#Distributor Dog products

[sidetable-drawer]

Got bored and out of curiosity started watching Pelswick again (mainly because I was looking up some old Sailor Moon dub stuff and they share several cast members).

As a kid I thought it was "okay" (as in, I'd watch it while I waited for the bus or was at a relative's house on a Sunday afternoon but wouldn't seek it out on my own) but honestly as an adult it's legitimately really fun. Some might not be into the art style but as a kid of the '90s I'm just so used to things like this anyway. It's actually a lot more edgy than I picked up on when I was younger.

I think what REALLY did this show in though was that I don't think anyone knew just who they were supposed to be aiming it at. Nelvana seems to have wanted it to be for a more "young teen" audience with most jokes aimed at that demographic (and apparently it airs on Adult Swim in Canada?) but the structure of the episode morals can get VERY heavy-handed- which feels more aimed at seven-year-olds (I'm wondering if this is Nickelodeon's fault. They didn't make the show but they were distributors when it first aired and have worked and still work with Nelvana, and had SOME say in production).

Maybe if it got more episodes that issue would've been evened out, but it's still pretty damn good on its own merits and in some areas is pretty ahead for its time. I feel like what really got in the way of what could've been an amazing show is just that the production companies involved didn't seem to be in agreement who it was being made for. Which isn't uncommon.

(And once again- not an official Nicktoon, as much as they used to pretend it was as they did Wayside and other imported shows. They had some say in production, but only as a distributor. I hate when companies do that because now Disney's retroactively doing it to Anastasia now that they own Fox).

[she-is-ovarit]

I say this while being one, but women with curly hair are unhinged.

"hi here's my routine! First I basically dip my head a few times into hot dog water, really let it soak into the roots. Apply this curl cream product at the end, this will create your cast. It happens to be derived from a formula rumored to be made from the genetic material of a fallen strand of Eve's hair prior to her being cast out of the garden of Eden, and this was also just recently discontinued by several distributors. but there's this cartel that hangs around an Olive Garden nearby that's been importing it in. So it might be a little hard to find at first. Okay so this next part requires a little math, basically you want to calculate the speed of a a bullet fired by an M2 Browning and subtract it from the rotation of the earth's orbit if a target was about 1000 meters away, and the end number is going to be the length of the microfiber silk shirt scarf you will wrap your hair in. Make sure you plop it for 15 minutes exactly or this whole process has to be repeated, so that's another 50 minutes down the drain (quite literally, with the wasted hot dog water). Once the 15 minutes is up, carefully unwrap your microfiber silk shirt scarf and apply another layer of this curl cream, warmed in the microwave for 4.5 seconds. Now you're ready to diffuse, but make sure you turn the diffuser off in between diffusing and you have Joan Jett on in the background. Once you're done, please make sure to not wash your hair for two weeks and don't touch it ever again, try to only inhabit microclimates with low precipitation and no wind, but not too hot because you'll sweat. To touch it up every so often, apply a small amount of that curl cream again and hold your hair for a few seconds over some smoke."

[beeclops2]

Warner Bros Negotiating Big Sale Of Shelved ‘Coyote Vs. Acme’ Movie

Warner Bros‘ shelved Coyote vs Acme movie may have finally found a new home with the studio deep in sale negotiations, we can reveal.

Gareth West’s distributor-financier Ketchup Entertainment is negotiating an all-rights acquisition in the $50M range for the animated-live-action hybrid project. Ketchup last year rescued the same studio’s The Day the Earth Blew Up: A Looney Tunes Movie.

The pact isn’t finalised and there’s still a chance it doesn’t make but it’s heading in the right direction. Should it get over the line, the film would get a theatrical release in 2026.

The deal would mark a significant and record outlay for Ketchup, whose previous releases have included Michael Keaton starrer Goodrich, comic book reboot Hellboy: The Crooked Man, Ben Affleck thriller Hypnotic, and Michel Franco’s Jessica Chastain drama Memory.

Directed by David Green and written by May December scribe Samy Burch, as well as DC Studios co-boss James Gunn and Jeremy Slater, Coyote vs. Acme is based on the Looney Tunes characters and the New Yorker humor article “Coyote v. Acme” by Ian Frazier.

Will Forte, John Cena and Lana Condor star in the movie which follows Wile E. Coyote, who, after Acme products fail him one too many times in his dogged pursuit of the Roadrunner, decides to hire a billboard lawyer to sue the Acme Corporation. The case pits Wile E. and his lawyer (Forte) against the latter’s intimidating former boss (Cena), but a growing friendship between man and cartoon stokes their determination to win.

Despite test-screening well, the project became a high-profile casualty of WB cost-cutting two years ago and it has been sitting on the shelf for more than a year. The studio reportedly screened the movie to a string of buyers in early 2024 with a price tag of around $70M, which is how much the film is said to have cost. Studio sources claim to us that they didn’t get any offers at the time.

Shelving the movie put noses out of joint. Among those dismayed were Lego Movie director Phil Lord who tweeted at the time: “Is it anticompetitive if one of the biggest movie studios in the worlds shuns the marketplace in order to use a tax loophole to write off an entire movie so they can more easily merge with one of the bigger movie studios in the world? Cause it SEEMS anticompetitive.” Even this month, there remained some willing to canvass outside the WB lot for the movie to be released.

David Zaslav’s Warner Bros previously pulled the plug on high-profile pics such as Batgirl and the animated Scoob Holiday Haunt! In this instance, Ketchup has enacted a rescue operation. The same company also struck an all-rights deal last year for the similarly unwanted Warner Bros project The Day the Earth Blew Up: A Looney Tunes Movie. Ketchup released the film theatrically this past weekend, taking in $3.1M off a strong screen count of 2,827.

Both The Day the Earth Blew Up: A Looney Tunes Movie and Coyote vs Acme were intended for HBO Max, having been greenlit in December 2020 as a streaming release by the prior studio leadership. Ketchup negotiated the deal for The Day The Earth Blew Up with the WBTV Animation group.

LA-based Brit Gareth West launched Ketchup more than a decade ago to release movies but not a great deal has been reported about his background or how the company is financed. Partners at the firm include Artur Galstian, an entrepreneur and startup investor, and Vahan Yepremeyan, founder of Yepremyan Law Firm. Michael Mann’s Ferrari was another of the company’s investments.

Last fall, Ketchup partnered with Zero Gravity Management and Ozark producer Mark Williams on a TV division. The venture sits within Ketchup and will produce and acquire premium series, with Ketchup also serving as the U.S. distributor.

[mcginnlawfirm]

What types of cases do personal injury lawyers handle?

Suffering an injury because of someone else’s negligence can disrupt your entire life—physically, emotionally, and financially. The aftermath can feel overwhelming, whether it’s a car accident, a slip at the store, or a medical mistake. That's where the experienced personal injury attorneys at McGinn Law Firm step in. They’re here to fight for your rights and ensure you receive your deserved compensation. Don’t let someone else’s carelessness define your future—take action today. 

Car Accidents

Car accidents are one of the most frequent reasons people seek out personal injury lawyers. When someone else is at fault in a crash—whether speeding, texting while driving, or simply not paying attention—you shouldn’t be left to deal with the costs alone. The injuries from a car accident can range from minor cuts and bruises to life-changing conditions like spinal cord damage or traumatic brain injuries.

Slip and Fall Accidents

Slips, trips, and falls can happen almost anywhere, from icy sidewalks to wet floors in a store. You could have a compensation case when these accidents occur because someone didn’t properly maintain their property. If a grocery store didn’t clean up a spill or a landlord failed to fix a broken handrail, they could be held responsible for any injuries you suffer.

While it might seem like a simple accident, slip and fall cases often involve serious injuries—broken bones, concussions, or even long-term disabilities. Personal injury lawyers are skilled at gathering the evidence needed to show that the property owner was negligent. 

Medical Malpractice

You trust doctors and healthcare providers to help you heal, but sometimes things don’t go as planned. Medical malpractice occurs when a healthcare provider’s mistake or neglect causes harm instead of healing. This could include misdiagnosing a condition, performing the wrong surgery, or even prescribing the wrong medication.

Medical malpractice cases can be particularly challenging because they often involve complex medical information. 

Product Liability

We rely on countless products every day, from the cars we drive to the food we eat. But when a product doesn’t work as it’s supposed to, or when it’s downright dangerous, people can get hurt. Product liability cases are about holding manufacturers, designers, or distributors accountable when their products cause injury.

If you’ve been harmed by a defective product—like a car with faulty brakes, a household appliance that causes burns, or even a medication that leads to unexpected side effects—a personal injury lawyer can help. 

Workplace Injuries

Injuries on the job are common, and while workers’ compensation is designed to cover many of these cases, there are times when a personal injury lawyer is needed. If a third party is responsible for your injury—for example, if a piece of equipment malfunctioned due to a manufacturer’s defect—you might be entitled to more than what workers’ comp offers.

Navigating the world of workers’ compensation can be confusing, especially if you’re trying to recover from an injury at the same time. 

Dog Bites

Getting bitten by a dog can be a traumatic experience, especially if the attack is severe. Dog owners are responsible for controlling their pets, and when they fail to do so, you may be entitled to compensation for your injuries. This can include medical expenses, lost wages if you’re unable to work, and even pain and suffering.

Wrongful Death

The loss of a loved one is always heartbreaking, but when that loss occurs because of someone else’s negligence, it can feel unbearable. Wrongful death cases are designed to help families seek justice when they’ve lost someone due to accidents, medical malpractice, or other preventable incidents.

These cases can include compensation for funeral expenses, medical bills, and the loss of future income. 

Product Liability

Sometimes, everyday products can cause unexpected harm. Whether it’s a faulty car part, an unsafe household item, or even contaminated food, when products don’t work the way they should and someone gets hurt, a personal injury lawyer steps in to hold manufacturers accountable. 

Choosing McGinn Law Firm for Your Personal Injury Case

At McGinn Law Firm, we know that dealing with an injury can be stressful and confusing. You shouldn’t have to go through it alone. Our team is here to answer your questions, explain your options, and guide you through the process from start to finish. Whether you’ve been in a car accident, suffered a slip and fall, or been harmed by a defective product, we have the knowledge and experience to fight for your rights.

[blogger360ncislarules]

Warner Bros‘ shelved Coyote vs Acme movie may have finally found a new home with the studio deep in sale negotiations, we can reveal.

Gareth West’s distributor-financier Ketchup Entertainment is negotiating an all-rights acquisition in the $50M range for the animated-live-action hybrid project. Ketchup last year rescued the same studio’s The Day the Earth Blew Up: A Looney Tunes Movie.

The pact isn’t finalised and there’s still a chance it doesn’t make but it’s heading in the right direction. Should it get over the line, the film would get a theatrical release in 2026.

The deal would mark a significant and record outlay for Ketchup, whose previous releases have included Michael Keaton starrer Goodrich, comic book reboot Hellboy: The Crooked Man, Ben Affleck thriller Hypnotic, and Michel Franco’s Jessica Chastain drama Memory.

Directed by David Green and written by May December scribe Samy Burch, as well as DC Studios co-boss James Gunn and Jeremy Slater, Coyote vs. Acme is based on the Looney Tunes characters and the New Yorker humor article “Coyote v. Acme” by Ian Frazier.

Will Forte, John Cena and Lana Condor star in the movie which follows Wile E. Coyote, who, after Acme products fail him one too many times in his dogged pursuit of the Roadrunner, decides to hire a billboard lawyer to sue the Acme Corporation. The case pits Wile E. and his lawyer (Forte) against the latter’s intimidating former boss (Cena), but a growing friendship between man and cartoon stokes their determination to win.

Despite test-screening well, the project became a high-profile casualty of WB cost-cutting two years ago and it has been sitting on the shelf for more than a year. The studio reportedly screened the movie to a string of buyers in early 2024 with a price tag of around $70M, which is how much the film is said to have cost. Studio sources claim to us that they didn’t get any offers at the time.

David Zaslav’s Warner Bros previously pulled the plug on high-profile pics such as Batgirl and the animated Scoob Holiday Haunt! In this instance, Ketchup has enacted a rescue operation. The same company also struck an all-rights deal last year for the similarly unwanted Warner Bros project The Day the Earth Blew Up: A Looney Tunes Movie. Ketchup released the film theatrically this past weekend, taking in $3.1M off a strong screen count of 2,827.

Both The Day the Earth Blew Up: A Looney Tunes Movie and Coyote vs Acme were intended for HBO Max, having been greenlit in December 2020 as a streaming release by the prior studio leadership. Ketchup negotiated the deal for The Day The Earth Blew Up with the WBTV Animation group.

LA-based Brit Gareth West launched Ketchup more than a decade ago to release movies but not a great deal has been reported about his background or how the company is financed. Partners at the firm include Artur Galstian, an entrepreneur and startup investor, and Vahan Yepremeyan, founder of Yepremyan Law Firm. Michael Mann’s Ferrari was another of the company’s investments.

Last fall, Ketchup partnered with Zero Gravity Management and Ozark producer Mark Williams on a TV division. The venture sits within Ketchup and will produce and acquire premium series, with Ketchup also serving as the U.S. distributor.

Warner Bros and Ketchup declined to comment.

[kylesvariouslistsandstuff]

Take with a grain of salt.

It's been over a year since DreamWorks rather unceremoniously rolled out a little movie called RUBY GILLMAN, TEENAGE KRAKEN. A movie that unusually was kept under wraps until... 3 1/2 months before release date. Official announcement from the studio, title, synopsis, trailer... All on the same March day, just months before its end of June release...

Now, the movie was briefly talked about unofficially by scooper sites in around 2021/22, and some DreamWorks employees had a MEET THE GILLMANS on their resumes, otherwise... Nada. Usually an animated movie is announced a year or so before its eventual release.

But, it being intended for streaming first and then hastily being bumped up to theatrical release (which has happened to movies from other companies, such as BARBARIAN and SMILE) could explain why DreamWorks just dumped this one. It did get decent reviews and could've been a small success in its own right, had it not been released in such a crowded summer...

It does feel kinda "streaming movie", though. A lowkey little effort, but I think it's cool that Universal and DreamWorks gave it a theatrical release if it was indeed intended to be some Peacock tuck-away. ORION AND THE DARK was a straight-to-Netflix affair, despite being co-written by Charlie Kauffman. I'm sure you'll see more of those every couple of years from DreamWorks. Something that's actually neat, and you wonder... "Why didn't that go to theaters?"

But it begs a question...

Around 2022, it was reported by the Fine Tooning podcast that DreamWorks' game plan going forward was "a sequel and a non-sequel" every calendar year. 2022 was BAD GUYS and LAST WISH, 2024 had KUNG FU PANDA 4 already and we have THE WILD ROBOT around the corner. DOG MAN and BAD GUYS 2 mark 2025, in addition to a TV series adaptation GABBY'S DOLLHOUSE. 2026 only houses SHREK 5 so far, it is unknown what the non-sequel opening that year is. (I've kinda given up on RONAN BOYLE happening. Maybe it's... I dunno... An original movie from LAST WISH/CROODS 2 director Joel Crawford?)

What would've accompanied TROLLS 3 in 2023 if RUBY GILLMAN remained a streaming title? Was THE WILD ROBOT at one point eyeing a spring/summer 2023 debut? 2023 would've been pretty quick for that movie, as director Chris Sanders presumably finished up his CALL OF THE WILD movie for 20th Century Studios in mid-2019. That was supposed to be a Christmas 2019 release, but after Disney completed their acquisition of 21st Century Fox film & TV assets in early 2019, CALL OF THE WILD moved to February 2020. Blue Sky's SPIES IN DISGUISE took its spot.

Could be!

If you remember... At one point, whatever that DreamWorks movie was going to be... RUBY GILLMAN, WILD ROBOT, something else... Would've opened in the fall of 2022... Well before that summer rush.

At one time, DreamWorks' slate had THE BAD GUYS opening in September 2021. That would've been followed by a spring 2022 release of PUSS IN BOOTS 2, and then fall 2022 would've housed an original/non-sequel. Which possibly puts a hole in the "test screening" claims. Maybe another picture was in the works, and then got cancelled.

If I remember correctly, COVID-19 altered that plan, with 2021 only being the year of BOSS BABY 2 and SPIRIT UNTAMED. BAD GUYS moved to April 2022, and booted PUSS IN BOOTS 2 to September 2022. This was when parent distributor Universal was planning to roll out the MARIO movie in Christmas 2022...

... Until they wanted the release of that movie to coincide with the Nintendo theme park opening, so... April 2023, boots the DreamWorks movie set for late March 2023 to June 2023... Which boots Illumination's MIGRATION to Christmas 2023. Dominoes.

And RUBY GILLMAN ended up being the June 2023 Universal animation release... And that was right after a Disney remake of a certain redhead mermaid movie... RUBY GILLMAN, which had been in some form of development since 2016 and probably entered full production by 2021, was kind of a victim of coincidence here. A benign cartoon plot about mermaids being the enemy of krakens (usually, we associate krakens with big scary monsters, while mermaids are often portrayed as non-threatening, simple subversion), used as some sort of anti-LITTLE MERMAID movie. A new weapon in a particular group of dingus' dumbass "culture war". And then you had a weird subset of LITTLE MERMAID remake fans who interpreted the movie - minus some weird rightwing crap - as some sort of jab at Halle Bailey's take on Ariel... The internet is full of embarrassment, isn't it? All that, over a silly movie that just so happened to open close to LITTLE MERMAID.

So yeah, RUBY GILLMAN initially being a streaming movie would definitely fill in the blanks regarding its very weird rollout last summer. DreamWorks/Universal have since announced other movies well before release.

[songmingisthighs]

atinytwt is so stupid and toxic oh my god i just saw someone "shading" kq for jongho ???? like okay let me put down my points

a. we don't actually know how they decide to let or allow jongho to only receive injections and medication. jongho's condition was explained by an indonesian orthopedic surgeon who said that NORMALLY injection and medication COULD aid and alleviate the pain but considering jongho's occupation and activity (i.e. dancing), recurrence is expected and it needed a more permanent solution. also, jongho is a grown ass adult, let's not baby him too much (despite me wanna go goochie goochie goo and tuck him into bed with warm milk and cookies) and think that jongho is incapable of making a huge decision for his own health no matter the consequence

b. "kq put them in crazy schedules" it's literally the pitfalls of being idols my ghawd do you want them to not tour and expand their reach and just sit pretty with one comeback a year ??? sure, they could do that but they'll need money to get better production quality like you buying one album per comeback or one album per version is not enough to even cover the shoe budget, do you think those things are cheap ??? considering album sales are not pure as it's separated as distributor and company and from the company's cuts, it's further broken down and ateez will only get a sliver if any, they have to depend on miscelaneous schedules like radio, tv shows, joint concerts, festivals, etc. And no it's not unfair because there are calculations put in place and no matter what you do, the cuts will never be enough but at least from what we see, ateez is living rather well

c. compared to the big 4 (ion even wanna get into TS, cube, mld, mbk, etc. bc yuck) kq is a far better situation for ateez and xikers. like we haven't heard much from xikers, but we know that ateez praises kq. hongjoong even said that kq's ceo goes everywhere with them on tour (hj said this on the singapore concert) except for the show in manila bc he had a prior engagement. and dude, the gifts the ceo gave ateez and the fact that kq didn't put ateez on diets they don't want and how the staff interacts with ateez and ateez with the staff. idk, i've only been seeing green flags so far. ofc no one is perfect but again, compared to jyp who made momo eat only ice cubes to achieve her target weight so she can debut, or shoving all of seventeen in one tiny ass dorm that didn't seem like there were any blankets around during pre-debut, or putting the members on a leash and treating them like dogs like infinite, i actually love kq. I've liked kpop for over a decade now, since i was like in 5th grade and i've truly never seen a happier group than ateez.

is there a way to not read stupid ass posts on twt or x or wtv and just save pictures from there ??? really i have low tolerance in stupidity bc i have to deal with my own on a daily basis

[dalt20]

Tooning In 12. Greg Bailey part 3 of 10

DL:So it says on your IMDb that you directed 52 episodes of a cartoon from CiNAR called We Are the Dogs in 1985. What was that?

GB:I have no idea! I started working at Cinar in Feb. 1992. I never heard of that dog show.

DL:Oh ok. Somebody musta vandalized your account. Moving on, Starcom the U.S. Space Force for DiC and Coca Cola

GB:I remember Space Force at DIC but never heard of Coca Cola

DL:They were the syndicator of the show.

GB:I didn't know that!

DL:They had a television department called Coca Cola Telecommunications. They had a relationship with DiC during The Real Ghostbusters until the film Ishmel flopped at the box office. Causing DiC to leave the partnership.

GB:Was DIC working on Ishmel? I don't know anything about that. I am not really aware of the property. Why did they leave the work relationship over the film or did Coca Cola close up their department? Sorry I guess I have more questions than useful answers.

DL:No, DiC wasn’t working on Ishmel but yes they left their work relationship over the film.And also I'm glad you ask for answers on my knowledge.

GB:Do you know why they left over the film? It was a live action film wasn't it. I was in Japan in those years so there are a lot of things that I seem to have a lack of knowledge about what was happening on this side of the world in those years. Especially in entertainment. It took me years to see films like Robocop after hearing everyone in the US talk about them all the time.

DL:It was because their deal was soured because Coca Cola was losing money from the film, a big loss. And they sold the film distributor Columbia Pictures to current owner Sony. Plus it was thought that DiC was eying a merger with Coca Cola.

GB:OK, I sort of understand now. I will have to ask around about it to see if anyone knows about it other than the executives. I believe this flop happened around 1987 if I see it correctly on Google in my quick look. DIC really went through a big upheaval at that time so it may be related. Jean Charlopin split up with Andy Heyward about that time. DIC Tokyo went with Charlopin and part of the split said that some work would be sent to DIC Tokyo for a season or 2 before DIC LA went off and did their work elsewhere. There was a lot of activity at the executive level and that ended my gig in Tokyo as well. The whole art department in LA also broke up and people went their own ways.

DL:Yep, that is correct.The ALF cartoons for Alien productions and NBC?

GB:I don't think I saw any Alf shows after they left DIC or did they end at DIC. Also Saban was part of the 3 way ownership at DIC. He bought out the music rights that DIC had and moved his company back to France. DIC really had no library to fall back on and soon had no more shows. Heyward had a lot of debt. 80 million seems to stick in my head right now and it doesn't sound like much now but with no library did it really have any value. Heyward promoted his golfing buddy Mike Moliani from director to an executive position. Mike over the years that I was there directed some pretty bad shows that were also very disorganized and had a lazy kind of pre production work done in LA. That's what I was saying last time that I would jump to do shows by Raynis because his shows were so great even if they were more challenging. The Mike Moliani directed shows were not interesting to work on as an artist and animator. It was ironic, jumping ahead 20 years later, the company I worked at Cookie Jar Toronto also bought out DIC and spent a lot of money for a company that still had no library. But I get ahead of myself.

DL:yeah. Saban bought the foreign rights to the shows only to sell them to C&D, the company of Jean Chalopin. Some jackass move.

GB:I don't know that it is a bad thing to have the rights. That's how animation companies make money. It was just questionable what Andy Heyward had after buying DiC without any rights to the music or any of the shows they made. Anyway, I am not the expert on all the executive dealings at DIC and I'm sure a lot of people have more insight than I do about that. So if Saban bought and sold the film distribution rights just to hold onto the music rights it sounds like he might have made a good financial deal pretty quickly. Sort of like flipping some real estate in a hot market.That must be how Charlopin had the rights to Gadget when they made the live action movie a decade ago.

DL:Yeah. And DiC brought Saban to court fighting with them about selling them to their former shareholder where they duke it out until it was settled in 1991 with Saban owning the rights to the pre 1990 DiC library.Revoking it from Jean Chalopin.

GB:That's funny. I believe Charlopin and Saban were old business partners at DIC France pre-LA days. I never heard that there was any bad blood between them. So I guess Saban just licensed the rights to Charlopin to make the live-action Gadget. I think they made a new animated series as well about that time. I didn't see the movie. One day I was listening to a culture critic talking about movie sequels. He said the worst movies are live-action movies based on animated tv shows. He said the Gadget movie was the worst one of those. So I guess he didn't like the movie much. I remember Bruno Bianchi's and Charlopin's names on the poster. Maybe Saban's name was there too but I didn't pay attention. I never met Saban but I had met Charlopin a few times in Tokyo just to be introduced basically.

DL:Actually they were as Saban would compose the soundtrack to Ulysses 31 and Mysterious Cities of Gold.Saban was not a producer on the film, but Chalopin and Heyward were.So how was the founder of DiC?

GB:What do you mean? "How was the founder"?

DL:Jean Chalopin,like how he was.

GB:Like I say I was only introduced to him briefly. He was kind of a nice-looking and amiable person from my brief meeting. He looked like someone very comfortable in his skin and well-suited to the jet-set lifestyle he was living. He was still quite young then. I would guess in his late 30's/ maybe 40 so he was an early boomer. I saw him last around the time the company was breaking up and he had come to Tokyo I guess to meet with Katayama and Bruno and discuss what the plan was.

DL:C.O.P.S. for Hasbro?How was working on that show?

GB:I think everyone in DIC must have worked on that series. It was another syndicated series of 65 shows so as usual they went through the studio at breakneck speed and the quality of syndicated shows was much lower than network Saturday morning shows. I didn't love the show much because it was kind of macho adolescent stuff with not much story value and no humor. I guess if you like that kind of thing it was fine but I never really liked the natural human-looking animated characters. It just looks like bad life drawing or something and makes me remember my early days animating at Hanna Barbera. I just read a byline when I searched on Google to refresh my memory. "Cops in 2020". So I guess it was a future cop show inspired by Robocop. Part of the pre-production work was done in Canada. In Ottawa I believe, because DIC had started doing some pre-prod work in Canada by that point.

DL:Yes, it was inspired by Robocop.As Andy would try to copy trends at the time.

GB:There was some kind of immoral feeling working on shows that were glorified commercials for toys. It did weigh on you and destroyed your belief that animation should be a good thing for kids, not just something to exploit them or make them bug their parents for more terrible cheap toys.A salesman always proposes a show that was a success last year by someone else. It is counter to shows created in a more creative environment where copying something already done would be at the bottom of your list of what to do. Does that make sense? In later years working in development I would see a lot of ideas or suggestions from the sales team about making a show just like Spongebob, or just like whatever was a success last year. It is really anti-creative. But syndication was just selling toys that Hasbro was making. I guess I helped to sell a lot of toys at DIC.

DL:So how did you feel when you left DiC Entertainment in 1988?

GB:I thought my career would end because it would be hard to replace the job with something as high-paced and rewarding. It was also a matter of leaving a very financially rewarding position because we got paid well. I was going to have to leave Tokyo, which I liked a lot. Although in another way it was time for me to leave because I had put my family through 4 years of living out of a suitcase. It was time for things like school for my daughter and living somewhere that my wife could work and get on with her career. Living in Tokyo was definitely making that impossible. I didn't think I would find another job as interesting as DIC but I had learned a lot of useful skills and information about how to control a production and get more input into the show in a professional manner. A lot of skills that were not known in Canada at the time.

DL:So you worked on The Raccoons,your first Canadian production you worked on.

GB:Yes, the first after coming back from Tokyo. I was living in Ottawa for the first time and Hinton Studios was doing Raccoons. I never became much of an expert on it because my time there was short-lived before I went to Cinegroupe in Montreal. I did some Raccoons and I just started on Ren and Stimpy for a week or 2. I also did part of a storyboard on Where's Waldo in that period I believe. I don't remember how I found that job though.

DL:So at Hinton Studios, were they drawing dirty pictures of the Raccoons characters according to rumors?

GB:What?! Animators never do that.

DL:Well TV tropes said so and i just want to know to clear up rumors,that's all.

GB:I always thought those noses on the bad guys Cedric and Cyril looked kind of obscene all the time. It would be difficult to make them do anything too dirty with those flaccid noses. Come to think of it they all had droopy noses even the Raccoon characters except the females. Must have been from all those dirty scenes they were involved in that never made it onto TV that left their noses limp.

DL:Ah. so you work on the Ren and Stimpy pilot, Big House Blues. Were you working with Bob Jacques?

GB:I think I was supposed to but I only did about 2 weeks and then had to leave.

DL:How was the experience and did you like the program?

GB:Too brief to get much out of it. I was pretty excited about the design and method they were using to work. I loved the show of course and often wished I had had more time on it. The model sheets were really great and the show felt really fresh at the time.

DL:So when did you get to go to Cinegroupe in Montreal?

GB:I left to go there right after I did Ren and Stimpy for a few weeks. I was probably working the next week in Montreal and commuting back and forth to Ottawa on weekends. I had worked at Cinergroupe before going to Tokyo for a few months on Ovid and the Gang as an animator. Anyway, when I left Hinton Studios for Cinegroupe it must have been 1988 or 1989.

DL:So what was Ovide and the Gang?

GB:Ovid was a co-production with Belgium. It was an original series based on a comic book style of characters. I can't even remember what the point of the series was or the relationships between the characters. They were very cute-looking characters though and the studio was animating the whole series with about 5 animators and 5 assistants. When I went there after Hinton they were doing a few series. L'Aventure de L'ecriture a show about French grammar and a series Little Flying Bears which is just exactly as the name implies. Everything was little something or other in those years. The bears had dragonfly wings. These flying bears were saving the environment. But I guess they didn't succeed because it's still a mess. But saving the environment was big in animation in those days.

DL:So by the way, did you have cable in the late 90s early 90s? Because these shows were broadcast on The Family Channel.

GB:I do remember them on TV but don't know if it was Family Channel or CBC. I probably only had basic cable at home. I'm not sure when the series finished. Oddly it was a co-production with Yugoslavia. Unfortunately, a few years into production the Yugoslavian war began and that turned into a bloodbath. I remember before the war everyone was talking about what a fantastic place it was over there with all those people living in harmony. The breakup of the country and the massacres just went on for what seemed like more than a decade. Anyway, the show kept getting held up because the co-producing company was telling us about the tanks sitting out in front of the company and it just got impossible eventually. It's weird how all this bad stuff is going on behind the scenes in these innocent cartoons on TV.

DL:Oh yeah. Well can’t believe that the Yugoslavian war was tied to the production trouble of Little Flying Bears.Also before I go, one more question. How was it when you went to work for CiNAR and Young Robin Hood for Hanna Barbera and France Animation.

GB:I heard once that the producer over there wanted to have Cinegroupe's production money payment sent to him in a location in a neighboring country. But that didn't sit well with Cinegroupe. I don't know if they suspected he would run for it with the money and get the heck out of the way of that approaching war. It seemed like the country was unfolding in slo mo at that point. This was before the war in Kosovo and Serbia. The co-producer was in Zagreb. It was a pretty city that held the international animation festival every second year alternating with Ottawa.

DL:Interesting.

GB:Robin Hood was fine. The first job there was on White Fang. I was an animation posing supervisor. Then I did timing direction on Robin Hood. Robin Hood went by pretty smoothly and it was nice working in a familiar US production method. I was able to bring in some of those timing skills from Tokyo into the job.And then I directed a few specials on Munch. Murmel Murmel and Boy in the drawer.I think that is the correct order of work at Cinar. It was called Crayon Animation in those days but it was owned by Cinar.

DL:Wait CiNAR was called Crayon animation?Also before then CiNAR was a dubbing studio before it started to produce its own productions in 1988.

GB:Yes, the animation part of the company was called Crayon Animation. Cinar existed at a different location downtown. They did the post-prod mixing and sound work and recording at Cinar. And the executive offices of Ron and Micheline were downtown at Cinar. The animation studio Crayon was in an old industrial warehouse space in St Henri in the mid-19th century industrial part of Montreal. If you've seen the movie or read the book The Tin Flute that is where it was. Lots of rail yards and on the old Lachine canal.Yes they did the dubbing and all sound work at Cinar headquarters downtown. They owned the building there, which was originally an old convent. Later on we moved out of the Crayon building and moved to a new office tower around the corner from the Cinar headquarters and sound studio.Ron Weinberg would often talk about how he started Cinar by driving around the US with a trunk full of videotapes of the movie Wicker Man and he would sell this tape everywhere. I don't know how he did that but that was the story. I don't know if I ever saw Wicker Man but at Burning they used to burn wicker furniture in memory of that movie.

[rabbitcruiser]

National State Fair Food Day

This year, Food Service Direct will be celebrating the first-ever National State Fair Food Day on July 11. There is much to love about state fairs — the rides, competitions, stalls, and the best part, food! While nothing beats attending a state fair, sometimes we just want to enjoy all the great food without waiting in lines with crowds of people. Instead, you can order state fair food from Food Service Direct, prepare simple recipes, and enjoy fried and delicious food straight out of the oven.

Check out the State Fair Food section at Food Service Direct and bring the fairgrounds to your backyard this summer with easy-to-follow recipes of classic state fair foods. Whatever your food needs are, wherever you are, Food Service Direct has you covered — build your unique menu today.

History of National State Fair Food Day

State fairs are a summer staple. Taking place once a year, people flock to the fairgrounds to enjoy the stalls, livestock, rides, and gifts. But let’s be honest, it’s all about the fried and delicious food, on sticks, and otherwise. The food is memorable and we look forward to enjoying it again all year long. Some of the best state foods include corn dogs, cotton candy, funnel cakes, deep-fried cookies, cheese on a stick, and chicken wings.

The first U.S. state fair was held in Syracuse, New York in 1841, and has been running successfully every year since. The second state fair was in Detroit, Michigan, which ran annually from 1849 to 2009.

Originally, state fairs were a display and celebration of the country’s agriculture; the produce, crops, and the growers who worked dedicatedly to cultivate a successful harvest. It highlighted the agricultural pride of each state, its local vendors, and regional foodways. As the structure of the country gradually shifted from agrarian to industrial, state fairs evolved to include music, amusement rides, games, and more industrial products.

But why wait for the state fair every year when you can enjoy the mouthwatering state fair food at home? Food Service Direct has you covered with everything you’ll need — from supplies to ingredients, for recreating foods-on-a-stick, cultural dishes, over-the-top desserts, and more. It’s the choice marketplace for local distributors and large manufacturers, offering a vast variety of food and related products for creating tasty meals.

National State Fair Food Day timeline

15,000 B.C.

The Beginning of the Hospitality Industry

The ancient Lascaux caves in France are used to provide accommodation for other tribes.

19th Century

The Beginning of State Fairs

State fairs are organized to display and promote state agriculture, livestock, and farm products.

20th Century

A Shift Occurs

As societies shift from agrarian to industrial, modern state fairs expand with the addition of amusement rides, exhibitions of industrial products, entertainment, and more.

July 11, 2022

The First Celebration

Initiated by Food Service Direct, the first-ever National State Fair Food Day is celebrated.

2022 State Fair Food Index Key Stats

Methodology

Food Service Direct, the first food-focused online marketplace, executed a survey in July 2022 with 2,051 adults from all 50 U.S States. To discover how U.S. consumers love state fair food the most, what are their favorite state fair food items, and how it impacts their enjoyment and quality of life. 

*Fairgoer is somebody who has gone to a state fair at least twice.

State Fair Food Favorites

#1 Fries

75% of the fairgoers in Maine always get fries at the State Fair, followed by 70% of the fairgoers in Pennsylvania.

#2 Corn Dogs

50% of the fairgoers in Arkansas and Texas always get Corn Dogs at the State Fair, followed by 45% of the fairgoers in Idaho.

#3 Roast Corn

43% of the fairgoers in Florida always get Roast Corn at the State Fair, followed by 40% of the fairgoers in New Mexico and Wisconsin.

Desserts

#1 Funnel Cake

83% of the fairgoers in Mississippi and Arkansas always get Funnel Cake at the State Fair, followed by 80% of fairgoers in Oklahoma.

#2 Cotton Candy

43% of the fairgoers in Vermont always get Cotton Candy at the State Fair, followed by 60% of the fairgoers in Mississippi.

#3 Snowcone

45% of the fairgoers in Mississippi always get Snow cones at the State Fair, followed by 40% of the fairgoers in Florida, Missouri, and South Carolina.

National State Fair Food Day FAQs

What is the most popular state fair food?

Some of the most popular state fair foods are deep-fried Oreos, fried chicken in a waffle cone, deep-fried Snickers bars, pizza cones, and cotton candy.

What is a state fair?

A state fair is an annual display of the best of a state’s local produce and products, as well as a recreational gathering for people in the U.S.

What is the most popular state fair?

The State Fair of Texas attracts a staggering 2.25 million visitors every year, making it the largest state fair in the country.

How To Celebrate National State Fair Food Day

Order your favorite state fair foodsHead over to Food Service Direct’s website. Browse and order from their large variety of state fair foods.

Try new recipesRecreate state fair foods by following different recipes. You won’t miss out on anything!

Host a state fair partyInvite your friends and family to a backyard state fair gathering. Include your favorite state fair food on the menu, and include games and other activities.

5 State Fair Foods You Can Easily Make At Home

Corn dogsCorn dogs on a stick can easily be made at home, and our pro-tip is to dunk the dogs in a tall jar full of batter for an even coating.

No-fry fried ice creamEnjoy the great taste with a crispy cinnamon coating, minus the oily mess.

Deep-fried cookiesA true indulgence that is a hit with kids especially.

Turkey legsThe best marinade for turkey legs or any other state fair meat dish is available at Food Service Direct.

State fair lemonadeSip on this thirst-quenching beverage, close your eyes, and imagine you’re at the state fair.

Why We Love National State Fair Food Day

For the love of foodWe at National Today love food holidays best. And if it is a day that celebrates countless well-loved dishes? We just can’t contain our excitement.

Bringing state fair food to your kitchenWhy not enjoy great state fair food in the comfort of your home without having to stand in sweltering temperatures and long queues. We are all for it.

Services making life easierFood Service Direct is dedicated to making the distribution of food easier for home cooks, chefs, food vendors, manufacturers, and event planners. With everything you could possibly need for creating culinary delights under one roof, what’s not to love?

Source

[kakivino]

Teusner 2011 The Dog Strangler Mataró

The third wheel in the GSM blend gets its due. Unorthodox choice of name. Aromas chockful of blue fruit and violets, pepper, earth and game go berserk beneath the menacing exterior. Gives off a certain bravado and rusticity unique to its ancestral root: savory, mouthfilling with big but tamed tannins. Sour plum and hawflakes finish. This feral varietal is the ‘yang’ to the ‘yin’ of its svelter partner grenache. Highly individualistic. — ★★★

Appellation: Barossa Valley Region: Barossa Valley, South Australia, Australia Subzone: Cépage: 100% Mataro (Mourvèdre) Abv: 14% Production: Élevage: Distributor: n/a

Critic Reviews:

[dorothydalmati1]

Obscure Animation Subject #71: All Dogs Go to Heaven

Originally posted on Twitter on May 21, 2023.

Happy birthday to me! Since its my birthday today, why not talk about a feature film for a change?

It is directed by Don Bluth with a screenplay by David N. Weiss from a story by various people in the industry business.

The film is a collaboration between Goldcrest Films and Sullivan Bluth Studios Ireland Ltd., a co-production between the United Kingdom, Ireland and the United States, it was distributed by United Artists in the US and Rank Film Distributors in the UK and Ireland.

Released on November 17, 1989 in the US, February 8, 1990 in the UK and April 6, 1990 in Ireland, it follows a shepherd named Charlie B. Barkin, whose murdered by his former friend, Carface Carruthers. Charlie escapes from Heaven to return to Earth where his best friend, Itchy Itchiford.

Charlie still lives, in order to take revenge on Carface. Instead, he ends up befriending a young orphan girl named Anne-Marie (voiced by Judith Barsi in her final film role). In the process, Charlie learns an important lesson about kindness, friendship and love.

On its US release, it competed directly with Walt Disney's The Little Mermaid, released on the same day. While it did not repeat the box-office success of Sullivan Bluth's previous features, it was successful on home video, becoming one of the biggest-selling VHS releases ever.

And, its a very bizarre piece of animation I will say. Critics were polarized on the film and I was confused when watching, being a serious film about death that the gabling Shepherd is facing, then shifts to a cutesy tone when the girl comes in then, dark as hell?

Yeah, this is the most bizarre film from Bluth. It didn’t do very well at the box-office when competing with the superior Little Mermaid, but when it was released on home media, it became a sleeper hit and has been on top of the VHS sales, forming a cult following.

It was so successful that a theatrical sequel, a television show and direct-to-video holiday film were produced. Afterwards though, nothing from the franchise came since. However, it still has its fandom and like The Little Mermaid, it may get its live-action remake, who knows…

It may not be the best from Bluth, but I highly recommend it if your curious. It’s such an interesting film to discuss about, although it went through more hell than heaven. Kinda a shame it did because the sequel sucked, the TV show is meh and the Christmas film also sucked.

[fearsmagazine]

ABIGAIL - Review

DISTRIBUTOR: Universal Pictures

SYNOPSIS: A group of low-level criminals are brought together to pull off a caper - kidnap and babysit overnight the 12-year-old ballerina daughter of a powerful underworld figure, the pay-off is a $50 million ransom. The hideout is an old isolated mansion. They try to settle in for the night but the rules go by the wayside as, one by one, the gangsters grisly and mysteriously meet their demise. The gloves come off and when they confront their prisoner, to their mounting horror, they discover that they’re the prisoners and are locked inside the mansion with no normal little girl.

REVIEW: Occasionally, screenwriters attempt to breathe new life into the vampire mythos by blending genres into their screenplays. While many of these scripts start off with a great promise, the final product often falls short of expectations. However, there are a few notable exceptions that have managed to capture the essence of the vampire genre. Examples include "The Lost Boys," "Innocent Blood," "Abraham Lincoln: Vampire Hunter," and "Vampires," the last two based on novels.

In Stephen Shields and Guy Busick's screenplay for ABIGAIL, elements of O. Henry's classic short story "The Ransom of Red Chief" and the 1990's film "Home Alone" converge, driven by the urban legend of Abigail's gangster father and tales inclusion of vampire mythology. The screenwriters incorporate subtle nods to Agatha Christie, creating humorous moments in the film. They skillfully weave in references to numerous films and TV shows, including "Reservoir Dogs," "Innocent Blood," and Kevin Durand's involvement in the vampire series "The Strain." The narrative is multi-layered, as the writers creatively rework the vampire myth to suit their story. What truly captivates the audience is Abigail's character arc and the motivations behind her actions. At its core, the story delves into a child's yearning for parental attention or the lack thereof, intertwined with the guilt experienced by parents. This complex exploration of parenting, children, and vampires sets ABIGAIL apart as a refreshing take on these themes since "The Lost Boys."

Directors Matt Bettinelli-Olpin and Tyler Gillett masterfully orchestrate a symphony of tension, action, and shocks that ebbs and flows like an adrenaline-fueled thrill ride. Their ability to consistently surprise and engage the viewer stems from their skillful framing and editing of sequences, coupled with the captivating performance of actress Alisha Weir, who portrayed Matilda in the 2022 adaptation of the musical. Her portrayal is simply outstanding here.

The mansion in which the characters are hiding serves as an integral character in the film. The production design is remarkable, creating a subtle yet tangible atmosphere. While there were a few scenes in the third act that raised questions about potential escape routes, my engrossment in the film at that point prevented me from giving them much thought.

The combination of practical and digital effects in the movie created some truly impressive "wow" moments, especially in the fight sequences. The dental design and contact lenses used for the vampire look were particularly well done. My favorite scenes were the visual sequences showing the destruction of the vampires—a real treat for die-hard horror fans.

The film's musical foundation is a harmonious blend of classical melodies and a gripping score composed by Brian Tyler. Tyler, a renowned composer with a rich portfolio of screen and television scores, has masterfully created musical movements that seamlessly intertwine with the classical selections, escalating the film's action and horror. In other moments, his score complements the actors' performances and heightens the suspense and tension of the scenes, leaving a lasting impression on the audience.

The film features a talented cast with extensive horror experience. Melissa Barrera, Dan Stevens, Kevin Durand, Kathryn Newton, and William Catlett have each starred in multiple horror films, bringing their expertise to the project. The cast also includes Matthew Goode and Giancarlo Esposito, who add their unique talents to their characters, enhancing the film's energy. This exceptional ensemble cast delivers a thrilling viewing experience, creating captivating characters that engage and entertain the audience.

ABIGAIL offers a "fangtastic" combination of a caper story and a vampire tale. It's one of the best horror-thrill rides I've experienced in theaters this year. In fact, I haven't had this much fun with a horror movie since "The Lost Boys" or "Evil Dead 2: Dead by Dawn." Not since Macaulay Culkin faced off against bumbling heist men has a kid's involvement in an action film been so entertaining. Yes, it's a bloody film, but families with tweens should venture to their local cinema for a killer good time.

CAST: Melissa Barrera, Dan Stevens, Alisha Weir, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud and Giancarlo Esposito. CREW: Directors - Matt Bettinelli-Olpin & Tyler Gillett; Screenplay - Stephen Shields & Guy Busick; Producers - William Sherak, Paul Neinstein, James Vanderbilt, Tripp Vinson, and Chad Villella; Cinematographer - Aaron Morton; Score - Brian Tyler; Editor - Michael P. Shawver; Production Designer - Susie Cullen; Costume Designer - Gwen Jeffares Hourie; Prosthetics Designer - Matthew Smith; Dental Prosthetics - Dominic Mombrun; Visual Effects Supervisor - Andre Bustanoby; Visual Effects Companies - NEXODUS, Crafty Apes, & DNEG. OFFICIAL: www.abigailmovie.com FACEBOOK: www.facebook.com/AbigailMovie/ TWITTER (X): www.twitter.com/UniversalHorror TRAILER: https://youtu.be/cOHf2qUZYBs?si=Kd0YefSxfpfRGpHd RELEASE DATE: In theaters April 19th, 2024

**Until we can all head back into the theaters our “COVID Reel Value�� will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[spectaculardistractions]

To Robert Hughes Mexico City, 1959 Questionnaire for the yearly publication Film: Book 1 (The Audience and the Filmmaker) Q1. What specific difficulties have you experienced which have been caused by interpretations of the ‘audience’ by producers, distributors, censors, etc? A1. Except during my first three films, all made before 1932, and produced with absolute independence – An Andalusian Dog, The Golden Age and Land Without Bread – I have always felt the pressure more or less heavily exerted by the producer. But one might deduce from your questions that the producers and distributors are to blame by their special interpretation of public taste for the limitations imposed on the filmmaker. In my opinion, the real responsibility for the spiritual stagnation of cinema lies with the amorphous mass, routinary and conformist, that makes up the audience. The producer limits himself merely to throwing to the beasts the food they demand of him. A businessman neither better nor worse than the others of his time, the producer has no scruples. He is capable of leaping from one ideological plane to another, even if the systems are morally and artistically antagonistic, so long as he is guaranteed prestige and economic success. For the moment it is impossible to foresee any moral elevation of human society. For this reason, there does not appear even a glimmer of the spiritual improvement of the audience. One might even predict the contrary. Filmmakers will continue dragging the heavy chains of servility put upon them by the industry and the producers, who, as faithful representatives of the public, will continue their tyrannical repression of the artists’ freedom. Q2. What do you consider one of the most encouraging developments in film in recent years? Q3. What do you consider one of the most discouraging developments? A2 & 3. To my way of thinking there is not one indication in the film production of recent years, either ‘capitalist’ or ‘communist’ that encourages any hope of the spiritual improvement of cinema – unless it be in its technical aspect, where the progress of both is unquestionable. Q4. What film or films would you make if you were free from the non-artistic limitations of sponsorship, censorship, etc.? A4. If it were possible for me, I would make films which, apart from entertaining the audience, would convey to them the absolute certainty that they DO NOT LIVE IN THE BEST OF ALL POSSIBLE WORLDS. And in doing this I believe that my intentions would be highly constructive. Movies today, including the so-called neo-realist, are dedicated to a task contrary to this. How is it possible to hope for an improvement in the audience – and consequently in the producers – when every day we are told in these films, even in the most insipid comedies, that our social institutions, our concepts of Country, Religion, Love, etc., etc., are, while perhaps imperfect, UNIQUE AND NECESSARY? The true ‘opium of the audience’ is conformity; and the entire, gigantic film world is dedicated to the propagation of this comfortable feeling, wrapped though it is at times in the insidious disguise of art.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[dogpornographylaws]

Protecting Animals from Abuse : dog pornography laws

What Are Dog Pornography Laws?

Dog pornography laws refer to legal frameworks that criminalize the creation, distribution, or possession of sexually explicit content involving animals. While it’s a sensitive and often uncomfortable subject, the importance of these laws lies in their role in preventing animal abuse and the exploitation of dogs in harmful, non-consensual ways.

In the United States, animal abuse laws generally cover all types of animals, and bestiality (sex with animals) is illegal in most states. Dog pornography laws are typically part of broader animal cruelty statutes, which make it illegal to involve animals in explicit or abusive activities for any reason, including the creation of videos or images for sexual exploitation.

The Importance of Dog Pornography Laws

Protection of Animals: At the core of these laws is the need to protect animals from harm and abuse. Animals, including dogs, cannot consent to sexual acts, and any form of exploitation involving them is a violation of their rights and welfare. Dog pornography laws help deter acts of abuse by criminalizing the creation of explicit materials.

Prevention of Abuse and Cruelty: By prohibiting the creation of explicit content involving dogs, these laws are directly aimed at preventing other forms of abuse. Bestiality is a form of animal cruelty, and those who engage in such acts often harm the animals involved, both physically and psychologically.

Deterrence: These laws act as a deterrent for individuals who may be tempted to exploit dogs for sexual gratification. With significant penalties in place for those caught participating in or distributing this illegal content, the goal is to reduce the occurrence of animal sexual exploitation.

Raising Awareness of Animal Cruelty: Laws regulating dog pornography help raise awareness about the broader issue of animal cruelty. They encourage more responsible pet ownership and inspire people to be vigilant about signs of abuse in their communities.

How Dog Pornography Laws Work

Dog pornography laws typically focus on three key aspects:

Creation of Explicit Material: Laws make it illegal to create explicit content that involves dogs or any other animals. This includes filming, photographing, or recording images or videos that depict sexual acts between humans and animals.

Distribution and Sharing: In addition to the creation of illegal material, distributing or sharing such content is a serious crime. This includes sharing explicit content on websites, social media platforms, or peer-to-peer networks. Both the creator and distributor of animal pornography are subject to legal penalties.

Possession: The mere possession of explicit material involving animals is also illegal. Even if someone does not actively create or distribute the material, simply owning or storing such content can lead to criminal charges.

Legal Framework for Dog Pornography Laws

While the specifics of dog pornography laws vary by country and jurisdiction, they generally fall under broader animal cruelty and exploitation statutes. Here’s an overview of how these laws are structured in the United States:

Federal Laws: The Animal Welfare Act (AWA), passed in 1966, is a key piece of federal legislation in the U.S. that aims to protect animals from abuse and exploitation. While it primarily focuses on regulating animal treatment in research, exhibitions, and transportation, it also addresses animal cruelty in general. The Puppy Mill Cruelty Prevention Act and the 2006 Animal Crush Video Prohibition Act are federal laws that target specific forms of animal abuse, including the production and distribution of violent content involving animals. These laws can apply to dog pornography if it involves the exploitation of animals in sexually explicit contexts.

State Laws: Most states have laws that specifically prohibit bestiality and the creation, possession, or distribution of explicit content involving animals. These laws vary in terms of penalties and the definitions of prohibited conduct, but all are designed to protect animals from sexual exploitation. Some states have additional provisions to target individuals who engage in online activities involving animal pornography.

Penalties for Violations: Penalties for violating dog pornography laws can be severe. They can include fines, imprisonment, or both, depending on the jurisdiction and the severity of the offense. In some cases, those convicted may also be prohibited from owning animals or may face mandatory psychological counseling.

Reporting Mechanisms: Many animal protection organizations and law enforcement agencies have established mechanisms for reporting suspected cases of animal abuse, including the creation and distribution of explicit content. Reporting helps prevent the spread of harmful material and protects animals from further exploitation.

The Impact of Digital Media on Dog Pornography

The rise of the internet and digital media has made it easier for offenders to create and distribute explicit content involving animals. Unfortunately, this also means that law enforcement agencies must work harder to track down individuals engaged in such activities. However, advancements in technology and collaborative efforts between law enforcement, animal protection organizations, and tech companies have helped combat this crime.

Digital Forensics: Law enforcement agencies use digital forensics to track down individuals who produce, distribute, or possess illegal content involving dogs. This can include monitoring online forums, websites, and social media platforms where such material may be shared or traded.

Tech Companies’ Role: Many tech companies, including internet service providers and social media platforms, work in collaboration with law enforcement agencies to detect and remove illegal content from their networks. They may use algorithms or content monitoring systems to identify explicit images or videos involving animals.

Challenges in Enforcement

Despite the legal framework in place, enforcing dog pornography laws can be challenging due to several factors:

Anonymity of the Internet: The ability to remain anonymous online makes it difficult for law enforcement to identify and apprehend individuals engaged in the creation or distribution of dog pornography. Criminals often use encrypted websites and the dark web to hide their activities.

Global Cooperation: Many cases of animal pornography involve cross-border activities, with offenders operating in different countries. International cooperation is essential to address these crimes effectively and ensure perpetrators are brought to justice.

Underreporting: Victims of animal exploitation, including dogs, cannot report the abuse themselves, and instances of dog pornography may go unnoticed or unreported. Raising awareness and encouraging people to report suspicious activities can help prevent such exploitation.

How Can We Help Combat Dog Pornography?

As individuals, there are several ways we can help combat dog pornography and protect animals from exploitation:

Report Suspicious Activities: If you suspect animal abuse or the creation/distribution of animal pornography, report it to the authorities immediately. Many organizations, such as the Humane Society and the ASPCA, have hotlines for reporting animal cruelty.

Support Animal Protection Organizations: Donating to or volunteering with animal protection groups can help these organizations continue their work in preventing animal abuse and supporting victims of exploitation.

Educate Others: Raising awareness about the existence and dangers of dog pornography is important in the fight to end animal exploitation. Encourage others to be vigilant and report any suspected abuse they come across.

Advocate for Stronger Laws: Advocate for stronger and more comprehensive animal protection laws at local, state, and national levels. Support efforts to improve enforcement and ensure that penalties for animal abuse are severe enough to deter offenders.

Conclusion

Dog pornography laws are an essential tool in the fight against animal cruelty and exploitation. These laws are designed to protect dogs and other animals from being subjected to harmful, non-consensual acts for the gratification of humans. Through stronger laws, better enforcement, and the collective efforts of individuals, organizations, and governments, we can work toward ending this form of abuse and ensuring the safety and well-being of animals everywhere.

If you suspect that an animal is being exploited or abused, don’t hesitate to report it. Together, we can create a safer world for all animals, free from exploitation and harm.

[mcginnlawfirm]

What are the most common types of personal injury cases?

Personal injury cases arise when someone is hurt due to carelessness or wrongdoing by others. These cases can involve anything from car accidents to slip-and-falls, and they all have one thing in common: people are seeking compensation for injuries they've suffered. Knowing the types of personal injury cases can help you understand what you might face if you’re ever in a situation where you’ve been hurt and need legal help. Here’s a breakdown of the most common types of personal injury cases and how a lawyer from McGinn Law Firm can assist you.

1. Car Accidents

Car accidents are one of the most common types of personal injury cases. The consequences, whether a minor fender bender or a major collision, can be serious. People involved in car accidents often suffer from injuries ranging from whiplash to more severe trauma like broken bones or spinal cord injuries.

If you’ve been in a car accident, it’s important to contact a personal injury lawyer as soon as possible. The other driver’s insurance companies might try to settle quickly, but they often offer much less than you deserve. A lawyer can help you navigate the process, gather evidence, and ensure you’re properly compensated for medical bills, lost wages, and other expenses.

2. Slip and Fall Cases

Slip-and-fall cases happen when someone is injured due to unsafe conditions on someone else’s property. These cases fall under what’s known as “premises liability,” meaning that the property owner is responsible for maintaining a safe environment. Slip-and-fall accidents can occur in various settings, such as grocery stores, restaurants, or someone’s home.

Whether it’s a slippery floor, uneven pavement, or poor lighting, these hazards can cause serious injuries like fractures, sprains, or head trauma. If you’ve been hurt in a slip-and-fall accident, it’s important to speak with a personal injury lawyer to understand your rights and what compensation you may be entitled to.

3. Medical Malpractice

Medical malpractice happens when a healthcare professional provides inadequate care, leading to injury or harm. This can include surgical errors, misdiagnoses, medication mistakes, or failure to treat a medical condition properly. People trust doctors and hospitals with their health, so it can be especially devastating when something goes wrong.

Proving medical malpractice can be complex, as it requires showing that the healthcare provider didn’t meet the standard of care expected in their profession. If you believe you or a loved one has been a victim of medical malpractice, a personal injury lawyer can help investigate your case and guide you through the legal process.

4. Workplace Injuries

Accidents happen in the workplace more often than you might think, particularly in industries like construction or manufacturing, where the risk of injury is higher. Workplace injuries can include anything from back strains and falls to serious injuries caused by malfunctioning equipment. You’ll most likely be covered under workers' compensation if you're injured. However, if the injury was caused by someone other than your employer, you could file a personal injury claim. A lawyer can help you determine the best course of action to ensure you’re compensated fairly for your injuries and any time missed from work.

5. Product Liability

Product liability cases involve injuries caused by defective or unsafe products. These cases can range from faulty car parts that cause accidents to malfunctioning household appliances that cause harm. Companies must ensure that the products they release to the public are safe, but unfortunately, defective products still make it to the market.

You may be entitled to compensation if a defective product has injured you. A personal injury lawyer can help hold the manufacturer, distributor, or retailer responsible for any harm caused by the product.

6. Dog Bites

Dog bites can cause serious injuries, especially if the dog is not properly trained or restrained. These cases often involve children, who are more likely to approach dogs without recognizing the signs of aggression. In many states, dog owners are responsible for injuries caused by their pets, even if the dog has never shown aggression before.

If a dog has bitten you or someone you love, you may be entitled to compensation for medical bills, pain and suffering, and emotional distress. A personal injury lawyer can help you understand your options and pursue the compensation you deserve.

7. Wrongful Death

A wrongful death claim is brought forward when someone dies due to the negligence or wrongdoing of another party. This can happen in car accidents, medical malpractice cases, or workplace incidents. Losing a loved one is always difficult, but when it happens because of someone else’s carelessness, it can be even more devastating.

In wrongful death cases, the surviving family members may be able to seek compensation for funeral expenses, loss of companionship, and any financial support the deceased would have provided. A personal injury lawyer can help guide you through this challenging time and ensure those responsible are held accountable.

Why You Should Contact McGinn Law Firm

If you’ve been injured in any of these personal injury cases, seeking legal advice is crucial to ensuring you get the compensation you deserve. At McGinn Law Firm, we have years of experience handling personal injury claims and fighting for the rights of people like you. Our team is dedicated to helping you navigate the legal process and getting the best outcome for your case.

We’ll take the time to understand your case, answer any questions, and provide the support you need. Don’t wait—your well-being is our top priority.