#david warner century today

[eyeads]

Australia vs Netherlands highlights, Cricket World Cup 2023 

https://www.colorframes.com/

[jewishbarbies]

https://www.tumblr.com/jewishbarbies/755194286127054848/good-news-though-the-actor-who-plays-superman-in?source=share

I think it helps that James Gunn is Jewish and Irish (Irish ancestry on his father’s side and Jewish from his mother) so maybe they’ll be a reduction in antisemitism in the comic movie industry, or maybe I’m a little too optimistic lol. But it got me thinking, the contributions that Jewish people have made to entertainment, especially comic books and movies are just so wonderful and immense so I don’t understand why people are so determined to erase their representation in the media. Whether it’s people “boycotting” Sabra (Israeli marvel superhero set to premiere in MCU in Captain America movie), Magneto and Scarlet Witch being portrayed by non Jewish white actors (Quicksilver in the MCU is played by Aaron Taylor Johnson, who is Jewish. However Evan Peters is not Jewish), fans dismissing Peter Parker and Bruce Wayne’s Jewish backgrounds, dismissing the stories of the Jewish immigrants who created the DC/Marvel superheroes and villains that we know of today and how those stories influenced the creation and portrayal of these characters in the comics, etc.

It’s as if they want all the benefits of Jewish cultures and creations, but not the Jewish people themselves. As a black person, I know that feeling all too well. They want everything about us… just not us.

that’s been the case with antisemites for centuries. clear back when the romans decided to adopt their own version of torah, adding jesus and extras, while actively making it illegal for jews to be jewish in OUR land. it happens in everything jews set foot in and improve.

I actually got into a brief argument with some dudebro a while ago because he was saying Bruce was “half jewish”, and I was like “um no, he was just jewish. all you need is one parent.” and he kept arguing with me. like. dude. I’M JEWISH. you’re gonna tell me how MY culture works?? because you don’t want your batman “full jew”? it was……a wild time. even David Mazouz, the jewish child actor who played Bruce in the Gotham series, said an exec at Warner Bros told him he looked “too jewy” to play batman. a jew looks too jewish to play a jew.

now we’ve got chuckle fucks trying to retcon magneto into some antisemitic leftist icon. ironic that they killed off immediately the only quicksilver to be played by an actual jew. oh also, I found out a while ago that superman originally had green eyes and they were changed to blue once they started making him a christ figure instead of a Moses allegory. :) I’m not mad about that at all. :)

we built hollywood, we built the comic industry, and we’re consistently pushed out of both places specifically for being jews.

[kylesvariouslistsandstuff]

Welp, here we go. Skydance and Paramount. Looking to merge. Mega-conglomerates continue to eat each other and mutate...

Of course this will mean lots of layoffs, probably some tax write-offs, too. Whole changes in the flow, divisions affected, etc. Reports say that David Ellison, Skydance leader, will pursue *$2 billion* in cuts...

Skydance Animation likely becomes a bigger key player now. I'd imagine future films of theirs, after SPELLBOUND debuts on Netflix, go theatrical. Hopefully it remains separate from Paramount Animation, who have a chunk of projects of their own in the works. It could be a DreamWorks and Illumination situation, a WDAS and Pixar situation, you get the idea? No combining, please. They can totally make films independent of each other.

Alarmingly, Ellison supposedly wants to merge Skydance Animation with Nickelodeon, which I think is a grossly irresponsible idea. Nickelodeon is one of the most important cornerstones of Western TV animation spanning decades. Regardless of where they're at today, to have them be to diluted into some hybrid muck just isn't to my liking. And I'm sure it's not to a lot of other peoples' liking, either.

Hey did you know that Steve Jobs, upon The Walt Disney Company's acquisition of Pixar in early 2006, suggested closing down WDAS and having Pixar just be Disney's single animation studio? In a move that was actually a good decision, John Lasseter vetoed that idea. Now Lasseter runs Skydance Animation, and if they merge with Nick... Sheesh, him having control over the likes of SpongeBob and such? Please no.

The only good thing to come from this, I feel, is if Skydance Animation's movies go theatrical... That could mean Brad Bird's 2D more "grown-up" RAY GUNN could get... A theatrical release. Which probably wouldn't move the needle for 2D animated features anyhow, but it would at least be nice.

Like most acquisitions, it shouldn't have to have been a shitstorm that affects so many people and their projects. I get that the whole Paramount thing is a long and complicated web, and they needed some kind of help, and that there was no good option available, but... That it has to come to that, it's quite telling. Really.

If you think about it... The movie giants have largely been distilled into clusters.

Disney and 20th Century. MGM and Amazon. Warner Bros. and Discovery. Comcast and Universal. Lionsgate and Summit...

Paramount and Skydance.

What's outside of that? A24, NEON, Bleecker Street... Off the top of my head.

Anyways, I hope for the best for the crews that could be affected.

[teresawilson1]

The Uncanny in Art

Giving Fear A Face: The Anxious Mind

A Personal Overview of the Theories around the Concept of the Uncanny in Art

                Paula Rego, Little Brides with Their Mother, 2009-10

The Uncanny is a type of anxiety, experienced by the viewer and triggered by the artist’s personal experience.

Elena Crippa

It may seem to be a paradox that the type of art that can be labelled ‘Uncanny’ and appears to be unreal, bizarre, incomplete, grotesque or in an 'in-between state', nevertheless conjures up feelings in the viewer that seem very 'real'.   As Francis Bacon (1909 – 1992) described, during an interview with the art critic David Sylvester in 1950, reality, to him, was nothing else but a ‘series of sensations and ideas that occur in the consciousness of each individual’. (Crippa, p83)

Paula Rego (1935-2022) was another artist who had lived through the period of post-World War II Europe marked by the anxiety that followed the war - concentration camps, suffocating dictator regimes and threat of nuclear war (Crippa).  She also produced paintings which have the uncanny elements that she has described as being an attempt to ‘give fear a face’ (Warner).  Marina Warner has written that Rego ‘expresses her own ambiguous states of uncertainties, mysteries and doubts into that territory, desisting from offering explanations or asking for any’.

Rego and Bacon are two examples of important 20th century artists whose work incorporated elements of the concept of the uncanny, a thread which works its way in and out of the work of figurative and non-figurative art.  I will go on to discuss many others in further posts, including my own practice and show how the uncanny reveals itself - its strange identity.  I will focus on the idea of the uncanny as it is revealed in the subject (and object) of the human body. 

But first, the question could be asked - how can this elusive concept of the uncanny be defined? Did it emerge only in the 1920’s in Europe, or has it always existed in the world?

It is nowadays the norm to hold the view that anxiety, fear, and concepts such as the uncanny (which express anxiety in a visual form) are experiences that occur to human beings in the site of the psyche (the mind).  However, it was not until the late 19th century that Sigmund Freud (1856-1939) came to believe that the symptoms of his patients were caused by conflict in the unconscious mind and with the ‘failure to deal with invisible, unconscious and primarily sexual psychological desires’ and not as had been thought previously, symptoms of a disease of the physical nervous system. (Freeman, p15)

Freud had come to Paris in 1885 to study ‘hysterics’ under Jean-Martin Charcot and became interested in the connection between the mind and body (Tomley,pviii).  It is largely a legacy of Freud’s work that anxiety has become so important in today’s psychological and psychiatric thinking (Freeman, p4).  Freud continues to be relevant today as more and more of his insights become proved by neuroscientific discoveries.  For example, as Eric Kandel has pointed out in ‘The Age of Insight’ (2012), ‘most of our mental life, including most of our emotional life, is unconscious at any given moment’.  Research also suggests that ‘images exert a much more powerful influence on emotions than do thoughts (Freeman, p27), which explains the power and effect on the viewer of uncanny art.

It is important to remember that although the uncanny did not exist as a theory until being written about by Freud in his essay ‘das Unheimlich’ in 1919, uncanny-like images had appeared in art through the centuries in both European and non-European cultures.  Connected with the supernatural, magic and religion it shows up in ‘primitive art’ for instance and through the history of the art of Catholicism.   Jane Neal, writing in ‘Uncanny Tales’, says that Freud tells us that ‘apparent death and re-animation of the dead have been represented as most uncanny themes.  She talks about the otherworldliness od Ana Maria Pacheco’s work which comes from the primitive ‘magic’ cultures of Brazil as well as the ritual and superstition running through the Catholicism that she experienced growing up.  The doll is the perfect example of an uncanny art form, connected as it is with ideas of witchcraft, religious statuary, and as an imaginative plaything/doll.

Thus, the uncanny has always been with us, just as dreams, imagination and fears have been expressed by humans in art.  In her essay ‘Dream Realism’, Marina Warner (Warner,p31) describes Paula Rego’s approach to art making as a ‘beautiful grotesque’ because she reflects the powerful mixed feelings she inspires, looking within herself as a site of ‘collective memory nourished by legends and fairy tales’.  

The Jungian feminist psychologist and ‘teller of the old stories’ Clarissa Pinkola Estes wrote in ‘Women Who run With the Wolves’ that in ‘…a single human being there are many other beings, all with their own value, motives, and desires…there is also within the psyche an innate contra naturam aspect, an ‘against nature’ force.  The contra naturam aspect opposes the positive: it is against development, against harmony…it is a derisive and murderous antagonist that is born within us.’ (Estes,p35,).  The first chapter of Este’s seminal work is devoted to recognizing this predator in the psyche for what it is, and from recognition comes the instinctive building of intuitive ‘muscle’ so that we learn to instinctively know when something ‘is not right’.  The uncanny lives in the realm of ‘not quite right’ and although its presence may leave the viewer with a sense of unease, it is a clue to a truth revealed or danger thwarted, a mirror reflecting something we may not want to look at too closely, but we must examine and take on board, or we cannot move on in our lives.

Alexandra Kokoli explores the nature of repression in the realm of domesticity in her book ‘The Feminist Uncanny: In Theory and Art Practice’ (2016).  She explains that the starting point for the ‘female uncanny’ is the ‘…deliberate unsettling quality that many cultural artefacts informed by feminism continue to possess…the fraught but fertile relationship between feminism and the uncanny and by extension Freudian psychoanalysis’ (Kokoli,p3).

Louise Bourgeois, Femme Maison, 1982, Plastic doll and clay.

Repression and entrapment in the unhomely domestic environment (‘unhomely’ are a literal translation of Freud’s das Unheimlich) is explored by Louise Bourgeois’ uncanny hybrids of women and house in her series of works entitled ‘Femme Maison’.  Her later ‘cells’ are also prison-like structures, within which the viewer is invited to look inside an uncanny alternative domestic room filled with fetishized and emotionally charged collections of objects, doors, and symbols of ‘hysteria’.

As a final note on this overview of the theories surrounding the uncanny, I would like to mention the concept of the ‘Abject’.  Connected to both the uncanny and feminism, the theory of ‘abjection’ has been defined by Julia Kristeva in ‘Powers of Horror: An Essay on Abjection’ (1982) as ‘… a massive and sudden emergence of uncanniness which familiar as it might have been, in an opaque and forgotten life, now harries me as radically separate, loathsome’ (Kristeva, p51).  This then, is the uncanny taken to an extreme of the visceral, violent, or disgusting.  The repressed memory, the uncanny starting point, can no longer be recognized in the abject.  It is closer to the grotesque and is indebted to Surrealism (Kokoli, p53).  At the heart of abjection is the in-between, the ambiguous, immoral, a sinister experiment gone wrong.

            In the dark halls of the museum that is now what remains of Auschwitz, I see a heap of children’s shoes, or something like that, something I have already seen elsewhere, under a Christmas tree, for instance, dolls I believe.  The abjection of Nazi crime reaches its apex when death, which in any case, kills me, interferes with what, in my living universe, is supposed to save me from death: childhood, science, among other things.

Julia Kristeva Powers of Horror, (1982)

References

Crippa, E. ed., (2018). All Too Human: Bacon, Freud and a Century of Painting Life, exh.cat., Text by Elena Crippa. Tate, London.

Estés, C.P. Women who Run With the Wolves: contacting the Power of the Wild Woman. Rider, London. (1992)

Freeman, D and Freeman, J. Anxiety: A Very short Introduction. Oxford University Press, 2012.

Kokoli, A.M. The feminist Uncanny in Theory and Art Practice. Bloomsbury, 2016.

Kristeva, J. Powers of Horror: an Essay on Abjection. Trans. By Leon. S. Roudiez. Colombia University Press. NY. 1982.

Neal, J. (Essay) in Uncanny Tales. Exhibition Catalogue. FWA, Foundation of Women Artists. 2005

Tomley, S. (Introduction) to the Interpretation of Dreams by Sigmund Freud. The Psychology Classic. Capstone. 2020

Warner, M. (Essay) Dream Realism, in Paula Rego, Exhibition Catalogue. Ed. By Elena Crippa. Tate. 2005.

[laufire]

I was today's years old when I found out that warner bros is apparently on the lookout for YET ANOTHER ACTOR to play live-action film batman. how many more of these does the twenty-first century need OH MY FUCKING GOD. personally speaking I don't want a new live-action bruce wayne AT LEAST until gotham's david mazouz (left) has grown enough to play batman beyond's bitter old man bruce (right).

[dennistamayo]

My future projects will never be produced by WBA

The Saturday-morning cartoons I’ll develop based on Warner Bros. Television Studios’ popular sitcoms, Friends by Marta Kauffman & David Crane & The Big Bang Theory by Chuck Lorre & Bill Prady will never being produced by Warner Bros. Animation because the studio is busy making upcoming TV cartoon projects between this year & next year, including Creature Commandos (TV series) for Max. Instead, my future projects will be produced by Cartoon Network Studios at the new & current Second Century building in Burbank, California which was responsible for producing such shows as Dexter’s Laboratory & The Grim Adventures of Billy & Mandy (although it was recently merged with Warner Bros. Animation 1 year & 11 months ago). While Cartoon Network Studios will be producing the Saturday-morning cartoons, Warner Bros. Entertainment still owns the rights to both the Friends characters & The Big Bang Theory characters respectively.* In these animated prequels, the main characters in their respective shows will be in their preteens years (between the ages of 10 & 12). The Friends prequel will set in Central Perk while The Big Bang Theory prequel in Pasadena, California during the events of Young Sheldon & the art style will be inspired by Genndy Tartakovsky, Craig McCracken & Chris Savino in late 1990s & the early 2000s days of Cartoon Network originals. The Friends prequel will premiere on Discovery Family & soon after on Max (streaming service) in early 2026 & The Big Bang Theory prequel will premiere in mid 2026 because all the animated shows on Cartoon Network today uses the current thin line art style thanks to Pendleton Ward & J. G. Quintel, & the running time for the shows are now 15 minutes with commercials. Also, I will write episode scripts at Cartoon Network Studios in Burbank, California when I’m done writing episode scripts of Dexter’s Lab Season 5 (7 & 8) here in Limay, Bataan. They will be the few 2020s cartoons not to use the Pendleton Ward/J. G. Quintel art style but the thick line art style when it’s not animated in flash, same with Unicorn: Warriors Eternal by Genndy Tartakovsky. For these future projects, they will be produced by Cartoon Network Studios in association with Bright/Kauffman/Crane Productions for the Friends prequel, Chuck Lorre Productions for The Big Bang Theory prequel & Warner Bros. Television Studios for both shows respectively. Let’s bring sitcom based cartoons back.

*Warner Bros. Entertainment & Cartoon Network are both owned by Warner Bros. Discovery.

[ptbf2002]

Bugs Bunny Is Watching The Garfield Movie

Yeah, The Garfield Movie Was Released In Theaters Today. despite the fact that Nickelodeon Is Garfield's New Owner. Sony Has done The Garfield Movie Than What 20th Century Fox Has Done

Looney Tunes Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Harman-Ising Productions, Leon Schlesinger Productions, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Bugs Bunny Belongs To Ben Hardaway, Cal Dalton, Charles Thorson, Tex Avery, Chuck Jones, Bob Givens, Robert McKimson, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Garfield Movie Belongs To Jim Davis, Paul A. Kaplan, Mark Torgove, David Reynolds, Paws, Inc. Nickelodeon Group, Nickelodeon Networks Inc. Paramount Kids and Family Group, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, Andrews McMeel Entertainment, Wayfarer Studios, One Cool Group Limited, DNEG Animation, DNEG, Prime Focus Limited. Alcon Entertainment, LLC, Stage 6 Films, Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

[abigail55]

The Evolution of movie: A Journey Through Time and Technology

Movies, the epitome of modern entertainment, have evolved significantly since their inception in the late 19th century. From the silent black-and-white era to today's cutting-edge CGI spectacles, cinema has undergone a remarkable transformation, shaping and reflecting the cultural zeitgeist of each era. This article delves into the rich history and technological advancements that have propelled the art of filmmaking into the digital age.

The Birth of Cinema:

The roots of cinema can be traced back to the invention of motion picture cameras in the late 19th century. Pioneers like the Lumière brothers and Thomas Edison laid the groundwork for what would become one of the most influential art forms of the 20th century. The first films were short, silent snippets capturing everyday life or staged scenes, often devoid of narrative structure.

The Silent Film Era:

The early 20th century saw the rise of silent films, characterized by dramatic gestures, exaggerated expressions, and intertitles to convey dialogue and plot points. Icons like Charlie Chaplin and Buster Keaton became synonymous with this era, delivering timeless performances that transcended language barriers. Silent cinema reached its zenith with masterpieces like "The Birth of a Nation" and "Metropolis," showcasing the potential of visual storytelling.

The Golden Age of Hollywood:

The introduction of synchronized sound in the late 1920s revolutionized cinema, giving birth to the "talkies" and ushering in the Golden Age of Hollywood. Studios like MGM, Warner Bros., and Paramount churned out classics like "Gone with the Wind," "Casablanca," and "Citizen Kane," cementing their place in cinematic history. Stars like Clark Gable, Marilyn Monroe, and Audrey Hepburn became household names, enchanting audiences with their charisma and talent.....watch more.

The Advent of Technicolor and Cinemascope:

The 1930s also saw the advent of Technicolor, a revolutionary color film process that brought movies to life in vibrant hues. Epics like "The Wizard of Oz" and "Gone with the Wind" showcased the possibilities of color cinematography, captivating audiences with their visual splendor. The 1950s introduced widescreen formats like Cinemascope, offering audiences a more immersive viewing experience and paving the way for epic productions like "Ben-Hur" and "Lawrence of Arabia."

The New Hollywood Era:

The 1960s and 1970s marked a period of upheaval and innovation in Hollywood, as a new generation of filmmakers challenged the status quo. Directors like Martin Scorsese, Francis Ford Coppola, and Steven Spielberg pushed boundaries with bold storytelling and groundbreaking techniques. Films like "The Godfather," "Taxi Driver," and "Jaws" captivated audiences and critics alike, earning accolades and reshaping the cinematic landscape.

The Blockbuster Era:

The 1980s witnessed the rise of the blockbuster, fueled by high-concept premises, dazzling special effects, and marketing blitzes. Franchises like "Star Wars," "Indiana Jones," and "Back to the Future" dominated the box office, spawning sequels, spin-offs, and merchandising empires. Advances in computer-generated imagery (CGI) allowed filmmakers to create fantastical worlds and creatures previously unimaginable, revolutionizing the visual language of cinema.

The Digital Revolution:

The turn of the millennium brought about a seismic shift in filmmaking with the widespread adoption of digital technology. Digital cameras, editing software, and visual effects tools democratized the medium, empowering independent filmmakers and enabling experimentation. Directors like Christopher Nolan and David Fincher embraced digital filmmaking, pushing the boundaries of storytelling with immersive narratives and stunning visuals.

The Rise of Streaming Services:

The proliferation of streaming services in the 21st century has transformed the way audiences consume content, challenging the traditional theatrical model. Platforms like Netflix, Amazon Prime, and Disney+ offer a vast library of films and original programming, catering to diverse tastes and preferences. The rise of streaming has democratized access to cinema, allowing filmmakers from around the world to reach global audiences with their work.

The Future of Cinema:

As we look to the future, one thing is certain: cinema will continue to evolve and adapt to changing technologies and audience preferences. Virtual reality (VR) and augmented reality (AR) promise to revolutionize the viewing experience, blurring the lines between reality and fiction. Artificial intelligence (AI) and machine learning algorithms may also play a role in content creation, personalized recommendations, and immersive storytelling.

Conclusion:

From its humble beginnings as a novelty attraction to its current status as a global cultural phenomenon, cinema has come a long way in the span of a century. With each technological advancement and artistic innovation, filmmakers have pushed the boundaries of storytelling, transporting audiences to new worlds and challenging their perceptions of reality. As we embark on the next chapter of cinematic history, one thing is certain: the magic of movies will continue to captivate and inspire audiences for generations to come.

[sportsgr8]

'Entitled To His Opinion', Warner Responds To Johnson’s Criticism

The West Australian: Australia's David Warner has said that his former team-mate Mitchell Johnson is entitled to his opinion, however scathing, about the opener's retirement plans.Warner said Johnson was “entitled to opinion” after the pacer expressed his disapproval in a column for The West Australian, questioning over why the left-handed opener is getting a hero’s send-off while still not owning up to his role in the infamous 2018 ball-tampering scandal. As Australian captain Pat Cummins declared that the Test team would be "fiercely protective" of the seasoned opener in the event of outside assaults, Warner refrained from adding gasoline to the flames. "It wouldn't be a summer without a headline, would it?" said Warner at the launch of Fox Cricket's summer coverage in Parramatta on Friday. "It is what it is. Everyone's entitled to their own opinions. Moving forward, we're looking forward to a nice Test over in the west." Warner, focused on ending his career on a high, said he learned long ago to knuckle down in the face of criticism like Johnson's. "My parents ingrained that into me," he said. "They taught me every day to fight and work hard. When you go onto the world stage and you don't realise what comes with that, it's a lot of media, a lot of criticism but a lot of positive. "I think what's more important is what you see here today, the people coming out to support cricket." Warner has only scored one Test century in 25 matches since the summer of 2020–21; that century came in his 100th Test at the MCG in late 2022 when he amassed a remarkable double-hundred against South Africa. Australian selectors have been loyal to Warner over the rough patch, which has undoubtedly included two dismissals in the 1990s, and are currently deciding who would replace him after Sydney. The team has shown to be just as encouraging lately. Read the full article

[bennyswhims]

The Pink Panther Show (Hanna-Barbera/David H. DePatie, Friz Freleng; 1969-1979)

The 1970s were quite a pivotal time for the industry. With Disney in one of its biggest historical slumps and television becoming more standard, it was time for bigger studios to rise to the occasion and populate the at-home viewing landscape with as many cartoons as they could muster. This led to a barage of properties that all launched very quickly, as it was kind of a space race to see who could become "the Disney of TV".

After leaving the dying MGM animation division and being burnt out from Warner Brothers, William Hana and Joseph Barbera would once again find themselves as the main providers of animated entertainment as their production house only got more popular over the years. With dozens of projects running, it seemed they were leading the charge for claiming the aforementioned title to themselves. Additionally, the public had not too long ago had their minds blown by the heart found in UPA's productions, even when these were mostly created with two hotdogs and a prayer for a budget. These factors all created a bit of a perfect storm for Hanna-Barbera productions, making quick, cheap-but-memorable entertainment and holding their place as a household name. This leads us to one of their most popular creations, and the subject of today's analysis:

Hijinks. That's all that goes on here.

This show was kind of a one-of-one. Silent-movie style gags, absolutely no spoken dialogue, under 10 minute episodes, it's a no-holds-barred comedy that moves QUICK, and does not really linger much on anything at all, letting you take in all you need to and moving on quickly. Most shots here have quite the minimalist design, many not even having any proper background other than a solid color and some guiding lines, focusing us fully on the characters on screen.

This isn't to say the show had no heart or sincerity, quite the contrary. Many critics and audience members at the time were fond of the shorts in fact because they had a sort of blues-y charming earnestness to them, what with the city setpieces, the satirical view it showed on modernity, and the unmistakable quad-platinum banger that is its main theme, created by legendary composer Henry Mancini.

Running for over a decade, calling the show just successful is nothing short of an understatement. It redefined the look cartoons could have in modernity, and helped establish a place for minimalism in popular entertainment. Its influence in modern animation is just about ubiquitous, and I don't think it's debatable for me to say the Pink Panther is one of the most important television programs of the 20th century.

References:

Hanna-Barbera, Wikipedia:

The Pink Panther Show - Cartoon Network Wiki

The Pink Panther Cartoon Collection - The Internet Archive

The Pink Panther Show - Wikipedia

[daddyscore]

ENG vs AUS Prediction: When and Where to Watch, Playing XI, Pitch Report, Weather for 3rd Ashes Test

The Headingley in Leeds will host this third Test, with the score line reading 2-0 in favor of Australia. After winning the first Test, Australia carried forward the winning momentum and beat England in the second Test at Lord’s by 43 runs. Steve Smith scored a century for Australia whereas Ben Duckett missed out on his maiden Ashes ton by two runs. Australia set a target of 371 for the hosts.

More Info Join : App Store, Play Store

Ben Stokes led from the front and smashed a brilliant ton. He was about to play the iconic ‘Headingley’ knock four years down the line before he fell on 155 and the Aussies wrapped up the tail.

IND vs AUS, Match Details

Teams: England vs Australia

Captains:  Ben Stokes is going to Lead England Cricket Team

Pat Cummins is going to lead Australia Cricket Team

When:  July 6th, 2023, Thursday Match is going to start at 3.30 pm IST

Venue: Headingley, Leeds

Head to Head of England vs Australia: both England and Australia have total 357 encounters out which England won 110 times and Australia won 151 times with 96 draws.

Likely Playing XI

England: Zak Crawley, Ben Duckett, Harry Brook, Joe Root, Jonny Bairstow (wk), Ben Stokes (c), Moeen Ali, Chris Woakes, Mark Wood, Stuart Broad, Ollie Robinson

On Bench: Chris Woakes, BM Duckett, DW Lawrence, JC Tongue, Mark Wood, MJ Leach

Australia: David Warner, Usman Khawaja, Marnus Labuschagne, Steven Smith, Travis Head, Cameron Green, Alex Carey (wk), Mitchell Starc, Pat Cummins (c), Todd Murphy, Josh Hazlewood

On Bench: JP Inglis, MS Harris, Matt Renshaw, MR Marsh, Michael Neser, Josh Hazlewood, Todd Murphy

Pitch Report: The pitch at the Headingley is a well-balanced track. The seamers are expected to get some assistance from the surface as the ball tends to move laterally. The spinners may come into play as the game progresses and posting a big total in the first innings will be crucial at this venue.

Most Probable Best performers in ENG vs AUS

Probable Best Batsman: Joe Root

Probable Best Bowler: Pat Cummins

Weather Forecast for Today in Headingley, Leeds

Maximum Temperature: 21° Celcius

Minimum Temperature: 14° Celcius

Wind Speed: 10 km/hr

Chances of Rain: 5%

Capacity of Stadium: 18, 350

Prediction to win: Team Australia is most likely to win the match

Where to Watch

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[creativecuquilu]

Today is my birthday. And for this year, here is something I've been thinking about for quite a long time: A good bunch of my favorite male characters - including those I recently knew or I like but not enough as to fanart, but taking away everyone I've abandoned or just felt like they shouldn't be here - all gathered up in a boxing ring, the majority wounded and weary, but some a bit dirty and confused. Serious and sad faces, a dark story to tell behind their piercing bleary looks but for some, way worse. And of course - the simplycity, cartoonism and bouncyness of my circled neckless heads, bubble eyes and long rectangly trapece bodies. Dedication and pressure to myself cannot be forgotten on this process...as well as telling you this is based off the Whatcha Say meme. And now the copyrights, which tells you the characters, their series, their actors and their rights, starting from the first row. Hope you like it! But first...Artwork (c) @CreativeCuquiLu Peter Venkman - Ghostbusters - Bill Murray (c) Columbia Pictures and Sony Pictures Paul Atreides - Dune - Kyle Maclachlan (c) Universal Pictures, David Lynch and Frank Herbert James Tiberius Kirk - Star Trek - William Shatner (c) Desilu Productions, CBS Paramount Television and Gene Roddenberry Larry Daley - Night in the Museum - Ben Stiller (c) 20th Century Fox, 1492 Pictures and 21 Laps Entertainment Agent K - Men in Black - Tommy Lee Jones (c) Columbia Pictures and Barry Sonnefield Horatio Caine - CSI Miami - David Caruso (c) Anthone E. Zuicker, Ann Danahue, Carol Mendelsohn, Jerry Bruckheimer Television and CBS Television Studios Jaime Lannister - Game of Thrones - Nikolaj Coster Waldau (c) HBO Entertainment and George R.R. Martin Guy Montag - Fahrenheit 451 - Oskar Werner (c) and Ray Bradbury Rick Deckard - Blade Runner - Harrison Ford (c) The Ladd Company and Ridley Scott Roj Blake - Blake's 7 - Gareth Thomas (c) BBC and Terry Nation Luke Skywalker - Star Wars - Mark Hamill (c) 20th Century Fox, LucasArts Films and George Lucas Dave Lister - Red Dwarf - Craig Charles (c) BBC Marty McFly - Back to the Future - Michael J. Fox (c) Universal Pictures and Steven Spielberg Sherlock Holmes - The Hound of the Baskervilles - Tom Baker (c) BBC James Bond - Goldeneye - Pierce Brosnan (c) United Artists Pictures Inc. Michael Knight - Knight Rider - David Hasselhoff (c) Universal Pictures Aragorn - Lord of the Rings - Viggo Mortensen (c) Warner Bros. Entertainment, United Artists Pictures Inc, Peter Jackson and J.R.R. Tolkien The Doctor - Doctor Who - David Tennant (c) BBC Arthur Dent - The Hitchhiker's Guide to the Galaxy - Simon Jones (c) BBC and Douglas Adams John Hannibal Smith - The A Team - George Peppard (c) Universal Pictures Lucky Luke - Lucky Luke - Jacques Thébault (c) United Artists Pictures Inc, Réne Goscinny and Morris Peeta Mellark - The Hunger Games - Josh Hutcherson (c) Lionsgate Films and Suzanne Collins Alan Grant - Jurassic Park - Sam Neill (c) Universal Pictures, Steven Spielberg and Michael Crichton Asterix - Asterix and Obelix - Roger Carel (c) Extrafilm Produktion GMBH Berlin, René Goscinny and Albert Uderzo Shaggy Rogers - Scooby Doo - Casey Kasem (c) Hanna Barbera Neo - The Matrix - Keanu Reeves (c) Warner Bros. Entertainment, Village Roadshow Pictures and The Watchoski Brothers Gomez Addams - The Addams Family - John Astin (c) Hanna Barbera Inspector Gadget - Inspector Gadget - Don Adams (c) DIC Entertainment Corp. Harry Potter - Harry Potter - Daniel Radcliffe (c) Warner Bros. Entertainment and J. K. Rowling Rocky Balboa - Rocky - Sylvester Stallone (c) Metro-Goldwyn-Mayer and United Artists Pictures Inc And for anyone who wants to watch its process... 

[tcm]

Julien Temple Musicals: ABSOLUTE BEGINNERS (’86) and EARTH GIRLS ARE EASY (’88) By Raquel Stecher

Director Julien Temple has built his filmmaking career showcasing creative types. Musicians are his forte, although he’s also made films about poets, filmmakers and other artists. Best known for his music videos, he’s directed artists such as the Rolling Stones, Depeche Mode, Whitney Houston, Janet Jackson, Billy Idol, Van Halen and Paul McCartney. He became interested in filmmaking when he discovered the work of French filmmaker Jean Vigo, whom he would later direct a biopic about. He began working alongside the Sex Pistols and made his debut feature film The Great Rock ’N’ Roll Swindle (’80) about the band’s tumultuous break-up.

Temple had a front row seat at a time when music was revolutionizing culture but was also interested in how the music of the past influenced the present. Among his films are two outliers, a pair of films inspired by Temple’s love of Hollywood musicals: ABSOLUTE BEGINNERS (’86) and EARTH GIRLS ARE EASY (’88). An homage to the early days of rock ‘n’ roll, ABSOLUTE BEGINNERS was an adaptation of Colin MacInnes’ 1959 novel. Set in 1958 during the time of the Notting Hill race riots, it explores the cultural revolution of the time, when jazz was falling out of favor, rock ‘n’ roll was making a scene and teenagers were being recognized as a major influence on popular culture. Eddie O’Connell stars as Colin, a photographer who falls in love with fashion designer Crepe Suzette (Patsy Kensit) and gets caught up in the local music scene. The film features performances by Sade and Davide Bowie, two musicians Temple had previous directed music videos for.

According to the website Supajam, ABSOLUTE BEGINNERS was at the time “the most expensive British film ever made.” When the shooting wrapped, Temple was fired. He had no involvement with the final editing, which was handled by three different editors. The end result was a musical that strayed from Temple’s vision. In an interview, Temple called the production “a half-nightmare, half-dream” and said that he wishes it would have come out differently. The film was a flop and bankrupted British movie studio Goldcrest Film International. Temple goes on to say in his interview with Supajam, “It was strange being accused of destroying the British film industry… for many decades, it seemed to be circling Pluto, but it seems to have made its way a bit closer back towards Earth these days.”

The film caught the eye of Michael Jackson and Janet Jackson. Temple is quoted as saying, “It turned out the Jackson family were fans, particularly Michael and Janet, who used to copy the dance sequences as it played on their cinema screen.” Temple went on to direct two music videos for Janet Jackson. “When I Think of You” pays homage to ABSOLUTE BEGINNERS urban setting and “Alright” is a throwback to the golden era of Hollywood musicals and features cameos by the Nicholas Brothers, Cab Calloway and Cyd Charisse.

When Temple left the UK to work in the US, he made another go at the musical feature film with EARTH GIRLS ARE EASY (’88). This science fiction romantic comedy musical hybrid starred then real-life couple Geena Davis and Jeff Goldblum in their third picture together. Written by Julie Brown, Terrence E. McNally and Charlie Coffey, the story follows California girl Valerie (Geena Davis) who, in the midst of romantic turmoil, is visited by three furry aliens: Jeff Goldblum, Jim Carrey and Damon Wayans. The aliens are given a makeover to best resemble humans and they cause a ruckus in the Valley with their new look. 

The movie is chock full of 1980s esthetics and slang, making it a nostalgic delight for anyone who lived through, or just loves, that era. It even includes a cameo by the mysterious lady in pink Angelyne, who was herself a precursor to today’s celebrity influencers. The film also serves as a throwback to 1950s science fiction films like Forbidden Planet (’56) and Earth vs. the Flying Saucers (’56). The trio of aliens learn human behavior and language from watching classics on television like Gun Fury (’53), Rebel Without a Cause (’55) and The Nutty Professor (’63).

Given his newfound reputation, Temple had a difficult time finding a studio or production company for the film. Warner Bros., MGM, 20th Century-Fox and New World Pictures all expressed interest but eventually turned it down. It was picked up by De Laurentiis Entertainment Group, which was set to distribute, but they filed for bankruptcy shortly after filming. The movie didn’t make a splash at the time, however it’s gone on to earn the cult classic status it so rightly deserves. EARTH GIRLS ARE EASY served as the inspiration for the Britney Spears and Iggy Azalea music video for “Pretty Girls” released in 2015.

[fromkenari]

idk who to share this with but i want to mentally prepare people. apparently taika leading the next star wars movie has changed things significantly at hbo, which is FANTASTIC for taika and i’m so happy for him and his career. but it put ofmd on the chopping deck and made the close decision a whole lot easier. regardless i love this fandom and will continue to remain and celebrate what we have!

Hi. I don't know what your point is here. Taika was attached to a Star Wars movie prior to the May 4th announcement. They don't even have a script and neither does OFMD Season 2. I'm not going to blame Taika who has been a gift to cinema and TV. Also, he already had a project lined up for Warner Brothers, a script he wrote with the manga writer for Akira and proclaimed there would be an all Asian unheard-of cast with no whitewashing. Then, he got Thor 4, which is all it was known as at the time. Additionally, he was writing a Live-Action script for Flash Gordon (which had previously been planned as an animated movie) for 20th Century Fox which was bought by Disney and is now known as 20th Century. Not to be forgotten, he has a screenplay and is set to direct a Live-Action adaptation of The Incal. He also has two more TV shows announced, Time Bandits and We're Wolves. Time Bandits has seemingly been dumped for now and We're Wolves is to replace Wellington Paranormal which is already wrapped for the series after Season 4. He also has What We Do In The Shadows and Reservation Dogs which are airing the fourth season and filming the second season respectively. Furthermore, I don't know if you noticed but the reason OFMD is having a hard time has nothing to do with Taika or Star Wars and everything to do with the Warner Brothers Discovery merger and their lack of action on announcing a renewal of OFMD. In fact, at their UpFronts today, they did not announce any renewals, they just showed an HBO Max montage reel (which if you know anything about UpFronts, that is not normal) that included Our Flag Means Death that is literally all they have done. Some of the OFMD actors are already moving on because of the inaction of Warner Brothers Discovery. The creator David Jenkins doesn't even know if they are going to get money so he can write a second season. So, I want you to think for a moment about why you are blaming Taika and Star Wars (of which he has already been a part of thanks to Jon Favreau) and not Warner Brothers Discovery.

[dennistamayo]

My future project will never be produced by WBA

The Saturday-morning cartoon I’ll develop based on Warner Bros. Television Studios’ popular sitcom, Friends by Marta Kauffman & David Crane will never being produced by Warner Bros. Animation because the studio is busy making upcoming TV cartoon projects between this year & next year including Creature Commandos (TV series) for Max. Instead, my future project will be produced by Cartoon Network Studios at the new & current Second Century building in Burbank, California which was responsible for producing such shows as Dexter’s Laboratory & The Grim Adventures of Billy & Mandy (although it was recently merged with Warner Bros. Animation 1 year & 11 months ago). While Cartoon Network Studios will be producing the Saturday-morning cartoon, Warner Bros. Entertainment still owns the rights to the Friends characters such as Ross & Rachel.* In this animated prequel, the main characters in will be in their preteens years (between the ages of 10 & 12). The Friends prequel will set in Central Perk & the art style will be inspired by Genndy Tartakovsky, Craig McCracken & Chris Savino in late 1990s & the early 2000s days of Cartoon Network originals. The Friends prequel will premiere on Discovery Family & soon after on Max (streaming service) in early 2026 because all the animated shows on Cartoon Network today uses the current thin line art style thanks to Pendleton Ward & J. G. Quintel, & the running time for the shows are now 15 minutes with commercials. Also, I will write episode scripts at Cartoon Network Studios in Burbank, California when I’m done writing episode scripts of Dexter’s Lab Season 5 (7 & 8) here in Limay, Bataan. They will be the few 2020s cartoons not to use the Pendleton Ward/J. G. Quintel art style but the thick line art style when it’s not animated in flash, same with Unicorn: Warriors Eternal by Genndy Tartakovsky. For this future project, it will be produced by Cartoon Network Studios in association with Bright/Kauffman/Crane Productions & Warner Bros. Television Studios. Let’s bring sitcom based cartoons back. *Warner Bros. Entertainment & Cartoon Network are both owned by Warner Bros. Discovery.

[new-sandrafilter]

Behold Dune: An Exclusive Look at Timothée Chalamet, Zendaya, Oscar Isaac, and More  

Timothée Chalamet remembers the darkness. It was the summer of 2019, and the cast and crew of Dune had ventured deep into the sandstone and granite canyons of southern Jordan, leaving in the middle of the night so they could catch the dawn on camera. The light spilling over the chasms gave the landscape an otherworldly feel. It was what they had come for.

“It was really surreal,” says Chalamet. “There are these Goliath landscapes, which you may imagine existing on planets in our universe, but not on Earth.”

They weren’t on Earth anymore, anyway. They were on a deadly, dust-dry battleground planet called Arrakis. In Frank Herbert’s epic 1965 sci-fi novel, Arrakis is the only known location of the galaxy’s most vital resource, the mind-altering, time-and-space-warping “spice.” In the new film adaptation, directed by Arrival and Blade Runner 2049 filmmaker Denis Villeneuve, Chalamet stars as the young royal Paul Atreides, the proverbial stranger in a very strange land, who’s fighting to protect this hostile new home even as it threatens to destroy him. Humans are the aliens on Arrakis. The dominant species on that world are immense, voracious sandworms that burrow through the barren drifts like subterranean dragons.

For the infinite seas of sand that give the story its title, the production moved to remote regions outside Abu Dhabi in the United Arab Emirates, where the temperatures rivaled the fiction in Herbert’s story. “I remember going out of my room at 2 a.m., and it being probably 100 degrees,” says Chalamet. During the shoot, he and the other actors were costumed in what the world of Dune calls “stillsuits”—thick, rubbery armor that preserves the body’s moisture, even gathering tiny bits from the breath exhaled through the nose. In the story, the suits are life-giving. In real life, they were agony. “The shooting temperature was sometimes 120 degrees,” says Chalamet. “They put a cap on it out there, if it gets too hot. I forget what the exact number is, but you can’t keep working.” The circumstances fed the story they were there to tell: “In a really grounded way, it was helpful to be in the stillsuits and to be at that level of exhaustion.”

It wouldn’t be Dune if it were easy. Herbert’s novel became a sci-fi touchstone in the 1960s, heralded for its world-building and ecological subtext, as well as its intricate (some say impenetrable) plot focusing on two families struggling for supremacy over Arrakis. The book created ripples that many see in everything from Star Wars to Alien to Game of Thrones. Still, for decades, the novel itself has defied adaptation. In the ’70s, the wild man experimental filmmaker Alejandro Jodorowsky mounted a quest to film it, but Hollywood considered the project too risky. David Lynch brought Dune to the big screen in a 1984 feature, but it was derided as an incomprehensible mess and a blight on his filmography. In 2000, a Dune miniseries on what’s now the SyFy channel became a hit for the cable network, but it is now only dimly remembered.

Villeneuve intends to create a Dune that has so far only existed in the imagination of readers. The key, he says, was to break the sprawling narrative in half. When Dune hits theaters on December 18, it will only be half the novel, with Warner Bros. agreeing to tell the story in two films, similar to the studio’s approach with Stephen King’s It and It Chapter Two. “I would not agree to make this adaptation of the book with one single movie,” says Villeneuve. “The world is too complex. It’s a world that takes its power in details.”

For Villeneuve, this 55-year-old story about a planet being mined to death was not merely a space adventure, but a prophecy. “No matter what you believe, Earth is changing, and we will have to adapt,” he says. “That’s why I think that Dune, this book, was written in the 20th century. It was a distant portrait of the reality of the oil and the capitalism and the exploitation—the overexploitation—of Earth. Today, things are just worse. It’s a coming-of-age story, but also a call for action for the youth.”

Chalamet’s character, Paul, thinks he’s just a boy struggling to find a place in the world, but he actually possesses the ability to change it. He has a supernatural gift to harness and unleash energy, lead others, and meld with the heart of his new home world. Think Greta Thunberg, only she’s a Jedi with a degree from Hogwarts. Paul comes from a powerful galactic family with a name that sounds like a constellation—the House Atreides. His father and mother, Duke Leto (played by Oscar Isaac) and Lady Jessica (Rebecca Ferguson), take their son from their lush, Scandinavian-like home world to preside over spice extraction on Arrakis. What follows is a clash with the criminal, politically connected House Harkonnen, led by the monstrous Baron Vladimir (Stellan Skarsgård), a mammoth with merciless appetites. The baron, created with full-body prosthetics, is like a rhino in human form. This version of the character is less of a madman and more of a predator. “As much as I deeply love the book, I felt that the baron was flirting very often with caricature,” says Villeneuve. “And I tried to bring him a bit more dimension. That’s why I brought in Stellan. Stellan has something in the eyes. You feel that there’s someone thinking, thinking, thinking—that has tension and is calculating inside, deep in the eyes. I can testify, it can be quite frightening.”

The director has also expanded the role of Paul’s mother, Lady Jessica. She’s a member of the Bene Gesserit, a sect of women who can read minds, control people with their voice (again, a precursor to the Jedi mind trick), and manipulate the balance of power in the universe. In the script, which Villeneuve wrote with Eric Roth and Jon Spaihts, she is even more fearsome than before. The studio’s plot synopsis describes her as a “warrior priestess.” As Villeneuve jokes, “It’s better than ‘space nun.’ ”

Lady Jessica’s duty is to deliver a savior to the universe—and now she has a greater role in defending and training Paul too. “She’s a mother, she’s a concubine, she’s a soldier,” says Ferguson. “Denis was very respectful of Frank’s work in the book, [but] the quality of the arcs for much of the women have been brought up to a new level. There were some shifts he did, and they are beautifully portrayed now.”

In an intriguing change to the source material, Villeneuve has also updated Dr. Liet Kynes, the leading ecologist on Arrakis and an independent power broker amid the various warring factions. Although always depicted as a white man, the character is now played by Sharon Duncan-Brewster (Rogue One), a black woman. “What Denis had stated to me was there was a lack of female characters in his cast, and he had always been very feminist, pro-women, and wanted to write the role for a woman,” Duncan-Brewster says. “This human being manages to basically keep the peace amongst many people. Women are very good at that, so why can’t Kynes be a woman? Why shouldn’t Kynes be a woman?”

 As fans will know, there’s a vast menagerie of other characters populating Dune. There are humans called “mentats,” augmented with computerlike minds. Paul is mentored by two of them. There are also the bravado warriors Duncan Idaho and Gurney Halleck, played by Jason Momoa and Josh Brolin. Dave Bautista plays a sinister Harkonnen enforcer Glossu Rabban, and Charlotte Rampling has a key role as the Bene Gesserit reverend mother. The list goes on. In the seemingly unlivable wilds of Arrakis, Javier Bardem leads the Fremen tribe as Stilgar, and Zendaya costars as a mystery woman named Chani, who haunts Paul in his dreams as a vision with glowing blue eyes.

The breadth of Dune is what has made it so confounding for others to adapt. “It’s a book that tackles politics, religion, ecology, spirituality—and with a lot of characters,” says Villeneuve. “I think that’s why it’s so difficult. Honestly, it’s by far the most difficult thing I’ve done in my life.” After finishing this first movie, he’ll just have to do it all over again.