i-love-too-many-things

[i-love-too-many-things]

Alright I know next to nothing about this show, but... I- I just... How does this happen.

Do other characters make fun of this poor dog's mouth like they made fun of Crocker's neck-ear in The Fairly Oddparents? Like why is it placed there. Who signed off on this.

I get that it's a Butch Hartman staple to place characters' mouths on the sides of their faces, but on a character with this face shape, it just looks super odd and uncanny. The mouth looks tacked on rather than connected to the face in any way that makes anatomical sense. In these screenshots, it looks like someone just placed a red leaf sticker under her eye and she actually has no mouth (but she must scream).

I think part of what happened here is that someone told the designer that this character needed to look feminine, and tiny mouths are feminine. Screw anatomical consistency; this is a girl dog that the male lead develops a crush on because girl. What more information could you possibly need? (I actually haven't seen this episode and Becky may or may not have personality traits outside of being the token chick, but I haven't found much more info other than her occupation).

Here's how it would look if her mouth were more believably centered on the face:

Or perhaps bigger if they wanted to fill up that empty space:

Or somewhere in between-?

Like there are so many better options than what they went with.

I can't completely blame the designer as I'm sure they were just trying to work within the absurd requests handed to them. No, I blame whoever was supervising them. The person who insisted on this mouth placement, the person who approved it, the person who was somehow convinced that this looked okay.

Not sure what else to say about it, other than I'm stunned that this aired on national TV. This show was on Nickelodeon. Incredible. But on the plus side, if you're ever feeling bad about your character design skills, this image will probably make you feel a million times better.

[i-love-too-many-things]

[i-love-too-many-things]

[i-love-too-many-things]

oh I didn't realize you used to be a huge piece of shit

now this may surprise some of the audience, but the majority of humans have to survive a phase called "being a teenager" and the results are often catastrophic

[i-love-too-many-things]

Pipe expanding machine

[i-love-too-many-things]

[i-love-too-many-things]

[i-love-too-many-things]

i just think itd be funny if kittypets were a little more familiar to twoleg things such as: cars and bad words

[i-love-too-many-things]

Just so we're all on the same page with the writer's strike.

If during the strike, it's announced about AI generated shows. We are not watching them. Not even out of curiosity. Let them fail every AI generated show they try make.

The human voice can not be replaced by AI. Don't let them try.

[i-love-too-many-things]

I literally feel so ridiculous having to do EMDR trauma therapy to remove online discourse from my brain so I can keep creating novels, but this is the world we live in now.

No wonder GenZ is so fucked up from constantly censoring themselves. They've never known a time before the Sauron-like gaze of the Internet burning a hole directly into their souls from the stupid little magic light boxes in their pockets, ready at any moment to declare them unworthy if they put a step wrong.

Fuck me.

[i-love-too-many-things]

hi mr gaiman! how are you? i've been meaning to ask this question ever since i've heard the first queen song in go, and i can't handle my curiosity anymore. did crowley ever got to meet freddie mercury? like actual, face to face, meeting him. and if he didn't, does he regret not seeing him while he was alive?

That's one for fanfiction, not for me to answer.

[i-love-too-many-things]

im going to have a stroke

[i-love-too-many-things]

I'm just thinkin' about how Eda pushed Raine away because of the curse.

She was afraid to let them in. She was afraid to ask them for help, or share how she was feeling...she was scared to show the side of herself that was messy and dangerous and painful and (in her mind) unlovable.

But when she finally let Raine see who she actually was...

...this was their reaction.

...they love all of her. Including those messy and dangerous and painful parts.

[i-love-too-many-things]

25 THINGS I’VE LEARNED IN 25 YEARS IN TV WRITING

Well, it’s actually been 30 years now, but here’s a spew I did 5 years ago on the bird app to commemorate my 25 years as a TV writer. 

I’ve edited it a bit for clarity. Hopefully some of you will find it useful.

1. In TV writing (and writing in general) there is only one unbreakable rule: Thou shalt not be boring.

2. Write characters people want to hang out with for an hour or so once a week for years to come. Even if they’re bad people, make them interesting, engaging bad people.

3. If your lead is a bad person, make them funny and/or sexy. Direct most of their bad behavior toward other bad people or themselves. Make them well motivated. Maintain rooting interest.

4. What makes a character special should be intertwined with what makes them struggle. Perfect people are boring.

5. Characters should complement/conflict with each other. No two characters should serve the same purpose/have the same backstory/have the same voice.

6. Cast the best actor, adjust the character to suit.

7. Give your leads the best lines/moments. No one is tuning in to watch the funny guest star. Like Garry Marshall said back on HAPPY DAYS, “I’m paying Henry Winkler $25,000 an episode. Give the Fonz the jokes.”

8. Your characters, good & bad, should reflect the reality of our wonderful, diverse world. White male shouldn’t be the default.

9. Avoid stereotypes. Stereotypes are boring.

10. If all your POV characters know some secret, the audience should know it too.

11. If your show hinges on a big mystery, know more or less what the truth is from the beginning. You can change it later if you need to, but write to a specific.

12. If your story doesn’t test your characters mentally, physically, psychologically, emotionally, or spiritually, you don’t have a story.

13. You can start by figuring out the Beginning, the Middle, or the End, but you don’t have an episode until you have all three.

14. Big suspenseful act outs (the last moments before the commercials) aren’t just a gimmick. They’re a good way to structure an hour of entertainment to make sure the audience is invested and your pacing is solid.

15. Every scene should be a consequence of the previous scene or a refutation of it.

16. A scene also needs a Beginning, Middle, and End. The end should propel the characters and/or audience into the next scene.

17. Every scene is a negotiation/confrontation between two or more characters who want different things or have different ideas on how to solve the same problem.

18. A good action scene is still a character scene. With punching. (This applies to sex scenes too, but you know, with sex.)

19. A crap page is better than a blank one.

20. It’s easier to cut than to add.

21. Good things rarely happen in the Writers Room after dinner. Go home, get some rest, write pages at home if you have to, start fresh in the morning.  Writers who have a life outside the writing room are better writers. Beware the showrunner who doesn’t want to go home to their family. That said…

22. Script by day one of Pre-Production. No matter what.

23. You’re a writer first. Almost nothing happening on set or in post is more important than the writing. Delegate when possible.

24. Make an extra effort to surround yourself with writers who are different from you (background, race, gender, orientation, etc). Listen to their perspectives, especially on experiences alien to you.

25. And in the end the love you take is equal to the love you make. In TV writing and life in general. 

[i-love-too-many-things]

Inside Job didn’t just get canceled.

It had its first season split in two, a tactic animators said was used for Cuphead to let them pay staff less. Then, the show was renewed for a real second season.

And then the show was canceled before that second season anyway.

Final Space didn’t just get canceled on the most depressing cliffhanger ever. It was removed from all platforms before becoming a tax write-off, essentially meaning the only ways of really watching the show is through DVD or pirating.

The Owl House wasn’t just given a shortened third season. Disney, a company already known for a, let’s say, complicated relationship with its LGBT+ history, took a show created by a bisexual woman, filled with beloved LGBT+ characters, some of which were teenagers just like the audience, and told said creator to destroy her shows pacing so she could finish her story in just 3 45 minute specials.

I can go on about how Hollywood and television don’t respect animation and the like but this is endemic of a larger problem:

Capitalism destroys art.

The constant need for shows to be either the biggest thing in history or a complete failure, the constant need for a cash cow, leads to any show that doesn’t immediately become Squid Game or Stranger Things levels of popular, especially animated shows, getting scrapped for no reason other then it doesn’t make them enough money.

In our hyper capitalist hellscape, I worry we’re going to see more Inside Jobs, Final Spaces, and Owl Houses: shows made with love, that showcase potential, and dedicated fanbases, having a renewal reversed, or becoming a tax write off, or having its story rushed, so that the executives can save a few cents, while also fucking over employees.

I think that’s the part that always needs to be remembered too; the people behind these shows. Not just the creators or voice actors or well known animators, but everybody. As NewDeal4Animation illustrated, staffs on these shows are often underpaid and overworked. And to then, to not just lose a show you spent months, years of your life on out of nowhere, but to essentially lose a job… it’s terrifying. And every staff member, from the creators to the unpaid interns, deserves better.

So yea. That’s just my thoughts on the matter I guess.

[i-love-too-many-things]

being in a public restroom and hearing someone shitting really loud

[i-love-too-many-things]

A rambling comic I made in class instead of paying attention