miniseries: Rose Red

Studio Ghibli: Howls Moving Castle. Or. Kiki’s Delivery Service.

Action Comedy: Miss Congeniality

Adventure Comedy: Jumanji

‘Dark’ Comedy: The Addams Family

Romantic Comedy: Legally Blonde

Tim Burton

Tim Burton Animated: The Nightmare Before Christmas

Tim Burton Live Action: Edward Scissorhand

Tim Burton Musical: Sweeney Todd

Dreamworks

Favorite Dreamwork’s Film:

Rise of the Guardians (and) How to Train your Dragon

Disney:

Unpopular Recommendations:

The Black Cauldron (and) The Great Mouse Detective

One that is still rather disturbing: Pinocchio

Best Soundtrack (Golden Age): Fantasia

Best Soundtrack (Modern): IDk?!

Classics (Golden) everyone should see at least once: Snow White (and) Bambi.

Wartime Era Pic: The Adventures of Ichabod and Mr.Toad

Silver Age or Bronze Age: Both!!!

Disney Renaissance or Post Renaissance: Both! If I absolutely had to choose though, Renaissance.

Moana or Lilo and Stitch: Lilo and Stitch

Frozen or Tangled: Both

Soul or Monsters Inc: Monsters Inc

Toy Story I and 2/ or/ 3 and 4? Toy Story I and 2.

Underrated: Candleshoe

Disney Holiday:

Live Action Halloween - Hocus Pocus

Live Action Halloween Series- Halloweentown

Animated Halloween- Frakenweenie

Live Action Christmas- Miracle on 34th Street (and) Eloise

Animated Christmas- Mickey’s Once Upon a Christmas, Mickey’s Twice Upon a Christmas, (and) Winnie the Pooh: A very merry Pooh year.

New: The Nutcracker and the Four Realms. (2018)

Disney Reimagined/Live Action:

First that made you rethink the story: Maleficent

Favorite ‘Princess’ Story: Beauty and the Beast

The Surprise: Cruella

The one you worried about but we’re happy with in the end: Lady and the Tramp

The one you worried about but ending up enjoying anyway: Aladdin

The one that was good but you could have done without: The Lion King (which really surprised me!!!I like it but I didn’t love it. Which for me was so strange since I’m a fan of the original and the play.)

The one you had high hopes for and had a mixed reaction too: Mulan. (Ended up really liking it, but I miss Mushu. )

‘Modern’ Shakespeare Adaption:

10 Thing I hate About You (The Taming of the Shrew)

Clueless (Emma)

and

The Lion King Series. (Kid appropriate)

The Lion King: Hamlet

The Lion King 1 1/2: Rosencrantz and Guildenstein

The Lion King 2: Romeo and Juliet

Vampire Pictures:

90s: Interview with a Vampire

2000+: Twilight Series

Tv Series: Buffy the Vampire Slayer

Vampire Action Series: Underworld

Classic: Bram Stoker’s Dracula

Dracula with a Twist: Dracula Untold (2014)

Fun Supernatural Flicks :

Witches: The Craft

Male Witches: The Covenant

Fairytale: Red Riding Hood (2011)

Ghost Hunters: Ghostbusters

Multiple Supernatural: Van Helsing (2014)

Werewolf Romance: Blood and Chocolate

Kid Friendly Live Action: Casper

Kid Friendly Animated: Hotel Transylvania

Supernatural Series:

Multi: Supernatural

Animated: Sabrina The Teenage Witch. (And) Scooby Doo.

Witches: Charmed

Fairytale: Once Upon a Time

Darker Fairytale: Grimm

‘Superhero’ Movies:

90s: Batman. (And) The Crow.

Series: Marvel’s Cinematic Universe

Classic Animated: Batman the animated series

Modern Animated: Harley Quinn

Girl Power: Wonder Woman. (and) Birds of Prey.

Something Different: Deadpool

Younger Audiences/Nostalgia: Teen Titans (animated)

Harry Potter

Favorite Film: Idk. Can’t choose honestly.

Least favorite character portrayal: .. Ginny Weasley?

Someone you loved: (so many..) McGonagall

Someone you loved hating: Bellatrix LeStrange

Someone you just hate: Dolores Umbridge

First time you cried: I cried for Sirius and Remus in Prisoner of Azkaban.

First time you jumped: Snakes or Basilisk. Chamber of Secrets. (I think I was 12?)

Someone who was so spot in acting on you can’t see them as anyone else now: Luna Lovegood

Someone who was so good even if the look wasn’t perfect: Emma Granger as Hermione OR Alan Rickman as Severus Snape.

Someone who’s injury hit you harder than the books: Colin Creevy.

Someone who’s death hit you harder than in the books: None. They hit but not as much as the books.

A scene you found just breathtakingly pretty: Christmas at Hogwarts

A scene you found creepy (even when you knew it was coming): Nagini uses a corpse as a mask.

For any Potter heads. Some things that bothered you about the Harry Potter films:

- Where is Charlie Weasley?

- Where is Peeves?

- Where are Neville’s parents?

- The green/blue/brown eye thing. (This is not against Radcliffe. Some special effects could have fixed this easily)

- HarrY DiD YOu PuT YoUR NaMe IN tHe GoBlET of FIRE?! 🔥

- In Sorcerers Stone, Why did you change the snake at the zoos breed??

- “Voldemort” versus “Voldemor”. The silent t.

- Hermione’s. Yule. Ball. Dress. Color. Blue. Not pink. She specifically changed the color.

- Fluffy. Hagrid’s adorable Cerberus was originally bought from a Greek man. Why change it to Irish? I like Ireland but it was a Greek man due to where Cerberus’s initially came from right???

- Harry’s first Weasley sweater color

- Why does Harry only see his parents in the Mirror of Eirsed? Where’s the rest of the family?

- The Underage magic rules aren’t well explained in the movies making the 3rd year summons even more bonkers sounding

- The Patil Twins Yule Ball Outfits. They could have been soooo beautiful. Like this is the Yule Ball! The Twins would have (in my opinion) much more elaborate traditional Indian styled dress robes?? Idk.

- Love Movie Hermione! But some moments take away from Ron. Like when Ron defended her in the Chamber of Secrets. Hermione didn’t know what the slur “Mudblood” meant in the books. Ron had to explain it.

- Dobby needed more screen time. Some stuff Dobby did went to Neville because so many Neville scenes were cut.

- Where’s all the secrecy from the books when communicating with Sirius- “Snuffles”? Something Harry’s godfather insisted on to keep him safe.

- Snape’s title of “The half-blood Prince” is not explained. Neither is it made clear that Severus was also abused horribly at home throughout his childhood. Also that like Harry Dumbledore did nothing to help Severus when he was a student. (Or maybe Tom Riddle when he grew up in an orphanage. I’m sensing a pattern)

- Dumbledore should have still spelled Harry during Dumbledore death scene. No way would Harry just stand there if given the choice.

- Ron was not quite as ‘dumb’ in the books and a lot of his funny moments were cut from the movie. Which makes his jealousy moments all the more unbecoming. He also comes off a bit more arrogant in the movies. (This is not against R Grint. Who is awesome) The movies gave Ron the short end of the stick.

- Weasley/Malfoy Fued. Who else wanted to see Arthur and Lucius have a fist fight in a bookstore? Exactly.

- Albus Dumbledore isn’t all Sunshine and Daisys. He does some really messed up stuff yet no one ever seems to question this.

- Remus was the last Marauder. Yet his and his wife, Tonk’s, deaths are barley acknowledged.

- Also Teddy. Harry’s Godson.

- Harry’s and Ginnys relationship is not built on. It’s just there. Ugh. Heck Movie Ginny isn’t that great. You don’t know much about her except: She’s the only girl in Ron’s family. She’s the youngest Weasley. She’s obsessed with Harry. She’s a good Quidditch player. She has a temper. She was possessed by Riddle’s Dairy when she was eleven. She’s obsessed with Harry.

- Draco is essentially Harry’s antithesis. Where is he in some critical scenes in the movies?

- Where’s the Luna love???? Harry’s pretty rude to her in some scenes.

- There is no S.P.E.W. And Hermione’s more ruthless side is gone.

- The guys hair in The Goblet of Fire. Get a hair cut. Please.

- Some of Molly’s less than Stellar Moments. (Ex. When she believed rumors about Hermione and so treated he coldly. How horrible she was to Fleur. Ect)

- Fleur. Fleur and Bill still get married but the objections to the wedding aren’t as presented in the movies. Not is Molly’s and Ginny’s extreme dislike of Fleur. Or when Arthur apologizes to Fleur. Or really any of Fleurs best moments. The whole courting process is skipped.

- House Elves. The House Elves of Hogwarts.

- Percy Weasley. The ‘betrayal’. The returned Weasley sweater. Him turning to protect his family and fight for Hogwarts at the last minute. All gone. Which involves being forgiven by the Weasley Twins not an hour before Fred dies.

- The connection of the Black sisters. Specifically Adromeda - mother of Tonks. Who is Sirius cousin. Who married Remus Lupin. Tonks and Remus the parents of Teddy.

- Dean Thomas is pretty much gone.

- Rita Skeeter. Illegal Animagus. Hermione kept her in a jar.

- The movies didn’t allow Radcliffe to be sassy and sarcastic enough. Harry Potter is one of the sassiest boys to ever walk through the halls of Hogwarts!

- Harry didn’t fix his wand in the last movie.

- The history of the Marauders.

- The history explaining why Snape could never be comfortable around and trust Remus Lupin.

[jng-animation]

1.Principles - 15/10/19

(Part 1)

This post is an independent research into the ‘12 Principles of Animation’ as introduced by Ollie Johnston and Frank Thomas. They first introduced these 12 basic principles of animation in their 1981 book “The Illusion of Life: Disney Animation”. In this post I will be showing some examples throughout animation history that I believe capture the essence of these 12 principles and applying an explanation to them.

1. Squash and stretch

This example is from Spongebob - where Spongebob proceeds to pull his own head from his body and shake it to rattle something out (in classic cartoon style). As he pulls his head with his arms it begins to stretch, giving it an elastic and rubbery quality. Quickly followed after, it parts from his body and snaps back to his hands, squashes upward becoming shorter but wider, keeping the same volume as his body had before, not gaining extra height or width from nowhere.

2. Anticipation

Tom and Jerry has a great plethora of exaggeration and principles within its animation, so here’s an example of ‘Anticipation’ - Tom pulls back his arm to then swing the pie into the dogs face. This is a great way of indicating power into his swing as well as give the viewer time to realise the action that is going to follow. Without this form of anticipation the swing would look extremely mechanical and not realistic at all, because much like with real life we need to obtain the power needed to apply the force for the action to occur.

3. Staging

Another example from Spongebob, this gif is to represent the principle of ‘staging’. Staging is the act of presenting the subject or scene in a specific way for the audience to have a clear image/idea of what it is that is happening.

4. Straight ahead action and pose to pose

This principle was pretty hard to find easy ways of showing within a gif of an animated tv show/ movie, as it is one of the principles that is more of a method of animating rather than a style/visual quality. Although there are definitely some differences in the visuals this isn’t presented a lot within tv shows and movies. ‘Straight ahead action’ is the method of animating each frame one after the next, giving a realistic and expressive movement. Where as ‘pose to pose’ consists of animating ‘keyframes’ which are the most important poses of a character or object, followed by the frames in between. This method is more accurate and well timed, however can look too mechanical and not as expressive and genuine. Although straight ahead can allow for more expressive movement, it can sometimes be hard to track timing and sizes/details of the character/object.

5. Follow through and overlapping action

It would be obvious to most that Mickey Mouse would be one of the, if not the best example of principles of animation (especially with both Johnston and Thomas being animators for Disney). This walk cycle of Mickey is a great example for most principles, but I picked out ‘follow through and overlapping action’, as shown by Mickey’s shoes and tail. Mickey’s shoes show great signs of follow through, the looser front parts of his shoe continue moving even after his foot has reached contact with the floor, slapping down on the pavement. The tail shows overlapping action, as it moves at a different rate to his other body parts and appendages, for example his arms move much faster than his tail.

6. Slow in and slow out

Another, yet older, gif of Mickey from the early ‘rubber hose’ era (the time which provides the earliest stages of development in these principles). Jumping and bouncing is one of the best actions to find examples of ‘slow in and slow out’ as gravity is great to apply the physics needed to show this kind of motion. Much like real life, as we jump we push off the ground with force, however as we go up we also decelerate, due to gravity forcing us down. This causes us to slow to a hault, and the proceed to accelerate back down to the ground. This is a prime example of ‘slow in and out’. Within animation to convey convincing physics we space our frames closer together as we slow down and further apart as we speed up, so as Mickey jumps up he slows down and speeds back up as he goes down.

To be continued by Part 2...

[ladymatt]

Media & Me..

I was tagged by Sas, the Caledonian cutie @alineppenhallow!  Here goes, sweetheart!  ;-)) XX

What would someone need to watch, read, or listen to in order to really know and understand you? Basically, what media defines you and made you who you are today?

Movies

Lord Of The Rings Trilogy (Seen REPEATEDLY - so many quotes!)

Star Wars Franchise (A New Hope still my fave - my era!) 

The Slipper And The Rose (Cinderella in song - it’s in my DNA!)

The Sound Of Music (What’s to explain? Love, songs, family!)

Moulin Rouge! (Seen nothing like it before or since - visual treat!)

Top Hat/Swing Time (Don’t ask me to choose - iconic dances!)

Wallace & Gromit’s The Curse of The Were-Rabbit (Pure gold!)

Aladdin (Robin’s Genie ALWAYS makes me smile and laugh!)

Who Will Love My Children? (Too sad to contemplate - but beautiful!)

Tv Shows

Breaking Bad (Still mourning the death of this drugs lord - HOW?)

Sons Of Anarchy (Got so attached to these characters - faults ‘n all!)

Shadowhunters (Hello Magnus Bane - hello my new friends!)

Top Of The Pops (My weekly fix of music - and the cheesy dancing!)

Strictly Come Dancing (Try to resist - but every year it pulls me in!)

It’s A Knockout! (Laughed so hard watching this as a kid! Timeless!)

Cartoons

Spongebob Squarepants (quoted daily in our house - Plankton rocks!)

Tom & Jerry (Orchestral storytelling - bridges generations easily!)

Looney Tunes (Daffy Duck is my sarcastic hero - still funny!)

Games

Lara Croft (I ADORED these games - pre-kids, pre-work, pre-worries!) 

Crash Bandicoot (SO much fun - staple diet in our house for years!)

Books

‘Twas The Night Before Christmas (My love for poetry began here!)

Jane Eyre (Never fail to cry when she leaves Edward - NOOOOOO!)

Mills & Boon Historical Romances (Don’t laugh - an education to a kid!)

Wuthering Heights (Love ‘em bad and broody - cue Heathcliff!)

Mary Shelley’s Frankenstein (The sadness of The Creature killed me!)  

Rattletrap Car (My boys’ favourite - silly voices, word play, good fun!)

Music

Elvis Presley (Bought every cassette/vinyl I could - those were the days!)

Country Music (Brought up on Dolly/Tammy/Patsy & Don Williams!)

Bon Jovi (THE band of my formative years - looks didn’t hurt either!)

Adam Lambert (Power, pitch, performance - no instruments needed!)

Divas (Whitney, Adele, Kelly, Shirley, Christina, Billie, Ella - my peers!)

Boy Bands (Westlife, Backstreet Boys, Eagles, The Hollies - guilty face!)

Other

comics:

Never read one (Unless you count a quick flick through Viz!)

podcasts:

What’s a podcast? (Lol, I’m not kidding!)

[seeksstaronmewni]

Presenting an all-new Looney Tunes short... or promotional mini-movie, I guess... Dynamite Dance!

Oh, joy of joys! This little “Merry Melody” or “Looney Tune” is set to Amilcare Ponchielli’s “Dance of the Hours” from La Gioconda, which I heard in The Ren & Stimpy Show episode “Stimpy’s Invention” and is on my CD of The Masterpiece Collection: Ballet Volume 4 from Regency Music.

This’s some amazing traditional animation, digitally created by Tonic DNA! Dan Haskett’s character design looks even more like the late 1930′s/early 1940′s era than the designs of the “New Looney Tunes” also known as “Wabbit”, which sounds more like an H-B cartoon regarding Robert Duran’s sound design. Speaking of sound design, Warner Bros. provided the sound services themselves, and there’re few sound effects in the actual picture--mostly just the dynamite exploding, which isn’t the explosion sound Treg Brown typically used--since it’s driven by music, and in this case classical music, the stuff of cartoons from the Golden Age of Hollywood.

As we look forward to the future of more “nostalgic” Looney Tunes media from @warnerbrosentertainment/@warnerbrostv, I hope that my favorite cartoonists, namely Genndy Tartakovsky, Seth MacFarlane, Daron Nefcy, Craig McCracken, John Kricfalusi and Maxwell Atoms (all of whom worked on Cartoon Network shows before, which’s the network where I saw most Looney Tunes of course) will help conceive their own shorts at Warner Bros. Equally important, though, is to get Ben Burtt to do sound design. Ben (Skywalker Sound) and Robert Hargreaves (DigiPost.TV) know Warner Bros. sound effects best!

Executively Produced by Peter Browngardt (Uncle Grandpa, Chowder) and Supervising Producer @alexkirwan with character design by Dan Haskett (Toy Story, Tom and Jerry Tales), art direction by @spurgeonart (Star vs. the Forces of Evil, Mickey Mouse), Directed/Written/Storyboard by David Gemmill, animation by Tonic DNA, animation checking by Misoon Kim (Star vs. the Forces of Evil, Mulan, Spongebob Squarepants), and Post Production Sound Services by, respectively, Warner Bros. itself.

Thanks to Craig McCracken for replying to Pete’s tweet! You can read more here.

Tweet version here.

[spongebobreviewed]

Introduction

I really don’t think I need to introduce the world to Spongebob Squarepants. If you’ve watched Nickelodeon in the past twenty years, chances are you’ve seen enough episodes to understand the basics. Spongebob Squarepants is an animated series created by marine biologist Stephen Hillenburg that premiered on Nickelodeon in the summer in 1999. The show proved to be massively popular and quickly toppled Rugrats as Nickelodeon’s highest rated series in its first year. Since its inception, Spongebob has become a massive cultural phenomenon and one of the world’s most recognizable cartoon characters, up there with Mickey Mouse and Tom & Jerry. As of 2017, the series racked up over $13 billion in revenue and the images of Spongebob and his sea creature friends are plastered all over different kinds of merchandise from video games, apparel, toys, and more. The series has won countless awards, has spawned a Broadway musical, two theatrical films, and even a new species of sea sponge was named after the title character.

Next year, Spongebob will turn twenty years old. Two decades of continuous airing on the same channel. Honestly, that’s a serious accomplishment. But even though the show is still fairly popular these days, something is...different about it. Stephen Hillenburg left the show in 2004 after the first movie was released, afraid that the series would jump the shark. Yeah, about that...

Anyway, I think more than enough people have relayed why they believe the show isn’t very good anymore (as I’ve linked above). I don’t think I’ll add anything new that hasn’t been mentioned.

So...what’s this blog then?

As mentioned earlier, the show will turn twenty years old next July and I figured there would be no better time to pay tribute to it than now. Spongebob was a show I watched vehemently growing up. I had more Spongebob items I used daily than I can imagine. I quoted the show ad naseum with friends. It really was the first cartoon I can remember watching. But even as an adult, it’s still shaped who I am. Like the most fondly remembered cartoons of the 90′s like Animaniacs or Gargoyles, Spongebob didn’t just appeal to kids; everyone could find something to laugh at and enjoy. There were more than a few jokes that slipped by us as kids that we can now appreciate as adults. The world of the show was fleshed out, every background had numerous details that gave them just as much life as the characters moving in front of them. It really was a gorgeous show.

This blog will review each episode of the so-called “Golden Years” of Spongebob Squarepants. Most people consider the best era to be the first three seasons plus the first theatrical movie. These are the parameters this blog will operate on. Each episode will be reviewed and rated on a five-star rating system inspired by that of wrestling journalist Dave Meltzer. Each post will go over plot details, jokes, and the look and evolution of the show. There won’t be a set schedule for reviews, just whenever I get around to it, but I really want to shoot for reviewing the movie on the show’s 20th Anniversary next year (July 17th).

I hope you’ll all enjoy this trip down early 2000′s nostalgia with me. Enjoy the reviews!