#TV OR TELEVISION OR MEDIA PLANET

[bradleycarlgeiger]

CHECK ALL SCREENS AND SPEAKERS ON PLANET EARTH FOR MEDIA PLANETS

[fazedlight]

Plummet (Cat's perspective on Falling)

Cat had started so optimistic. Kiera, finally dressing as an adult? It was a promising development for her executive-assistant-slash-vigilante, one that suggested the kryptonian could possibly grow a backbone in the near future. Goodness knows Kiera desperately needed to come out of her shell. 

Cat had ignored the… well, cattiness emanating from the blonde. A bit of cynicism would’ve been icing on the proverbial cake, had it not heralded something darker.

But when Siobhan marched proudly into Cat’s office, showing her the security footage of Supergirl letting a dangerous criminal go, Cat knew something more was going on. And this morning she used my personal elevator. Perhaps she’s truly lost her mind, Cat thought. “It could be another Bizarro,” Cat said to a disapproving Siobhan, “Put this under your hat until we figure out what’s going on.”

---

Kiera seemed to only get more haughty over time. “You’ve branded me in the media as a girl scout,” the kryptonian said bitterly. “Everyone knows real people have a dark side.”

Where is this coming from?, Cat thought. Psychotic break, brainwashing? Carter loved that old TV show with the star treks, and once spent an entire month talking about mirror universes. Was this an evil Kiera with an invisible goatee? “I fear that you're having some sort of mental breakdown,” Cat said, “Don't worry, it happens to the best of us-”

But Kiera snapped back. “You are the most arrogant, self-serving, mean-spirited person I know.” Tell me how you really feel, Cat thought to herself, but she had to admit that those words struck a little close.

But that hurt was very rapidly replaced by a more primal fear as the kryptonian approached her. “You want to see what powerful really looks like?” Kiera said, “Watch.”

---

They say your life flashes before your eyes. That’s not what Cat saw. Nor did she have a single coherent thought, other than Carter’s face and endless screaming.

Luckily for her, her assailant didn’t kill her. Cat collapsed inelegantly to the ground, turning back up in a panic as the scornful kryptonian stared down at her. “True power, Cat,” Kara scoffed, “Is in deciding who will live, and who will die.”

Somewhere in the back of Cat’s mind - a stray thought as she tried to calm her pounding heart - she understood. She has all this power, but she couldn’t save her planet. Kiera was just as frustrated at her own powerlessness; her history would be enough to cause anyone to have a psychotic break.

Unfortunately, it didn’t change what Cat had to do next.

---

“People are in danger,” she said to James and Winn, as she shared her plan for a televised broadcast on the kryptonian’s erratic and terrifying behavior, “The public needs to be warned.”

“Miss Grant,” James started, “Look, I am sure that Supergirl is going to be fine soon-”

“Can you guarantee me that the public is safe?”

James and Winn shifted guiltily. I know this isn’t her, Cat wanted to say, I know this isn’t who she is. But Cat couldn’t carry a death on her shoulders of someone who trusted Supergirl because of her words. And Cat suspected that Kara - if the girl ever recovered - couldn’t bear that guilt either.

But she hated every moment.

---

Is there any recovery from this?

Kiera had been a wreck at work that day, scurrying around the office with slumped shoulders and stressed eyes, avoiding Cat entirely. Cat supposed she was breathing easier now that Kiera was back to normal, but it still evoked the same question - What happens with Supergirl next?

As Cat walked into her office that evening - intent to pour herself a stiff drink - she was surprised to find a metal tube set on her desk, with a folded piece of paper propped up against it. “I’m sorry,” the letter read, in familiar loopy, feminine writing. “I wasn’t myself.”

Cat opened the tube, noting a strange green glow inside. Kryptonite, she realized, sighing internally at the thought of Kara entrusting her with this sort of protection. “I don’t want you to feel unsafe. If you want me to stop interacting with you, I will,” the letter read. Cat closed the tube, mulling again over her assistant’s state of mind. Sighing, she placed the tube in a drawer, pouring herself a drink as she had planned, before making her way to her balcony.

She shouldn’t have been surprised to see the super when she stepped out, but somehow she was. Kiera sat far from the door, quiet as she looked out onto the city lights. Cat knew the super must’ve heard her, but she didn’t face her - perhaps waiting for the sendoff she thought she deserved.

Cat stepped forward quietly, reaching the railing of the balcony. And that’s what gave Kiera the courage to speak. “I love this city,” she said solemnly.

Cat stood silently, listening to the kryptonian’s words - weighing the tender passion with the agonizing remorse. “What I did to you, Miss Grant-”

“Oh please,” Cat said, shrugging off. “I’ve base jumped Kilimanjaro, do you really think you scared me?”

Well, that was a lie, and they both knew it. “Okay, yes, you did scare me.”

“I scared the whole city,” Kara lamented.

“It’s not going to be easy,” Cat said. “But if anyone can win this city back, it’s you.”

Kara nodded gratefully, biting back unshed tears. “Can I just… stay here for a while?”

“Of course,” Cat said softly. 

In the soft breeze and the quiet night, the two looked back over the city, and wondered what was to come.

----------------------------------------------------

I found it a really weird writing choice that Kara never apologized to Cat - or didn't seem to understand the fear she must've instilled in her, after throwing her off a building - so I tried to fix it here. (I have thoughts on Kara's relationship with kryptonite, but I will spare this post of that ramble.)

[slaygentford]

💖 leslou 💖

sexiest thing to ever happen on my television screen. loustat revolutionized my expectations for television like you think I'm joking but i'm genuinely not. everyone that isn't going as hard as them is so disappointing to me now. everything I see coming out now that's either all white or all straight or no harrowing violence I'm like grow up. like genuinely this show cracked me open, Louis in particular. hes a character of color with every inch the violence and sexuality and complexity not just of the genre but of like genuinely just really good. really good television. and genuinely just seeing that character made me so mad at every other show on planet earth bc it showed me what we could be having. and ive never seen it on THAT level before in American mainstream media and everyone is such a fucking coward that isnt doing that. idk it's just so like insane to me like yeah I care about the characters obviously I'm insane about the characters. but Jesus fuck dude like. I genuinely have lost so much respect for eeeeveryone else who isn't doing this bc rolin really said cant write a character like Louis? skill issue. and it fucking is. there's no bellyaching theres no performative bullshit its JUST a good character the kind of character we ALWAYS could have had and can have going forward. I am so fucking sick of white people and the fascination with them when such fantastic depth can be aded with race and you know what thats another thing. is that a lot of the convo about representation in media is SSOOOO FUCKING STUPID like stupid to the point of being cringe like it's just so so so so stupid and Louis rockets right past any of that. the story is intrinsically tied to his blackness but the story isnt like fucking booktok chicana new adult bull shit number 1,225 boohoo mangoes two dimensional self exploitative prostitutional BULL. SHIT. race IS the story but not the way that Race Is The Story of every person fetishizing their own pain. white people don't even look at this post btw. die also. sorry I forgot what I was saying. oh yeah loustat. yeah idc the other one. Louis specifically. his sexuality and race changed how I watch tv and set the bar infinitely higher and made me realize that I CAN have it all. I can fucking have it all on my screen whenever I want; not just I should, I CAN. and FUCK supernatural.

[bigfootbeat]

Are There More Bigfoot Sightings?

The number of Bigfoot of reported Bigfoot sightings seems to be increasing. The linked article has details. Here are some of my thoughts.

Several factors contribute to the surge in Bigfoot reports. One important reason is that so many people can use technology and social media. People can easily share their stories and supposed sightings with people all over the world now that smartphones and the internet are so common. With instant connectivity, not only do individual reports reach more people, but individuals who may have had similar situations are also more likely to come forward. Furthermore, the public's interest in cryptids like Bigfoot has grown thanks to movies, TV shows, and films that contain their stories. People are interested in these portrayals because they often make events seem dramatic and shocking. This piques people's interest further, leading to an increase in reports, which in turn generates even more interest. It is also related to psychological issues. A common human trait is the ability to recognize patterns and make sense of unclear situations. This is called pareidolia. Because of this, people in the wild may mistake animals or even inanimate objects for bigfoot. It's also possible for people to see normal things as strange, especially if they already believe in supernatural beings. This is because of the power of suggestion and confirmation bias. It's also important to think about how people in groups that are interested in Bigfoot interact with each other. These groups often offer a safe space for people to share and validate their experiences. When members of these groups share their experiences and evidence, it instills confidence in others to recount their own encounters, regardless of their authenticity or potential misinterpretation. Lastly, it's important to consider how an increase in population in previously wild and remote areas could result in an increase in wildlife sightings, some of which may mistakenly be Bigfoot. Since cities are growing into woods and mountains, the chances of seeing something strange naturally rise. A combination of technological, cultural, psychological, social, and environmental factors may contribute to the rise in Bigfoot reports in their own unique ways.

[doorbloggr]

Long Form YouTube Videos: Documentaries and Video Essays

Thursday 8/12/22

Media Recommendations #41

Content:

The History of Wii Sports Resort Golf World Records (Summoning Salt)

Disney Channel's Theme - A History Mystory (Defunctland)

The Line Goes Up (Folding Ideas)

Treasure Planet - Disney's Biggest Mistake (Breadsword)

YouTube and new TV

YouTube is one of, if not the most popular ways to engage in video media in the modern age. I am in my mid-20s now, and I do not watch broadcast television at all. Subscription services like Netflix and Disney+ have meant that users can now curate their watching experiences, watching what they want, when they want, instead of having to watch for a certain time of day for a show to air.

Netflix is a giant in today's media consumption

Unlike these other subscription services, YouTube is a user driven site and thrives off the very low bar of entry for creators. All you need is a camera, and/or microphone, and a computer. This means that videos can be and are about anything. Videos of people playing videogames, rating their personal preferences of foods, tourist commentary, chemical demonstrations, original animation and music, or just educating other on your favourite things.

Some of my favourite Youtube Media. Clockwise from the top left: NileRed, SoloTravelBlog, LunaiMooney, TerminalMontage

Getting paid for your creations on YouTube is a tricky topic I do not want to get into deep today, but to get to today's topic, there is a sweetspot of length. A very short video does not pay well, and a very long video does not either. And it is tragic that longer videos do not get the recognition, reward, and engagement they deserve, because I have recently become very aware of how good the long form video catalogue is on YouTube these days.

Long Form Video Content

Now it can be quite easy to make a long video, but what I'm talking about today is beyond just stream archives and let's play compilations. I'm talking about feature length discussions of topics that the creators are passionate about and have put their passion into. In the early phase of planning this article, I came across two terms to describe my taste: Video Essays, and Documentaries. And there is a difference.

Now, Documentaries exist as a broad appealing form of media outside of YouTube. But the difference between a David Attenborough narrated exploration of nature and an explanation of the history of speedrunning a Wii game is resources and interest. The BBC would not greenlight funding for a History of Speedrunning, because it is a niche topic that will not have the broad appeal necessary to return on the cost to make that documentary at a BBC level budget. But just because it does not have mass appeal, does not mean it doesn't have appeal. The reason why I'm writing this article is because these are topics that will engage a niche audience, and these videos would not exist without the passion of the creators.

GenoSamuel's documentary of ChrisChan is a very unique case of something that can only exist on the internet.

The point of a documentary is to document. It is a presentation of collected facts, with little room for interpretation other than the presentation itself. BBC's Blue Planet is not a narrative any more than the the History of Wii Sports Resort Golf Speedrunning is. They are a curated presentation of knowledge on the topic that is enjoyable because it is easier to enjoy in one complete package rather than the interested party having to seek out and consume the scattered information themselves.

A Video Essay on the other hand is exactly what the name suggests, it is an essay in video form. It is the creator making an analysis or argument on a topic, often by dividing their video into sections, presenting information supporting their point of view. Video Essays are often more emotion driven, targeting the viewer's empathy to support the creator's opinion, either by making them happy, sad, or angry with the information presented. Video Essays do not exist as a popular form of media outside of YouTube, since their scholarly/professional equivalent are written essays. The idea of the Video Essay is not unique to YouTube but it is the best platform for independent long-form media. On the internet, there's an audience for everything, and a someone willing to present their opinion on it.

Contrapoints is a trans video essayist that discusses societal values, politics, ethics, and trans rights.

It might be my personal taste evolving, but even if YouTube doesn't financially support the models of Documentaries and Video Essays, the rise of crowd funding e.g. Patreon, has meant that the model becomes more feasible, and as a result, the general quality and variety of good long form videos has increased on the platform. So I'm take a bit of more of your time to recommend some of my favourite creator's of such media, and my favourite videos they've made.

Documentary Recommendations

The History of Wii Sports Resort Golf World Records

Summoning Salt

Summoning Salt is a historian of videogame speedrunning. To the outside observer, speedrunning may not seem like a topic that needs or lends itself well to documentation, but in reality it works very well. Since Speedrunning works around reporting your records via footage, there is lots of footage to demonstrate the topic. And if you fear getting lost in the jargon of techniques, Summoning Salt is very good at explaining the runs in laymen's terms. His sound design, narration, and how the video is formatted makes it easy to follow a topic, and the Documentaries go at fast enough pace that you never feel bored down by unnecessary detail.

The video that introduced me to Summoning Salt and the true depths of speedrunning was their video on Wii Sports Resort Golf. It was a tale of competitive spirit, flukes of ingenuity, and tenacity. What was one person's whim became a series of trials for many. How far can you stretch the technical ability and exploits of a Wii Motion Control Game? Very far it turns out. At 36 minutes, it is a shorter doco, a great introduction to Summoning Salt and his genre. It is a gripping tale that I implore you to experience for yourself.

Disney Channel's Theme - A History Mystery

Defunctland

Defunctland is a historian on theme parks, children's media projects, movies, and shows. Their origin was in extinct theme parks, but the breadth of topics discussed has expanded. While theme parks documentaries are not an uncommon subject area on YouTube, nobody does their research quite as thoroughly or directly as Defunctland. Much of the information presented in their works are things the creator had found out themselves via interviews with involved parties, or trudging through deep internet archives, all to put together complete packages.

The first video I watched of theirs is the latest (at time for writing) and is a story of how Defunctland found out who wrote the theme song for the Disney Channel. Given it is only a four note melody, it seems like it would not be difficult to find, but there are several layers of intricacies about channel tones, Disney's marketing teams, and composers that make this a very long journey. It is an emotional tale that does great tribute to those artists involved. Do watch!

Video Essay Recommendations

The Line Goes Up

Folding Ideas

Folding Ideas is a documentarian who discusses ideas that often affect society at large. Some topics are meta discussions of how to make media online and analysis of certain media products, others are societal level analysis of phenomena such as Flat Earthers. Folding Ideas has a sort of university lecture style presentation unique to Video Essays, where a large part of the video actually features the speaker in frame, while images and videos are used secondarily to better demonstrate his points. Folding Ideas videos are very long, but easy to follow; any concept brought up during explanations is quickly explained in layman's terms, so the entire essay can be followed.

The video that introduced me to Folding Ideas was their 2 hour explanation of NFTs, which also explored market capitalism, cryptocurrency and Web3. It is a Video that can be enjoyed in the background of other tasks, but I advised that for a first watch, you may want to set aside a couple hours near bedtime to sit down and absorb the explanation. Like many other Folding Ideas videos, it is overall neutral on the topic itself, but he is not afraid to make clear his stance on what he thinks of cryptocurrency and NFTs. If the NFT craze passed you by and you had no idea what any of it meant, this is THE source to educate yourself on what it all means, and why it is so bad.

Treasure Planet - Disney's Biggest Mistake

Breadsword

Breadsword is not your typical video essayist, I would describe them more as a story teller. Breadsword's target content is nostalgia bait for people who enjoy feel good media, be that older anime, disney and dream works movies from the 90s and early 00s, or even videogames. The videos of Breadsword are a love letter and analysis of childhood memories, stories from their internal development, deeper meanings, and why we should (or do) enjoy these pieces.

The first video I watched of Breadsword was their exploration of Treasure Planet, one of the last 2D Disney feature-length films. The video is both an exploration of all the technical and narrative techniques that made this movie great and how Disney tried to sabotage its success. Breadsword makes the argument that since movies like Treasure Planet are so technically demanding, and 3D animation was on the rise, Disney wanted the film to fail, so they had the excuse to change medium. It is an emotional story and a heartbreaking one, and Breadsword tells it very well.

Thanks for Reading

The irony of my article about Long YouTube Videos being very long was not lost on me, and I understand that this length will be intimidating to readers. I will not expect a lot, if any, to read the while post, but if you did, and you're reading this, thank you so much.

Like many YouTube creators, my input on this blog is for the benefit of my creativity first, and if it turns out others enjoy it, then that's fantastic. If you want to see what my other recommendations are, I have a list of them in pinned post on this blog.

[frakyeahbattlestargalactica]

From Classic TV Archives:

45 years ago, April 29, 1979, the final episode of Battlestar Galactica aired. It is an American science fiction media franchise created by Glen A. Larson. The franchise began with the original television series in 1978, and was followed by a short-run sequel series (Galactica 1980), a line of book adaptations, original novels, comic books, a board game, and video games. A re-imagined version of Battlestar Galactica aired as a two-part, three-hour miniseries developed by Ronald D. Moore and David Eick in 2003. That miniseries led to a weekly television series, which aired until 2009. A prequel series, Caprica, aired in 2010.

All Battlestar Galactica productions share the premise that in a distant part of the universe, a human civilization has extended to a group of planets known as the Twelve Colonies, to which they have migrated from their ancestral homeworld of Kobol. The Twelve Colonies have been engaged in a lengthy war with a cybernetic race known as the Cylons, whose goal is the extermination of the human race. The Cylons offer peace to the humans, which proves to be a ruse. With the aid of a human named Baltar, the Cylons carry out a massive nuclear attack on the Twelve Colonies and on the Colonial Fleet of starships that protect them. These attacks devastate the Colonial Fleet, lay waste to the Colonies, and virtually destroy all but a population of 50,000. Scattered survivors flee into outer space aboard a ragtag array of spaceworthy ships. Of the entire Colonial battle fleet, only the Battlestar Galactica, a gigantic battleship and spacecraft carrier, appears to have survived the Cylon attack. Under the leadership of Commander Adama, the Galactica and the pilots of "Viper fighters" lead a fugitive fleet of survivors in search of the fabled thirteenth colony known as Earth.

During the eight months after the pilot's first broadcast, 17 original episodes of the series were made (five of them two-part shows), equivalent to a standard 24-episode TV season. Citing declining ratings and cost overruns, ABC canceled Battlestar Galactica in April 1979. Its final episode "The Hand of God" was telecast on April 29, 1979

[dweemeister]

November 15, 2023

By Jonathan Mahler, James B. Stewart, and Benjamin Mullin

(The New York Times Magazine) — It was April 2022, and David Zaslav had just closed the deal of a lifetime. From the helm of his relatively small and unglamorous cable company, Discovery, he had taken control of a sprawling entertainment conglomerate that included perhaps the most storied movie studio on the planet, Warner Brothers. The longtime New Yorker had always loved movies, and against the advice of several media peers, he had moved to Hollywood and taken over Jack Warner’s historic office, hauling the old mogul’s desk out of storage and topping it off with an old-time handset telephone. So far things were going great. He had met all the stars and players, was widely feted as the next in line to save the eternally struggling industry and was well into the process of renovating a landmark house in Beverly Hills. “You’re the dog that caught the bus,” the billionaire octogenarian cable pioneer John Malone, one of Discovery’s largest shareholders, told him. All he needed to do now was pay back the $56 billion in debt that he piled onto the new company to make the deal happen.

Money is never just lying around Hollywood, and the town was still reeling from the pandemic. But that was OK. Zaslav had set a “synergy target” — cost cuts, essentially — of $3 billion in the next two years, and now, with the clock ticking, he got to work. To help, he had brought along his chief financial officer from Discovery, an amateur pilot and former McKinsey consultant named Gunnar Wiedenfels. As spring turned to summer, they laid off hundreds of workers, shuttered or reorganized divisions and suspended or canceled hundreds of millions of dollars’ worth of programming. Anything we don’t think is awesome, Zaslav told executives, stop production right now. Turn the cameras off.

Cuts are the norm after a merger, but Zaslav and Wiedenfels were pushing things hard, and in sometimes unorthodox directions. By shelving several nearly completed projects — including the animated, direct-to-streaming movie “Scoob!: Holiday Haunt,” and the fourth season of the postapocalyptic TV series “Snowpiercer” — they saved millions in postproduction and marketing costs, as well as residuals down the line, and they locked in hefty tax breaks up front. Like so much of what happened in Hollywood, all this was reminiscent of a Hollywood production — in this case, the beloved 1967 Mel Brooks comedy “The Producers.” There, the producers, Max Bialystock and Leopold Bloom, realized that under the right circumstances, a producer could make more money with a flop than a hit. For Zaslav and Wiedenfels, the money would come from making sure that no one would get to see the shows in the first place.

Then they came for “Batgirl.” The big-ticket streaming project had just finished filming in Scotland when Zaslav took over, and he and Wiedenfels had immediately identified it as a target — a “free ball,” as Zaslav described it to several colleagues. The audience test scores for a very early cut were not encouraging. Still, a number of executives warned him not to shelve it. “Batgirl” was a $90 million entry in a multibillion-dollar universe of movies and television shows based on DC Comics. Michael Keaton was reprising his role as Batman, and sequels were already in the works. Plenty of movies had tested poorly but still earned millions. Killing an all-but-completed movie would alienate the people Zaslav — or at least Hollywood — needed most: the people who made the movies. It was to no avail. On Aug. 2, the word came down: “Batgirl” was dead.

As predicted, the backlash was immediate and emotional. Stunned, the film’s up-and-coming directors, Adil El Arbi and Bilall Fallah, tried to look at their footage, but their access to the production server was denied. The head of the DC unit, Walter Hamada, who was not consulted on the decision, asked to be released from his contract and would leave before the end of the year. Courtenay Valenti, one of the most respected development executives at Warner Brothers, was equally devastated and would be gone in a matter of weeks, ending a 33-year run at the studio. The news dominated the Hollywood trades for days. Under fire, Zaslav defended the decision in an earnings call with analysts, saying he shelved “Batgirl” to protect the DC brand. More quietly, Zaslav also sought cover in the authority of Bryan Lourd, the powerful co-chairman of Creative Artists Agency and a leading arbiter of Hollywood mores. As Zaslav told it to several associates, Lourd had supported the decision, observing that it wasn’t in the interest of C.A.A. clients, like the film’s star, Leslie Grace, to be associated with a bad movie. But a C.A.A. spokeswoman denied that. “Bryan Lourd was not consulted in advance of the studio’s move to cancel ‘Batgirl,’” she said.

At Discovery, producers referred to having their budgets slashed as “getting Gunnared,” and Wiedenfels maintains a hard-boiled, McKinsey-esque attitude toward the bottom line. “It’s hard work,” he says. “You don’t make friends.” Zaslav, a born salesman who would prefer to make friends, is more reflective. “You do sometimes get bloodied,” he said in a wide-ranging interview at Warner Brothers Discovery’s corporate headquarters in New York. But business is business. “We have made unpopular decisions because they were necessary.”

That joke about selling to Saudi Arabia in the end. Just... no.

[rivetgoth]

A Plea for CGI

I feel like the last bastion of defense for CGI as an art form sometimes dude. CGI fascinates me so much. As a kid it felt so wondrous and unlike anything I’d ever seen. The dancing bear in Teletubbies was the first instance of CGI I ever remember seeing and it enamored me unlike anything else. It felt like genuine magic. I felt similarly about Tiny Planets, which genuinely felt like it transported me to an alien world. Later on as a kid I stumbled onto the Madagascar tech reel Easter egg on the DVD and it was the scariest thing I’d ever seen. It scared me so bad I couldn’t be in the same room and I was scared to turn off the television. I stayed in my bedroom until my dad got home because I knew he’d turn the TV off if he walked in and saw nobody watching it and I didn't want to be out there until I knew for sure the television was off and the reel wouldn't still be playing. I couldn’t sleep for days after seeing it and I was literally scared of DVD menus for fear of accidentally stumbling onto something like that again. Blooper reels for CG films absolutely terrified me, it was like genuinely nauseatingly scary. The “You’re not perfect” Courage the Cowardly Dog bit was similar.

I don’t think I’m an anomaly for finding these examples scary, a LOT of people did (the former one is full of commenters saying it scared them as a kid, the latter is literally meant to be scary). But the thing is with CGI, despite that it never stopped having this sort of wonder to me as well. When I was a kid CGI still felt uncommon enough that any time it was employed it felt really magical. It felt like I was seeing into a world that didn’t actually exist. I think its ability even in its earliest forms to be implemented into live action media, or its ability to have strange three dimensional properties when used in fully animated films, gave it this sense that it could be used to bring things to life in a way that couldn’t be done before. Like, I recognized even as a kid that the dancing bear didn’t look REAL. But it also looked three dimensional. It looked almost dreamlike to me.

I think the history of CGI as an art form is just so fascinating. I remember how fascinated I was reading about the CGI of the 80s and 90s, as it began to move beyond being an oddity that computer scientists could use to demonstrate tech and found some mainstream and wider spread usage. Tony De Peltrie (1985) was the first CGI human to express emotion and objectively he hasn’t aged well, he looks super creepy as does almost everything about his short film, but it fascinates me that he was so well received and touched people’s emotions in spite of that. The human ability to connect with something so alien in every way—stylistically, but even in terms of the art form being used, which was still absolutely brand new—is so interesting. The fact that the Canned Food International Council commissioned a commercial to be done fully in CGI in 1984 and it was referred to as so realistic you “couldn’t tell if it was animated or not” when nowadays it’s surpassed by PS1 video game graphics is so fascinating. The entire implication of that moment in the history of art, advertising, aesthetic. Maybe most fascinating to me is the short series Quarxs from the 90s utilizing CGI in one of the most bizarre ways I’ve ever seen to this day to bring to life cryptobiological organisms. Really insane looking stuff using really limited technology. The creator of Quarxs, Maurice Benayoun, writes theory on virtual reality, including some really interesting stuff about the human relationship to the material and virtual world that is most definitely reflected in Quarxs.

Nowadays I turn to Severed Heads as an example of one of the most fascinating recent uses of CGI to intentionally evoke the uncanniness of older CG and bring to life the music through a visual accompaniment. “Tiny Wounded Bird” (2016) is hard to watch even as an adult, it feels like in the best way it strikes so much uncanny fear that would've ruined my life as a child. It was the first time I saw someone fully, intentionally evoke those fears in art—I think it’s so fascinating the way CGI evokes the uncanny valley so easily for so many, and Tom Ellard was clearly aware of this. Tom Ellard, the artist behind Severed Heads, has worked on the cutting edge of technology to make unabashedly uncanny art in both visual and auditory forms since the 70s.

I see people suggest the uncanniness of CGI has to do with early or pre-textured CGI looking almost corpse-like, but I always felt like it was something else, it's not just CGI People Look Creepy. I think it’s just so, so, so foreign to the eyes. It exists in a three dimensional plane that should be similar to ours but isn’t quite ours. It can emulate the human body but also contort it in any way imaginable. The blooper reels I mentioned being scared of as a kid show these fully three dimensional beings with limbs elongated far past the physical possibility of a real body, eyes popping out of the head. Shadows having to be implemented manually, AI trying to figure out how physics work for thousands of particles of simulated hair. It's sterile and it's incomparable to really anything else. CGI is an entirely new artform, unique from any other that exists. It's literally creating a whole new plane of reality. I think it should lean into that more.

I think CGI as a tool is extremely oversaturated due to all sorts of issues within the entertainment industry around the desire to rush products, the lack of unionization and worker protection, corruption from the top down causing companies to rely on it heavily in the least imaginative and most predatory ways. But that’s not the fault of CGI as an art form, which is still only a couple of decades old—Again, Tony de Peltrie, first emotive CGI human, is only about 40 years old. The first television series less than that. The first movie only about 30. This is BRAND NEW technology. We are in the earliest of earliest stages of CGI experimentation. History will look back on CGI and not view 2024 as notably distant from Toy Story’s release in ‘95. I think it’s only in the past few years that we’ve seen mainstream film really try to use CGI for something genuinely brand new—Trolls in 2016 creating an entire world comprised of textures that wouldn’t exist in such a way in real life (like felt ground, cotton ball clouds, etc), Moana (also in 2016) using computer generated blacklight and neon for the Tamatoa sequence, Into the Spider-Verse in 2018 absolutely changing the game with its use of comic book stylization that looks nothing like anything that came before it, followed by Puss in Boots: The Last Wish in 2022 implementing something similar to evoke a storybook feeling and experimenting with intentional drops in frames per second (there’s a cool video about it here that covers some of this). But these new and inventive attempts at CG, all less than a decade old, would not exist without the decades leading up to it. Terminator 2 was an extremely significant breakthrough in animating liquid. Finding Nemo over a decade later was a huge technical breakthrough for animated underwater environments. 1991 to 2003, 12 years spent learning how to make a computer animate water, and Finding Nemo looks plenty dated now. The first realistic digital fire was shown off in my all time favorite animated short, Peedee Meets the Dragon, in 1989! Only 35 years ago animating fire was in and of itself a feat! Toy Story in 1995 famously used toys as protagonists because humans were still difficult to animate—Only 29 years ago HUMANS still couldn’t be consistently animated in CGI. The Incredibles would be THE FIRST ALL HUMAN CAST that Pixar would attempt, and that was in 2004, almost a DECADE later. All the weird uncanny experimental stuff are building blocks to something so much greater than we can even imagine. I really believe that.

So like, yeah, the homogeneity of CGI in the industry right now is frustrating. The industry-standard willingness to exploit digital artists for rushed, cheap, and unregulated third party work is disgusting and genuinely abhorrent. But man, I hate seeing CGI itself shit on in the same breaths that these criticisms are made. So much fundamental misunderstanding of what it is and what it can do as an art form and such a lack of genuine desire to see it continue to evolve and progress. To be blunt a decent amount of it is just straight up nostalgia, and often very rose tinted nostalgia. “Things from my childhood looked better.” Sometimes it’s genuinely being misinformed—Tons of movies that get heralded as being traditional animation or practical effects… still utilize some form of CGI. I also think there’s something to be said about the fact that I believe the current trend of using CGI for hyper realistic effects in big budget live action films is genuinely a misusage of the medium and a complete failure to actually utilize CGI in any meaningful way (looking at you, live action Disney remakes). I love practical effects and I love traditional animation, but I don’t see why they need to be at odds with CGI. The best and most visually striking movies with the greatest visuals tend to recognize that and utilize a blend of the strengths of more than one of these mediums—Though interestingly, Courage the Cowardly Dog remains one of the only examples I can think of that uses CGI as a form of mixed media INTENTIONALLY. As in, not to look hyper-realistic or to replace/accompany practical effect or traditional animation, but to squarely be intentionally meant to be read as CGI in order to evoke a specific tone, functionally using CGI as a punchline the same way one would use live action shots in a show like Spongebob. I'm sure others have done it, but it doesn't appear particularly common.

That’s my last note: I really want to see CGI utilized more with both its strengths and weaknesses taken into account. Back to “Tiny Wounded Bird,” which makes use of the way models of the human body can be reskinned and manipulated to the point of being unrecognizable, a succinct but evocative visual theme for a song about pride and suffering. But I want to talk about another older CGI short film that does something similar, Polly Gone from 1988.

Y’all, I’m literally switching from my phone to my computer to type this out because this matters a lot to me.

EVERYONE writes Polly Gone off as absurdism. That goofy "Early CGI Was Horrifying" video writes it off as "a shitpost," which half the damn commenters on the artist's upload are quoting, annoyingly. The VintageCG Youtube account cruelly calls it "The second worst computer animation ever produced." It finds its way onto r/OddlyTerrifying and similar subreddits not unoften. You guys. Polly Gone is directed by the artist Shelley Lake, who has made this statement about her work:

"The artwork that comes from the world inside is the culmination of my mind’s eye–a fantasy world where, through my imagination, anything is possible. I enthusiastically partner with intelligent machines and together we create an artificial reality. A simulated world of superheroes, erotic men and women, wireframe meshworks, anatomical investigations, cybernetic creatures, phantasmagoric depictions of impossible people, places and things. Although these artworks often resemble our photo-real existence, these creations are utterly unreal and sometimes uncanny." (X)

She KNOWS it's uncanny. She knows it's weird. And her work is, explicitly, intentionally, and, honestly, blatantly, engaging with the weirdness of this medium to deliver messages in ways surreal, fresh, bizarre, and off-putting. I don't know what exactly her intentions are behind Polly Gone, but I would very strongly make a case for it being about women's roles in society, or at least that being a perfectly viable interpretation, especially if you do a 5 second deep dive into her body of work exploring themes about female bodies, sexuality, kink, and queerness. Her synopsis on her own Youtube page for this short is: "A day in the life of a robot." Consider watching it through a feminist lens. Consider how uncanny and dehumanized this animation is of an expressionless, mechanical humanoid--in a dress, in lipstick, with breasts--that zooms around its futuristic house doing mundane chores. Consider the name being a feminized version of the word "polygone." Consider this oddly cool OddlyTerrifying comment:

They're joking, but they're not: This is a short film from the EIGHTIES, seven years before Toy Story would be the first full-length CGI film. Shelley Lake received both a Bachelor of Fine Arts degree and a Master of Sciences degree in the 70s. This is artistic experimenting from someone with years of experience, this is making use of the strengths and unique facets of computer generated animation that cannot be replicated through any other means, and it is not purposeless nor does it deserve to be written off as "a shitpost." And it's not asking you to look past the CGI limitations, it is wholly embracing them.

I want to see more CGI play with this. I think it was a mistake to veer CGI in the direction of trying to disguise it as something that it is not. I think it can work as an accompaniment to other effects, sure, but I don't think its sole purpose should be photorealistic lions emoting less than their real world counterparts singing covers of Elton John songs. I wish CGI wasn't devalued and I wish people would engage with it as a unique art form of its own.

[darkmaga-retard]

Prime Minister Keir Starmer is under fire after media revelations that he failed to disclose pricey gifts of clothing to his wife from longtime Labour megadonor Waheed Alli. Who is the mysterious businessman, and what’s behind his ‘generosity’ to the Starmers?

Born in Croydon, England to Indo-Trinidadian and Indo-Guyanese parents in 1964, 59-year-old Baron and Lord Waheed Alli was described in a gushing 2000 BBC profile as a member of a “new generation” of Blairite “New Labour working peers appointed to revolutionize the House of Lords,” the UK’s upper chamber of parliament – “young, Asian and from the world of media and entertainment.”

Known in the UK as a TV producer involved in the creation of the hit reality show Survivor and a variety of morning programming, Alli’s work has been characterized by critics as the epitome of “TV presented by morons for morons” reducing “the standard for breakfast viewing to a positively subterranean low” by dumbing “down a genre some media experts thought impossible to dumb down any further.”

Getting his start in business in the 1980s as a researcher for a finance magazine, Alli reportedly got his big break after being tapped by media tycoon, fraudster and suspected Mossad operator Robert Maxwell – father of convicted child sex trafficker and Jeffrey Epstein confidante Ghislaine Maxwell. In the mid-80s, Alli became an investment banker in the City of London, and in the early 90s, got his start as a rising television media star, cofounding Planet 24 Productions with producer Charlie Parsons and musician Bob Geldof.

He’s also a fashion mogul, chairing and owning a stake in online fashion company ASOS.com until 2011, and founding Koovs, an Indian online clothing retailer, in 2012. Alli drove the latter company into bankruptcy in 2019, buying up stocks when share prices collapsed and small investors were left penniless. He is thought to have amassed a fortune of about £200 million (about $265 million US) through his various enterprises.

[bradleycarlgeiger]

IF YOU'RE ON A TV OR TELEVISION OR MEDIA PLANET, THOSE ARE BY DEFAULT TOTALLY ANIMATED YET VACANT IN TERMS OF LIFE...

IF YOU DON'T LIKE YOUR DRAW YOU COULD ALWAYS LOOK FOR THE ONE ASSOCIATED WITH THE NEXT CAMERA ANGLE

[artistmarchalius]

@icarlydotorg

Ooh, that’s a difficult question to answer since we don’t know much about Hobie aside from his punk nature, his morals and the fact that he seems to be a dork (affectionate) like most Spider-Men tend to be. It’s also difficult to answer without knowing any of your personal headcanons.

HOWEVER, I do have at least one suggestion for you. It’s gonna sound basic, but I think Doctor Who might be a good contender and I have a few reasons why:

It’s a beloved British show that is a pretty big part of our television culture. I know Hobie is a non-conformist and wouldn’t enjoy how big or popular the series is (or how marketable it is), but if you think he would have seen at least a few episodes growing up then it might hold positive memories for him. Even if he didn’t watch it or like it, it’s such a big part of British popular media that he would at least have a passing knowledge of it.

Peter Capaldi, who played the 12th Doctor, used to be the lead singer/guitarist of punk band The Dreamboys, so there’s that. I don’t really know much about The Dreamboys so I have no idea where it falls on the punk-scale.

The Doctor is all about helping people, from saving the universe to aiding a single person just because it’s right. Also, Timelords (the Doctors people) were very strict about not interfering with other planets and people, having a strict “observation only” policy, which the Doctor, being a renegade, pretty much completely ignores because he doesn’t agree with it and wants to right the wrongs he and his people committed. I would think if a younger Hobie saw any of this, he might have subconsciously internalised some of these beliefs/messages, potentially influencing his rebel and Spider-Man nature.

Hobie is a dork, as mentioned above, and a science/inventor one at that (I’m assuming since he built a dimension hopping watch out of scraps he stole). A lot of dorks like Doctor Who and in speaking from experience. Plus creating a dimension hopping watch is very sci-fi.

And my personal favourite point: according to Wikipedia, this version of Spider Punk comes from Camden. There’s a boot shop in Camden (apparently one of the oldest in the world, traced back to 1851!) that is famous for being one of the first (if not THE first!) retailers to sell Doc Martens. It’s a family business and in the late 1970’s was a big part of the “swinging London" scene and was popular with subcultures, including punks. My personal headcanon is that Hobie got his boots from this shop. And in the window of the shop is a little Dalek (one of the main antagonists from Doctor Who).

However, an argument against this would be that Doctor Who is broadcast by the BBC, which I think Hobie would be against due to their apparent lack of impartial and objective journalism, as well as the fact that you have to pay a TV licence fee to access BBC iPlayer. Also I’m not saying Hobie would be a DW super fan or anything, he’d probably be a casual fan. But if you agree with my assessment then that’s up to you.

I also think it would be cute if he watched the Shaun the Sheep show with Mayday. Because let’s face it, Shaun is a rebel and Hobie would want to nurture that behaviour.

[ehtu-brutalogy]

BRUTUS' TYPOLOGY INTRODUCTION

BASIC INFORMATION

☣︎ Name: Brutus

♱ Age : 14

⫘ Gender: Demi-Boy (FTM), he/they

✧ Typology : ESFP ES(f) SEE-2Se-C so/sx 8sx7sx3 VFLE²¹¹² S[C]u/E/N Phleg-Chol

ABOUT ME

I like to draw, write, study, play instruments, code and I like to pursue goals, just a random 14-year-old dude on the internet!!, I don't judge!! I want to try the drums too though that crap looks tuff as heck

I'm alternative and a cowboy (I wish)

My beloved Junk of Media

Planet Dolan, Scott Pilgrim, Epithet Erased, TAWOG, Adventure Time, Garfield, Lego Monkie Kid, YFMTS, Xavier: Renegade Angel, GTA (it broke my PC smh), OFF, Slide in the Woods, Stay Out of the House, Liquid Television, FNAF, Daria, Heathers, Duke Nukem Forever, Lackadaisy, Faith, Hedon, ATSV/ITSV, Postal, MTV Downtown, Blasphemous, Moral Orel, Law of Talos, Squirrel Stapler, Bojack Horseman, Ultrakill, Dusk '82, Arcane, I Have No Mouth and I Must Scream, Cry of Fear, HLVRAI, Half-Life, 8:11, Madness Combat, Fight Club, Spooky Month, Minecraft, Doom, Faith, Heathers Musical, BATIM, A Series of Unfortunate Events, RDR, Dan VS, Planet Dolan, Puppet Combo, Hand of Doom, Lackadaisy, ATSV/ITSV, Tomb Raider movie, itch.io, Stone House Orphanage, Camera Feed, Last Seen Online, Make Sure It's Closed, Assessment Examination, Burger Frights (I'll add more soon).

My Beloved Music Junk

YFM, Sisters of Mercy, Fields of The Nephilim, The Cure, The Mission, Bauhaus, Siouxsie and the Banshees, Nine Inch Nails, Joy Division, Christian Death, Cocteau Twins, The March Violets, Danko Jones, Pantera, Disturbed, System Of a Down, The Damned, Marina and The Diamonds, Mitski, TV girl, Sir Chloe, Sex Pistols, Pantera, Limp Bizkit, SOAD, Pink Pantheress, The clash, Heathers The musical (and more!!)

FAVORITES

☣︎ Color: Burgundy / Chartreuse

♱ Song : Floods — Pantera

⫘ Show : Adventure Time

✧ Comic/book : Lackadaisy / Kingstone Bible

SOCIALS

Spacehey / Tiktok / Insta / Pronouns.cc

[ruthlesslistener]

I can't fathom being bothered by the lack of new releases of media, I have almost always been the type of guy that only gets into media after years of being recommended it, I got into HK after four years of consistent recommendations, and I recently I got into umineko (a more than a decade old VN) after years of hearing about it's predecessor for almost five years, the only new releases I'm looking forward to is deltarune chap 3 to 5 and silksong and those will take ages to come out and I'm only looking forwards to them because I liked what came before.

Like, how do people get into new releases? Don't other people need years of second hand exposure to know whether they'd like it?

I'm not gonna pretend this is a perfect mindset, only getting into new releases because I like what they're sequels to often results in companies becoming too eager to pump out sequels, but I try to only get into sequels or side stuff if I feel like it's gonna stand well on its own.

Maybe I'm not the best candidate to enter this discussion seeing as I don't even watch TV shows (can't afford Netflix and it's been years since I touched a TV) so maybe I'm just not part of the audience affected by this.

Yeah same here. I generally tend to find getting into new media to be extremely difficult because of how picky I tend to be with things and how difficult it is for me to sit still and actually watch it, or find a time where I can deal with the overwhelming fascination that tends to swamp me whenever I get really into something new (emotions are often overstimulating even if they're positive). Which means that there's a whole lot of content out there that is perfectly engaging to watch, read, or play that has been on my backburner for ages, so I'm not at all impacted by not getting new releases nor understand why people might be upset.

Like sure, I don't watch television at all and I don't have netflix (though for me anything that isnt like animal planet tends to be overwhelming, hence why I dont like watching tv shows often) but even then there's a whole fuckload of stuff you can watch instead. TV has been around for nearly a century now you don't need to only watch new releases. And if it's a follow up to your favorite show, then just wait. Learn patience. I'm still waiting for Silksong here but I've got no problem if it takes even longer than it already has, I just want a good finished product that I can watch knowing that the devs were able to work on it to their satisfaction instead of getting pushed through a meat grinder for profit

[existentialterror]

do u think dr light would enjoy skyrim?

You know, uh, my initial thought is that she doesn't play video games. But I think this is part of a deeper problem with my authorial process. Like, you know in a computer game like the Sims, when your sim sits down to play its own computer game, and you squint at the computer game and there's some dumb nonsense going on there - like that's where my simulating power runs out. Unless their media consumption is a big part of their character (e.g. if I have a musician character, they of course listen to music and have opinions), all my characters feel like they ought to listen to Iron & Wine and watch nature documentaries and not have any strong opinions about fiction. Like, huh! That doesn't sound right, statistically speaking! Which is to say, I guess I'll stretch myself and revisit my answer. She doesn't regularly play video games, and whatever she does play usually aren't, like, RPG or shooter type games. She might enjoy Skyrim. I think she has picky and arbitrary taste in fiction. (There are like exactly three television shows that she's watched every single episode of and practically no other TV.) That said, every now and then, a colleague will try and convince her to get into something, and mostly she'll suck at it and won't be interested, but roughly every 2-3 years she will get really into something, lose like 2 straight weeks of productivity, and then uninstall it and refuse to touch that game ever again. I don't know what all of these games were - probably some of them weren't ones you'd expect - maybe Skyrim was among them! She has definitely told Vaux with a straight face that if Factorio, Farming Simulator, any Bejeweled clone, or Starcraft ever appear on her computer again, he will need to shoot the computer, with a gun, for the good of the planet.

[gobusto]

a fun fact about me is that our house didn't have a PC until i was about 14 -- and even then, it was shared by the whole family, and didn't have internet access for a while. my dad eventually signed up for AOL around 2001, at which point we were able to surf the web™ via a 56k dial-up connection.

however, we did have internet access prior to that… via our TV:

source: https://web.archive.org/web/20190407175637/https://www.digitalspy.com/tech/cable/a3171/ntl-cr2-interactive/

this gave us a (single, shared) email address, and access to an extremely limited number of websites, such as leisuredistrict or everyoneswelcome.

(as an aside: you could unlock "full" web access by paying an extra £5 per month, which we eventually did… but not before discovering that if someone emailed us a clickable link, we could access that site without going through the "proper" menu option!)

anyway, to compose emails, enter your leisuredistrict password, or write an everyoneswelcome post, you had to use the remote control:

source: https://web.archive.org/web/20190407173228/https://www.digitalspy.com/tech/cable/a3231/ntlhome-digital-interactive-tv/

as you can imagine this was slow and awkward. however, as the image above indicates, you could buy a special keyboard to make things easier. since my dad used to play chess via email (using a physical chess set next to the television), he ended up getting one:

source: https://www.reddit.com/r/nostalgia/comments/hm5pfa/these_ntl_keyboards_i_think_im_on_an_ntl/

as you might have noticed, it has a somewhat strange layout, and doesn't have a wire coming out of the back. that's because this keyboard is actually just a really big remote control; you put 4 AA batteries in the back, and it communicates with the set top box via infrared signals, just like the standard remote control would.

of course, our set top box eventually outlived its usefulness, and all of this stuff went into a storage cupboard, whereupon it was promptly forgotten about… until a few months ago, when i rediscovered the keyboard whilst my dad was clearing out some old things. as you might expect, i saved it from being sent to silicon heaven (where all the calculators go) because i am a goblin who hoards old technology.

i put it to one side for a while, but a few days ago i decided to see if it was still working. it turns out that regular webcams can pick up infrared light, so i put some batteries in it and -- success! -- several white-ish lights were visible in my laptop's webcam app whenever i pressed a key.

as such, i think it would be cool to somehow get this thing working as an actual PC keyboard. i might need to write a custom program to do this, though it seems that it might Just Work.

of course, i'd need some kind of infrared receiver device to do that, and those can be surprisingly tricky to find:

there are plenty of "infrared extender" cables online, but their USB connector is only used to draw power; they don't actually show up as a "device" on your PC.

you can apparently get infrared-receiver-to-headphone jack cables, which you're supposed to plug into a special socket on certain set top boxes… though in theory you could plug them into the microphone input port of a PC and "manually" decode the data signal via software trickery. (disclaimer: i am not an expert on Hardware, so this might be A Bad Idea, but i think that the 5V output by the microphone port would be enough to power the IR receiver…?)

the thing i actually want (an IR-to-USB device) might as well not exist because it is no longer 2005 and no-one on the planet except me gives even half a shit about connecting an IR device to a PC. well, that's not entirely true -- but the things i did find cost £30-£50, which is way above what i'd want to spend on something like this.

eventually, though, i discovered that the magic phrase to search for is "Media Center IR receiver" (or, more simply, "MCE receiver"), whereupon i found someone selling an Acer MCEIR-210 on ebay for just over £10. its due to arrive here within the next few days, so hopefully i can make this somewhat-unusual device function again.

[ptbf2002]

My Top 5 Favorite Kids' WB! Shows

#5 The Sylvester and Tweety Mysteries

#4 Freakazoid!

#3 Tom And Jerry Tales

#2 Pokémon

And #1 Animaniacs

Honorable Mentions: Pinky and the Brain, Superman: The Animated Series, Road Rovers, Bugs 'n' Daffy, Waynehead, The Daffy Duck Show, The New Batman Adventures, The New Batman/Superman Adventures, Histeria! Pinky, Elmyra & the Brain, Batman Beyond, The Big Cartoonie Show, Static Shock, The Zeta Project, ¡Mucha Lucha! What's New, Scooby-Doo? Xiaolin Showdown, The Batman, Loonatics Unleashed, Legion of Super Heroes, Samurai Jack, The Powerpuff Girls, Codename: Kids Next Door, Foster's Home for Imaginary Friends, Teen Titans, Krypto the Superdog, Tiny Toon Adventures, Captain Planet, The New Scooby-Doo Movies, Scooby-Doo, Where Are You! The Scooby-Doo Show, Scooby-Doo and Scrappy-Doo, The New Scooby and Scrappy-Doo Show, Pokémon: Indigo League, Pokémon: Adventures in the Orange Islands, Pokémon: The Johto Journeys, Pokémon: Johto League Champions, Pokémon: Master Quest, Pokémon: Advanced, Pokémon: Advanced Challenge, Pokémon: Advanced Battle, Yu-Gi-Oh! Cubix: Robots for Everyone, Channel Umptee-3, Men in Black: The Series, Generation O! Jackie Chan Adventures, Max Steel, Phantom Investigators, Astro Boy, The Spectacular Spider-Man, Spider Riders, Magi-Nation, And Will and Dewitt

Original Template: https://www.deviantart.com/perualonso/art/Top-5-Favorite-Kids-WB-shows-meme-847768195

Credit Goes To perualonso

The Sylvester & Tweety Mysteries Belongs To Fay Whitemountain, Dong Yang Animation Co., Ltd. Koko Enterprises Ltd. TMS Entertainment Co., Ltd. Shanghai Morning Sun Animation Co., Ltd. Seoul Movie, Wang Film Productions Co., Ltd. Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Discovery Family, Hasbro Entertainment, Hasbro, Inc. Discovery Networks U.S. Discovery Networks International, Discovery, 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.

Freakazoid Belongs To Steven Spielberg, Bruce Timm, Paul Dini, Tom Ruegger, Dong Yang Animation Co., Ltd. Koko Enterprise Co., Ltd. Seoul Movie, Studio Junio, Tama Production Co. Ltd. Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Tales Belongs To William Hanna, Joseph Barbera, Rob LaDuca, Jeff Davison, Toon City Animation Inc. Yearim Productions Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. 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.

Pokémon Belongs To OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. ILCA, Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, VIZ Media, LLC, TV Tokyo, TV Tokyo Holdings Corporation, Nikkei, Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Television Studios, Warner Bros. Entertainment Inc. WarnerMedia, Warner Bros. Discovery, Inc. Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, The Walt Disney Company, And Netflix, Inc.

Animaniacs Belongs To Tom Ruegger, Steven Spielberg, TMS Entertainment Co., Ltd. Shanghai Morning Sun Animation Co., Ltd. Wang Film Productions Co., Ltd. StarToons International, LLC, AKOM Production, Ltd. Freelance Animators Co., Ltd. Varga Studio, Ltd. CNK International Co, Ltd. Phillippine Animation Studio Inc. Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. FOX KIDS, FOX Family Worldwide Inc. FOX Broadcasting Company, FOX Entertainment, FOX Corporation, Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.