#and the only fox thing they mentioned was the simpsons

[oveliagirlhaditright]

So, the Walt Disney (company) 100th anniversary special that was on TV last night was really good. Oh my gosh.

[melancholydreamers]

Are there any modern or old songs that you wish Santana and Brittany had covered individually or as a duet?

Oh that’s a tough question, there just are sm good songs I think that they could do. This might be long cuz I’m gonna add parts of the lyrics that make sense :)

As a duet, I would loved to see “Lay All Your Love on Me” by Abba. If you’ve seen Mamma Mia, then the scene for that is perfect for Brittana. It’s very fun and playful

Lay All Your Love on Me :

“I wasn't jealous before we met

Now every woman I see is a potential threat

And I'm possessive, it isn't nice

You've heard me saying that smoking was my only vice”

…

“It was like shooting a sitting duck

A little small talk, a smile, and baby I was stuck”

There are also tons of Taylor Swift songs for them “Invisible String” and “Paper Rings” especially

Invisible String :

“Something wrapped all of my past mistakes in barbed wire

Chains around my demons, wool to brave the seasons

One single thread of gold tied me to you”

Paper rings :

“I like shiny things, but I'd marry you with paper rings

Uh huh, that's right

You're the one I want

I hate accidents except when we went from friends to this

Uh huh

Darling, you're the one I want”

I would have loved to see Britney do “Circus” and “Seek Amy” by Britney Spears. She definitely should’ve gotten more solos after britney/brittany or most of the songs in that ep.

Circus :

“I feel the adrenaline moving through my veins

Spotlight on me and I'm ready to break

I'm like a performer, the dance floor is my stage

Better be ready, hope that you feel the same”

Seek Amy :

“Love me, hate me, say what you want about me

But all of the boys and all of the girls are begging to if you seek Amy” (it’s supposed to sound like F U C K me lol)

I could also see Britt singing “I Think I’m in Love with You” by Jessica Simpson. She has a similar vibe to younger Britney Spears, so it’ll work well with Britt.

I Think I’m in Love with You :

“ Boy (girl) I think that I'm in love with you

I've been doin' silly things when it comes to you

I think I'm in love

Boy (girl) I think I'm in love with you

I've been tellin' all my friends what I feel for you”

And last for Britt, a duet w/ Blaine. ME! By Taylor Swift ft. Brendon Urie. They literally both have the same sound and vibe as Taylor and Brendon. It’s perfect.

ME! :

“But one of these things is not like the others

Like a rainbow with all of the colors

Baby doll, when it comes to a lover

I promise that you'll never find another like Me”

For Santana, I feel like she would sound good singing anything, so it was difficult to chose the right ones. I love her ballads/ more slower songs, like “Landslide” and “Songbird” by Fleetwood Mac. So I think she would sound good singing “Has Anyone Written Anything for You” by Stevie Nicks (Fleetwood Mac). She would ofc sing this to Britt.

Has Anyone Written Anything for You :

“Has anyone ever written anything for you?

And in your darkest sorrow

Did you ever hear me sing?

Listen to me now

You know I'd rather be alone

Than be without you

Don't you know?”

I can see her singing “Gorgeous” by Taylor Swift to Britt as well.

“Ocean blue eyes looking in mine

I feel like I might sink and drown and die”

…

“You're so gorgeous

I can't say anything to your face

'Cause look at your face

And I'm so furious

At you for making me feel this way

But, what can I say?

You're gorgeous”

Okay last Taylor Swift song lol, “I Know Places” (she would sing this for early s3 Brittana, before/during her coming out)

I Know Places :

“Something happens when everybody finds out”

…

“They are the hunters, we are the foxes

And we run

Baby, I know places we won't be found and

They'll be chasing their tails trying to track us down

'Cause I, I know places we can hide”

Honorable mentions, “Delicate” and “Lover”

“This ain't for the best

My reputation's never been worse, so

You must like me for me

Yeah, I want you”

And lastly, “Us” by James Bay.

“Sometimes I'm beaten

Sometimes I'm broken”

…

“Can we make it better?

'Cause I'm losing hope”

Tell me how to be in this world

Tell me how to breathe in and feel no hurt

Tell me how ‘cause I believe in something

I believe in us”

Done!! Lol sorry this was so long, but maybe give these songs a listen if you don’t already know them! And lmk what you think!!

[sharperthewriter]

What do you think about these rumors of a new Kim Possible series this summer? 

Ah yes, Anon, I have been posting in response to the rumors because that is what they are: rumors. And as it stands as my position, I usually take such KP rumors with MAJOR grains of NaCl (aka salt). And I will not believe anything unless Disney announces something about it (something similar to when Mr. Dan Povenmire announced that there were gonna be two more seasons-aka 40 episodes divided in half- of Phineas and Ferb .) Until that time comes, I will not believe anything from other sites. And if it were going to be announced officially, it would be through Disney TV Animation twitter. But I think, (and this is my opinion) is that there is only a slim chance of that happening because we gotta take into account several things. First off, if there were a reboot/continuation of KP, Disney needs to take into account that there would have to be a new Nana Possible, Timothy North, Jack Hench, Mama Lipsky, and Senor Senior Senior as those VAs of their respective characters (as well as both VAs of Senior) are deceased. Secondly, the timing. The most ample opportunity that Disney had in announcing a KP reboot/continuation would've been at the D23 Expo last September. And it just so happened that both Christy Carlson Romano and Will Friedle were there and it just so happens that they were holding a 20th Anniversary KP panel there (I am hoping to find a video on Youtube). So the opportunity was there for them to announce something, because if such a reboot/continuation would've been announced at the D23 Expo, the media would've been all over it. But when the expo ended, KP fans got nothing, nathan, nada . Thirdly, CCR herself is quite busy with raising a family plus she is doing three podcasts (her Vulnerable podcasts that she normally posts on her Youtube channel every Tuesday, her I Hear Voices podcasts with Will that she posts onto Apple and Spotify every Monday and her upcoming Even Stevens podcast that she is doing with the actors that played Beans and Donnie Stevens ) and she is also doing that voice-actor contest with Will for IHeartRadio as well. Fourthly, and lastly, animation is not only expensive but also takes a lot of time to make. (Simply do a Google search on how long and how expensive it is for Fox/Disney to make a single episode of Family Guy or Simpsons.)

I also tend to keep a very close eye on the KP hashtag, especially here on Tumblr and Twitter.

Then again, when I say slim chances of a reboot/continuation, I point to their (albeit brief) appearances so far on Chibiverse (so far, it has only been Kim, Ron, and Rufus) and it was mentioned back in last July from Disney TVA News that there were (maybe are) gonna be Chibi Tiny Tales of KP. So we (may) get future KP content in the form of 70-second shorts.

Whew, that was a long response. But again, thanks for your question, Anon. :)

[ancestorsofjudah]

2 Kings 10: 18-24. "The Eighty Men."

King Jehu, a former military commander and Official in the Temple is anointed by Elisha, the prophet to become a king and destroy lock, stock, and barrell all threats to the people of Israel in their vicinity. The former kings, Ahab, his wife Jezebel, and neighbors Joram and Ahaziah, violent and corrupt, idolators and whoremongers to the last moments of their lives wrecked everything, and God decided there was a price to pay for this.

He tells Jehu to kill everyone involved- shepherds, priests, army men, all of them to the last man, and this he does. We have an Ahab and Jezebel of our own- Donald Trump and that dozy cow, Paula White Cain, and the Church of Jesus Christ of Latter Day Saints are their corrupt shepherds, and certainly Hamas needs no honorable mentions.

The War in Gaza must not end till every last man, woman, child, all of the persons that organized what was meant to be a lethal strike against the people of Israel from Gaza to the West Bank are held accountable.

In America, our government must also be told it has no choice but to respond to the crimes and filth of the Trump era that are lingering to pollute our lives must be dealt with using lethal force. The same sentiment needs to apply in Syria, Afghanistan and Ukraine. You don't watch mechanized terror show up on someone's doorstep one day blow their houses, streets, families, and roads apart and do nothing. That is wrong.

As for things here in DC, how is it the DC City Council and Mayor couldn't find the time to go and close the Family Research Council down after all the evil they have done to the people of this world? The number of their violations of the City Charter would decorate both of one's sleeves. What about all the Pro-Life terrorism and election fraud you have allowed?

What the hell is going on?

The good and gracious people on this world are depending on fierce demonstrations of Justice and their needs must be met, all threats to their happiness must be executed as the Melachim states.

Before we go on, we need to define what Ba'al is. Ba'al is not a tiki god like they show on the Simpsons.

Ba'al means "god on the ground." Anyone can become a Ba'al. Our Ba'als are Donald Trump, Vladimir Putin, those giant nacho chili cheese beer farts on Fox News, etc. who you better believe knew Donald Trump cheated in that 2016 election and schcrews little kids for kix.

Ba'als are persons that claim to be in the know but know nothing, are in power because they snuck in and have been chased out again, and exhibit clear contrasts to behaviors prescribed by leaders named in secular and sacred laws.

They must never, ever be allowed to live:

Servants of Baal Killed

18 Then Jehu brought all the people together and said to them, “Ahab served Baal a little; Jehu will serve him much. 

19 Now summon all the prophets of Baal, all his servants and all his priests. See that no one is missing, because I am going to hold a great sacrifice for Baal. Anyone who fails to come will no longer live.” But Jehu was acting deceptively in order to destroy the servants of Baal.

20 Jehu said, “Call an assembly in honor of Baal.” So they proclaimed it.

 21 Then he sent word throughout Israel, and all the servants of Baal came; not one stayed away. They crowded into the temple of Baal until it was full from one end to the other. 

22 And Jehu said to the keeper of the wardrobe, “Bring robes for all the servants of Baal.” So he brought out robes for them.

23 Then Jehu and Jehonadab son of Rekab went into the temple of Baal. Jehu said to the servants of Baal, “Look around and see that no one who serves the Lord is here with you—only servants of Baal.” 

24 So they went in to make sacrifices and burnt offerings. Now Jehu had posted eighty men outside with this warning: “If one of you lets any of the men I am placing in your hands escape, it will be your life for his life.”

Jehu and his Beau, the chariot driver, Jehonadab of Rekab assign 80 men to kill the priests of Baal, whom he orders to get ready to meet their maker. Why did he do this? Let us find out.

v. 18: the Value in Gematria is 6669, וווט, wot, "a small array of inquisitive particles."

There are four separate roots אוה ('wh), two of which produce words that are spelled אי ('i). One of these roots yields the word או ('aw), meaning desire, which is spelled the same as an unrelated conjunction או ('o), which conveys an alternative or exception. The identical particle אי ('i) describes negation, and so does the possibly related substantive אין ('ayin).

Then there are two more words that are identical to the two previously mentioned: אי ('i). Then there is the similarly spelled interrogative adverb אי ('ay), which spawns a small array of inquisitive particles.

v. 19: the Value in Gematria is 9245, טבדה, tabeda, "to sink into the testimony".

v. 20-21: the Value in Gematria is 11222, יאב‎‎ב‎ב‎, "I love you".

v. 22: the Value in Gematria is 5978, הט‎זח‎ , the tzah, "the Command."

"The two roots צוה (swh) and ציה (syh) are similar in form but their meanings (either to command or to be dry) don't come close. Still, for some reason, the Bible's symbolic structure appears to insist on a relation between the two: One of the two names of the mountain upon which Moses received the Law from God, is Horeb, which means Dry Place. Also note that the word Torah comes from a verb that also yields a word for rain.

Perhaps the notion of a dry place taps into the creation account, and specifically the third day, or into the account of Noah's flood. A dry place is not a place where people die of thirst, but rather a place where the sea is no more, after it has given all her treasures (REVELATION 21:1)."

v. 23: the Value in Gematria is 12878, יבחז‎ח‎, yabzahk, "God's lightning."

The unused Hebrew verb בזק (bazaq) probably meant to scatter (it does so in Aramaic). Noun בזק (bazaq) probably describes a lightning bolt — but this in reference to its zig-zag nature rather than its heat, illumination or thunderous noise.

v. 24: the Value in Gematria is 13264, יגבוד‎‎, "I will be honored."

We are charged by God He and His Torah are to be the only sources of Truth on this world. A government that defies these Orders, that kills, lies, commits adultery, rapes little kids, defies God and cannot be permitted to operate. It must be dressed up in all of its criminal charges and dispatched forthwith without mercy.

[adultswim2021]

Robot Chicken #16: “Atta Toy” | May 23, 2005 – 12:00AM | S01E13

Let me tell ya, brothers: I’m covered in hives my hands got all swollen. I have no idea why. My hands are less swollen now and they only hurt a little bit. But I’m in a pretty bad mood. So let’s just power through this fucking trash and get to Space Ghost, shall we?

Sketch one: “I guess the idea is a TRL girl is just like that?” that’s in quotations, because it’s literally what I wrote in my notes. It describes the sketch pretty well. Listen, because I guess TRL doesn’t exist anymore so therefore there’s probably people who have no idea what this is actually making fun of. TRL stood for Total R-slur Live or something like that, and it was MTV’s countdown show where they played videos retarded I mean requested by MTV’s viewers. The more requests a video got, the higher it traveled in the rankings. MTV’s studios overlooked Times Square in New York City, the salsa capital of the world, and teens would hang out under the window and scream, while some famous MTV personality like Jesse Camp or Alex Winter would shove microphones in teens faces so that they could shout “I AM CASEY FROM NEW BRUNSWICK AND I LOVE THE THONG SONG WOOO” in a little picture-in-picture window that appeared over the video. So this show whose whole purpose to show “most requested” music videos would routinely interrupt them with teen-aged nobodies hooting at you. Also it was very common for them to only show about half the video. Show was borderline unwatchable. Anyway, this is what that’s making fun of. What if the girls in there were just like that. Like they go home and they can’t stop screaming. That’s the joke

Then there’s an Access Hollywood thing where Pat O’Brien voices himself. It’s bad. There are like three or four little sub-sketches in here. I wrote down one where religious deities are in the Amazing Race or something? Or they’re just like there to help out contestants. Then there’s a thing where Fox fires Matt Groening, famous for doing tangible work on The Simpsons and not just cashing checks for licensing agreements, is fired from his own show so that they can turn it into right wing propaganda. This bit is focused on Apu being deported and tortured by Lindy West or whatever that Guantanamo Bay pointing woman’s name was. This is in stark contrast to where I’m certain right wingers would be on the side of the culture war desperately fighting for Apu’s right to exist and continue being voiced by a white. MAN.

I’m not exactly powering through this at all. I’m writing way too much like usual. Let’s move on.

There’s a sketch about a bird teaching their child bird to shit on people, and teaching it how to chose it’s target carefully for maximum effectiveness. I guess this is the “good” sketch of the night? I still didn’t like it that much, but I give it points.

There’s running gags that I guess I should mention, one involves poking plot holes into King Kong and another shows a robot humping a dryer as it runs.

The last thing is that it’s The Smurfs “but there’s a freaking MURDER”, again putting my original notes in quotations. I wrote this before it dawned on me that it was a Seven parody. I guess there are some somewhat clever jokes in here. Most notable to me was how much Gargamel looked like shit in this. I remember them doing other Smurf sketches and they and they had a much more cartoon-accurate Gargamel. Here it’s just a guy.

Well, I watched it. What do you fucking want from me.

Space Ghost Coast to Coast: “President's Day Nightmare” | February 20, 1995 | Special

Hey! It’s the disowned episode of Space Ghost! This was a 30 minute special that was originally simulcast on TNT, TBS, and the Cartoon Network. It was a big promo for Cartoon Network’s What a Cartoon! series, which a lot of Cartoon Network originals spun off from. The show usually had three cartoon shorts by different creators, and the ones that did well (however one would define that) would turn into regular series. This special includes pre-series clips of Johnny Bravo, Dexter’s Laboratory, and Powerpuff Girls. This show features interviews of the creators of said shorts, as well as two other dudes with cartoons that didn’t nearly fare so well. Did they go on to do bigger and better things? Who knows? I decided to cut to the chase and just google their names with the phrase “sexual assault”, and nothing came up, so that’s good.

One thing I should have mentioned for the Christmas episode, instead of obsessing over the possibility of an incorrect air date: I believe that was the debut of full-retard Brak. He’s in this one too. I guess that’s significant. I fucked up!

I really like this episode, and always felt at odds with the creators’ non-enjoyment of it. I guess they were resentful of the fact that they were forced to do a cross-promotional stunty special like this. But it’s not a bad episode by any means. Towards the middle, though, I could kinda sense that the writing felt a little rushed; for the first time Space Ghost is actually beholden to guests with a promotional interest. They couldn’t just defiantly cut around Adam West holding up the jacket to his book. They couldn’t go fully creative. And they had to show clips and a full cartoon at the end of it, to boot. I guess I can see how that would be annoying! But the front part of the episode has plenty of bits that I remember fondly, with quotes that I can recall as though this were any classic episode of Space Ghost. So my hats off to the writers because this episode turned out good.

This episode exists in several versions. First there’s the original premiere version, which includes an announcement from Don Kennedy that the show is also being simulcast on the other Turner networks. Don would go on to voice Tansit, who is in this episode with a different voice and personality. Then there’s the most common version, probably, which is like the premiere edition but with the simulcast line cut out. I THINK Adult Swim once aired the original version as part of the Space Ghost Bootleggers Marathon. This seems to be the version on HBO Plus.

Then there’s a “director’s cut” version released as an extra on the Volume 3 DVD. It excises the cartoon clips and the Powerpuff Girls short and includes some extra footage with Dian Parkinson. This is actually a pretty good watch, though purists might miss the cartoons. I’ve always sorta wanted to cut together a composite version that has absolutely everything included.

The last version is included on one of the Powerpuff Girls DVDs, and from what I remember it’s like the broadcast version (I don’t remember if the simulcast line is in there or not), but I think it’s missing the end credits. It’s mastered in such a way that you can view the Powerpuff Girls short as a standalone short or with the Space Ghost portion tacked onto the front of it.

MAIL BAG

If u have a woman in your life: shout em out. Shout them out loud right here. Let them know you love them. Let them know that this little vanity TV blog don't mean shit like her warm embrace. Tell that bitch she's yours from 2022 and beyond. Peace.

If my wife is reading this:

AAAAAAAUUUUUGGGGGHHHHHHH!!!!!!!!!

[shannendoherty-fans]

People, September 9th 1991

High School Confidential

By Tom Gliatto and Michael Alexander.

Photos by Mark Sennett.

Beverly Hills, 90210 Gets Its Heat from a Dangerously Cute Cast of TV's Hottest New Stars CONFIDENTIAL MEMO: FROM: The Vice Principal TO: The Faculty, High School U.S.A. I'm sure I don't need to remind you what happened when we didn't prepare for Bart Simpson last fall. The school was flooded with rude, antieducational T-shirts. Some cows were had. Well, as a new school year gets under way, I believe we face another daunting challenge: Brace yourselves for Beverly Hills, 90210. That's the Fox drama about unworldly twin teens Brandon and Brenda Walsh (played by Jason Priestley and Shannen Doherty), recent transferees from Minneapolis to the Hills of Beverly. There they struggle to assimilate into the fast-lane lifestyle of West Beverly Hills High School, where the kids come equipped with BMWs, call waiting and designer surfboards. In the process, the teens examine their emerging identities and the problems that adolescents everywhere face.

The show languished in the Nielsen ratings against Thursday powerhouse Cheers last year. But Fox had no replacement, so it stayed. While we were on summer vacation, new 90210 episodes began airing, and the show landed in the Top 20, becoming the most popular show among teenagers. To some extent, I take responsibility for having ignored 90210. I made the mistake of reading newspaper critics instead of my daughter's diary, and so I believed, as Howard Rosenberg sniffed in the Los Angeles Times, that the show was merely a "ZIP code for stereotypes and stock characters." Little did I know that this show would mesmerize teens by doing emotionally realistic shows that involved adolescent rebellion, alcoholic; parents, a breast-cancer scare and plenty of worrisome teen sex. "Most shows for adolescents," says 90210 creator Darren Star, "seem like they are written by 50-year-olds who think teenagers behave like 7-year-olds."

It also doesn't hurt that the show's male stars, Priestley and Luke Perry (who plays brooding loner Dylan McKay), are "to die for," as my daughter puts it. These two have each been receiving about 1,500 fan letters a week. So be vigilant: Surely some of these will be written by our students...during class! And I'm afraid that 90210 is only going to get bigger with our kids, if producer Aaron Spelling is to be believed. "I thought The Mod Squad and Charlie's Angels got a lot of publicity in their heyday," says Spelling, whose company produced those shows, "but it doesn't compare to this. It's crazy. We have merchandising coming out of our ears"—a complete line of T-shirts, beach towels, notebooks, etc. "And now these actors can't walk down the street!"

Or even streak through malls. You probably saw those alarming news reports about a frenzied mob of 10,000 fans that stampeded Perry when he appeared at a south Florida mall last month. "It's a little scary," says Perry. Scarier is the amount of time students will waste this fall discussing Luke. And Jason. And who is sexier. I provide some information on the two. Jason Priestley, 22, plays Brandon Walsh, a model of thoughtful level-headedness. In real life, however, the brown-haired, blue-eyed star, who started acting in commercials at age 4 and played an orphan on that very nice NBC sitcom Sister Kate, is no Oliver Twist. He likes dirt bikes, bungee jumping and is a chain-smoker (just about the whole cast puffs it up—but not on-camera). Vancouver-born Priestley likes to hang out in Las Vegas. As for his real romantic life, he was reportedly dating actress Robin (Doogie Howser, M.D.) Lively last spring, but it seems likely that now he is too busy for such dalliance;. He must be on the set 14 hours a day, five days a week. To avoid ever-present fans, Priestley says, "I look different from my character when I'm just walking around. I don't shave, I don't dress like Brandon."

On the show, 26-year-old Luke Perry (Brenda Walsh's boyfriend, Dylan) sports a leather jacket, dagger sideburns and a squint that spells t-r-o-u-b-l-e. Although he grew up and graduated from high school in Fredericktown, Ohio, he seems to have attended James Dean wise-guy classes. Perry, who played country-boy Ned Bates on the ABC soap Loving, entertains the 90210 cast by strutting around bare-chested making jokes. Does he have a girlfriend? "No. You know how I can get in touch with Linda Hamilton?" What kind of music does he listen to? "Tom Jones is awesome." Are he and Priestley ever mistaken for each other? "He's mistaken for me on his good days." And 90210, he says, is "the best show on television, except for Jeopardy!" We should act quickly, faculty, when we see any signs that Beverly Hills, 90210 is disrupting normal student activity.

How abnormal might things get? Consider: "It's almost like there are cults," says Brian Austin Green, 18, the North Hollywood High grad who plays the cutely dweeby David Silver. "Girls go to school the day after the show, and they actually become these characters. They say, 'Okay, today I want to be Dylan, you can be Brenda, you can be Brandon.' " Needless to say, students caught pretending to be TV characters should be brought directly to my office for detention. But you know, it might not be a bad thing if our students could show some of the good sense that the 90210ers display in coping with the pressures of fame and fortune. Jennie Garth, 19, who plays the very sexy, very blond, very snotty Kelly Taylor, is particularly admirable. The youngest of seven children, she grew up on a farm near Champaign, Ill., until her schoolteacher parents moved to Phoenix when she was 13. "Living in a small town and coming from a very tight and close family instilled a lot of standards that I need to live up to," says Garth, who just bought a home in Sherman Oaks. She also recently supplied her parents with the down payment for their new home, setting a splendid example for today's youth.

According to a tabloid that someone left in the faculty lounge, Memphis-raised Shannen Doherty, 20, a veteran of such wonderful shows as Little House: A New Beginning, is the only cast member to be accused of behaving like "a spoiled brat" on the set. But she maintains she is no such thing. "I think everybody gets in a bad mood," Shannen says. "You do not work 16-hour days and not start feeling it. But I have never thrown a tantrum. I've gotten upset on the set, but it's never been just to be a bitch. You have to stand up for yourself in this business. That was something I was told when I was 12 years old and working with Michael Landon."

As with about half the cast members, Doherty is in a relationship—in her case, a real-estate developer with whom she's exchanged commitment rings. "You really have to date a while before you decide if this is the person you want to marry," she says with Brenda-like candor. Almost sounds like the relationship could be a future 90210 plot. "The problems of young people have accelerated," says Aaron Spelling, "and so have their feelings and thoughts." The show, he says, has kept pace: Even with their Clearasil-perfect complexions and plump allowances, the students at Beverly Hills have encountered their share of problems. "We had the guts to make Luke Perry be a member of AA," says Spelling. "We had Jason, our star, drinking and driving. That's reality."

And, apparently, the adulatory fan mail often includes a sad dose of that reality. "I got a letter the other day from a girl who mentioned the show we did on parental drug abuse," says Perry in a rare moment of seriousness. "She wrote about catching her father freebasing in the basement. I get letters like that all the time, from people all over the country." Gabrielle Carteris (at age 30, she's 90210's oldest cast-kid), who plays Andrea Zuckerman, the bright student who comes from the wrong side of Rodeo Drive, remembers an encouraging close encounter in a grocery store. "One girl came up to me after we'd done the breast-cancer show," says Carteris. "She said, 'I went home with all my friends and we checked our breasts for lumps.' "

In conclusion: Maybe I didn't need to write this memo. Maybe things won't be that bad, even if every locker in every corridor has a picture of Jason, Luke, Shannen or Jennie in it. Perhaps our dear little school is more like West Beverly Hills High—at least the TV version—than I thought. That's what Ian Ziering, 27, thinks too. "The reality on the show pretty much mirrors the way life is all over, in terms of teenagers," says New Jersey—bred Ziering, who once did Fruit of the Loom underwear ads and now plays 90210's curly-headed jock, Steve Sanders. "There's a mystique about Beverly Hills. But that's not what keeps people tuning in. The show could have been Montana E-I-E-I-O." By the way, should any student pronounce his name "eee-an," correct him or her, please. It's "eye-an."

-- WHEN BEVERLY HILLS, 90210 PREMIERED last October, Highlights, the student newspaper at Beverly Hills High, ran articles mocking the school's TV counterpart, West Beverly Hills High. "They said that the show was a joke," says Jenny Brandt, 14, a sophomore at the 1,900-student school. But as the story lines improved and Jason Priestley and Luke Perry became stars, the jokes stopped, and Brandt found herself, like many of her pals, glued to the set on Thursday nights from 9 to 10 P.M. "No phone calls allowed," says Brandt. "Except during commercials." Hope Levy, a 17-year-old senior, has taken fandom a step further with her friends. "We have little handmade cards," she says, speaking from her mom's car phone. "They say you're a member of Club 90210." While some kids think the show treats them as snobby stereotypes, most agree with sophomore Jordan Rynes when he says, "It's like a soap opera for teens. The shows dealing with drinking and drugs are the most real—adults don't realize how accurate it is."

[photolover82]

The Masked Singer Season 5 Episode 2 Recap: It’s Group B Time, let’s meet them! (Commentary & Guesses)

Hello my fellow Masked Singer fanatics! Welcome (or welcome back) to Ana’s Masked Singer recap, where I, Ana (nice to virtually meet you btw), recap every single episode of The Masked Singer. Here we are again with season 5, but this time another group, Group B, which consist of Black Swan 🖤🦢, Piglet 🐷, Chameleon 🦎, Grandpa Monster 👹 👴, and Phoenix 🦜.

So, let’s begin with the first eliminated contestant of Group B:

The first eliminated contestant was:

*DRUMROLL PLEASE*

Phoenix 🦜

Commentary: Ok, so this wasn’t surprising whatsoever, she sang Tik Tok by Kesha and you can obviously tell that she isn’t a singer at all. Like idk how else to explain it to you guys, but I guess she was talk singing... kind of like Wendy/the lips last season... so it was kind of easy the moment she opened her mouth to start singing to recognize immediately who it was...

Having said that, she was revealed to be (as I knew, this one wasn’t hard)...

*DRUMROLL PLEASE*

Caitlyn Jenner

Hehe I knew it! Again, like Wendy Williams aka the lips, this was way too obvious. She already walked around Hollywood Blvd with the Don’t Talk to me hoodie on so I knew she was going to be on the show but the min I saw Phoenix, the clues, and the moment she opened her mouth, I was so certain it was Caitlyn. No, I am not a big Kardashian/Jenner fan tbh but I used to watch the show way back when.... like in 2016? I am not sure, but I recognized her voice immediately.

Now onto my guesses for the remaining 4:

1. Black Swan 🦢🖤

Commentary: So she sang Barracuda by Heart and damn, she got a strong voice! It’s a really amazing voice, even though the song choice wasn’t my favorite, because it didn’t suit her voice completely and showcase her range, but she was badass (can I say that? Whatever, this is my show, I’ll say it, it’s not THAT bad of a word) tbh. In certain parts, she was like screaming a lot and I was like um maybe this isn’t her best song choice but her voice is amazing! She gives me Seahorse mixed with Flamingo vibes, I love her!

I think she is singer extraordinaire:

Jojo (not Siwa but we have another Jojo on our hands)

Reasoning/Clues: there are so many clues that match but her voice is the main thing that clicked for me that it was her, but let’s look at those clues so you can get the picture:

Wanted Poster with RV highlighted= she appeared in the movie RV with Robin Williams

She talks about being trapped and someone else’s prey and then getting out of it= she was trapped in her record label & there was controversy surrounding it and she had to sue her label for not releasing her music

A 5 on a watch= she toured with 5th harmony and has released 5 albums

Cluedledoo (Rooster) clue= she covered a monster= she covered one of T-Pain aka the Monster from season 1’s songs

2. Piglet 🐷

Commentary: He was my favorite of the night with his rendition of Speechless by Dan + Shay! You guys know if you have seen my recaps in season 3 (or even last week with Robopine) that I have a soft spot for a guy who has a super silky voice, like either boy band type or R&B smooth af kinda vibe (i.e. Fox in season 2, Turtle in season 3, Robopine in season 5).... or should I say any guy who can falsetto and Piglet is giving me those boy band smooth vibes, I love it so much! His voice is soooo familiar I am so sure about this one by the way.

My guess and I am so sure of this is:

Nick Lachey

Reasoning/Clues: This one I recognized immediately, the voice was really easy to figure out, but these clues also are pretty convincing (oh and he was on Ken’s show, I Can See Your Voice, so it’s not surprising that he would be on this show):

The clue package had a dating show vibe = reminiscent of Love is Blind, the Netflix dating show he hosts with his wife Vanessa

The world saw his heart break= he had a very public relationship with his ex-wife Jessica Simpson and they even had a reality show together called Newlyweds

Cluedle-doo clue: “knows how to stay cool even in the heat”= referring to his past aka his boy band 98 degrees (get it? Because that’s the heat and they are cool because they are a boy band... well played Masked Singer well played... I wanna meet whoever makes these clues because they are great with puns and they seem super clever)

3. Chameleon 🦎

Commentary: Chameleon surprised me I am not gonna lie. I thought he was going to be another athlete like Whatchamacallit last season or White Tiger from season 3 because he was so tall but nope he surprised me with his rendition of Ride with Me by Nelly. He seems like a legit rapper and I liked him a lot than I thought I would honestly so this guess isn’t totally out of left field.

My guess is that this is...

Wiz Khalifa

Reasoning/Clues: so yeah, the voice and the height kinda gave it away to me (Wiz is 6 foot 4 inches and his body type matches the chameleon), but also yeah clues I have to give you guys some logic bombs instead of being like eh that voice and height BOOM WIZ KHALIFA... yeah no it doesn’t work like that, so here are the logic bombs hehe:

Dice with 2 and 3 on it= he did a song with Miley Cyrus called 23

007 clue= he has a song called (yes this is real, look it up) James Bong (omg I am trying not to laugh while typing this but whatttt?! Google really is a gem omg 😳😂) and he played James Bond in the music video

His love of technology & “put tech in technicolor”= apparently, the guy is a huge tech geek and has said it in a lot of interviews (wow humans are so complex and cool, I would have never thought that this man is a tech savvy guy... but the more you know I guess <P.S. I Googled half of these things... like idk this off the top of my head duh, I usually go by voice with my guesses and then I google the clues>)

4. Grandpa Monster

Commentary: He sang Mambo No. 5 and yeah it’s a basic choice for a song, but I liked it. He is not my favorite by any means and now that I listen to it again, I can only hear this person and I am not a fan of him like whatsoever (even tho I gotta acknowledge he has changed and I have *I KNOW... I HATE ME TOO* agreed with stuff he has said in his podcast un ironically.... yeah I am so sorry, I hate myself for saying this too... anyways let’s just get to the person I mean

I have a sneaking suspicion that it is (unfortunately):

Logan Paul

Reasoning/Clues: Yup, um... I really hope I am wrong but honestly ever since someone said it in the YouTube comments section of his performance, I can’t un hear it and I am shook honestly (at least it’s not his brother... I mean we can get worse, and he has respected the pandemic and not been a prick like his *cough* brother *cough*... just saying.. oh and if you don’t know what I am talking about or who this is, he’s a YouTuber who got into some um controversy because he filmed a dead body in 2018 so there’s that... oh and his brother has done a billion worse things than him, but you can Google that one if you are interested in finding out more because it’s too much for me to talk about and we are not even talking about Jake (that’s the brother))... Anyways, sorry, I ramble, but ugh the clues seem convincing and it irks me that it is because I am not a fan of neither of these guys and I don’t want them in the show but whatever I guess he’s the lesser of 2 evils:

He was a troublemaking fool as a youngster= yeah probably regarding that suicide forest video a couple of years ago (that ok, lemme give him credit, he has apologized for it and has kind of proven himself... yuck I hate saying that, I am NOT defending him I swear)

Acting out for all eyes on me= he used to be very well known for pranks on his channel back in the day (before the incident) and he did some stupid stuff for clout lemme tell ya (I never liked these guys, like ever, I thought they were weird.... not my demographic I guess, I wasn’t 12 nor a boy)

6 in Xs and Os like football plays = he did play football 🏈 in high school, he was so good that and actually attributes playing football for long term brain damage he has that makes him as the Wikipedia article says it (I am legit gonna quote what it says because I thought it was fascinating) “affects his ability to have empathy and a human connection with others.” (Mind you, he himself claimed this according to this article)

“Acting out”= he has acted in a few things before and starred in The Thinning

Web with the shooting star= he is a web star, get it? YouTube... web star... hehe again these clue writers are *chef’s kiss*

Cluedle-doo clue: he has trained for battle= now his new thing is boxing and he has trained for actual fights before, his first one being against British YouTuber KSI which he lost... oh and I almost forgot, how can I forget this cute little detail.... he is set to fight Floyd Mayweather this summer apparently... OH AND DID I MENTION HE IS MAKING 5 MILLION DOLLARS FROM THIS DEAL?! He’s winning either way with this fight like damn... but that wasn’t part of it, I just thought it was trippy... again I say, Google is a gem, u find some interesting reads

Ok so that’s it (what a great note to end on lol)! I hope you guys enjoy! Sorry for it being so long and taking so much time to do.. it’s been a crazy last couple of days! I will try to get the next one this upcoming weekend so I’ll see you guys then. (Ohhh btw I now live tweet the show on my Twitter- @photolover82 so if you want to follow me on there and live tweet with me, that can be fun!) Bye guys and don’t forget to like, comment, and do all the social media-y things, you know the drill!

[laueana]

Conan O’Brien May Be Leaving Late Night, but His Career Evolution Is as Timely as Ever

By Michael Schneider

After 28 years in late night — the last 10 at TBS — it was long past time for Conan O’Brien to get out of the daily talk show grind.

These days, O’Brien is probably more celebrated as a successful podcaster (“Conan O’Brien Needs a Friend” and producer of several more), the host of a popular run of travel specials (“Conan Without Borders”), his clips on social media and for just being Conan O’Brien, than he is for a cable TV show.

His talker “Conan,” which had already been downsized to 30 minutes in 2019, remained his home base. But it’s not where most fans get their Conan fix these days.

While it’s worth wondering whether O’Brien is willingly giving up that daily grind, as he switches to a weekly variety show for HBO Max, perhaps the bigger question might be: Should anyone still be into that grind? Late night has long become “next day TV”: Viewers catch the highlights, and share them, via YouTube and other social media.

Sure, people still watch the shows — and some, like Stephen Colbert and Jimmy Kimmel, continue to do it quite successfully. (At least, by 2020 standards.) But there’s no reason why these shows still need to be nightly, or an hour long. And actually, you probably didn’t even notice that most of them now only air four times a week, with a repeat (usually on Fridays) — or that, during the first several months of the pandemic, Kimmel had reduced his show to half an hour.

The incumbent Emmy winner, “Last Week Tonight with John Oliver,” airs just once a week, as does O’Brien’s TBS colleague Samantha Bee on “Full Frontal.” Showtime’s buzzy newcomer “Desus & Mero” runs twice weekly. In this saturated age of too much TV (including too much talk), that feels just about right.

Talk had already been splintering into two camps — single-topic, news based shows and more variety-centric shows — before the Trump administration threw things into a bit of disarray. It’s too soon to tell whether a new White House will restore that balance. But regardless of that, O’Brien had always focused more on comedy and variety on his shows, which makes his new weekly series on HBO Max an obvious evolution. (Not to mention the fact that audiences are already swiftly migrating to streaming and digital from linear cable.) For fans who are still eager to share clips of him when that new series launches, Conan is Conan, no matter the show or its platform.

Obviously the entire business was upended in the 10 years since the infamous moment when NBC bungled its “Tonight Show” transition from Jay Leno to O’Brien, and then back to Leno again. When NBC pushed O’Brien aside, he was heartbroken: Not only was the “Tonight Show” the pinnacle of the late-night world, but he was suddenly without a daily talk show for the first time since landing the “Late Night” gig in 1993 as a young, unknown TV writer whose greatest achievement may have been penning “The Simpsons'” Monorail episode.

At the time of O’Brien’s NBC exit, social media was still in its infancy. Viral videos were just taking off, and O’Brien jumped into that world to keep his fans engaged, particularly as he embarked on his famed “Legally Prohibited From Being Funny on Television Tour.”

There was no question that O’Brien was itching to get back to late night, but with Fox affiliates not willing to give up those time slots and syndication’s poor track record in the format (even “The Arsenio Hall Show” only lasted five years), his options were slim. That’s why Turner and its broad-based networks — which were programmed much like broadcast — ultimately made the most sense.

As Fox struggled to come up with a proposal that worked, Turner boss Steve Koonin came up with an enticing pitch: “We looked and said there’s a once in a lifetime transformational talent in Conan,” Koonin said at the time. (Credit to comedian George Lopez, who had already hosted “Lopez Tonight” for TBS in the 11 p.m. slot, and convinced O’Brien it was OK to come and knock his show to midnight. Sadly for Lopez, “Lopez Tonight” was eventually canceled.)

In a weird way, it worked out for O’Brien: He was once again back on nightly TV, and once again the self-deprecating underdog building something from scratch — without the same ratings pressure as there had been on NBC. “In three months I’ve gone from network television to Twitter to performing live in theaters, and now I’m headed to basic cable,” O’Brien quipped at the time. “My plan is working perfectly.”

O’Brien had a new energy to reinvent himself, developing the “Team Coco” brand — which had evolved out of fans protesting his NBC exit — into a digital platform. And to make more noise, he began to take the show out of the studio more, to Comic-Con and then in those travel segments that turned into “Conan Without Borders.”

O’Brien more or less noted that when we spoke to him in 2016: “One of the things I’ve found is over time, any way you can make it new for yourself is key,” he said. “When I was coming along in 1993, the job was to become a classic host in the Carson style. It’s a format that I still really love, but the downside is you can feel chained to your desk. Now I get the best of both worlds.”

Already in 2010, pundits were questioning the future of talk shows, as it became clear that the under-40 crowd didn’t view the shows as daily habits the way their parents did. At the time, it was Adult Swim that was starting to dominate the young demo — but this was all before streaming even entered the picture as the ultimate competitor to traditional late night.

O’Brien managed to get another decade out of the form, and reinvent himself in the process. In hindsight, it was smart to name his TBS show “Conan.” As a comedian, a host and yes, a brand, Conan is going nowhere, even if his nightly show is going away. Fans may not be asking anymore what “Conan” is up to, but they’ll still be asking what Conan is doing.

[curious-minx]

A ranking of four 200 Hundredth Episodes: Bob’s Burgers’ recent victory lap stands above the rest

The Bicentennial. How many among us get to be a part of something that get’s broadcasted for over 200 episodes? In the world of animated sitcoms it is a small, Fox dominated burrow. Bob’s Burgers is the latest series to become bestowed with this particular honor, and is possibly the best of the Fox line-up to do so. Family Guy’s 200th episode, Season 11 - Episode 12,  is the only Fox series to be given a full blown on-air anniversary treatment. The episode is a Valentine themed Brian and Stewie lark and like all of the other entries on this list celebrates it’s 200th episode anniversary in a more casual, blithe fashion. Family Guy is the only show Fox has bothered to air an entire half hour  special, but months before the actual airing of the 200th episode in Februrary. I am deliberately skipping over Family Guy and South Park’s 200th episodes. In the former’s stead I chose to watch American Dad’s 200th episode, because McFarlane is such a titan in adult animation that deserves recognition. The South Park episode is too exhausting for me to get into. South Park’s 200th episode, Season 14 - Episode 05, is the one that evoked the wraith of a  New York based Radical Muslim organization that would soon be “shut down” (i.e. members arrested) a few months after the episode aired on April, 2010. The 200th episodes of South Park and the Simpsons are the only two series to have received Emmy nominations, and in Simpsons case a win, due to their 200th episodes. Here’s hoping for Bob’s Burgers to get a similar recognition, because I think its 200th episode is pretty special and straight to the point.

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1.) Bob’s Burgers - “Bob Belcher and the Terrible, Horrible, No Good, Very Bad Kids” 

Out of all the 200 episodes is episode the most consciously in conversation with itself. The 200th episode has been treated with a reasonable amount of respect with The A.V. Club bringing their Bob’s Burgers coverage out of retirement and Variety and Salon also got into the mix. Gotta be honest a part of me over at The Curious Minx would prefer if the Bob’s Burgers recap lane was kept on the narrower side, but on the other hand this is a fabulous series that should be written about by as many different publications. 

In a recent  tired and routine zoom Variety interview (https://variety.com/2020/tv/news/bobs-burgers-remote-recording-200th-episode-1234830796/) BB’s creator Loren Bouchard touches upon how this 200th episode is supposed to serve as something of a pilot. An episode so fully realized that even if you are someone with no active bank of knowledge about the Bob’s Burgers minutiae of the Belcher family dynamics and still enjoy this episode as much as a full blown series fan. The episode is written by Steven Davis, a producer and writer with an extensive amount of episode writing and producing credits on Bob’s Burgers. The quality of a Bob’s Burgers script in the pandemic era  is becoming more relevant, because of the diminished role of improv, and this episode definitely feels crafted by a creative team fully in touch and aware of their characters and how to put them in satisfying situations.

Compared to any of the other animated sitcom families, the Belchers are noticeably the more lower middle class. There is a pervading sense of an overall struggle for survival and prosperity that is cooked right into the series pilot debut. Season 1 - Episode 01 “Human Flesh” sets the tone of the series, despite the overall writing and characters being sharper, the stakes have not changed much. Bob’s Burger’s like any American restaurant not under the protective aegis of a Big Franchise is in a state of perpetual turmoil. In the pilot episode the difficulties of running a standard American restaurant are made even more complicated by dysfunctional family hijinks. 

The 200th episode differs from the pilot in one dramatic way and that is the presence of the extended Belcher family member Teddy. In the original pilot Teddy is completely absent, whereas in the 200th episode Teddy’s role as surrogate family member is made even most distinct by having Teddy being invested above and beyond in helping save his pal’s Bobby’s restaurant. The return of the ornery and quirky Health Inspectors Ron and Hugo are serving as the most obvious form of echoing of the pilot. I highly recommend rewatching the pilot after viewing this episode, because I had completely forgotten that the Belcher’s saving grace is that Hugo and Linda were once in a relationship together. The pilot is noticably very contained setting wise, focusing exclusively in and around the Belcher family restaurant. Whereas, the 200th episode explores more settings with the Belcher children going across town to find a replacement for Bob’s broken oven part, an oven that they feel they are entirely to blame for destroying. A couple of celebrity guests Stephanie Beatriz and SNL’s Kyle Mooney that true to Bob’s Burgers spirits are usually just playing characters of little to no consequence. Unlike the other Fox family in this list that really leans in on having celebrities playing themselves, the best celebrity guest appearances on Bob’s Burgers tend to be the most anonymous, and Kyle Mooney’s put upon hardware store clerk is a great example of this. 

Finally, I’d be remiss if I didn’t dwell on the satisfying Linda contribution of the episode. Linda makes the critical set piece that ignites the restaurant fire. Linda’s gnarly mermaid sculpture is a great visual metaphor for the series. Especially when the Mermaid Statue is used to build up a very well constructed song-based gag. The whole episode made me feel really good about the state of the series and especially the Movie (And Loren Bouchard backs this up by giving interviewers the impression that the film’s delay has only improved its quality). As far as 200 episodes of long running animated sitcoms go, you certainly can’t go wrong with this one!

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2. King of the Hill - Hank’s Bully

By all accounts the most unremarkable episode on this list. An episode that also has a trollish spirit that gets a sadistic glee in tormenting the fuddy duddy Hill patriarch. This is the also the 200th episode with the lowest stakes, the least of a spectacle, and most unassuming 200th episode. While trying to research anything of note to include in my review of the episode all I could find was this reddit post (https://www.reddit.com/r/KingOfTheHill/comments/bpl235/hanks_bully_was_near_impossible_to_watch/) where a user is criticizing the way in which Hank it mistreated. When I was rewatching this episode my partner also found this episode hard to watch and sympathized with Hank’s plight against a Clifford-like malicious imp of a hateful child who’s sole purpose is to make the lives of everyone else around him more difficult. 

To me what most stands out about this episode is the fantastic direction by longtime King of the Hill animator, former Bob’s Burgers animator, and current Rick and Morty director, Kyoung Hee Lim. A seemingly badass woman  working in a field that is not particularly kind to women or to women of color. I am pretty shocked that no one in all of her years as a director on some pretty important shows has brought her up or did an interview piece on her. Maybe this is something the good folks at The Curious Minx can aspire to? I am definitely going to be taking a further dive into the 22 episodes of King of the Hill that she directed and revisit the 15 episodes of Bob’s Burgers to see if I can discern what makes a Kyoung Hee Lim episode. 

One major ploy detail that I noticed in this episode, a detail that is also oddly prevalent on the other two 200th episodes, is the trash talk. And by that I do mean literal trash talk. The B-plot of this episode is what makes the episode pop for me in that the pairing of Dale and Peggy is a really successful one. The episode finds Dale frustrated with the Arlington Waste department and how they won’t take his refrigerator full of dead squirrels and his freeze full of dead crow. Dale then takes advantage of this dead blessing in disguise by getting into the world of competitive taxidermy with Peggy’s creative eye complimenting Dale’s gruesome technical prowess.   Both of these characters operate on such an oddly similar wave lengths that watching the two of them embark on a taxidermy journey together was strangely touching and fun to watch. And I am a vegan that feels weird about killing animals in video games, but the ending visual gag of the episode is especially inspired. My one complaint is that the episode is severely lacking in Bobby Hill. Probably because I just recently finished watching Better Things and basically want every show to be the Pamela Adlon show all the time. 

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3.) American Dad - “The Two Hundred”

Visually and conceptually this 200th episode really impressed me. As previously mentioned at the start of the post, I am not someone that is particularly warm to the McFarlane brand of comedy, but American Dad really is where he saves his best work for. This 200th episode got the complete opposite treatment of Family Guy. Airing on a Monday night on TBS this episode was pretty much given a shrug, but that does not tamper down any of its ambitions. The whole episode is basically a pastiche of Apocalyptic Dystopian alternative timeline tropes centering around an alone and traumatized by his past Stan. The episode has one of the most clever ongoing visual gags I have seen on a show where flash backs are teed up by Stan’s ridiculous new post apocalyptic tattoos. The core family and ancillary characters of American Dad are all given terrific moments to shine in this heightened post apocalyptic hellscape, and the key to any enduring series success if whether or not you can tell that the creatives involved respect and enjoy the characters that they are writing for. This being a McFarlane project there are a couple of embarrassing lines of dialogue from the show’s respective gay and Black characters and an over indulgence on Rodger based humor, but overall this 200th episode left me with more appreciation for this series as a whole. I will still always make sure to appreciate whenever a long running creative property takes stylistic swings and risks.While there is nothing particularly fresh or novel about a cannibal laden post apocalyptic wasteland this 200th episode managed to find some find fun character beats to subvert tropes or double down on them. The visual of a consistently on the move runaway train that is also mysteriously always on fire was also especially well executed. This episode could easily have been a series finale if the series hadn’t already played around with alternative timelines like in their Christmas specials. 

This episode also features more trash talk! One of Stan’s tattooed regrets revolves around Francine failing to get the trash picked up on trash day because Stan had purposely neglected to take it out. This rather odd pattern is about to make a whole lot of sense with the fourth and my least favorite 200th episode by the Simpsons.

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4.) The Simpsons - Trash of the Titans

How many more times can I impress upon you that the 200th episode  of your animated sitcom is an  an occasion for trash talk? One more time. This 200th episode of The Simpsons is by far the most trash centric 200th episode of them all. The first animated adult sitcom to get over the 200th episode hump, the 200th episode  “Trash of the Titans” has some fun real-world trivia attached to it, but other than that this is one of the lesser “Golden Era” Simpsons offerings by a long shot. 

My primary source on contention with the episode lies in the direction Homer takes in most of the episode. A 2016 Uproxx (https://uproxx.com/media/simpsons-donald-trump-hillary-clinton/) article gained traction and a Wikipedia citation by comparing Homer’s antics to that of possible former rising Dictator Donald Trump. The episode involves Homer acting at his absolute most abhorrent in an election to boot, and his behavior in this episode is some of the most irredeemable Homer has ever been. The article oddly neglects to make note of the fact that Homer in this episode also makes similar slights against Mexico, referring it to an inherently “dirtier” country.  The episode ends on a truly groan inducing aged as fine as old socks in the cheese drawer with a crying Native American gag. Ah 1998 when we could pretend that the Crying Native American commercial was just silly social commentary and not racial minstrelsy. 

There is also one other instance that didn’t sit well with me and that’s when Homer is seen physically assaulting a woman working the booth at a U2 concert. I could handle the bullish descent into crooked politician, but watching Homer violently push a woman out of the way felt out of place. A retread of all the growth and development we’ve seen him go through over the course of 200 episodes. Of the other three patriarchs discussed on this list a Homer Simpson centric plot tend to not work as well for me especially if you compare him to the other animated TV fathers. 

The episode also features two celebrity guest spots. One made by Steve Martin who does a good job becoming more or less unrecognizable as the original Springfield Sanitation Commissioner Ray Patterson. The other celebrity guest appearance is more of an ill-portent of signs to come with U2 playing themselves. Whenever a celebrity is playing themselves on The Simpsons it usually does not work out. Not everyone can be used to advance a plot as seamlessly as Barry White. Although it is funny, funny in a “oh, we were so much simpler” sort of way that this episode garnered controversy and a ban on UK television over U2 and Mister Burns’ use of the word, “wanker.” Flash forward to 2009 and Bono is once again throwing around his favorite cheeky pejorative this time in reference to fellow earnest bland frontman Chris Martin (https://www.music-news.com/news/UK/24741/Read). 

Resting Wanker Face

The other fun factoid about this episode once again is not related to the show, but the show’s influence spilling out into the real world. In the late 80s and throughout the 90s, Adams Mine was an abandoned pit located somewhere in Ontario situated in a term I’m learning for the first time, the “Canadian Shield.” An exactly similar proposal is made by Homer Simpson during his reign of Sanitation Commissioner. This sweeping of trash under the rug does culminate into a satisfying visual gag as a climax that feels like a Garbage Pail Kid/Toxic Avenger version of Cloudy With a Chance of Meatballs. More bizarrely and unfortunate, this episode also aired a week after the passing of Linda McCartney. How messed up is that? Couldn’t they just have waited at the end of the season or at least on an episode that doesn’t involve wallowing in filth? 

The episode features another developing bad habit in terms of the inclusion of songs and song parodies. There is virtually no connection to Willy Wonka in this episode other than the fact that both “Candy Man” and “Trash Man” have share a similar pronoun. Unlike the use of songs in Bob’s Burgers where they tend to be unique to the character’s reaction to dramatic consequence, on the Simpsons it’s more often than not a  a song for the sake of a song. That’s not necessarily a bad thing, but why not go for a joke about parodying real musical trash titans, The Cramps, or even trash up a U2 song? On the episode’s Wikipedia entry in the Production section Matt Groening is quoted to saying that the visual gag of a department store sporting the slogan, “Over a Century Without a Slogan,” wasted a lot of man hours. So much effort and reach for a joke with a fraction of a minimal of pay off is essentially the Simpsons ethos in one visual gag. 

Once again, it bears repeating that this episode is also rewarded for an Emmy. If you break down the episode as starting off as a satire of Holiday Commercialism with the creation of the cynical Love Day holiday and ending the episode as a foreboding parable about the very real ecological repercussions of improper waste management. This clearly sounds like classic Simpsons reverse engineering management. Instead this is a classic case of an episode of the Simpsons being more interesting to think about than it is to actually watch. This is also the 200th episode that least honors its central cast of characters. Marge and Lisa are both afforded meager moments of wisdom and decency, but Bart is more or less even more irrelevant to the plot than Bobby Hill was on his 200th episode. 

As for today it seems like the only Simpsons anniversary that will likely rouse any more attention it’s way will be the 1,000th episode.. Think how much more trash we as a collective species will have made by the time that milestone roils around!

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In Conclusion:

When you start to make 200 episodes of anything the one feeling that seems to creep up is one of, “taking out the trash,” or you’re making art out of trash. Trash being a metaphor for the entire medium of Television. The TV market is an ever growing landfill, one of America’s Rapiest Dads made a whole cartoon about kids living and learning life lessons in a junk yard. So much of Television is only a means of  mass marketing  ground up pieces of detritus. Then you’re supposed to be grateful that your detritus gets to be a bumper for advertisements and the occasional merchandising. You’re an adult, you’re not supposed to take cartoons seriously. They are empty calories, brain noise, and at best background noise. Yet they are the only types of shows that can consistently manage to get over well over the 200 episode mark. At least back before the Netflix business model of show’s only deserving 1.5 seasons. 

Bob’s Burgers is reaching its 200th episode in an unfathomable media landscape, one that is completely demolished and in the process of being rebuilt from the aftermath of the coronavirus. The 2020s could be a turning point for animation going forward, animation is a severely grueling and technically difficult sector. This newfound interest in the medium may finally be  the financial boost and support that it dearly needs in order to properly pay artists for their work. The creators of these series may not think of what they do as art and to keep themselves afloat have to think of the act of bringing an animated sitcom into the world as necessary as taking out the trash. Our trash is a mirror. Inside the landfill we see our own morals and values reflected right back at us. Bringing forth life means a lot of shit. With every year you keep an infant human alive that means (x) amount of disposable diapers piled up. I suggest we make like the Belcher children and try to salvage our trash, put a wig on our trash, put a crop top on our trash, paint some lashes on your trash, because we’re all in the end up going to be put into the ground (beef). 

[thebowerypresents]

POSITIVE SPINS: NEW ARTISTS, NEW ALBUMS, AND NEW LIVE STREAMS THAT PUT OUR 2020 ON A BETTER TRACK

2020 proved to be one of the hardest years we have collectively gone through.  While we didn’t have live music to lean on when times got tough, these are the albums, artists and livestreams that got us through the rough patches and will carry us into a brighter 2021.

Listen to our playlist of Positive Spins!

BEST NEW ARTISTS OF 2020 (in no particular order)

THICK

“Brooklyn-based pop-punk three-piece, THICK, are not afraid to say (or sing) what’s on everyone’s mind - with a fierceness and confidence I can only aspire to assume. Sticking it to the establishment is the name of their game - take “Mainsplain,” for instance - and they manage to do so with catchy chord progressions and an uplifting vigor. I can’t wait to see what’s next for the trio, and who else they’ll put in check.” - S. D.

Ela Minus

“Brooklyn-based techno-pop artist Ela Minus broke onto the scene this year with her debut album “ acts of rebellion.” The Colombian-born musician has a background in emo bands, is a trained jazz drummer, and she wrote, produced, engineered, and recorded the album on her own. “acts of rebellion” is moody and sultry, while still making you want to grab your friends and dance.” - K. C.

Arlo Parks

“Without even having released her debut album yet, Arlo Parks has made a name for herself this year. Singles released throughout the year, paired with 2019’s EP ‘Sophie’ and her slot as support on Hayley Williams’ (cancelled) tour have boosted Arlo to a new level this year, that we can only assume will continue to rise in 2021 when her debut album drops.” - K. C.

Beabadoobee

“Beabadoobee’s interesting name is only matched by her sound - bedroom-pop fused with nineties indie-rock, tinged with a tender, DIY aesthetic. Her track “If You Want To” will have you singing along, while her single “She Plays Bass” will take you back to your hormonal, vulnerable, teenage years met with sublime nostalgia. She’s without a doubt a silver lining in 2020.” - S. D.

BENEE

“I first saw Auckland’s BENEE at Rough Trade in October of last year - her sincere, to-the-point lyrics and quirky hooks instantly hooked me. You may know her track, “Supalonely,” which found popularity on TikTok during the height of lockdown, but BENEE’s sound isn’t limited to the confines of one social media trend. In her debut album released this year, BENEE displays an uncanny ability to tackle alt-rock, hip-hop and electro-pop all at the same time, in an unbothered, endearing way - making her a “one to watch” in 2020 and beyond.” - S. D.

Christian Lee Hutson

There isn’t a lack of acoustic singer-songwriters out there, but Christian Lee Hutson is an important new voice. Hutson first full length album, “Beginners,” released this year, has a warm and honest quality to it. The production is subtle (thanks to producer Phoebe Bridgers), and so perfectly complements a simple, acoustic narrative. The result is a soulful, beautiful, and special work of music. - S. D.

Do Nothing

“2020 newcomers out of Nottingham, UK, Do Nothing have already made a big splash in the post-punk world. Releasing their first EP, Zero Dollar Bill, earlier this year, the band have been compared to Idles and are setting out on a similar path of success. Upon first hearing their earlier single Lebron James, countless fans are sure to be sucked into the world of Do Nothing.” - K. C.

Kate Bollinger

“I first listened to Kate Bollinger when she released I Don’t Wanna Lose in 2019. I played the track Candy on repeat all year long. It has been so lovely to watch her grow into the artist she is today. This year she released an EP called A word becomes a sound, which quickly became one of my favorite releases of 2020. Her voice is so comforting. Whenever I listen, I feel like I am being coddled in a fluffy blanket with a cup of herbal tea and nothing could go wrong at that moment. I can’t wait to see what Kate has planned for 2021 and beyond!” - L. S.

SAULT

“After a year of intense racial unrest in the United States, SAULT’s importance is more significant now than ever.  With themes focusing around the Black Lives matter movement, this mystery soul-funk group has become more than buzzy in the music scene, and has earned a spot on tons of year end lists.” - K. C.

Sorry

“London-based genre-defying band Sorry released their debut album ‘925’ this year, produced by James Dring (Gorillaz, Jamie T) which is already reason enough to pique the interest of most. The album certainly does not disappoint, with each song giving you a different taste of the many interesting sides of this up-and-coming group.” - K. C.

Honorable Mentions:

Gracie Abrams Remi Wolf Hailey Whitters KennyHoopla Jade Hairpins Jockstrap Model/Actriz Mild Orange Your Smith Neal Francis

BEST NEW ALBUMS OF 2020 (in no particular order)

Fiona Apple – Fetch the Bolt Cutters

“Fiona Apple is fearless in this album. The song structures and sounds take you on a listening experience I can only describe as emotional in the best way. Eight years of waiting was totally worth it.“ - S. D.

Fleet Foxes – Shore

“This album had been bright spot in a difficult year. St. Ann’s Church was the perfect location for their Colbert performance of Can I Believe You and the live stream will be the perfect holiday present. Ready to feel all the feels!” - K. A.

Khruangbin - Mordechai

“Khruangbin is one of my go-to bands, and “Mordechai” has been heavy in my rotation in 2020. It’s really a great album – I play it cover-to-cover and pairs well with a cocktail and cooking at home, infusing some needed spice and energy in what could otherwise be ‘just another night’ during a long, monotonous several months.” - C.M.

Moses Sumney - Græ

“The highly anticipated second album from Moses Sumney, shows us more of the highly personal, raw and emotionally moving music we have some to expect from him. The cluster of emotions that Moses works through with his beautifully unique voice in this 20 song album give us a look into the complicated mind of one of the most interesting artists of the last 5 years.” - K. C.

Perfume Genius – Set My Heart On Fire Immediately

“*Bill Hader’s Stefan voice* this album has everything! From the heavy and distorted bass on “Describe” to the melodic harp stringing of “Leave,” to the dance ballad (is that a thing?) “On The Floor,” Perfume Genius’ album Set My Heart on Fire Immediately really does have it all. Each song feels vastly different from the next in tone, instrumentation, and influence – yet they all come together so perfectly to make this stunning album, all while showcasing his vocal depth and range. There’s a reason he’s called Perfume *Genius*, and that is because Mike Hadreas can take familiar feelings and turn them into unconventional pop ballads that feel both relatable, but new and exciting at the same time.” - R. E.

Phoebe Bridgers – Punisher  

“How does Phoebe do it? (a question I ask myself daily). I remember waking up on June 18 as if it was my birthday. Punisher is everything I hoped for and then some more. The last song on the album, “I know The End” concludes with a scream which is the perfect cherry on top to this masterpiece. This album is a rollercoaster of Phoebe’s emotions and I feel blessed to be along for the ride. It is relatable, heartfelt and honest. Thank you to Phoebe for this gift. The world will never be the same after this.” - L. S.

Rina Sawayama - SAWAYAMA

“SAWAYAMA is the early 2000s pop resurgence we didn’t know we needed, mixed with all the best parts of nu-metal. Rina Sawayama uses catchy pop hooks reminiscent of early Britney Spears, and pairs them with heavy guitar riffs to give us arguably the most fun album of 2020 that we cannot wait to experience live.” - K. C.

Tame Impala – The Slow Rush

Thundercat - It Is What It Is

“I love how this album embraces the darkness while managing to find the light in despair - it seems to acutely reflect the times we are in yet is simultaneously so personal to Bruner. The lyrics are set against a backdrop of funk, electronica, jazz, and soul, so there’s a little something for everybody.” - S. D.

Waxahatchee - Saint Cloud

“This album was released early in quarantine, and was the perfect musical escape during some of the toughest days. The imagery and reflection of the lyrics are why Saint Cloud tops my list of albums of 2020.” - J. F.

Honorable Mentions: The Beths – Jump Rope Gazers Fontaines DC - A Heros Dream Kevin Morby – Sundowner Jason Isbell & the 400 Unit – Reunions My Morning Jacket - The Waterfall II CHIKA - Industry Games Megan Thee Stallion - Suga Christian Lee Hutson- Beginners Idles- Ultra Mono Sturgill Simpson - Cuttin Grass Pup - This Place Sucks Ass Futurebirds- Teamwork Adrianne Lenker – Songs / Instrumentals Tom Misch, Yussef Dayes - What Kinda Music + the bonus tracks EP Some Kind Of Peace – Olafur Arnalds Tyler Bryant and the Shakedown - Pressure Josh Ritter - See Here, I Have Built You a Mansion Sahara Moon - Worthy Local H - Lifers Deep Purple - Whoosh! Indigo Girls Look Long Taylor Swift - folklore Against All Logic – 2017-2019

TOP TEN LIVESTREAMS 2020 (in no particular order)

Christine & The Queens (Live on KEXP at Home)

https://www.youtube.com/watch?v=3bavZe47um4

“Live on KEXP at Home” was home to some of my favorite quarantine livestreams, and this one did anything but disappoint. Not only does Chris, aka Christine & The Queens, perform, but interviews are woven throughout the livestream. The drama of her performances, juxtaposed with her witty and humorous banter with the interviewer was such a breath of fresh air. If you’re a fan of Chris, this is a must watch.“ - S. D.

Courtney Barnett and Lucius & Friends: Live From Our Lounge Rooms with Sheryl Crow, 3/25/20

https://www.youtube.com/watch?v=xbfRbw3o1jU

“This was a gift that kept on giving. The stream started off with Courtney Barnett and Lucius in matching pajamas. I truly thought it could not get any better but I was in for a treat! The stream included performances by Nathaniel Rateliff, Sheryl Crow, Sharon Van Etten, Waxahatchee, Kevin Morby and more. I can safely say this was my favorite live stream I watched in 2020.” - L. S.

Julien Baker, Themfest Instagram Livestream, 4/16/20

https://www.youtube.com/watch?v=tINSbY4wRjs

“Recorded for Themfest during the early days of quarantine, Julien Baker’s in-home livestream was a welcome respite from the Cuomo briefings and general despair of mid April. Just kidding, Julien Baker is the queen of Sad Shit and I certainly didn’t tune into this livestream expecting a mood boost. But if you subscribe to the “sad songs make me feel better” aesthetic purveyed by our sweet little siren, this moody, intimate shot-on-iphone set will scratch that itch. But let’s not fool ourselves, nothing will ever replace the feeling of holding your breath along with 1,799 others at Brooklyn Steel while JB rips your heart out, in a nice way.” - E. M.

Kurt Vile, Love From Philly Livestream, 5/3/20 (covers John Prine’s “Sam Stone” near the end)  

https://www.youtube.com/watch?v=pjKG-7d5loY&feature=emb_logo - Jared

“Back in May, Kurt Vile took to his basement for a solo acoustic stream to benefit 30 Amp Circuit, a non-profit dedicated to support the health, wellness, and professional needs of Philadelphia-based musicians and artists. The intimate 3-song set rounded out with a special tribute to the late John Prine, as Kurt did his own rendition of “Sam Stone.”” - J. D.

Radiohead, In Rainbows - From The Basement, 6/4/20

https://www.youtube.com/watch?v=sWqDIZxO-nU

“This is the one die hard Radiohead fans have been waiting for. This session originally from 2008 existed in some pretty esoteric places and has been almost impossible to find – until now.” - G. A.

Sturgill Simpson, Live at The Ryman Auditorium, 6/5/20  

https://www.youtube.com/watch?v=kO73im4J2sU

“2020 was supposed to be a banner year for Sturgill, until he got COVID-19 in April. He’s ok now, but something about this performance in the sacred church of country music The Ryman, hits different.” - G. A.

Haim - Women in Music PT. III Live Show, 6/25/20

https://www.youtube.com/watch?v=V_eJU6X3_jQ

“I love pretty much everything the Haim sisters do - so much so that I aspire to be a sister myself. When I was feeling those very familiar mid-pandemic blues, their “Women in Music PT III” livestream, which celebrated their new album of the same name, was the exact pick me up that I needed. For the first time since March, the 30 minute set made me feel as if I was at an intimate gathering - rather than behind a computer watching a YouTube video along with thousands of others. The stream will have you grooving, laughing, and you may even want to be a Haim sister yourself.” - S. D.

Nilufer Yanya, Boiler Room: Streaming From Isolation with Night Dreamer & Worldwide FM, 6/28/20

https://www.youtube.com/watch?v=kAaAicIJE7s

“Hauntingly beautiful and yet also somehow grounded, Nilufer Yanya’s June livestream was a special one to watch. It makes the case for how intimate an artist’s performance can be, even virtually.” - G. A.

Brittany Howard, Live From Ryman Auditorium, 10/17/20

https://www.youtube.com/watch?v=zLH59WLQbZo

“Watching Brittany Howard and her incredible band rip through a set on the Ryman stage like no one and everyone was watching all at once was cathartic. The combination of such a singular artist and historic venue hit a similar nerve to seeing an artist you’re excited about play a show in the flesh with people you love – not an easy feat!” - M. L.

Tkay Maidza - Live on KEXP at Home, 11/3/20

https://www.youtube.com/watch?v=iPJgrDvyRbw

“13 minutes and 11 seconds of pure energy. This livestream is the moment we’ve all been waiting for, and, in my opinion, showcases Maidza as the star that she is. A must-watch if you’re looking for a refreshing and colorful approach to hip-hop.“ - S. D.

[thecheapsteaks]

I put down a bunch of thoughts about Kirby Right Back At Ya for you to read

Kirby of the Stars, or as it's known in America, Kirby: Right Back At Ya, is an odd little duck of a game tie in show.  It came to existence in 2001 in Japan and lasted for about two years for 100 episodes.  It began airing at a rather unusual time for Kirby as a series.  The games had appeared both on consoles and handhelds since their beginning in 1992, but Kirby was about to transfer to being primarily a console game.  Kirby's Air Ride for the N64 had been cancelled and would later be reborn as a unique racing game on the Gamecube, but for the time being all mainline platforming Kirby games would be on the GBA (and later DS) until Kirby's Return to Dreamland launched in 2011.  

During it's run in Japan the game would see the launch of a GBA remake of Kirby's Adventure called Nightmare in Dreamland in the US, as well as Kirby Air Ride.  The former was likely released as a tie-in for the anime, while the latter would receive tie-in episodes premiering near the show's finale in Japan. In America the game ran from 2002-2006 on the 4kids based Fox Box, and would run alongside the release of Kirby Canvas Curse, Squeak Squad, and Kirby Super Star Ultra as well, although due to the anime's production these would not be tied in.

Kirby would seem like a fun, albeit challenging character to adapt to a cartoon, as Kirby cannot talk and the masterminds behind the series would not want him to talk.  To make up for this Kirby, who finds himself fighting monsters in an area on Popstar called Cappy Town, would receive the anime-common peppy kid partners in Bart and Lisa Simpson... I mean Tiff and Tuff.  This was the common thing in kid's anime, seen in the Transformers shows that ran at the time as well as in Sonic X.

While Kirby games are famous for their escalation from normal adventures to fighting some sort of cosmic threat, the anime goes for a much more episodic approach that doesn't really ramp up the stakes until the last five episodes.  Nightmare Monster Enterprises, or NME, sells Monsters to King Dedede, who uses them to clobber Kirby until they are beaten by Kirby's unique power copying.  

NME mostly remains in the shadows until the last few episodes when their more direct assault on Cappy Town prompts Kirby and the game to go right to their futuristic headquarters.  Their leader, the Nightmare from Kirby's Adventure, which 4kids confusingly names NME, only appears sparingly through the show, with most of the hands on work done by the amusing NME Salesman.  The choice of Nightmare as the big bad shows just how much emphasis the show puts on Kirby's Adventure, given that the Nightmare is only in that game. Meanwhile, Dark Matter, a much more prominent evil in the Kirby games (who is tied with the villains and events in more recent Kirby games) appears as a minor enemy in the show's pilot.

Interestingly, Dedede shows how much of a basis the game places on the very early Kirby games.  Dedede, who began as a greedy king who would take his subjects' foods freely, would go on to become a rival and frequent Ally to Kirby.  Although he remains a bit greedy and lazy, he is nowhere near as antagonistic as his anime counterpart.  While Dedede and his snail Escargoon are the comic highlights of the show, admittedly there are some slightly off-putting jokes at the king's ignorance, such as his inability to read.

Meta Knight is one of the show's other main carryover from the games  In the games he would go from a mysterious antagonist to mysterious rival to mysterious ally.  In the game he is the mysterious star warrior who works under Dedede who helps to strengthen Kirby as a warrior for the upcoming fight against Nightmare.  He also exists to provide exposition, describe Kirby's ability, and has a cool little guitar lick that plays when he appears.

The main weakness of K:RBAY (wait is that almost an abbreviation for Kirby) is that it is absolutely a show for babbies.  Children's anime are not necessarily bad things, but this show does not come close to the interesting plots of shows such as it's predecessor Digimon, for example, or the long running Pretty Cure series, which would premier after.  It is, aside from the finale as well as a few multi-parters, an absurdly episodic show. New characters that appear either leave at the end of the episode, or if they do stick around, never show up again around Cappy Town.

And for a Kid's show, it tackles more “mature” themes rather oddly.  Ideas such as the environment, labor, and banks are brought up but then cast aside for later themes over the course of one episode, jumping around subplots like late era simpsons episodes.  Many times these plots are swept aside so Kirby can fight a monster, which often involves him absorbing a power in a very henshin-esque manner.  This weird dropping of plot hooks is definitely disappointing when the shows mentioned above have shown much better attempts (for better or worse) at handling interesting subjects in a kid friendly manner.

At the same time, I'm not advocating a more serial Kirby anime, or some sort of grimdark adaptation.  It's simply interesting to see how clumsy and odd this show is.  At the same time, this weirdness means that it is one of the 4kids dubs that works best, showing that when they are not tackling more serious themes (or erasing any weapons) that they can do some goofy comedy. I can only imagine how straight forward the original Japanese dialogue can be compared with some of the barbs flung at King Dedede, or his amazing malapropisms.  Honestly, the kind of escalation and battles done in the Kirby games may best be done in games.  Still, no matter who you are, you gotta admit that the 4kids theme song is a work of absolute art.

[kob131]

https://www.youtube.com/watch?v=yQhsvkEfg3w

*Busts through the wall*

Hello Muffin Man Dan. It's been some time since you’ve entered into my sights huh?

So you wanna try and fight now? Fine then, let’s see if you can even begin to challenge me then.

“This video is a huge video project I’ve been working on with multiple RWBYtubers helping out.”

So that means, by how you treat the CRWBY, you’re not allowed a single mistake or misstep.

Good to know Dan.

Chapter 1: Flaws of RWBY

So Dan, with a target this fucking huge and easy to hit, surely you can do have a percentage of at least 10% valid arguments nd not just throw a bunch of shit at the wall and pretend you did something great when one out of a hundred pieces sticks to the wall right?

… NOPE!

Dan doesn’t even make ONE valid argument. The man had a bullseye the size of Texas and somehow managed to miss it while also shooting himself in the head.

His first arguments consists of him saying ‘Well, you were supporting a small company and a fledgling show before so being positive about them then was okay!’ … You know, ignoring how RT was being supported by the creators of HALO, had made the internet sensation Red Vs. Blue for ten years to this point, Monty had made Haloid and Dead Fanatsy among other things ect. Everyone EXCEPT the writers (you know, the people you attack the most) had experience before this so by your own argument you’re wrong. Not to mention the fact that not only didn’t stop assholes from attacking the first  two Volumes but the first two Volumes are STILL what you need to get through in order to get to the latter more professional Volumes so it STILL affects the show long after Rt has grown.

This all ignoring the NUMEROUS fans who started the show after Monty died and had no nostalgia or bias for the man to sustain them unlike you and they all almost UNANIMOUSLY agree the later Volumes are better. And before you try to argue that I’m using the fallacy of ‘Argument Ad Populum”: A. ‘Good’ is inherently subjective so the audience defines what is good and what isn’t. And B. You USE the audience in your argument later so you can’t exactly claim that with my argument without also destroying a latter argument of your own.’

He also tries to peddle off FloofArtist as someone whose trust worthy. For those of you who don’t know, FloofArtist’s beef with the creataors started when he asked Miles for info on Dust and Aura over TWitter and never got an answer...even though he went to an RTX beforehand and asked the CRWBY a question to their faces. The question? ‘How did Qrow get Pyrrha’s armor?’

So he basically pulled that nerd scene from the Simpsons. And then decides to get pissy when he doesn’t get answer on a social media site when the guy is doing something else. I ask, does that sound like someone who is intellectually honest? Or does that sound like someone who tries to put people into dishonest situations and would logically lie his ass off? Yeah Dan is basically saying ‘Oh you don’t know why this politician is bad, go watch CNN/Fox News!’

He then tries to say that ‘ever since V3, the fandom has generally agreed the fight scenes were missing something’ so, you know, he’s using the fanbase here to prove his point even though the same fandom contradicts him everywhere else and he’s gonna smack talk said fandom later on. Also the fanbase generally agrees the fight scenes got back on track in Volume 6 so uh, your point fails.

I could go into his talk about chorography but all he does is talk about interpolating, the neo vs. yang fight, some cuts and just generally does nothing wrong arguing.

And that’s it. This whole segment was supposed to be all about the flaws of the show and he made TWO points. Two points that were deader on arrival than Michael Jackson. Congrats Dan, you completely glossed over so many other issues that naming them all and explaining myself would take me longer than this video in a chapter named ‘Flaws with RWBY’ in a video supposedly a third talking about RWBY the show. Couldn’t even do the bare minimum huh Dan? Fucking pathetic.

Chapter 2: Unprofessionalism

Oh boy, am I gonna have fun here...

So he begins this off by showing a tweet from Lindsay that you can barely read where he claims she’s smack talking people who don’t like the ‘forced diversity’ in RWBY, saying that they’re the people giving them money. You know, ignoring the fact that not all of these people contribute to the show by buying merch, the show is FREE so no, just watching it doesn’t mean you support the show financially, they’re actively trying to strangle money from the creators by lying about them and using them for their political bullshit, you’re USING the fanbase to make this point (the same one you are smack talking and dare gonna smack talk) and this is Lindsay’s PERSONAL Twitter.

Oh an, not like Dan will go on HIS twitter to bitch about every single person who criticizes him, acting far worse than anything he shows here or will show, actively attacks his own critics individually and as a group and shows FAR FAR worse cases of what he’s bitching about.

He then goes onto say that the creators all live in an echo chamber and they lash out before returning to safety. So you know, basically everyone single one of the RWBY critic’s Twitters. No seriously, go onto any video made by a RWBY critic and treat them with 1/1000th of thee contempt and harshness they treat the CRWBY. You’ll end up on Twitter with a snap. So once again, Dan can’t even BEGIN to live up to his standards.

He then plays the Miles clip where he lashes out against critics of the show which seems bad..until you remember that Dan alone has accused them of abusing Monty, using their dead friend as a weapon against them, repeatedly lied about them, riled up his fans into attacking Miles and so much more. And again, this is JUST Dan. And THEN remember that when Dan gets called a single name, he goes on twitter to whine about it, calls everyone else names and then makes videos mocking them so he STILL has no right to say this shit.

He then tries to claim that everyone tells them the same shit which means he’s once again using the fanbase he smack talks for his point even as it contradicts him as damn near everyone loved Volume 6 and many have even said it’s the best Volume of RWBY.

He then tries to deflect criticism against him because he KNOWS he’s setting himself up for a roasting by saying ‘well. I’m criticizing rich people with attitudes so it’s okay!’ … which doesn’t work when you realize that I have about $7 to my name and he gets YouTube money every month and yet I’m still not allowed to criticize him. Even ignoring how fallacious this argument as it somehow means he’s above criticism even as he’s FAR worse in the EXACT same ways: not only does this apply to his OWN critics (you know, the gusy he treats worse than RT has ever done) but Dan is being EVEN MORE divisive than how he sees RT being.

He also tries to make some talk about how them being popular means they deserve to be criticized because betterment of society and our culture and celelbrities and blah blah blah. So basically, “I can ignore your humanity because you’re popular and you don’t act as my slave.” Once again, I only have under 200 followers and at my peak on my old blog I barely had around 500 whereas Dan has 10k subscribers and the people on reddit who criticize him probably have even LESS than me and yet he acts EVEN WORSE so...why should anyone listen to you?

He also tries to leech off the Vic situation by criticizing them for firing Vic. Let’s ignore how this is pandering to the anti-SJW people mobbing around this and look at it like this: Vic is the voice of Broly and Edward Elrich. Meaning he’s far more famous than Rooster Teeth. Sso by Dan’s own logic, they’re ALLOWED to do this stuff since Vic is more famous and more of a celebrity than the entire company. Great job Dan. Also he tries using the fanbase again. We already went over why he lost that right. Oh and uh if you look at Dan’s Twitter feed: ‘https://twitter.com/Obiwanjezz/status/1106810239418945537‘ ‘https://twitter.com/maidmeta/status/1081040501745188864‘ Oh look at what Dan retweeted. Hm, seems pretty damn contradictory to what Dan seems to be projecting. Almost like he’s just pandering to people with an irrational hate of RT to get an echo chamber around him...

Then he goes on and on about a bunch of barely connect bullshit about lesbian fetishists supporting the show just because ‘lesbians’ (even though so many praise Volume 6 without mention Bumbleby) and how even the most venerated RWBYtubers are sick of the show (only citing the lair Floof from before), R/RWBY agreeing with him (with him citing a post that utterly denies him because ‘durr I upvoted it’ even though you can CHANGE YOUR VOTE.) You know, bunch of bullshit that isn’t worth talking about.)

The he tries smack talking the entire RWBY reddit for slander and such (when the worst he’s gotten is accusations of datamining which he’s shown to be talking about) while hes accused the CRWBY of basically grave robbing and disgracing their dead friends work. Again, look in the damn mirror Dan.

Then he makes this big compliation of people in the reddit being sensitive...

Which I can blow out of the water in ONE blow:

Dan has made and removed from his channel no less than THREE videos on me alone.

A comment takes about a  minute to type. A video takes HOURS. So uh...yeah, pretty sure Danny boy here takes the cake.

So then Dan proceeds to say that the fandom is responsible for the ending of Volume 6 (so the fandom is responsible for one of the most conclusive endings to a Volume we’ve ever gotten? Maybe this fandom is worth saving after all!) because they’re all horny and need to fuck. (gee, strawman much?) Even though he’s thrown massive shits for not getting the same treatment.

Chapter 4 (guess I missed the chapter 3 mark. Meh): Representation.

I’m just gonna summarize this entire last part for you guys:

Strawman about entire fanbase liking Volume 6 = gay pandering (ignoring people like Unicorn of War again...)

Talks about homophobes

Leech off Vic

RT is desperate.

Gives doctored screenshots of tweets cutting out any context.

Contradictions (criticizes people for using memes are arguments while using memes as arguments).

And that’s it.

To which I respond by:

You’re the same guy whose going back against everything he’s said on his twitter about politics PRECISELY when it benefits you while you contradict yourself numerous times, your video devolves into pointless rambling and you destroy your own arguments.

Sounds like you’re the desperate one here.

Gee I wonder why? is it because the fanbase liked the Volume even without Bumbleby and you figured out you couldn’t rely on them to support your egotism anymore? Certainly explains your contradictory political stances and how you suddenly start talking about Vic and Adam just as the topics can net you an echo chamber to hide in and protect your ego.

And really, that goes to show why you fail on a fundamental level Dan. You have no convictions, no standards, no morals, no integrity to give substance to your words. Everything you’ve said here either contradicts what you say before or after/applies to you on a much greater scale. And really, your community is no better. You are all willing to throw away what you supposedly fight for and what you stand for when it becomes inconvenient for you, preaching values of self reflection, humility and improvement through criticism...all while failing to embody those values or give any meaning to them beyond lip service. 

Nothing about you feels real or genuine Dan. NONE of you assholes feel real or genuine in what you say or do because you’ve been proven to contradict yourself and betray your values when you need something. And thus, everything you and your friends do and say just becomes ‘Do as I say because I think I’m always right.’ 

And guess what Dan? People, especially the artistically attuned, don’t resonate or accept that. The people who actually care about RWBY, who want to see an artistic vision flourish and grow, sense your insincerity and ego and instinctively reject you because you accept your words would be to accept your toxicity into themselves. And look now. The CRWBY have earned back the fandom’s love and trust while your toxicity consumes you and all but your ilk abandon you to pastuers greater than you.

And it makes sense why you seem to hate RWBY on a fundamental level now because the show challenges people to grow and evolve, to become better people, to live up to their ideals, to prove themselves right. And before, RWBY never put those messages to the test. But now that it has, you reject it because it indirectly calls you out and your ego can’t take it. You can give lip service to quality, to artistic integrity and to Monty all you want now but it’s become certain what you actually mean.

It’s pretty damn pathetic to see you break down little by little over these past few months as you desperately try to bend the world to your vision only to get smacked in the face. And to be truthful, I‘m kind of proud of the fact that I played a pretty big part in your degradation as you crumbled more and more from the pressure I and eventually reality pushed on you. All while I continued to grow and evolve. Wanna know why?

Because I stuck to my ideals and morals.

I think it’s time I finished this little battle or ours for the most part. You’re no longer worth fighting. Just like RWDE for the most part has lost all it’s strength now.

So with this I say adieu. Come join the adults when you’re ready to grow up Dan.

[lookbackmachine]

Disney Afternoon Part 2

The Disney Afternoon Pt 2

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https://itunes.apple.com/us/podcast/the-look-back-machine/id1257301677?mt=2

0:00:00 Speaker 1: The Disney Afternoon hit an unexpected hiccup a few years earlier that was finally starting to rear its ugly head. Eisner and Katzenberg would try to strong-arm their former boss Barry Diller, which would lead to unexpected new competition. In 1988, Eisner bought a television station in Los Angeles that eventually became KCAL. With his new station, he obviously wanted to air Disney product. There was a problem. They were already airing the Disney Afternoon on Fox affiliates, Barry Diller's network.

0:00:32 S1: According to DisneyWar, Eisner had Katzenberg call Diller. In Diller's recounting of the discussion, Katzenberg said, "We want to renegotiate the Disney Afternoon, and we're taking away the LA market." Diller was shocked. They had a contract. "That's not fair," he protested. "I know you bought an LA station, but give us two or three years to replace this. Let's be reasonable." Diller called Eisner, who refused. "We were there for you when you needed us," Diller reminded him, pointing out that he'd bought the original programming for Disney Afternoon. Eisner still refused. "Okay then, we're out of business," Diller said. Fox promptly dropped the Disney Afternoon from all of its wholly owned stations and encouraged its affiliates to do the same. Still, that wasn't what put Diller over the edge. Even though he felt Eisner had betrayed him, it was when Disney sued Fox on antitrust grounds claiming Fox was trying to monopolize children's programming and then complained to the FCC that Fox was a morally unfit broadcaster with programming like the Simpsons.

0:01:35 S1: When Disney lawyers approached Diller about a possible settlement, Diller said the only settlement he'd consider was an apology. Disney ended up dropping the suit in 1992, but Diller told David Geffen, "I'm never going to speak to him, Eisner, again." Fox would launch its own kids programming in 1990, which would eventually cut into Disney's ratings with the cultural phenomenon Power Rangers, not to mention Batman, the animated series, and Animaniacs. Power Rangers was a show that no one wanted. It was turned down by everyone, and then became the show everyone wanted and wanted to replicate. Premiering in August of 1993, by December it was the biggest kid show by far. According to the Baltimore Sun, it was averaging a 12.5 on weekends with kids two to 11. Fox's X-Men was doing a 10.0. And it was first on weekdays. It was doing a 7.5 rating. Second was Fox's Animaniacs with a 5.6, and the highest rated non-Fox show on weekdays was Bonkers with a 4.5. Also in 1994, Power Ranger toy sales would reach nearly a billion dollars. At their highest height, Ninja Turtles had done only $450 million in sales.

0:02:50 S1: The butterfly effect was now spreading its wings, and the Disney Afternoon would take a hit, as did the future of syndication as networks realized they should be promoting their own IPs instead of other companies. It would even happen to Fox when Warner Brothers would take its popular hits, Batman and Animaniacs, and put it on their own WB network. And it wasn't just network competitors anymore, cable had entered the market as well. Nickelodeon had popped into the world of animation and their first three cartoons, Ren and Stimpy, Doug, and Rugrats had all been big successes. The syndication window was closing in the not too distant future, but for now Disney Television Animation was about to change with the times.

[music]

0:03:43 S1: Greg Weisman, creator Gargoyles.

0:03:46 Greg Weisman: The pitch for Aladdin, that I pitched to Eisner, it was just one poster shot of Aladdin and the Genie and three words, "Aladdin the series". He's like, "Sold." That was it. And I knew that. In other words, going in, it was like I could have given this whole pitch on Aladdin, but I thought anything I say would only give him a reason to say no. Aladdin's this huge movie. Let him imagine what the show is.

0:04:11 S1: Tad Stones, creator of Darkwing Duck.

0:04:14 Tad Stones: At the end of Darkwing, I said, "Okay, now Darkwing worked much closer." I think I can get even closer with my next show, which was going to be a science fiction show. Again, a comedy. The staff loved it, but the boss did not. I never got to pitch it to Michael and Jeffrey. You know, had a meeting, I said, "Oh, I'm gonna get a chance to do it." And it was like, "No." They wanted me to do Aladdin. Now, Aladdin was done by Ron Clements, John Musker. I said, "I used to room with... In the same office as Ron Clements." I mean I was literally four feet away from him. "Let me talk to those guys." With Aladdin there was the other thing that I did the first direct to home video, Return of Jafar. And all I was trying to do was keep our budgets up. And I thought, if there's one more source of revenue that comes in from our shows, this would be the excuse to not cut budgets or give us the money we need to pull off some of this stuff. I called up Home Video and said, "Technically, when I do this four part episode pilot to set up the show, technically it's the sequel to Aladdin. Are you interested?" And the guy took it to the higher ups and they were not.

0:05:25 TS: Then they put out Aladdin on video. Again, it broke records. They made a huge amount of money, and I called the guy back and again restated what I was doing. And this time he took it to the top and they were very interested. And we had a story meeting with my boss where he gave all sorts of notes. And I said, "Well, we got... That's a lot to pull off. We have to do that by March 14th or whatever the date was." He said, "Why?" I said, "Well, Home Video was willing to put this out on literally video at that time." And he said, "That's gravy. Do these notes and if you get them done in time, that's fine." And I had to be told this later by people who were in the room 'cause I had forgotten that I had said, "Okay we have to take those notes, but it also has to be done by this date so I can get it to Home Video."

0:06:11 TS: We did. And Return of Jafar was made for $3.5 million and it made something between $180 and $200 million domestic out on video. This may be apocryphal, but I was told that it was the first quarter where the company wouldn't have grown. Well, I don't know what, ten percent or whatever the number was, and I guess a bunch of executives had bonuses tied into profit growth. Evidently that was the first quarter that there wouldn't be bonuses, and then suddenly everybody got a bonus, and it was because of Return of Jafar, that out of nowhere this thing came in and making all this money. And that started the whole direct to video thing.

0:06:53 TS: All I was trying to do was to keep our budgets up. The stories involving the bonuses, they tried to do things like Lucas had with Star Wars had given everybody involved points or some sort of bonus, so they had X amount of money and they divided it up so everybody got something. And what that led to is whoever was last in line, some of the lower level people, got a bonus, a check of $50 or $100, whatever. People who basically were in the department who didn't work on the show, and all that did was piss them off 'cause they knew how much the movie had made. I got $14,000 and I told that to Ron and John. Now I was not an idiot. I knew that the only reason why the movie made that much money is because they had done an incredible Aladdin, and I remember telling that to them and their reaction was, "You got ripped off." And I realized, yeah, in live action terms, if you do a crappy spinoff of something that made a lot of money and your crappy spinoff makes a ton of money, you get a five picture deal and a new car in your driveway as a present from the studio. In animation, I was happy to get the bonus. But get a pat on the back and then you move on, do something else for us.

0:08:09 S1: Jymn Magon, writer.

0:08:11 Jymn Magon: Disney's had a definite style there for a while, of... I think we cornered the market in the comedy adventure genre. When Disney execs felt like they needed to branch out, I felt like the formula fell by the wayside. And it's like, "Hey, look what John Kricfalusi is doing on Ren and Stimpy. Let's do something like that. Hey, look what Warner Brothers is doing with superheroes. Let's do something like that." And I felt like, "Oh, this is interesting." Obviously, we're branching out, trying new things. But it felt weird to me that where we had before had been sort of chopping our way through the jungle, creating our own path. Now we were sort of following other people's paths, copying them. And that always seemed odd to me. But anyway, department does what the department does over the years, and the changes, and the new policy, and it gets worse or it gets better. And is it Disney? Yes, because it's Disney TV Animation. They're Disney and this is the show they're doing. It becomes part of the canon, you know.

0:09:15 S1: In 1994, Variety reported that Disney was spending $50 million to boost its afternoon, which resulted in two new series, Shnookums and Meat, and Gargoyles. Gargoyles, Aladdin, and Shnookums helped cut into the lead of Fox, but there was a larger problem that television animation was about to encounter. Disney's syndication contract with networks ran only through 1997, meaning that other networks could produce their own shows and make more money. This would leave Disney Animation without a home because Disney didn't own a network. In fact, earlier in the year, they had tried to buy NBC but failed. Total viewership was also in decline during this period, which had to do with VCRs, computers, and video games offering alternatives to television. And to add to the uncertainty of 1994, Jeffrey Katzenberg left the company and he left because he was fired by Michael Eisner.

0:10:12 S1: In a walk in Aspen together, according to Katzenberg, Eisner promised him that if anything happened to Frank Wells, Katzenberg would take over Wells's role as president. Eisner would later say that Katzenberg misunderstood this conversation. Unfortunately, something did happen to Wells. He was killed in a tragic helicopter crash on April 3, 1994. But business stops for no man, and Eisner went back on his word and did not put Katzenberg in Wells's position as president, nor did he name him as his successor. To make matters worse, in a white glove slap to the face to Katzenberg, Eisner took on the role of president himself. This led to a further deterioration of their relationship and Eisner gave Katzenberg his walking papers. Eventually Eisner also refused Katzenberg part of his contract, which stated Katzenberg would get two percent of all profits from any of the projects he had worked on at Disney.

0:11:08 S1: So, like all great Hollywood love stories, they went to court. At one point it came out that Eisner had said he hated that midget, referring to Katzenberg. The case could have been settled for $90 million at one point, but instead it was eventually settled for $280 million in Katzenberg's favor. And then to further complicate matters, Katzenberg went on to form DreamWorks with Spielberg and David Geffen. In the midst of all that, Shnookums and Meat, a funny cartoon show, was being made. Bill Kopp, animator.

0:11:40 Bill Kopp: And then I got a call from Disney Television, which I had never heard of. I didn't even know they had it. And Gary Krisel and Bruce Cranston made me an offer. They said, "Hey, we need some new funny stuff and we really think your eat show is funny, and can you come and do a funny show?" And I was like, "Well, like what?" And they were like, "Whatever you want." Seriously. I didn't have to pitch anything. They were just like, "Just come over and we'll do whatever comes out of your head." It was incredible. So I had a sketchbook full of stuff, and I just came in. And they said, "Well, how about a cat and a dog?" I said, "Okay." We started with that, and that must have been 1992 or 1993, something like that. I forget. Pitching at Disney now. I'm not saying [0:12:22] ____. I mean, it's legendarily hard. It's like running a gauntlet. There's all these people in these giant buildings and you just got to carve your way through. And then once you do get into development, you're gonna be there for a year or two just trying to get it through. My experience was, we had lunch and the next week I was there with a contract.

0:12:40 BK: There was no feeling of pressure or ever like, "Oh my God, the wheels are coming off." It never was like that. And we had a saying that Disney [0:12:49] ____. It's like, "Well, if something's... If something crashes, well, I'll just throw money at it." You know. Nobody bothered us. When they said, "You can do whatever you want," they never brought it up. I remember sitting in the editor room with Gary Krisel, who was a great guy, and he'd look at some of the rough animation coming back. He'd look at me and he'd go, "Is that funny?" And we're like, "Yeah, that's funny." He just trusted us, and it was awesome. Now, Jeffie came over one day, as he frequently did, while we were kicking it around. And I said, "The cat's kind of abrasive. So let's give him the opposite kind of name," you know, Shnookum, 'cause he was kind of a dick. And then we were just like, "What the fuck are we gonna call this dog?" We had no clue. Just nothing. And Jeffie came up with the name, and I think we were actually barbecuing something, which we also frequently did. And I think he just said, "Meat." And we had the design already. And I said, "Fuck, that's it."

0:13:40 BK: Shnookums and Meat. A little confusion came when they made the SpaghettiOs though. I had a can of them around here, they finally just deteriorated. I had to get rid of it, it was gonna explode. And it said, "Shnookums and Meat." It was like SpaghettiOs. The lawyers were like, "No, no, no, man. You gotta say that it's not meat. It's not a meat product."

0:13:58 Shnookums: Hey, what happened to your head?

0:14:00 Meat: Hey, what happened to your head?

[music]

0:14:07 Shnookums: Oh my gosh, my brain's gone.

0:14:10 Meat: Oh no, mine is to. What we gonna do Shnookums, what we gonna do? We don't have any brains.

0:14:21 Shnookums: Now, let's stay calm. I don't think you have too much to worry about, but I know I do. They couldn't have gone far.

0:14:27 BK: Right after the first two shorts went on to [0:14:29] ____ said, "Okay, let's make it a whole half hour. What else do you got?" And I just pulled out the Pith Possum, and the Tex Tinstar bit was gonna be a space serial called Guy Guy and the Space Vigilantes. We were all set to go, and then I got a call from John Kricfalusi, and I had Fontanelli there, you know, all of Kricfalusi's guys, [0:14:47] ____ was there. A couple... Eddie Fitzgerald. And John called me. He goes, "Hey man, I heard you're expanding your show, but can you maybe not do a space thing?" Actually, it was like getting a call from the Godfather. He was like, "Yeah, don't do a space thing." And I was like, I go, "Why?" And he goes, "Well, 'cause I'm working on one. I've been working on it for a while." Actually, Fontanelli brought that up to me too. So I just turned it into a western, which was easy because I was happy to accommodate. But I guess he never sold his space thing.

[music]

0:15:14 Speaker 8: Pith Possum. At one time an ordinary laboratory possum. He was changed forever by an experiment gone wrong, an experiment that endowed him with ultra possum-like abilities, turning him into Pith Possum, super dynamic possum of tomorrow. Maintaining his secret identity by cleverly disguising himself as Peter Possum, copy boy for a great metropolitan tabloid. He defends truth, justice, and the forest critter way for the good citizens of Possum City.

[music]

0:15:56 Speaker 9: Let me just grab what I have in store for you. The rope that holds you up Tinstar, will soon be burned through by that candle. When you fall, you'll land head first on this trampoline, which will send you flying into the pen full of rabid badgers. As you go down the ramp inside the pen, this torch will be knocked over, igniting the trail of gunpowder burning toward that cannon. Your barrel will roll toward that cannon and your head will become stuck. The gunpowder will burn the cannon's fuse and the cannon will fire. The blast will ignite the waterproof fuses on the dynamite surrounding your head. The cannon will shoot you through the roof of the barn, and then down into this giant tank full of man-eating sharks. The sharks will eat you. Then the dynamite will explode. The whole mess will be blown skyward and your remains will fall into this envelope, which I will place on a boat bound for Tunisia. So long, Tinstar.

0:16:48 BK: Anyway, and that was Shnookums and Meat, but again, that was so busy and I was the only writer. I wrote all 39 of those because I didn't know any better. After the show was on the air and we were done, Jeffie and I sat around. I went to Hawaii for six weeks to recuperate. I came back and they were just like, "Well, we don't know about the second season." And I mean, Shnookums and Meat was not... It was amazing that they let us do it 'cause it's not Disney, really. Well, it's not out of line, but it's weird. So we were just sitting there waiting to get the word, and I mean the writing was on the wall. I was like, "Yeah okay, there goes that. What are we gonna do next?" And I was there still getting paid. I developed other stuff. Jeffie and I were like, "This is gonna crack, man. What are we gonna fucking do now?"

0:17:34 BK: We didn't have a plan. And then, what happened was they said, "Oh, sorry boys. You're through." And we were like, "Ah fuck, okay well, at least we got that out." I mean that was three in one, dude. You got Pith and Tex, and Shnookum and Meat was actually our weakest link in the thing. And that was the only part that was foisted on us. But right after they canceled it, that was when Gary Krisel and Bruce Cranston left to go to Dreamworks, and we were like, "Ah." And it was like a sad goodbye and stuff.

0:18:06 BK: A new executive moved in, and we just weren't part of their plan. Because... And rightfully... They didn't know what to do with us. We were like a weird thing that, they were like, "Huh? Now what with these guys?" But we had a good time. I think we sort of knew in the back of our heads, it was like, "Wow, this will never last here." It isn't Disney material. The real story of that time was they were trying to keep up with Margaret and Fox Kids, and they were right to try crazy things. To their credit, they really, they stuck right by it. And then they... And Gary and Bruce did the same for us at DreamWorks when we went to do Toonsylvania.

0:18:42 S1: Greg Weisman, creator Gargoyles.

0:18:44 GW: We had the Disney Afternoon, which we viewed as sort of like the dragon that you had to feed a virgin to every six months. So every six months, we'd go up in front of Michael Eisner. In those days, Michael personally chose the shows. And we would pitch him six or seven shows. And he knew he always had to pick one to put into production. He could pick more than one, but he had to always pick at least one.

0:19:10 S1: Jymn Magon.

0:19:11 JM: Yeah, what we would do is every week, we would have this writer's meeting that I think it was Wednesday mornings, and it was like any new writers out there, any new talent, any new ideas, it was always looking for what are we gonna pitch? What's the next big thing? And of course, like everything in Hollywood, it was basically, what was the most recent hit film? With Star Wars, Indiana Jones, whatever. But people would come in and they'd pitch all kinds of things. And the things that were noteworthy would get... I'm not sure we did artwork on all of it, but at least we had a list of shows that we would take to the meetings with Eisner and Katzenberg and say, "Okay, this is called Wonder Weenie. It's about a guy in a hot dog suit that gets kidnapped and taken to another planet, where they think he's a hero 'cause of his television commercials." And it was like, Gong. [chuckle] "No, next." And we would just do that. We would come up with these sort of one, two sentence pitches and they would go, "Nah, or yeah."

0:20:13 S1: Greg Weisman.

0:20:14 GW: We were all sort of keeping an eye on Batman, and sort of seeing was this going to be a success or not? It was a serious drama on cartoon, and would that work? Because the conventional wisdom is it always has to be comedy, and often it's a pendulum and that conventional wisdom swings back into the forefront all the time. But Batman was working, it was working so well they tried it in prime time, and then it didn't work in prime time. And so the desire for us to do something along those lines sort of waxed and waned, often with Batman's ratings. And we didn't have superheroes in our camp so to speak, so we didn't wanna do Batman, we didn't wanna copy that, but we wanted to try and do something different. But that's not how Gargoyles came about at all. Those are almost two separate discussions that dovetailed later.

0:21:08 GW: Gargoyles was initially developed as a comedy adventure, very much inspired by and along the lines of Gummi Bears, Disney's Adventures of the Gummi Bears, which was a show we were really proud of, created by a guy named Jymn Magon. We thought was great. It had this very rich backstory and we thought it didn't get enough respect, and we thought that the main reason for that was because there was brand confusion with Care Bears. Care Bears was a sort of sacchariney sweet, kinda awful show, from my point of anyway. But the brand confusion was understandable because both shows featured cute, cuddly, multi-colored bears. Gummi Bears wasn't that. It was an adventure show. It was funny. It was exciting. It had a great comedic villain in Duke Igthorn and great sidekick in [0:21:54] ____, and great characters, and just a lot of fun. So we set out very consciously to create a show in that vein with the same sort of rich backstory, but that would get more respect. So everything in the 90s, the sort of buzz word was everything had to be edgy. Instead of doing cute, cuddly, multi-colored bears, we did cute, cuddly, multi-colored gargoyles. Gargoyles having been something that fascinated me since I was in high school.

0:22:23 GW: And we thought that's edgier. And instead of setting it in medieval times, we'd have this rich medieval backstory, but we'd set it in the present. We'd have gargoyles have a spell cast on them and they'd wake up in the 20th century, and that seemed edgier too. And so we thought, we can do this kind of show and have this fun comedy adventure with Gargoyles. So we put together a pitch, and we pitched it to Michael Eisner, and he passed. But we really liked the show and my bosses, Bruce and Gary, both really liked it. And they were like, "Well, take another pass at it." So I showed it to a number of people, just the original comedy pitch, to try and get some feedback and see what else I might do with it. One of the people I showed it to was Tad Stones.

0:23:06 TS: Gargoyles had a long history of things that are in a direct line that ended up with Gargoyles. And some of them didn't involve Gargoyles at all. They were gremlins, or whatever. The last thing I'd been playing with I think was a Three Musketeers version of these gargoyles. I had just seen the rough cut of Beauty and the Beast. So again, I'm instrumental. I'm not a genius, at least not in that meeting. Greg had asked me in just to talk about things and be in the discussion with his assistants basically. Again, he was an executive. And I said, "What if he was the last of the gargoyles? This could be your Beauty and the Beast 'cause you've already got the female there." He is one of the fastest thinkers I've ever seen. While he's watching a movie, he is analyzing, dissecting it. And walking out of a movie he'll have all sorts of comments, where I'm going, "Well, I thought the colors were nice." Anyway, he was on to something, he kind of said to his assistant, "Okay, you follow up on the Three Musketeers angle. I wanna work on this."

0:24:07 GW: And that really clicked for me. And so I created the character of Goliath with the artist Greg Guler, and we took the whole show, the whole comedy development and put it through the prism of Goliath and came out the other side fundamentally with the show that made it on the air. And we were so enthusiastic about it, we came up with all these concepts for villains and adventures and stories and put together this huge long pitch and pitched it to Eisner six months after we'd pitched it the first time. And he passed, killed it. And so I thought it was done. We tried. It wasn't the first time I'd pitched a show and it had gotten killed. And the next day we had what we called a postmortem meeting. In those days, Jeffrey Katzenberg was... And Michael ran the whole company, but Jeffrey Katzenberg was head of the studio. And so Jeffrey had been in the meeting with Gary and Bruce and I, and we were having this postmortem meeting where we were discussing actually the shows that Michael had said yes to and what the next steps would be. And so after having this discussion about the yes shows, we all got up to go. And as I'm about to go, Jeffrey said to me, "Oh, and you're gonna work on Gargoyles some more, right?"

0:25:20 GW: And Bruce and I sort of looked at each other, and I was like, "Well no, Michael killed it. He killed it as a comedy. He killed it as a drama. I don't know what else we'd do with it." And Jeffrey said, "Oh, Michael didn't kill it, he just thought it needed more work." Now I had been there the day before, and I knew that he had killed it. But what this was telling me was that Michael may not have liked it, but Jeffrey liked it. And in those days Jeffrey wasn't gonna contradict what Michael had said, but he still felt it was worth pursuing. I also found out later that Gary had talked to Jeffrey about the need to diversify the Disney Afternoon from the standpoint of all we had in those days were very similar, funny animal comedy adventure cartoons, and that if we just kept doing that over and over again, eventually the audience would get bored with those kind of cartoons. No matter how good they were, they'd just get bored with them. And we had to bring other types of things in, which led to shows like Goof Troop, which was really more sitcom than comedy adventure. Shows like Shnookums and Meat, which was more sort of Tex Avery short cartoons, and Gargoyles.

0:26:36 GW: And so we went back to the drawing board for a third time to try and figure out how we were gonna pitch Gargoyles for a third time. And we looked at the show that we had, and we thought, "Nope, this is the show. We don't wanna change the show at all." So the problem isn't the show, the problem is the pitch. And what you realize is that we had just put way too much into the pitch. It had diffused it all and gotten confusing and we hadn't been crisp and clear. So we just pulled things out, things that we eventually did use in the show, but we pulled all these elements out and really narrowed it down to the key idea, which frankly, was the Beauty and the Beast idea.

0:27:16 GW: It was this relationship between Goliath, the lead gargoyle, and Elisa, the cop, who befriends him in the 20th century after he wakes up. And we very much played it like Beauty and the Beast, which actually was a movie that had done very well for Disney recently. So six months later, we pitched it to Michael a third time, and this time they bought it. We had added nothing to this pitch, we just subtracted. I'd reordered a few things. We may have redrawn a card or two just to clarify an idea, but there was nothing new, it was just shorter. Jeffrey turned to me and said, "You added a lot to that pitch didn't you?" And I said, "Yes, I did." And that was history. We went on and made the show.

0:28:03 Speaker 10: One thousand years ago superstition in the sword ruled. It was a time of darkness, it was a world of fear, it was the age of Gargoyles. Stone by day, warriors by night. We were betrayed by the humans we had sworn to protect, frozen in stone by a magic spell for a thousand years. Now, here in Manhattan, the spell is broken and we live again. We are defenders of the night. We are Gargoyles!

0:29:01 GW: And so, yes, relative to Goof Troop it's dark, but I don't think of it as dark. There's tons of humor in that show. The color palette is rich, full of blues and purples and magentas and neon. It's not a dark show either visually or thematically. It's fundamentally a show about a guy, Goliath, who's an optimist, who believes that the world can be a better place, that bad things happen but they can be fixed, that the next generation can do better or that we can make it better. And so it's got a fundamentally optimistic tone to it. In terms of supervision, the advantage there was that I'd been the executive at Disney for five years when we went into production. I often compare it to a lunatic asylum, TV animation, in that there are inmates and then there are trustees, and the trustees are actually also inmates, but they're considered by management to be less crazy.

0:30:07 GW: So they give the trustee a stick, a baton to keep the other lunatics in line. And so that's how I sort of see my role on Gargoyles. I was the lunatic most trusted. So because of what was going on, both in the larger company and at TV Animation, there were a lot of shows in crisis for various reasons. And because of that and because I was in charge of Gargoyles, which I produced with Frank Paur, we were both producers, but from an executive standpoint it was still me. I was the lunatic most trusted at Disney TV Animation, so they kinda left us alone. And I remember at one point, Frank and I had lunch with Gary during season two and Gary said, "I wanna apologize to you guys. I have not been paying attention to Gargoyles at all. We've had other things going on. How is it going? What's going on? How's it going on the show?"

0:30:54 GW: And we said, "Well, it's going pretty good. Schedule's tough, but we're managing and we're happy with how things are turning out." He's like, "Great. What kind of stories are you doing?" So we started telling him about that and at one point we told him about Xanatos and Fox getting married and having a baby. And he goes, "Whoa, whoa. I wouldn't do that. You can't have the bad guy have a baby. You can't have the bad guy raising a kid. You gonna take the kid away from him? That'll be bad. And if you don't take the kid away from him then you got a villain raising a kid. Don't do that one."

0:31:23 GW: And we were like looking at each other and then I say to him, "Well, we already did it." So there was this long pause. And Frank and I are both sort of like what's gonna happen here? Is he gonna still reject it and force us to sort of tear the whole show apart and start over? And you could sort of tell he's thinking the same thing, like he doesn't like this idea at all. But on the other hand, this was the one show that was going smoothly, and if he rips it all apart, then he's gotta get another show in crisis. So after this long pause, he says to us, "Well, don't dwell on it." I said, "Okay, we won't dwell on it." Whatever the hell that meant, but so we didn't. I mean we didn't do it, we didn't change anything, but that was the kind of thing, we had very little supervision because of where I had come from. We pretty much made the show that Frank and I wanted to make and had almost no interference whatsoever.

0:32:25 GW: Gargoyles was sort of superheroes done without flagging that they're superheroes. No tights, no capes. For all intents and purposes that was the genre we were doing. A year or so later, I was in a meeting with Eisner where he announced his desire to buy Marvel, and I watched his corporate strategic guys talk him out of it and say, "Marvel's a disaster. They've got their rights sold all over the place. So you'd buy the company and then find out you can't make a movie about Spiderman because they've tripled sold the rights to three different companies. And Fantastic Four is being held by this company. And blah, blah, blah, blah."

0:33:05 GW: Now of course, years later Bob Iger just bought it anyway, and yeah, couldn't do X-Men, couldn't do Fantastic Four, couldn't do Spiderman, at least not at first, bought it anyway. Of course, it's been a huge success for Disney. But Eisner was talked out of it that day. So he turned to us, to Gary and Bruce and myself and says, "Can we use Gargoyles to start a Disney superhero universe?" And I said, "Yeah." And we began developing spinoffs, which we would do backdoor pilots for during season two of the show. But by the time those things got on the air, Jeffrey had left the company. Rich Frank had left the company. Frank Wells had died. Bruce had left the company. All the main supporters of Gargoyles had gone, and so that notion of using Gargoyles to launch Disney's own superhero universe sort of fell away.

0:34:01 GW: But for, I don't know, three or four months, it was like this is what we've got to do 'cause we can't buy Marvel, and Warner Brothers has DC. And on one level, and I don't think we even appreciated it at the time, but the great thing about Michael himself picking the shows was that everyone in every division got on board or got out of the way. In the years that followed, when Michael stopped picking the shows personally, those decisions began being made by committee. You found you had to get literally unanimous vote in order to sell a show. You needed not just one important person to say yes, or two or three, but literally you needed something like eight or nine people to say yes. And if even one said no, the others would jump off the show. And it became much harder to sell. So Michael was sort of the last of the moguls from my point of view, and we didn't appreciate it at the time 'cause there were so many shows he passed on that we thought were great, but what we didn't get was yeah, that may have been so but the shows he picked we got to just make. And that hasn't been the same in most places since then.

0:35:12 GW: I think what happened was, is that over time, there was this sort of sense within the corporation that Michael was micromanaging, not from us per se. I don't think it had anything to do with TV Animation, but just in general. And there was this sense that he had to start giving some things up. One of the things he gave up was choosing the animated series, but he didn't invest that power in another individual. Again, sort of became a decision by committee, a committee where any one person could derail something.

0:35:40 Speaker 11: Five-eights today to close at 42 and five-eights, one day after the company announced the resignation of Disney studio's chief Jeffrey Katzenberg. While rumors run rampant about where Katzenberg will end up, Disney chairman Michael Eisner said today, the company will likely produce fewer films.

0:35:57 GW: Jeffrey left. Rich Frank left. A lot of this was in the wake of Frank Wells's death, which was a tragedy in it's own right, but also destabilized the company. Roy Disney was not happy with Jeffrey. Ultimately, not happy with Michael either. So ultimately, both departed and Gary had at least a couple job offers that I know about, maybe more. I think Jeffrey wanted him at DreamWorks and had an offer out to him, and then when Bruce Cranston left to go to Dreamworks, Gary decided that DreamWorks would be a good place to sort of work with Bruce again and reform that team. So Gary also picked DreamWorks. So you had Jeffrey, Gary, and Bruce all at DreamWorks. Those were the three guys who I'd worked with. So at Disney, everyone sort of assumed that I'd be going to DreamWorks.

0:36:50 GW: When my deal was up at the end of the second season of Gargoyles, that I'd leave and go to DreamWorks. And I didn't actually want to. I wanted to stay and do a third season of Gargoyles. But it became this self-fulfilling prophesy. They were so sure I was gonna go to DreamWorks that they stopped inviting me to meetings, 'cause they thought of me as I was already spying for DreamWorks or something. It was kind of ridiculous. But they didn't make a job offer to me until a week before I was leaving, at which point, I did end up going to DreamWorks because I didn't have any other job offers. A week out they finally made an offer to me too late. So I went. And they really kind of made it clear that I wasn't welcome there anymore.

0:37:36 GW: In November of 1995, I wanna say, they came to me, and said they wanted me to do the third season of Gargoyles but they were offering me a demotion from producer to story editor. They said the show was going to be animated at Deak, but Deak had a very bad track record in those days in terms of the look of the thing, and that it would be pre-produced there as well. And they gave me a schedule in November of 1995, where the first script was due in October of 1995. And I looked at the schedule. I said, "Well, do you have a time machine? Because I don't know how I'm supposed to go back and deliver a script in October when it's already November and we haven't started." And they're like, "Well, we know that schedule's gotta be adjusted, but we wanted you to see where it had to end so you'd have to catch up. Not instantaneously, but by the end of the season you'd have to catch up." And so it felt to me like they were asking me to preside over the demise of the show. That they were reducing the budget, reducing the quality of the animation, reducing the quality of all the preproduction, giving us an impossible schedule, and then asking me on top of all that, to take it to motion.

0:38:57 GW: And we didn't even talk about money. That... We didn't even get to that. I just said, "Look, I need the weekend to think about this." And they said, "Great. Take the weekend." And then I came in Monday and they had hired my replacement already. And I said, "What the hell?" And they said, "Oh well, you can still say yes. You're a... We just figured we needed someone in case you said no." Which basically said they were trying to get me to say no. They were trying to make the deal so horrible that I'd say no. So I just said, "Fine, I'll walk away." And so I winded up going to DreamWorks, and they all sort of patted themselves on the back and said, "See, we knew he was gonna go to DreamWorks." But of course they're the reason I went to DreamWorks 'cause they basically kicked me out. Not literally, but basically.

0:39:44 GW: I ended up writing the first episode for them, which they gave to other people to add it into whatever. So the version that got on TV was, I thought, a mess, but still better than the other 12, which were done by good people, but good people who didn't know the show and didn't have time to familiarize themselves with the show. And so those last, that last season of Gargoyles, the fans and I just don't even count it as canon to the series. And we look at the comic book series that I did years later as the sort of true third season. I watched the third season. I watched every episode exactly once. That's not quite true, I watched the one that I wrote more than once, not a lot, but the other 12 I watched exactly once each and made myself do it. I don't know why, but I did. It was very painful for me on a lot of levels, not just again, not just because I didn't think they were very good, which I didn't, even though I know a lot of good people worked on them, but characters were just behaving out of character. And the stories just weren't up to our standards. And it was just a different show.

0:40:57 S1: The original Mighty Ducks movie was made because Eisner's kids liked hockey. So it got a green light. And based on the success of the movie, which the company termed market research, Eisner bought an expansion NHL team and promptly named them the Mighty Ducks. And with that purchase came an addition to the television line up. The Mighty Ducks, the Animated Series, premiered in September 1996, and Joe Barruso, and animation veteran, served as a director and supervising producer.

0:41:27 Joe Barruso: The reason I was able get a job at Disney, and went from Deak to Disney I think had more to do with the fact that the show that I had directed and produced, Where on Earth is Carmen Sandiego, had won an Emmy in '95 as the best children's animated program. And it was one of the first shows that they called edutainment because it had this emphasis on providing real information, whether it was historical or science, in combination with an entertaining story. It was a detective-type story where a couple of younger kids were pursuing Carmen Sandiego. It was based on a computer game that was very popular at that time. They were looking for someone specifically for Mighty Ducks at the time. They needed a producer and director. And so yeah, I went and interviewed specifically for that project.

0:42:20 JB: In the initial meetings they showed me what they had done to that point and it wasn't a lot. It's funny, thinking back on it, it had started because Friends was very popular at that time, hugely successful at that time, so they wanted something like Friends. I remember them pitching it to me that way, and I thought, "Oh well, that's interesting." In the development that I'd seen to that point, when it was the Friend's concept, it was like we had in the show ultimately, it was human characters with duck heads, so it was sort of breaking with Disney tradition in terms of DuckTales and things that were clearly Donald Duck type characters. This was a new twist on the ducks for them. And that wasn't tremendously interesting to me, but then I can't recall at what point it shifted and became more sci-fi based, you know heroes in the image of sort of Ninja Turtles. And that's when David Wise, the editor, came on board.

0:43:22 JB: It was clear it was gonna go that direction. He had had a great deal of experience with Ninja Turtles, editing those shows, so he brought all that thinking and that expertise in terms of that particular genre, in going in that direction. He bought all that. That's when I was excited about... Sci-fi had always been a big interest for me and then anime was just getting really a lot of attention at that time. It really caught my interest, so that when we started talking that way, I was like, "Oh well, this will be great. We can use anime influences on this." But yeah, I think the old school that was there, because it was ducks, was a little uncomfortable. But our character designer, Greg Guler, he had had a longstanding relationship with Disney TV, and so he had done it all. He really knew it inside out. At the same time he had a great interest in superheroes. His background, he had originally come from comic books, so his first love was superheroes. So here he had a chance to combine Disney ducks with superheroes, so it was really a perfect opportunity for him. He was just a fantastic artist. So it all sort of came together.

0:44:32 JB: I was relieved that it was moving away from sort of a Friends sitcom to something more sci-fi and hero based. All our influences in terms of doing the art were harder edged. We never really got to go as far in that sci-fi direction as we would have liked to, but the way it's done is in terms of the development and art direction, it's sort of a consensus. So you have to put it in front of a whole bunch of people. And that included at the time, that included Michael Eisner and Michael Ovitz. We had meetings where they reviewed the artwork, and so they would have their input. I was kind of reaching for one end of the spectrum, and them pulling us back to something that was a little more comfortable. I was pleased that we were able to go as far as we did, given what they had done with ducks to that point.

0:45:24 Speaker 13: Six hockey playing ducks appear out of nowhere and suddenly six vigilantes in comic book get-up start showing up whenever there's trouble. Spill it. Where are they from? Another planet?

0:45:36 Speaker 14: Not another planet babe. A whole 'nother universe.

0:45:40 S1: And in this universe, there's a planet inhabited entirely by ducks.

0:45:45 Speaker 15: They called it Puckworld in honor of their greatest hero, the legendary hockey player, Drake DuCaine. He was the ultimate team captain. He saved Puckworld from a horde of conquering aliens, called the Saurian Overlords, hundreds of years ago.

0:46:00 JB: Michael Eisner, he was excited about it because he was excited about the hockey team. So here was just an opportunity to promote it.

0:46:07 Speaker 16: Well, this is sad news indeed for Duck fans. It looks like the Mighty Ducks season long winning streak may be coming to an end. They're tied with the Maine Quahogs with forty seconds remaining at Quahog Center. John Luke [0:46:20] ____ is aiming to score again. Oh, a spectacular save by the Mighty Ducks goalie, Wildwing. You know, not only are these ducks mighty, they're really ducks.

0:46:36 JB: Interesting thing that we did, which was sort of unconventional, was after the shows would come back animated, we would of course assemble them. It was decided that they were not funny enough. I would spend large amounts of time each day sitting with two comedy writers who would rewrite the shows. And rewrite jokes into the shows. And we would sit and we would have to make sure, because the shows were already animated, we would have to make sure that the new lines would work with the mouths that we already had. So, it was a grueling exercise of... They're trying to be funny, trying to... Coming up with jokes, but we had to make sure that they could work in the animation, as it was already completed. That was different, yeah, maybe one in ten were actually worth all the time and energy.

0:47:29 S1: So these hockey playing ducks were attacked by a dinosaur named Dragaunus. Am I hearing you right?

0:47:36 S1: You're bright, you got it babe.

0:47:38 S1: Beautiful. I could have stayed home watching sci-fi chiller theater, but this is much funnier. All right, what happened next?

0:47:48 JB: It was kind of disappointing that it went away just after 26 episodes 'cause there really was a big push behind it. The Disney marketing machine and merchandising machine was behind it entirely. And Mattel was on board entirely for the toy line. And I guess it was the second largest toy line in Canada, second only to Star Wars at that time, which makes sense 'cause it was hockey. And I know for a fact that Mattel was disappointed that it went away 'cause they had planned years of it. It never did horribly, but some weeks it would be just average, but other weeks it would be doing really well, so it was a surprise when we didn't get more episodes. I had worked my whole life towards the point of having the opportunity to do the traditional look, and a big thrill for me was to finally be at Disney, which was a personal goal. And so I was happy that I was able to do Mighty Ducks and sort of kick it up a notch in terms of duck properties.

0:48:47 S1: Jymn Magon. The last show the Disney Afternoon would produce was Quack Pack, a descendant of DuckTales, but with the nephews as teenagers and Donald as the parental figure instead of Uncle Scrooge. It should have been a perfect ending to Disney's run, but some things are not meant to be.

0:49:04 JM: I did move after the Goofy Movie into development on Duck Days, which eventually became Quack Pack. By that time, the whole mindset of the studio was changing. People that were valuable before were being sort of pushed aside and people that weren't valuable were being elevated and there was a lot more what I call baby suits showing up, middle management who were making decisions, creative decisions about things, people who had never made a single frame of film were making decisions. And it just got very strained, and it got so strained that I eventually said I need more money or I'm gonna go somewhere else, which was very, very difficult for me because I loved Disney. I thought I would retire from Disney, and it just didn't happen.

0:49:58 JM: From then on it was just like, I can't even follow what they're doing anymore. Well, it was part of the deal breaker. We were trying something new. We said, "How are we gonna do a series with Donald Duck when nobody can really understand Donald?" He's fine in a short where he goes, "Oh brother," or, "What's the big idea?" That kind of stuff. But to do dialogue is crazy. To try and hang a show on someone that you can't understand was gonna be very difficult. And we had some radical ideas and management looked down their noses at us. And I remember at one point our producer on the show, Larry Latham, was listening to management spouting about something or another. He looked over at me and he just, he did the throat cut, like cut, I'm out here.

0:50:51 JM: And shortly after that Carl Gears and I, who were the executive producers on the show, we just said, "We're happy to continue working on this, but we can't be running the show because management doesn't believe in it." And management said, "Okay fine." They never even called us and said, "What's wrong?" Accepted our statement and, which was basically a big, you know, forget you. And it was like, "Well, they don't care about us anymore." Like I said, that was sort of a turning point, for me anyway. I think it was a turning point for the department as well. But anyway, and I left shortly after that. We had a terrific run, and then just things felt... Started to get weird, that's all.

0:51:36 JM: And again, I can't put my finger on it, but to me, it had a lot to do with we stopped doing what we were good at and started following other people's leads. Every show we did was like number one in its slot, and so it wasn't like, "Oh ratings are slipping, let's do something different." To me, that genre, that style of Disney comedy adventure could still be going as far as I know. But it was like, "No, let's do Shnookums and Meat, and let's do Gargoyles. Let's do things that look like other studios." It just felt wrong to me. But again, I'm not in charge, I don't make those calls, I just, I'm a stupid ass show developer and story editor. I don't get to make the big decisions.

0:52:18 S1: Dean Stefan, writer.

0:52:20 Dean Stefan: And then of course Quack Pack was originally called Duck Days. The way I hear it, and I don't know, 'cause you know. It could be not exactly true, but I think it's true. Jymn Magon and, I think, Carl Gears were set to develop it, and much like Tad Stones was locked in his office for about six months or so when I first started, coming up with Darkwing Duck and all the artwork or whatever. Jymn and Carl were figuring out the show for Duck Days or Quack Pack. And at the time, Home Improvement was a big hit for Disney ABC, and they got the idea that Donald would be like the Tim Allen character. And he would have Huey, Louie, and Dewey, much like Tim Allen was the harried dad of the three kids. And the conceit was gonna be 'cause Donald couldn't really, he didn't have that many phrases he could say that... Disney actually had a list from the 30s they would hand to us, say, "These are the phrases that are recognizable, that Donald said." Because there just weren't that many words that you could make out, the way he talked.

0:53:26 DS: So their conceit was that he would have been a tailgunner in some kind of war and nobody could understand his instructions, so the military sent him to allocution school. And he would learn to speak clearer so that now he could do the sit-comy stuff with the kids and they can interact and stuff like that. So they had this whole thing worked out based upon the harried dad interacting with... And the way I hear it, they went to pitch to Katzenberg and the whole table of Disney suits. And they said, "Okay so, in this Donald, he went to allocution school because nobody could understand him in the military. Now he can speak a lot clearer." And that's about as far as they got.

0:54:07 DS: And Katzenberg says, "Wait, you wanna change the duck? You're gonna change the way Donald Duck talks?" And that was pretty much the end of the pitch, so that was it. So six months of work down the drain, 'cause without that they didn't really have a show. So then it became just really harried and it became Daisy Duck would be a roving reporter, and the kids would be tagalongs and Donald would almost be comic relief. You'd cut to him in the hammock doing gags and stuff like that. And it was a weird time at Disney 'cause we were between shows. And I think I wrote the Bible for Quack Pack, but I guess the show was okay. I'm not sure how it did in relation to the other ones. I don't think of it as one of the great ones.

0:54:49 S1: Jim Peterson, writer.

0:54:51 Jim Peterson: The origin of it is kind of muddled a little bit 'cause it kinda went through a whole bunch of different creative hands. So there was, I think it was originally Jymn Magon's project, and then he ended up leaving Disney. And Carl Gears took over. And then Carl got taken off the project and it was turned over to Kevin Hopps, who was our original story editor on Darkwing. And on the artistic side, Toby Shelton was running it, and they had kind of very different views of just between the two of them, how they wanted the series to run. And Toby really loved classic Donald Duck cartoons, and he kinda wanted to take it that way. And Kevin was more, it seemed, more on the sit-comy kind of stuff. We came in. There had already been a couple scripts written, but we ended up rewriting on what would become essentially the first episode, which was where Donald Duck gets drafted back into the Navy, of course, for some bizarre reason.

[music]

0:56:14 JP: The one that came out, kind of was still watchable was an episode called "The really Mighty Ducks". In it Huey, Dewey, and Louie become superheroes and Donald becomes a super villain called the Duck of Doom. And the whole battle is just about Donald trying to get the boys to clean their room, and they're doing everything humanly possible to, or duckly possible I suppose, to avoid cleaning their room.

0:56:41 Donald Duck: Clean this room or else.

0:56:47 Speaker 20: Clean our room? The nerve of some people.

0:56:50 Speaker 21: We're much too busy.

0:56:52 Speaker 22: We got a million things to do.

0:56:55 S?: We got nothing to do.

0:56:57 JP: And when Duck Days was winding up, it was an era where Disney was letting go of all of their staff writers. During the Bonkers run, they were also doing a couple other series at the time. So there were like 51 staff writers at that point, at Disney TV Animation. And when we finally left at the end of Duck Days, there were less than ten. So part of the reason was that Disney lost their market when Fox acquired the rights to the NFL. And a lot of stations that were independent and carrying the Disney Afternoon, signed up with Fox and had to drop the Disney Afternoon for the Fox cartoons. But at the time, that was our perception on the executive explanations for why the affiliates were dropping the Disney Afternoon. So that and also, at the same time, Turner acquiring Hanna-Barbara. Then he let go of all of the staff writers and decided to go freelance, and Disney kind of followed suit on that 'cause there were a bunch of writers available on the freelance market that didn't used to be available.

0:58:01 S1: In 1997 Disney purchased ABC, which was the final nail in the coffin for what had been known as the Disney Afternoon. Not only was that over, syndication was basically over as well. With their new network, Disney went full Nickelodeon, even bringing in Geraldine Laybourne who headed the Nickelodeon network. And Disney Television Animation changed quickly in response.

0:58:24 S1: In an attempt that the press called The Nickelodeonization of Disney, they bought Doug out from under Viacom and brought in Joe Ansolabehere who helped develop Hey Arnold! And Paul Germain who co-created Rugrats, to launch Recess, which became the flagship show of Disney's One Saturday Morning. With One Saturday Morning, Disney would retake the title of the number one kids block. The shows were far different than what had been done in the past, and the familiar faces that had transformed television animation like Gary Krisel, Greg Weisman, Mark Zaslove, and Jymn Magon, no longer wandered the halls. But a few were still there. Tad Stones.

0:59:02 TS: They had a luncheon at the rotunda restaurant where they invited the key people in the department, key creative people in the department were all there for the executives to introduce themselves. And Jerry Laborne, [0:59:17] ____ that she's talking about her direction. And she says, and obviously they had worked this out before. Says, "Dean, I hate ducks." And then that was Dean Valentine, and he replied. "I hate ducks too." Which was basically crapping on 80 percent of the people in the room, to say nothing of you would not have been offered a job because there would be no job to be had if it wasn't for those shows that you're currently crapping on. I was luckily on vacation during that luncheon. I don't know how I would have reacted. I wouldn't have said anything, but I might have walked out, which would've had the same effect. But it was totally disrespectful.

1:00:00 TS: You can certainly say, "You guys have done a fantastic job. And now the market's changing, we want to do something entirely different and we're looking for new ideas, and here's the ideas we're starting with." It's like, "Why do you have to piss on something to move forward?" So that was, again, this... They had a pitch, they had a strategy. Upper upper managment had signed off on it. So it's just basically, here's our show runners and some of you are gonna be working on these shows and some of you are not. So it's just a management thing. It's not like a slow evolution. It is just, "Hey, this is what we're doing now." And it's like, "Okay, are we doing any more of that?" "No, we're not gonna do any more of that, but we're still gonna do those feature spin-offs 'cause they're still doing well."

1:00:45 TS: That's that, you know.

[music]

https://itunes.apple.com/us/podcast/the-look-back-machine/id1257301677?mt=2

[popculturebuffet]

The Critic Valentine’s Day Double Feature (Pilot/Sherman, Woman and Child)

Vivia Jay Sherman! Viva Quebec! Viva Valentine’s Day! And Viva WeirdKev who as happens for a good chunk of my content payed for this wonderful double feature for one of my favorite shows.  The Critic was created by Al Jean and Mike Reis of The Simpsons fame, a comedy team supreme. While I knew the two wrote for the simpsons, more on that iin a minute, I had no idea just how many classics the two churned out: There’s No Disgrace Like Home, Moaning LIsa, The Telltale Head, The Way We Was, Stark Raving Dad (Sadly tainted by it’s guest star being a horirble monster but that’s not their fault), Mr. Lisa Goes to Washington, the treehouse of horror segments The Bart Zone and Clown Without Pity (The second of which may be my favorite treehouse of horror segment), and later coming back to write the story for one of my all time favorites Round Springfield and to outright write the classic “SupercalfragalisticexpalliDOHcious”.  And to his credit Jean would later go on to write some classic post-golden age simpsons episodes during his tenure as producer: Lisa’s Sax, Mom and Pop Art, and Children of a Lesser Clod, which is notable if nothing else for this gag. 

So yeah the guys are legends and were right to start their own show under Simpsons producer James L Brooks over at ABC. The show followed the adventures of film Critic, Jay Sherman, a parody of film critics with high brow tastes, impossibly high standards, and a huge opinon of himself, having won the pultizer at least once.  Despite this he was also constnatly spat and shat on by society, divorced, lonely, depressed and eats like a thousand pigs combined in some horrific science accident. And given the last three parts describe me, as well as my profession of b eing a critic, naturally I love the guy and this show. I’ll get into his cast as we go as the first episode does an excellent job of introducing the entire cast so there’s no sense repeating myself.  But the show’s style I can and will talk about: It’s basically Golden Age, i.e. season’s 1-10, simpsons, but with more pop culture refrences and movie parodies, since the show would often feature multiple on Jay’s show coming Attractions and took place in the celebrity hot spot of new york and was a love letter to the city.. and sometimes a hate letter but only when those digs at the city would be funny, which to be fair depsite never having been to or lived in new york most really are. That’s the series key asset: while a LOT of the jokes haven’t aged well as a lot of the celbreity refrences are dated as are some of the movie parodies, most are hilarious wether you get what their making fun of or not and to me tha’ts a good parody: where knowing what their making fun of HELPS, but you can laugh regardless. The show had the charm and pace of the Simpsons while having it’s own unique style and cast that was just as charming and I love it dearly.  The show sadly only lasted two seasons, with ABC canceling it after one, and Brooks having it moved over to FOX, which was a good idea and lead to what’s probably my faviorite simpsons episode, a Star is Burns. Ironically despite you know, the show being created by two simpsons writers, backed by one of their producers and perfectly in line, creator Matt Groening was against the idea, publicly ranted about it to the press, and generally was an ass about it. Look I love the guy and even Brooks, Jean and Reiss were all nice enough in thier criticsim of the guy, but sitll very much understandably pissed off. .and i’m with them. 

It gave what’s again, my faviorite episode and what is not a “30 minute add” but an episode that easily stands on it’s own and also you know, pokes fun at itself for being a crossover a few times. You don’t need to see the critic to enjoy it, and episodes most iconic gags, Boo-Urns, Man Getting HIt by a Football, Senior Speilbergo, all don’t involve jay. And again the shows were not at all dismilar: While the critic was it’s own thing it still had the simpsons sense of humor and pacing so I saw it more as a petty rant against having a crossover in general more than a legit critcisim. Especially since Groening had no such complaints decades later with the family guy crossover after both shows had all tehir talent surgically removed and had the gall to NOT remove a cheap shot at Bob’s Burgers. And yes i’m still bitter about seeing that in a promo for the special, Bob’s Burgers is fantastic, to the point that now, in a fabulous case of history repeating itself, it’s got it’s OWN show like the critic made by talented former crew members using a similar but sitll throughly unique comedy style , The Great North. My point is that controversy pisses me off, and The Great North is spectacular go watch it while you read this. 

So yeah the Critic is awesome, me and Kev are both fans, and there are plenty of romantic episodes abound as the show digs into Jay’s love life quite a few times and has episodes about his son’s first love, his boss finding a wife towards the end of the series, his parents rekindling their spark and in what’s easily my faviorite episode, his sister dating a grunge rocker. So there was no shortage of choices but the choice made was brilliant.. and i’m not saying that because i’m being paid to, as my review of splatter phoenix’s first episode in darkwing duck and woops should show, paying me does not guarantee that I have to LIKE what your paying me to review. But here I did and he pointed out the first episode of each season, with season two being a soft reboot that while keeping the premise and supporting cast changed a few things around and added two new main characters, and both involve jay finding a new love intrest and intorduce a lot of the cast. I found him to be right, so where we are and after the cut i’ll dive into the good and bad of both episodes and see what changed inbetween seasons. 

That gag will make sense.. later. Right now it’s time for our very first episode, the show’s very first episode as you could probably tell by the title. 

Pilot:  The pilot starts with Jay getting touched up by his Makeup Person Doris. Jay is played by legendary comedian John Lovitz, who this show gave me a deep and lasting appreciation for. Lovitz was at the time best known for his 5 year long stint on SNL, and film wise is best known for Three Amigos, the Brave Little Toaster, The Wedding Singer and Rat Race. Sadly while I do geninely love the guy.. he has been in enough crap to destroy the New York Sewer system, as everyone needs money and sadly not everyone appricates the talents of John Lovitz like I do. 

So naturally he’s also been in The Stepford Wives remake, Grown Ups 2, The Ridiculous 6, Eight Crazy Nights, North, Benchwarmers and Benchwarmers 2: Breaking Balls. Yes that’s an actual movie, though it’s already better than the first one for virtue of not having Rob Schnider and David Spade starring in it despite.. that title. The irony is not lost on me that Lovitz has essentially made his money starring in the kinds of films Jay was forced to see for his job.  Still a VERY talented, very lovely man.

Before we get to our next voice actor up, no profile of Jon would be complete without mentioning that time he slammed Andy Dick’s face into a bar. To make a very long story short, Lovitz was friends with the late great Phil Hartman, who even did some voice work for this very show, whose wife who had severe drug and mental ilness killed them both. Phil had told Lovitz he saw Dick give his wife cocaine, so after Phil’s tragic murder when Lovitz and Dick ended up on the same show, Lovitz ended up exploding at the guy out of grief and blamed him for her death, but later apologized like a gentleman.  Living up to his name though Dick later went up to Lovitz at a restraunt Lovitz owned and said “I’m giving you the Phil Hartman curse, you die next”. Granted he was drunk but still...

Naturally Lovitz banned the guy and Lovitz later demanded an apology when the two ran into each other when they ran into each other at Lovitz regular gig at the comed store. Dick not only refused to apologize even when Lovitz put him against a wall, but said it was because “you blamed me for her death”... which was a decade ago with change by this point, the actions of a man GREIVING for his best friend whose wife’s relapse you caused which inadveradntly lead to her and her husband’s death, and something HE APOLOGIZED FOR. Naturally Lovitz took this how you would and did what we’d all like to do in general and broke the shit out of his face and only didn’t do more because they were seperated. IN short this man is a hero and I wil lbring up this story at every opportunity.  Doris was played by the late voice actress Doris Grau, a script supervisor who worked on a LOT of films as one , the most notable I could find on wikipedia being Clue. This is a fact I just learned today but boy if it isn’t neat. Grau mostly did aditional voices for shows, most notably Ducktales and the Simpsons, where she played Lunchlady Doris, and of course this show. Still she seemed like a very funny and talented woman and it’s sad she’s gone.  The two start the series mostly sniping at each other and while that never ENTIRELY goes away, Doris gets more supportive after a spotlight episode where she and Jay bond and Jay thinks she might be his mom. And while she’s not this surprisingly sticks and for the rest of the series while still not above making potshots at him on occasion, she’s far more supportive. She also informs him she’s out of spray on hair “I’m bald and ugly, get more!”. This show is naturally comedy gold and a lot of it relies on Lovitz sense of timing, though the rest of the cast aren’t slouches but we’ll get to them as we go.  She ends up putting a hat over him and we get our first film parody, Rabbi PI starring Anuld, which is alright. Not one of the series best but passable and gets the gimmick of having film parodies on jay’s show across, which was a nice way to set it apart from the Simpsons. Jay reviews it on the Shermometor, a gimmick jay hates and that disappeared by season 2, giving it a bellow zero to the ire of his boss Duke Phillips.  Duke is one of the best parts of the show, an unhinged southren billlonare who was a modeled after Ted Turner, down to the mustache, who built up his fried chicken franchise into a multimedia congrlomorate and is also mildly nuts, though that part would be more of a thing in season 2. In season 1, he’s mostly there to make Jay’s life hell, with about half of the seasons episodes having him either fire jay or put his job in jeapordy versus 2 the next season. He’s still not unfunny, but most of his best stuff is in season 2 when Charles Napier’s allowed to cut loose a little more and the character wasn’t shoehorned into just being a clueless executive.  Charles Napier is a longtime character actor who showed up in TONS of films and tv shows too many to list.. and trust me with some of the lists of credits before and after this that’s saying something, his biggest voice rolls being in this series and Men and Black the Series as Zed. But needless to say he was ALWAYS this awesome and sadly passed in 2011.  Jay’s guest for the day is Valerie Fox, an up and coming actress whose first film kiss of death is coming out soon.. and whose age is an engima and it’s only a problem because if she’s 20, like the episode mildly suggests giving her starting career and her voice actress being that age, then this gets really gross as jay is 17 years older than her then. But given she looks older than that and sounds certainly older than that, i’m going more with 30, since she looks more like it, and sharon stone, who she’s mildly based on given she stars in a basic instinct knockoff and does the leg thing, was 32 at the time of basic instinct.  Valerie is voiced by Jennifer Lien, aka Kes from star trek voyager who I only know about because of reviews done by SF Debris and Allison Pregler. She was the childlike love intrest of Nelix, the ship’s resident pain in the audience asses who made them BEG for early seasons wesley crusher and who once, and I saw footage this wasn’t SF Debris exagreated, lunged at a crewmate in a jealous rage, unfounded by the way since Tom was AVOIDING kes depsite being attracted to her as he just wnated her to be happy and to not mess up her relationshpi, and screamed “i’ll kill you!”. Point is she hasn’t had a huge career, but was still worth noting and does a fantastic job here. Again I did not realize she was that young at the time by her voice, and that means she did a great job. 

So Jay’s smitten with her, finds her super attractive and she asks him out.. but to the show’s credit, and Jay’s he does try to rebuff her because he knows ther’es a conflict of intrest there.. but ends up giving in. However at least the show not only is upfront that there’s an issue here but that ends up being the thrust of the last act. Granted there’s still some.. questionable stuff like when she does the basic instinct leg cross and he says “can we get a shot of that”, which no.. Jay.. no you can’t. Ewwww. Seen far worse, like It’s Pat, which was a VERY real SNL sketch about people trying to guess the titular pat’s gender because that’s not creepy or invasive even for the time. And they made a movie out of it because Wayne’s World was popular forgetting that Wayne’s World, one of my faviorite movies by the way and one I need to cover here sometime this year now the thought’s occured to me, was a labor of love, with a talented director and actual ideas from it’s two leads who actually fleshed out the character versus a concept that was NEVER funny to begin with and has gotten down right horrifying with age. And wasn’t I talking about the Critic? Not the abusive jackass mind you, Jay Sherman. 

Ah yes so Jay takes Valerie to a date at Lane Riche, the rich jackass where we meet Vlada, a vaugely european man whose your typical hollywood suckup. As Jay puts it in a later episode  Vlada: I love you too Jay: You only love my money Vlada: That’s true but it is a love that will never die.  He also naturally scoots Jay to a less nice table in the Critic’s section once Conan O’Brian shows up... which WAS supposed to be a different kind of joke, as at the time Conan was just a writer on the simpsons and SNL, but now given he has a decades long career in late night and famously said fuck you to NBC during that whole Tonight Show debacle, which netted him his own show on TBS, it comes off more as the kind of self deprciating gag Conan makes about himself. So in other words it’s actually funnier now? 

As for the critic’s section that’s a part of the series I’ve neglected to talk about so let’s do that: The kind of critic Jay is, one who plays clips of the movie and reviews them.. on television. And were usually academics who looked down on popular film, the kind Siskel and Ebert popularized, and both suprisingly had a huge guest apperance in season 2 and even reviewed the show on their show. This kind of film criticism just dosen’t exist on tv that i’m aware of anymore, and mostly lives on with internet reviewers , many of whom were inspiried by critics like this, and who range from acadmeics to average joes to some mixture of both. It never went away just simply went to a younger generation. Some of which squandred it and somehow still have a career like certain abusuive jackasses i’ve mentioned enough with that one gag a few paragraphs ago. Point is it’s a much more varied and different game now so the critic ended up as one of those shows or movies where the main characters very job feels like an artifact of it’s time, like our heroes in Wayne’s World hosting a public acess show, when nowadays they’d just put it up on youtube or the entire idea of a UHF station in well.. UHF. It’s not a BAD thing, just something to note. 

But the date goes well as Valerie shows she’s really into jay and even takes him oggling her in stride, though we do get an utter classic of a gag when Jay says something about women being drawn to him.. and cue an old woman asking to rub his nonexistant hump for luck “You hunchbacks are all alike”. She does so anyway to his understandable annoyance. 

But the two go back to Jay’s place, talk about his acomplishments including a pulitzer and then well.. the obvious happens they go to bed together and the next day after Valerie is horrified at his just woke up fac,e he gives her an easy out but she’s fine with it. It honestly shows just how low the poor guy’s self esteem is that he just.. assumes a woman will regret having slept with hima nd walk out and while played for laughs it really gives a clear look into Jay’s mental state: He’s so full of self loathing, not helped by the world being out to get him, that it’s really oddly endearing. And VERY releatable.  The two are interupted by Jay’s son Marty. Marty is played by the very recognizable and very wonderful Christine Cavanagh, who sadly passed away in 2014. She voiced Chuckie Finster, Gosalyn Mallard, Oblina, Dexter from Dexter’s Lab and the titular pig from Babe. She decided to retire in 2001, so while her career was only about a decade she made quite the impact and is sorely missed. Unsuprisingly her usual voice is perfect for the very awkward Marty, who Jay asks to tell eveyrone about the beautiful woman in his bed especially his unfaithful and utterly loathsome ex wife ardith. 

This scene demonstrates two problems. The first is just the pilot as Jay’s kind of sleazy. While Jay being thirsty wouldn’t go away, especially in the episode Lady Hawke, it’d be made more awkwardly endearing. Here there are moments of him just plain being creepy like the aformentioned oggling, which while not bad in itself, if a bit awkawrd, also has him creepily muttering to himself while doing so which removes any charm or relatability and just sends it straight into needing 10 showers just to wash this scene off. The rest of the series would just turn him into a bit desperate at worst.  It also explains why the only other romantic story the guy has in the season is a pastiche of misery. Thanfully this would be GREATLY adjusted next season but we’ll get to that. 

The other problem is just the tone... we get a good half a minute of Marty talking about how he calls Ardith’s boyfriend “Uncle Al” because he likes him a lot.. to his dad’s face. And granted his dad is being creeptastic this episode but the early episodes just pile on the Jay hatred by the world a bit thick, to the point one episode puts him as “worse than hitler”. Granted the audience is full of idiot teens who have no idea who hitler is, and the gag is kinda funny, but it makes my point: Jay is just utterly shat on by the world, and while he does get a few wins, most are undercut by something awful and it gets taxing sometimes. The guy is just too loveably pathetic to hate, too relatable even as a teen and not snobish enough to be really loathsome or WANT to see him knocked down by the world. It’s not overwhelming enough to ruin the first season, it still has good episodes but this episode does highlight a LOT of these problems.  He does get to spend the day with val though, dancing outside the trump buliding, seriously even back then he was a joke and his lack of money half the time was well known.. how did the last four years happen, and they tell each other they love each other. I’d aww if I didn’t know how this ended.  So jay relates the good news of how he feels to his best friend, Jeremy Hawke, played by Maurice LaMarche. LaMarche is one of the most talented voice actors alive, a master of impersonations paticuarlly orson welles, who was naturally brought on board because they knew they were going to need a lot of celebrity voices for the film parodies and needed one or two guys to do them to keep it cheap. The guy is like most of this cast a legend in the industry, having voiced the Brain, Squit, Dizzy Devil, the Human Ton, Big Bob Pataki, Egon Spengler, Sleet,  Kiff Kroker, Headless Body of Agnew, Morbo, Various other Futurama characters because that list is long, Mortimer Mouse, Blue Falcone, Father, Yosemite Sam, Vincent Van Ghoul, Doctor Doom, Abradolf Lincler, and Odval. Point is the guy has been engranged in my childhood and adulthood and will probably even after he’s gone come back from the grave to do some voices. He even got the part of Jeremy Hawke here because he happened to do a REALLY good australian accent depsite not being australian. Jeremey was a combination of paul hogan, the star of the Crocodile Dundee movies and at the time sex symbol and at this time known anti semite Mel Gibson. Obviously neither of those refrences has aged paticuarlly well, but since hollywood ALWAYS has room for a super hunk from australia, just ask Chris Hemsworth or before him Hugh Jackman, the character still works and his breakout role, Crocodile Ghandi is so ludcrious it works. I.e. a white australian man playing the mahtma and saying before he brings peace “First a tasteful shot of my bum for the ladies. Jeremy, while sometimes increidbly oblvious, is still a fairly nice easygoing guy and an extremley loveable character. And whie Jay worries about Valrie meeting him because he’s sex on a cracker she ignores him and jay gloats for a bit, paticuarlly with the great bit “take your genatalia right back to australia”. And while Jeremy’s happy for him he tries to reign Jay in when Jay talks asking her to marry him.  As Jeremy later relates on Jay’s fire escape “Bubala, i’ve learned there’s two things you should never do: Marry an actress and wear blackface to the naacp image awards. Two things I found out the hard way. “

So Jay takes her to meet his parents and finds out he’s adopted.. and their also rich. Jay’s waspy parents are his cold and overly honest mother Elanor, played by  Judith Ivey, his kooky dad and THE best part of the series Franklin played by Gerrit Grahm and his loving and free spirited teenager sister Margo played by Nancy Cartwright.  Okay (cracks knuckles) here. we. go. Judith Ivey is a tony wining stage actress and has also directed numerous plays and is mostly known for her stage work but I know her from Designing Women where she played BJ in the last season. Garret Grahm apparently shows up in a lot of brian depalma movies, including Beef in phantom of the paradise, a lot of tv work and to my shock the asshole dad from Child’s Play 2. Another thing I genuinely love I wasn’t aware an actor or actress from this series had a part in.  Finally there’s Nancy Cartwright, who you DEFINTELY know from the Simpsons, where she plays Bart, along with Nelson, Ralph, Kearny, Database, and Maggie, and Kearny. Other credits include Pistol Pete, Mindy from Animaniacs, Chuckie Finster picking up for Christine Cavanagh ironically enough, Lu and Rufus from Kim Possible. She’s a talented lady and i’m glad sh’es still around. Whew. 

Okay so yeah I do love the shermans and fraknlin is again easily the best part of an already excellent series and unlike Duke that’s in full display here, with him saying, when his wife mentions they were going to give jay back at one time, “Son if I’ve said it once I said it a thousand times.. who are all you people. “ and he’d only get better. Sadly he’s NOT in sherman woman and child. Our loss really. But he’s in pretty much every other episode of season 2 thankfully and most of this season so eh, fair trade off. Also we get the classic line, after Jay says he’ll love valrie even when he’s decaying in the ground, his mom quips “Cna’t we go one meal without talking about your rotting corpse?” Though Eleanor understandably thinks Valarie is using jay for a good review. Margo suspects her of the same and takes her on a horse ride, though all she can gleam is that Val genuielly loves jay and welcomes her to the family.  Jay however does decide to duck out of the inteview by faking sick, which leads to a really sweet moment where Valerie visits him and they dance, in a hilaroius but oddly sweet parody of Beauty and the Beast, Beauty and King Dork. Despite the title and the song insluting him a LOT it’s still just endearing. This is a problem but we’ll get to in just a moment WHY all these touching moments are a problem.  So naturally things don’t go that well for Jay as Duke has a tape of the film sent to him “My shrink was right: GOd does hate me!”

Naturally kiss of death is bad and valrie is bad in it and Jay is left uncertain what to do, but eventually decides he has to do what he feels is right,.. though he does take a picture of her while she’s sleeping. “In case you do leave”

So in a tender and heartbreaking moment Jay is honest, the movie does suck and she’s not good but he does compliment her, for her personality not her body despite his skeevy behavior and say she could get better. Instead when he arrives home.. she dumps him to his face and leaves never to be seeen again while he assumes she’ll come back. And that’s the issue it’s GENUINELY hard to tell if we’re supposed to side with Jay. On one hand he genuinely loves her and does the right thing and on the oth er he’s kinda creepy. It’s a mixed tone that just sorta hurts thing and something the series DID fix after this, as it found a better ballance of the guy being pitable while also still being an ass and ONLY usually being punished when he does something actually wrong, the only exception being Dial M for MOther which is easily the weakest episode of the series. The episode does close on a really funny moment as Jay’s dispondent because “I’m sitting on top of a volcano of rage and I don’t knwo where to direct it”. Marty mentions a new Sylvester Stallone movie where “He plays a concert pianst who” And jay dosen’t even need the rest of that to shout “To the multiplex!” The man is back

Final Thoughts for Pilot: This episode is not bad. It has it’s flaws as I said, mostly in tone, but the series would iron that out and it’s still a great pilot that organically introduces the entire main cast in one episode and really gives us the full idea of who Jay Sherman is. It’s also REALLY funny, as the series should be and it would get better, but i’d still put it over some more awkward first episode like Letterkenny’s “No Reaosn to Get Excited”, even with it’s brilliant ending or Bojack Horseman’s first episode  whose title is way too long to put here in an article that’s already long as hell about about to get longer. But like those series this pilot worked pass the awkwardness and the result is a damn good series. but if you want a better idea of what it became.. wellllllll

Sherman, Woman and Child: So yeah as you can tell JSUT by contrasting images a few things were changed up between seasons, part of it at network instance. The designs were softened , the color palette was brightened with jay being the most noticably alterted between seasons. 

The execs wanted jay a bit warmer, so his face was given wider more expressive eyes and was also scrucnehd down a bit. He was also made slightly less of a jackass, with his elitisim toned down a bit and his creepeir moments gone. For instance he no longer had a split personality/imaginary secretary named ethel. That was actually a thing. It didn’t even really change Jay as a person, this very episode mentions him not liking the Lion King, and he’s still snooty, he’s jusst not as punchable about it and that was for the best.  But the cringe comedy in general was taken down a peg and replaced with more fun weirdness, which wihle present in season 1 really pops more here, especially with Jay’s dad who sadly dosen’t show up in this episode, but at various points dresses up like El Kabong, puts on the mask from the mask (”He did the same thing at Nixon’s funeral”), and blows up famous works of art while babysitting. But yeah things get a bit more surreal like the simpsons from season 4 onward, ironically enough given these guys left to make their own show, and it’s to the show’s benefit. 

But besides a lighter tone, they also wanted two things to hook viewers in: A permenant love intrest for Jay, and an adorable kid character. The former.. was acutlaly quite resonable, as i’td both give jay a “win” as it were, allow the cast to have another femlae character and give him someone else to confide in besides Doris or Jeremy, to give those characters a break. The other was less so and we’ll get into why when we meet her. 

This episode really is a second pilot, reintroducing about half of the main cast. Marty, Elanor, Margo and as I said Franklin are all absent. But their reintroduced soon enough with the fourth episode in both broadcast and dvd order, and my personal faviorite “A Song for Margo, is entirely focused on Jay’s parents and sister, while Lady Hawke has marty breifly at the start for broadcast order and he’s in the frmaing device for Sherman of Arabia in dvd order. So the characters all get a proper reintroduction to new audiences, but it was the right call to NOT shove them into this one, still introducing new people to the new cast, but letting the two new additions to it breathe and get properly intergrated into this universe.. well more Alice than Penny but we’ll get to that. It’s part of why, besides the genuine extra coat of polish aand seasonal changes I feel this is the better episode. 

So we open with Jay on his show and two parodies in a row. The first is a few good men but with Jack Nichelson making fun of Christan Slater for sounding like him even though. they honestly aren’t too similar other than both doing that pause thing a bit. So yeah not their best but the second segment makes up for it “The Nightmare Before Channukah” a parody of the nightmare before christmas that was so beautifully animated and funny, that they actually bumped it up to the season premiere.  But while the parodies are good Jay’s show is once again, this happened a LOT in season one, in jeapordy, being beaten by the Benedictine monk variety hour. Which while the Bendictine Monks are VERY much an artifact of the 90′s a choir of monks that somehow went mainstream, the whole segment is so absurd and wonderful it stands on it’s own and is still funny to me in 2021. Duke comes in anda fter trying to softball things shows the change I mentioned: He’s actually sorry the show is in danger and is genuinely sincere that he’s sad he’ll probably have to cancel it versus season 1 where he was ready to cancel it what felt like every other episode. And I prefer this, where he can still mess with jay or flex his power over him, but is more cordial with the guy and it allows more jokes between the two. 

So Jay’s not doing so good.. and during his crappy day he spots a 30 something woman and her young daughter struggling in the rain and stops his cab to help. And gets maced for it “MMM, Jalapeno”. Though Alice does apologize and Jay does understand as it is New York and she graciously takes the offer. It’s in the cab their properly introduced. Aliice thompkins and her daughter penny who in a great bit punches jay in the nose for not liking the lion king (”rex reed did the same thing”) and then kissing him on the nose in apology (”Rex did that too” And he acompanies them in.. and also gets conked on the head by a potted plant and put in a materinity dress. 

So we get to know Alice and what her deal is: Alice was once married to and supported the career of country star Cyrus Thompkins who was.. less than subtle in his music about how faithful he was

Easily one of my favorite gags of the series if in part for Pat Overall’s delivery. So she moved from Knoxville to New York to prove to her daughter a woman can make it on her own, and proves she’s smart, talented and driven she just needs a break. She seemingly gets one in a man in a bright white outfit who says “this is your ticket out of this rundown flophouse” only for him to cheerfully exclaim “Your being evicted!”... PFFFTT. Cue where the commerical would be

So during this lull in the action let’s talk about Alice and Penny’s voice actresses: Alice is voiced by Park Overall, though for some weird reason I thought she was voiced by Hollly Hunter. Dunno why. Park is an outspoken liberal, supporting my boy bernie sanders in 2016 and in general seems like a fascenating lady. Naturally like with Jay’s parents I know her from something more oddly specific, the sitcom Reba, as I did not realize she voiced alice depsite using a similar voice for her character there, Reba’s best friend Lori Ann.. And while Park TRIED her best.. the character didn’t work out: a combination of it being simply funnier that barbra jean tried to wedge herself into the roll and the fact Reba really didn’t need a horny abrasive sidekick meant the charcter had a very short shelf life and the audience had very low patience for her.  I did like her constnatly insulting Brock as he was not a good person andi t was nice SOMEONE besides Reba actually got to roast him on a regular basis. 

Penny was voiced by the one and only Russi Taylor, who sadly passed in 2019. She voiced Huey Dewey and Louie, Webby Vanderquack, Minnie Mouse, Fantasma, the imcomprable martin prince...

Among tons of smaller rolls. She’s sadly missed. We’ll get more into what they add or subtract from the show in a minute, as the next day at work Jay wonders how to help, though Duke’s interjection gives us two great gags: his “30 second workout” which involvees throwing jay around like a medicine ball and.. well this. 

The man is a legend for a reason. He earned that golden statue. So Jay TRIES slipping alice the money only to give it “To my good friend crazy postman”, and Alice refuses the money due to pride.. even if you know, she has a small child and new york is expensive but Jay finds a better solution, hire her.. even if it’d make it impossible for them to date. For all of one episode. What keeps the power dynamics from feeling EUGUUUUGGHH here is that Jay treats alice like an equal partner at work and dosen’t let their relationship really impact things outside of one episode, and dosen’t use his position to get into a relationship with her nor does she use being responsible for a turn in his fortune for hers. 

And yes turn in fortune, as a makeover and a change of attidue under Alice’s direction, which is utterly amazing to watch and wow’s duke and hte audience, wins back his fans and his job is secure. Duke meets alice and we get more great duke stuff. including something truly iconic...

I want bears who sing for me, doo dah, doo dah. But yeah things are well though Jay ends up admitting to Jeremy he can’t stop thinking about her “Her merest smile is like pedals of the empreror’s bathwater, BATHWATER I TELL YOU BATHWATER. “ So Jeremey encourages him carpe canum “Seize the dog”. He does so.. and the day but instead finds Alice with her ex Cyrus whose trying to win her back. Wuh oh.  Once the asshole leaves, and agrees to give her the night to think, Alice admits the only reason she’s considering it is she has a weakness: his singing melts her like butter on a bagle (”God i’ve been in new york too long”. )  Jay tries to talk her out of it at the critics meeting for “Dennis the Meance II Society” which involves Dennis pulling a drivebye on mr wilson.. why wasn’t this the second live action dennis the meance movie? WHY I ASK YOU. But Jay gets a good idea, as Alice TRIES to tell the asshole to get to stepping (And to see penny often, she’s not a monster), he works his evil song magic.. only for Jay to undercut it with his own amazing song on acordian. “Cyrus is just a virus, he wants to tie you down while your still young. Your potetial, is what’s essential, you could someday be another connie chung!” And that ultiamtely shows WHY jay is the better man. He just wants what’s best for her and dosen’t care if it’s him, he just wants it not to be THIS asshole. He’s not even trying to win her over, which a lot of these gestures creepily lead to. He just wants to help her be who she’s MEANT to be. And that’s why this works better: Instead of a fake relationship built on lust and someone conning the other person, it’s a real one built on genuine chemistry. Also Alice you know dosen’t just.. vanish after an episode but is a permenant part of the cast. I mean she does for the webisodes but we don’t talk about those. 

So our hero undercuts Cyrus one more time  Cyrus: “Loverrrr, without you there’s no other” Jay: Give him a chance he’ll do your mother....

I mean he’s not worng, So Cyus is sent packing and we get a nice romantic moment between the two. 

Final Thoguhts: Sherman, Woman and Child This one is truly excellent. It relaunchs the show on all cyllanders. And frankly Alice was a fine addition to the cast: her own fully fleshed out woman with her own personality outside of jay, who was tough, smart and a good counterpoint and confidant to Jay and it felt like she’d always fit. Penny on the other hand, apologizes to the late Russi Taylor who tries her best, just dosen’t work and feels ultra cloying and out of place in the series and unspurisingly is barely used after this. But overall a better pilot than the actual pilot was already pretty good and a fine pair of episodes. Check em out whenever the series eithe rgets on a streaming platform or pops back up on youtube as Sony’s struck it down... despite not putting it up anywhere i’m aware of. Seriously sell it to HBO Max or Disney I want a reboot. But for now this series is awesome check it out and until the next rainbow, it’s been a pleasure. 

[shotgunszyslak]

continued {x} @flos-lunar

flos-lunar​:

The halfbreed kind of smiled, something about this man seemed completely harmless but that didn’t mean her guard went down so easily. Almost glowing green eyes glanced over at the pool table and the defective leg, it was almost unfair he had to run the business having things like that. The woman seemed to giggle a bit and shake her head seeing what it was being held up by, but said nothing; humans were humans after all for a reason. “I appreciate that you would be willing to throw a guy out like that due to the fact that he was being a pig, I will consider it for next time since I live around the area now.” Kira tilted her head slightly to the side sitting across from the male now.

She was slowly learning about everyone since she was an assassin for hire, she knew about Moe very well but she would play along with being innocent for the time being. When it came to people’s shame it hadn’t bothered her since she was a demon well partially. “You can call me Kira Celest…well just Kira is fine, I came in from New York on business, my job had me transferred here not a very exciting job just a teacher of sorts…and from the name outside you must be Moe right?” She asked, one hear twitching to the side when he talked about it, her tail swaying to the side slightly to show that it too was there. She loved having to explain about them, how they were in fact real.

“Well, they aren’t animatronics…..go ahead and touch them you’ll see I’m not lying.”She motioned him to actually touch her ears he would see that there was blood flowing through them and they were very much real.

shotgunszyslak:

{!!} – Clandestinely kept was the full extent of his illegal implications from some of his friends & most of the authorities (as to his current knowledge), so he had no reason to believe that this newcomer knew jack-shit about him, simply carrying on as he normally would when attempting to gain even the most fleeting attention from a woman. ❝Yeah, uh, yeah - well, ah... pigs’ll be on YOU like a fly on shit, so, uhh...lemme-lemme know of any trouble, okay?❞ Moe thoughtlessly compared in ill-planned, tasteless words, habitually resting a hand on his hip. When she mentioned her recent settlement in Springfield, Moe could practically hear the devil laughing in his ear. ❝Oh, ya do, do ya?❞ Shit - that came out wrong - ❝Uhhh, I-I mean...ya know...welcome ta Springfield!❞ he chuckled.

Oof. She was a teacher. He could only hope she wasn’t acquainted with a certain Edna Krabappel. ❝You, uhh, wouldn’t happen ta be teachin’ at Springfield Elementary, would ya’s?❞ he inquired a little tensely, moderately fretting over what little details she may have heard or been warned about from the fourth grade teacher he’d once dated. ‘Dated’ being an extremely minimising word for the plans they’d once shared to move away together to start a new life - until her zeal for teaching wayward kids was suddenly passionately reignited upon meeting the troubled, little puke-stain on society known as Bart Simpson, whom just happened to be the ten-year-old son of his best friend. Deep down, he knew he couldn’t blame Bart for Edna leaving him, and he didn’t...but it was vaguely comforting to keep on telling himself that it wasn’t his fault, despite knowing there must have been some underlying issue with their relationship that Edna wasn’t telling him. She’d probably grown bored of him, or seen too many faults...that was why she’d backed out at the last minute. Either that or she was no longer capable of stifling her vomit upon kissing such a hideously ugly gargoyle like him. He tried not to dwell on that too much, but the insecurity instilled in him from past relationships nagged at his every interaction with a beautiful woman, in defiance of how confident he may sometimes appear - but the truth always came out, in the end, much like he feared would the details of how he’d gone completely fucking ballistic upon Edna’s renunciation of their love, making a fool out of not only himself, but Edna, as he cursed & ranted unintelligibly outside her working establishment - a.k.a. the school filled with a hundred impressionable children, each of them learning a whole string of new words they were far too young to know the definitions of. He had slandered her to Hell & back, using only the crudest words he could think of. It wasn’t a tale that painted the most stable picture of Moe Szyslak, and Edna was just one of the women he’d frightened off. In fact, it was one of the arguably less awful break-ups he’d acted out. Even when given the opportunity to reconcile, he fucked it up by confessing what Edna had described as, if he could recall, his “sick propensities”. If any woman knew what was good for her, she wouldn’t humour the likes of him. At all. Moe rubbed the back of his neck in diffidence. ❝Uh, yeah, dat’s me! Moe. Moe Szyslak.❞ he confirmed with decreasing enthusiasm as beady eyes gazed around at the austere squalor he called his tavern. He should be ashamed of that fucking place. Part of him was, though another was attached to it.

When she proclaimed the authenticity of her fox ears, Moe seemed to perk up in amusement, folding his arms over his chest in disbelief. Well, he wasn’t about to refuse the opportunity to touch any part of her - animal headband or not - though, he wore a doubtful smirk as he laughed away her insistence, reaching out. ❝What, ya think I’m really gonna believe those ears are rea - huh - WHAAAA - ?!❞ Holy crap, she wasn’t kidding! Her ears were probably the most real thing about her! Well, that was it. The furry fandom had finally gone too far! ❝Did you have those surgically attached to the top’a ya head?! Is dat - is dat even a thing?! OH!❞ he exclaimed, smacking his palm upside his head in complete dismay, ❝Oh, jeez, ya got a tail ta match!❞ Um, maybe, shut your fucking mouth??? ❝Uh, ahah, I-I mean - I didn’t mean that - gee, I’m sorry. No - no judgements or nothin’!❞ he quickly attempted to reverse, waving his hands out in front of him in a fit of panic,  ❝Especially seein’ as I ain’t legally allowed ta make judgements, no more, but - uh - I just never seen nothin’ like dis, before!❞ he chuckled sheepishly, looking on at her with a look of discomfiture. What the Hell was he seeing, here?! This was impossible!

[curious-minx]

Left Behind In The Halloween Parade: Late Review of Bob’s Burgers And The Simpsons.

The First Sunday of November, and the Last Sunday of the Trump and Biden election, found Hulu finally uploading the Bob’s Burgers and Simpsons Halloween episodes. So in the spirit of taking your sweet ass time that is exactly what I did with this review. The Bob’s Burgers Halloween episode is probably the weakest of the series, a series that is practically a Hallmark card company in terms of the amount of holiday-inspired content they have churned out. Episode “Heartbreak Hotel-oween” isn’t a particularly offensive in any way it just fails to live up to Halloween episodes such as my personal favorites Season 8 “The Wolf of Wharf Street,” which remains one of the most visually stunning episodes of the series,  and  Season 4, the series’ second Halloween episode,“Fort Night,” which has incredibly gruesome stakes and the most satisfying entry in the Louise versus Millie feud. 

“Heartbreak Hotel-oween” is still ultimately pretty good and though it took a second viewing to fully appreciate it I do like watching the Belcher children deftly sail through the world of adults. The tantalizing plot thread of a Bob’s Burgers Delivery service is dangled and I would like to see more Delivery based plots. Getting these characters into different areas and expanding upon the ambitious Jersey shore town. Having the kids deliver a burger to an older woman using the burger as a lure for her seance is flattened against a brown and forgettable after thought of a hotel. Everything with the Belcher kids is good and interesting and with the help of Andy Daly voicing the Hotel Manager; Lindsey Stoddart doing Quarantine duty and voicing multiple characters including the old woman Dolores conducting the seance, and Loren Bouchard Home Movies collaborator Melissa Robbins stops by as a bystander character as well. 

The episode starts getting in its own way with the adults blood bank centric B-plot. The entire plot is given in a single exchange with Teddie being excited about donating blood and everyman Bob with his everyman  O-negative blood finds giving blood nauseating and gross. That’s it. That’s the whole plot and besides the blood banker workers being dressed up as vampires there are no other comedic games being played and it is total unmemorable fluff, which has been a common issue for the ongoing series. One thing this episode does right is at least get Bob, Linda and Teddie out of the restaurant and into a new environment. A lot of the verbal exchanges between Bob, Linda and Teddie feel a lot more stilted due to Covid recordings and the lack of non-scripted banter is sorely missed. I have noticed this season having more John H. Benjamin monologue Bob by himself moments, which only work when Bob’s imagination is in full flight. Where was the talking bag of Bob’s blood? Hell I wouldn’t even had objected to hearing a dang song sung by the vampires to help soothe Bob into giving blood or something beyond: Bob doesn’t like giving blood because it makes him woozy, he gives blood and get’s woozy. 

Overall this is a perfectly serviceable episode: three Ghost-baiting cheeseburgers out of five. 

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Intermission. 

Fox is certainly using the Loren Bouchard & Molyneux sisters brand like a blood bag with the recent announcement of the new series The Great North. Wendy Molyneux is a frequent writer, (executive) story editor since Bob’s Burgers inception. She is the writer of  “The Wolf of Wharf Street” and the episode of Bob’s Burgers I have watched the most - “There's No Business Like Mr. Business Business,” because I am a cat fanatic, John Oliver fan, and have been the pet companion of a standard poodle exactly like Snoodle named Faust that I love dearly. Basically, I am excited for this show. Molyneux is also a deeply connected collaborator with Megan Mullally writing on all 74 episodes of Mullally’s forgotten by the ages The Megan Mullally Show. A show according to Wikipedia’s citation of Fox News, “viewers were disappointed to find out that Megan is not anything like Karen in real life,” and if there is any white woman out there that is an anti-Karen it is Mullally. Mullally is not the focus of the show but her more visible and commercially accessible husband Nick Offerman is finally being anointed into the annals of TV Dads. With his three sons voiced by Paul Rust, Will Forte and National Treasure Aparna Nancherla and sole daughter voiced by Bob’s Burgers alum Jenny Slate, who recently honorably stepped down from a lucrative tv series Big Mouth deal like the real champ that she is.  Mullally will show up as Jenny Slate’s character’s boss andThe cast is undeniable the backdrop of Alaska has a lot of promise for elaborate or interesting set pieces. I am ready for this show! Will this be Bob’s Burgers Futurama? That’s probably a vicious hex based on how Futurama was infamously jerked around by Fox. FOX has already given the show a promising two-season deal, which is already a lot better than what Netflix did for Tuca and Bertie. Faint nowhere discussions of the Bob’s Burgers movie were also mentioned in an interview with Bouchard who has a cantankerous “theater release only” policy, which bums out a little, but I would much prefer they take as long as possible. The Bob’s Burgers movie cannot end up carrying out the Simpson movie curse.

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I am no Simsons scholar. I could not give you an active ranking of favorite Tree House of Horror episodes. I could tell you that I really like Bart as an Edgar Allen Poe’s Raven. You don’t need to be Simpsons scholar to safely state that “Treehouse of Horror XXXI” should be ashamed to show its “funny face.” For starters the entire appeal of the anthology style of storytelling has been completely deflated by having two of the previous episodes in this season being gimmicky non-standard episodes. The only positive thing I can say about this episode is that it is an important teaching tool for what the most broken and shittiest, laziest satire imaginable would look like and the 2020 Election cold opening is actually pretty solid. All of the good will earned by the strong opening is completely squandered starting with an inexplicably CGI Toys Story sketch. I am assuming the animation department went with CGI because the source material is CGI. The CGI is really bad and makes me really miss the 3D models of Simpsons Hit And Run and perfectly charming The Simpsons Game. Instead this sketch’s particular animation looks like the animators were most inspired not by Pixar’s clean and craftsmen like CGI models but were going for more of a Fanboy & Chum Chum look. A Toy’s Story parody in this day and age is asinine in its laziness, but it’s still an evergreen territory. A good Toy’s Story parody is possible, but simply having Bart play out the role of Toy Story’s Sid except he gets lobotomized by his own toys. I did appreciate the writer’s making the explicit moral of the story to not buy toys, which for a Disney product like the Simpsons is pretty rich. 

Behold! The last recorded instance of a quality Toys Story satire from China, IL

The next two parodies go down slightly better simply because they aren’t sporting that eye bleeding animation but paying homage to Enter The Spider-verse and Russian Doll/Happy Death Day 2U in 2020 feels just as dated as Toy Story. What kind of fool is still writing about Russian Doll in 2020? The Enter the Homer-verse sketch is at least ambitious and showcases how masturbatory  the show has come whenever it is showcasing Dan Castellaneta’s various vocal talents. I get it dude, you like having dump trucks of money given to you for barely making an effort and doing Hannah Barbara impersonations that sound more like a bad Woody Allen. Regardless, this is still the one sketch that makes the most attempt to have comedic games with its multiple iterations of Homer and even throwing out some alternative universe Burns and Smithers for good measure. The final third Russian Doll sketch that let’s you know that this sketch is more Russian Doll than Happy Death Day by using the same exact Harry Nilsson “Gotta Get Up”  piano riff. This sketch had potential but once again the show writers and creatives seem to only indulge the worst possible instincts and cast Lisa as the lead of the sketch. So that means we get to watch this 8 soon-to-be 9 year old girl and fellow child Nelson get murdered in a variety of banal and brutal ways, and it’s just not fun or pleasant to watch. The obvious choice is an unexpected Springfield resident and if it has to be a Simpson having Marge or one of her sisters be the Nadia surrogate makes far more logical sense and Marge’s birthday would carry more emotional weight. 

Reminder to myself to check out this lost late series entry where Natasha Lyonne is the voice of Krusty’s daughter. 

I completely understand why The AV Club canceled their coverage of The Simpsons. The whole series has a very masochistic and sadistic pull and tug between creatives and fans. The sweet and simple souls of Den of Geek are still reviewing the Simpsons and offer a far more favorable review: https://www.denofgeek.com/tv/the-simpsons-season-32-episode-4-review-treehouse-of-horror-xxxi/.  Google results also yield one another publication reviewing this current season published on medium that has been taken by for violating medium rules. Will the Simpsons be coming for me next? 

Skip this episode! Judging by the synopsis of the season’s next ep finding the Simpsons, once again, finding themselves somewhere other than Springfield is looking to be another skippable entry. I want to be proven wrong! The latter day Simpsons seasons usually have a memorable or decent episode here or there. So far the only thing remarkable about this season is how much it wants to try to be different and think outside of the Springfield box but in the process give the season an overwhelming sense of hollowness. I shall forge ahead with my coverage, because I am either a masochist or a sadist depending on the weather.