#and warner brothers

[thesoundofchains]

It's crazy to me that YouTube would target Cory of all people when there's people on the platform that spread hate speech, make exploitive content, spread misinformation and disinformation, etc. and they just allow it.

[nightlilly0110]

“Rooster Teeth had a lot of issues as evidenced by the allegations past employees have come forward with” and “Warner Bros is fucking evil for axing an entire company and letting some of its employees find out via tweet” are statements that can and should coexist.

Like. It’s not some gotcha that RT is shutting down. It’s not some vindictive justice that this Big Bad Company is gone now. Projects are now canceled. People will be fired from their jobs. And because it’s Warner Bros. it’s only a matter of time before all those animation projects (RvB, RWBY, Camp Camp, every single episode of anything they made) is scrubbed off of the internet.

It’s gonna be the same thing that happened with HBO Max. It’s gonna be the same thing with the Coyote vs. Acme movie and Batgirl.

RT going down is not the thing you should be lording over people. RT going down should not be some ammo for your “RWBY is mid” takes. RT going down is not some “I always knew it was cringe” meme. Real people are gonna be effected by this. People will lose this jobs and will lose all the passion projects they worked on.

This is horrifying for the people involved in these projects and the state of animation itself. Warner Bros. only owned Rooster Teeth for 2 years. They bought them in 2022. Not even 2 full years. They didn’t even get a chance and they axed THE ENTIRE COMPANY. NOT JUST ONE SHOW. THE ENTIRE FUCKING COMPANY AND ALL ITS IPS. HOLY FUCKING SHIT. THIS IS NOT THR TIME FOR A FAN WAR.

[doctorqueensanatomy]

*me sensing a tonal shift in the tumblr ecosystem* misha collins has had another encounter with bisexuality hasn't he

[dduane]

For those of you who haven't viewed "What's Opera, Doc" recently...

Here's a good clean transfer of a great classic that never stales.

[yurinatural]

it doesnt matter if YOU think that real people can queerbait. warner brothers does and they wish to capitalize on it

[lestatslestits]

just heard the news

[strawlessandbraless]

Not the hero we deserve, but the hero we need

[genderfcker]

reasons why it's very frustrating to be someone who wants to work in a creative industry right now:

warner brothers/hbo/discovery decided to scrap the batgirl movie in post-production before anyone outside of its test audiences could actually see the film

the same company also decided to remove 36 titles from its streaming platform hbo max, several of which were hbo max originals and can no longer be viewed outside of pirating sites, which means the creators will no longer be able to get paid for their work

simon & schuster and penguin random house are in the process of merging. if the DOJ trial doesn't stop the merger, we're going down from having a big five to a big four in the publisher world, with the two of the biggest publishing houses merging.

Barnes & Noble recently decided to stop stocking new middle school books unless they know they're going to be major bestsellers, which multiple new authors didn't find out until weeks before their debuts. B&N accounts for a large chunk of publishing sales for said authors, and limiting what books are available there means debuting authors are mostly screwed unless they put together a massive marketing campaign on their own.

[queer-ragnelle]

I’m so sick of stupid adaptations and remakes. Not fresh retellings. There’s plenty of unexplored mythology still out there. I’m sick of lazy, uninspired, thematically constipated adaptations and remakes. Particularly when they completely miss the point of the original.

Let’s take Charlie and The Chocolate Factory by Roald Dahl for example.

Dahl’s intention with the story was highlighting poverty versus wealth. World-famous and wealthy candy-maker Willy Wonka thinks he’s concocted a fair contest to find his replacement by hiding golden tickets in his candy bars. But as we quickly find out, through our incredibly poor protagonist Charlie Bucket, the impoverished don’t have the same chance as their wealthy or even middle-class peers. Charlie’s search is limited to his birthday candy bar, which turns up empty. Later, he miraculously finds a flyaway note and buys a candy bar, and in that bar, finds a ticket. It’s purely luck, which Wonka wrongfully assumed would be the case for all five hidden tickets, and level the playing field. Charlie’s upbringing humbled him, and he succeeds in avoiding the pitfalls of his gluttonous, greedy, and selfish fellows as they traverse the hostile factory. He wins the big prize, inheriting the factory, through the virtue of his character. Lovely.

Now. Adaptations.

I like the 1971 movie, Willy Wonka and The Chocolate Factory, because. I mean. Gene Wilder. But do you see the problem? The focus on Charlie’s economic disadvantage in the hunt for the golden ticket is undermined by highlighting the eccentric candy-maker. We do still see the obvious struggle a poor child has in a world with the likes of wealthy heiress Veruca Salt, whose father deploys his army of factory workers to open countless candy bars until a ticket is found. But thematically, it missed the mark.

Sigh. The 2005 movie, Charlie and The Chocolate Factory, must have done better right? It reverted back to the book title! Wrong.

This movie doubles down on how much more interesting Wonka is and how the viewer should sympathize with him. As if the misguided focus wasn’t obvious in the choice of casting Johnny Depp, we’re shown all kinds of flashback scenes for the character not present in the book. We see how Wonka “befriended” the Oompa Loompas and convinced them to work for him in exchange for chocolate, made especially awkward by the…choice…to depict them as a primitive society who, for lack of resources, are forced to eat bugs to survive and worship cocoa beans. They’re no longer depicted by multiple orange-painted actors with dwarfism, but instead played by green-screen clones of Indian actor, Deep Roy. Not tone-deaf at all. Anyway we also see glimpses of Wonka’s youth with his unsupportive dentist father, Christopher Lee, and touch on his childhood dream of becoming a candy-maker. Meanwhile Charlie is just…there. Getting zero extra depth. He hugs Wonka and invites him to join the family, I guess. But the message doesn’t land because again, the focus of Charlie’s poverty is lost in Wonka’s desire for family, which was entirely manufactured for Tim Burton’s meow meow Depp could be the focus. That was never the point.

So now we come to it. I’m not advocating for another remake. Please no. But how could we have done better with a movie properly named after the book, with Charlie as the focus? How could it have been adapted in a fresh way? Well, according to Dahl’s widow, Charlie was originally black, adding yet another dimension to the story as it links the wealth disparity between the Buckets and the Salts to systematic disadvantage. But evidentially Dahl’s editor couldn’t fathom why he would write anything other than a white protagonist and advised against it, claiming it would confuse the readers. So Charlie is white in the book and all adaptations.

How poignant could the story have been if it had retained its original message, further highlighted by Charlie’s systematic struggles? Annie tried this in 2014, but failed to make good on its seemingly progressive casting choices, which left it feeling more like common variety “colorblind” casting. Perhaps due to the white screen-writer and director. But Charlie and The Chocolate Factory has more precedence for this change, so why not hire the appropriate people and try it? Could be that director Tim Burton is an unapologetic racist and would never even consider such a thing. In light of the Oompa Loompa changes, it’s for the best.

Diversifying the cast of previously all-white stories has taken off since 2005. Bridgerton or Still Star-Crossed or The Great. I’ve heard both praise and criticisms of these. Some people like a story that represents them without their existence in the story relating to their race or oppression.

Rahul Kohli said in an interview: “When you send me for a role and it says ‘South Asian, his name is Raj,’ I say, ‘I don't fucking want it.’ And then the next one comes in and it says it doesn't have a race. ‘This is John. 30s. Handsome.’ When it says that, I want that fucking role. So I want to take from the majority. That's the only time I think about race…I don’t want Green Knight, that’s Dev [Patel’s] job. That’s his job. I want to take roles away from Chris Pratt. I want to take roles away from Chris Hemsworth. It’s me, it’s Riz [Ahmed], Avan Jogia. There’s like five of us. I don’t want to be in competition with these dudes.”

Others view “colorblind” casting as a shallow gambit that dehumanizes the actors of color and erases their heritage by homogenizing it with white culture.

August Wilson said in his speech, The Ground on Which I Stand: “The idea of colorblind casting is the same idea of assimilation that black Americans have been rejecting for the past 380 years…It is an attempt to blot [racial and ethnic minorities] out and reinvent history. It is an assault on [the BIPOC] presence…an insult to [their] intelligence…and [their] many and varied contributions to the society and world at large…Mount[ing] an [all-BIPOC] production, conceived for white actors as an investigation of the human condition through the specifics of white culture is to deny [the actors their] own humanity, [their] own history, and the need to make [their] own investigations from the cultural ground on which [they] stand.”

But I think a point everyone agrees on is: adaptations and remakes that refuse to engage or expound on the themes of its source material should die a painful death. We should oppose Disney’s weird trend of remaking their own previous adaptations. Those fairytales and mythologies are in the public domain. Let’s cut to the quick and craft poignant retellings based on the sources standing the test of time, just waiting for us. Many have never been adapted at all. Whether for lack of equal opportunity for anyone who isn’t a cishet white guy with a long, predictable career built on nepotism. Or for the false perception the market is unreceptive to change and will cost wealthy executives money. “Why try something new when this other thing already worked? It comes with a built-in audience!” So stories are recycled. At best, it’s boring. At worst, it’s stifling creativity and opportunity for everyone. But especially minorities trying to break in and at last free us from this sisyphean torment. I never want to see an attempt at a quirky spin on Cinderella ever again. Let’s adapt original work by POC and queer people or mythology from somewhere besides Europe or Scandinavia or Greece. Then cast accordingly.

[beyzathe]

you don't get to pick your sexuality. actually warner brothers does. congratulations you're getting promoted misha you're bi now

[killlerfang1]

Now wtf is going on with Warner Brothers this week?

[atomic-chronoscaph]

Marvin the Martian - The Hasty Hare (1952)

[bookwormlover10]

After some light of resin batman beyond animated movies pitch news here are some memes I made for✨ the special occasion ✨

[enlightenedrobot]

Other Characters you can legally use for your Mickey Mouse project

Mickey Mouse is in the public domain, as is Minnie Mouse and Peg-leg Pete. There's some caveats to that, and I talk about that more in this other post, but for now, let's talk about other characters who you can also use to fill out the cast.

These characters should all be in the public domain, though some characters still have treademarks. I'll get into how to use them safely as we go. Anyways, let's start.

Other Disney Characters

Disney obvciously doesn't advertise this, but there's actually quite a few Disney originals who've actually been in the public domain for a while.

The Mad Doctor never had it's copyright renewed, and so it's very technically the first Mickey Mouse cartoon to enter the public domain. Keep in mind, the version of Pluto featured in the short isn't in the domain just yet, but the Doctor himself is free to use.

What's funny is that Disney would later use a version of Doctor for Epic Mickey. Obviously don't use that version of the character.

Aside from the Mad Doctor, we also have Oswald and Ortensia

Yeah, as it turns out, Oswald's been in the public domain for quite a while, but he's still trademarked by Disney. Easy recommendation... use the original "fat" design of the character and have him go by Lucky.

But before Oswald, we have the Alice Comedies

Everything about the Alice Comedies is Public Domain for a long time, and the Disney corporation very rarely acknowlege these characters existence. Which is a shame because These shorts were some of the first shorts Walt ever produced, and they have the unique gimmick of featuring a live action girl in an animated world.

Everybody already knows about Oswald, but nobody talks about Oswald and Mickey's older brother from these shorts, Julius the Cat

Like... yeah no, it didn't all start with a mouse. Or a rabbit. It started with a cat.

Foxy and Milton Mouse

Both Foxy (top) and Milton (bottom, pictured with his girlfriend Rita Mouse) were characters created by Warner Brothers and Van Beuren respectively to cash in on Mickey's success, and both characters are also in the public domain.

In fact, all Van Beuren cartoons are apparently in the public domain, and I encourage you to find their cartoons and use them as you please.

Fleischer Characters

Betty Boop is probably in the Public Domain, but there's a few caveats with this. From what I can tell, the name Betty Boop is trademarked, but the character herself isn't. Most of the old Betty Cartoons are free to use, but newer incarnations, including the versions used in 1985's The Romance of Betty Boop and 1989's The Betty Boop Movie Mystery are still very much under copyright.

To avoid any legal trouble, I have two big recommendations. Although everybody remembers Betty as having Black hair, in one of the few early instances of Betty being shown in color, she's actually depicted as Redhead.

This is Betty Boop in 1934's Poor Cinderella, and her hair color is pretty clearly red.

The other option is to just make her black.

Though there's been some debate as to whether Betty Boop was intentionally modeled after Esther Lee Jones or not, there's still no denying the influence of Jazz on the character. Betty Boop is a Jazz singer and is often depicted dancing to Cab Calloway. Hell, the Betty Boop musical features Jasmine Amy Rogers as the titular character.

Betty Boop aside, there's an entire world of defunct Betty Boop characters who are definately public domain, including Bimbo and Koko the Clown.

Next year, Popeye's also gonna enter the Domain. So keep an eye out for him too.

Anyways, these are my picks, but obviously this list isn't meant to be comprehensive. There's a ton of old cartoon characters out there who can be freely reinterpreted into newer works. Feel free to add your own favorite public domain cartoon to the list.

[hellosonganimated]

Say "hello" to the final result of the Hello Song Animated project! 🗯

Several dozen amazing Animaniacs fans collaborated on this project to celebrate a song that never made it to the show. We hope you love it. Check it out and pass it around!

If you wanna check out each artist, we made a detailed credits with social media links: CHECK IT HERE!

Okay, we love you, buh-bye!

- Project storyboarders/mods Max, Greta, and Ray

[amalgamasreal]

So I'm seeing a bunch of posts around these days suspiciously trying to tie shows being cancelled to the recent rise in piracy due to the uptick in streaming costs.

So I thought I'd remind everyone if the time Olan Rogers was forced to pirate the third season of Final Space because Warner Brothers had cancelled and memory holed it as a tax write off. A show HE CREATED.

That was back in 2022, before the hikes, before the mass wave of streaming sub losses. Don't let people fool you, it's not piracy that's killing your favorite shows. It's corps doing the same bullshit they always do.