#hanna barbera legacy

[sohannabarberaesque]

Meanwhile ...

Of such veterans of the Hanna-Barbera studio as are still around, what do they think of the current treatment of the Hanna-Barbera studio library and legacy by Warner Bros. Discovery?

[thecastilloking]

Me (after watching Velma) to Mindy Kaling:

[grishamanimationstudios102]

My thoughts on the 2025 Smurfs movie trailer

After watching the 2025 Smurfs movie trailer, I’m feeling a mix of emotions—some excitement, but mostly disappointment. On the positive side, the animation itself looks decent. It has a vibrant, polished look that stays true to the Smurfs' classic design while taking advantage of modern technology. The blend of 2D-inspired textures with 3D animation is well done, and I appreciate that the characters still resemble Peyo’s original designs rather than the overly glossy look from the Smurfs live-action hybrids.

That said, the creative choices in this film already seem questionable. Bringing the Smurfs back to the human world again feels like a step backward. One of the biggest strengths of The Lost Village was that it kept the Smurfs in their medieval fantasy setting, allowing for a story that felt more in tune with the comics and original cartoon. But now, once again, the Smurfs are being dragged into modern society—probably for easy pop culture jokes and to cater to mainstream audiences who apparently can’t enjoy a fantasy film without a real-world connection. It just feels uninspired.

And then there’s the attempt to make the film overly trendy. The part with DJ Papa Smurf is downright cringeworthy. Who thought it was a good idea to turn the wise, fatherly leader of the Smurfs into some kind of hip-hop DJ? It just screams “trying too hard.” This is exactly the kind of thing that ruined other beloved franchises—shoehorning in modern slang, flashy neon aesthetics, and dance sequences that feel more like they belong in Trolls than in The Smurfs. It’s like they’re copying DreamWorks’ formula rather than embracing what makes the Smurfs unique.

And speaking of forced modern elements—Rihanna. Look, I respect Rihanna as a musician, and I’m sure she’ll do fine as Smurfette, but her presence already makes it feel like the studio is prioritizing star power over authenticity. And hearing her sing a pop cover of Heaven Is a Place on Earth in the trailer? That just doesn’t fit the Smurfs at all. In the Hanna-Barbera series, the Smurfs danced to classical music, folk tunes, or cheerful, whimsical melodies. Not radio pop hits. It makes me worried that the soundtrack is going to be full of chart-topping songs instead of anything that actually matches the Smurfs' traditional charm.

The introduction of Influencer Smurf is another point of contention. Many fans of The Lost Village have expressed their displeasure with this addition, and I have to agree with them. It feels like a contrived attempt at modernizing the timeless and classic Smurfs. Also, whoever heard of the internet in the Middle Ages? It didn't even exist yet. The Smurfs are supposed to be timeless, not the 2020s.

Furthermore, the Smurfs' unique language, where they replace various words with "smurf," has always been a charming aspect of their identity. However, in the 2025 trailer, this quirk seems overdone, especially when used to censor curse words. In the Hanna-Barbera series, this language was used sparingly, adding to its charm. But hearing "smurf" in nearly every sentence becomes tiring and feels like a forced attempt at humor.

According to fans of The Lost Village, the 2025 movie is nothing more than nostalgia bait. It seems the studio is banking on the Smurfs' legacy to draw audiences, without offering anything genuinely new or respectful to the original material.

I was hoping for a new Smurfs movie that embraced the heart of Peyo’s creation, not one that feels like it was designed by a marketing team trying to make the Smurfs “hip” again. Based on what I’ve seen in the trailer, I don’t think I’ll be watching this movie anytime soon.

And no offense to those who are hyped. I’m not bashing anyone who likes Smurfs 2025; it’s just my personal opinion. If others are excited for it, that’s totally fine! It’s just not what I was hoping for.

[coolchevistianofficialsite]

Normal People: WOW CARTOON CARTOONS CROSSOVER

Me: Jellystone! series finale is a methapor from C.H. Greenblatt and the crew of the iconic Hanna-Barbera characters passing the torch to the CARTOON CARTOONS from the 90s & 2000s now being part of Hanna-Barbera's legacy, since many Cartoon Network Studios iconic shows and pilots started being produced at the iconic Hanna-Barbera Studios alongside the Cartoon Network Studios building who got funded by William Hanna y Joseph Barbera.

[mccraecook99]

David Zaslav Vs. The Warner Bros. Mob

Ever since Warner Bros. Discovery has merged two years ago,David Zaslav’s horrible cost-cutting decisions and anti-animation views has badly impacted and severely hurt the company(not Warner Bros.,but Warner Bros. Discovery) since he managed to shut down Rooster Teeth,burlugeoned Cartoon Network’s reputation and legacy by shutting down it’s original headquarters building in Burbank last year,is now deleting many of CN’s most notable shows off Max(except for Powerpuff Girls and Courage),made CN less mainstream and gave some of it’s hours to Adult Swim,shut down it’s online website,and CN now airing few and farther between shows produced by CNS and WBA,imported shows(both original and preschool),shows produced by Hanna-Barbera Studios Europe,and reruns of past shows,threw a few projects/shows that were made or shelved (such as a few CN shows such as Infinity Train,Close Enough,and Victor and Valentino,Coyote Vs. ACME,Scoob:Holiday Haunt,Bye Bye Bunny,and The Cartoon Cartoons Program)in the WBD vaults and cancelled a lot of films and shows in production such as DC’s Batgirl,the Scooby-Doo Hex Girls Movie,Pibby:Apocolypse,and the DC animated Batman Beyond movie,has the company engage in tax write-offs and did a number of layoffs,doubled down on WB Games,mistreating animation and famous IP’s like Looney Tunes and Scooby-Doo,making CN and WB having weak anniversaries with CN’s 30th anniversary in 2022 and WB’s 100th Anniversary in 2023, made Cartoonito a one-hour block on CN now,purged a lot of shows off HBO Max back in Augest 2022,and other shakeups and decisions he’s made at the company.

Now,worse with Warner Bros. Discovery no longer renewing its deal with Sesame Workshop for any more new seasons of Sesame Street on HBO and Max and the long-running kids series is finding a new home now(at least it still had PBS) and Max now attempting to remove not only more CN shows off it’s service,but almost the rest of the animated shows off it’s service next year and 2026(such as classic Looney Tunes shorts,Tom & Jerry,Scooby-Doo,South Park,The Flintstones,Powerpuff Girls,and more),making Max more like Minimum than ever,my hatred for Zaslav has reached full infinity now that I decided to finally do this drawing.

Now,in this animated colored pic,here is David Zaslav,now in fear and holding his bag of money,now being chased by an angry mob of WB characters,who are now enraged at Zaslav for ruining the company’s reputation,ruining both Max as a streaming service and Cartoon Network as a channel, and nearly hurting and harming Warner Bros. as a studio and entertainment company that is meant to entertain the world since 2023,not be anti-art and cancel film projects(and the company isn’t the studio who does storytelling since other studios like Universal,Disney,MGM,Sony,20th Century Studios,A24,Netflix,and Paramount have done films and television as well). I hope Zaslav pays for what he had done and deserves to be beaten down and punished by the mob for good.

Also,to save Max and put a lot of cartoons on this streaming service,please support,sign,and share my petition to make it an animation heaven again and make Zaslav reconsider.

https://www.change.org/p/get-wbd-to-relaunch-cn-website-and-put-a-lot-of-cartoons-back-on-max-formally-on-hbo-max/dashboard?source_location=user_profile_started

at least The Day The World Blew Up:A Looney Tunes Movie is safe now with Ketchup Entertainment distributing it to theaters next year in February,DC is starting a new universe with James Gunn starting with 2025’s Superman launching it next year,I praise WB Animation/Cartoon Network Studios President,Sam Register for still being respectful to animation, and Bill Damaschke is bringing back Warner Animation Group,now as WB Pictures Animation on the big screen starting with an CG animation adaptation of Dr. Suess’ The Cat In The Hat releasing in 2026. Also,WB will have new plans for the Looney Tunes franchise in 2028,I hope more CN classics and originals will get complete series DVD releases in the future(including ones being brought out of the WBD vault like Infinity Train and Victor and Valentino)like they’re having with Regular Show next year in February,and Scooby-Doo is rebooting itself with Go Go Mystery Machine next year.

I hope by next year,I just wish David Zaslav would finally step down as CEO and leave the company for good,I can’t stand him running it anymore and making anymore bad decisions,since Disney CEO,Bob Iger is stepping down in 2026 and having a successor take his place.

[sunflowerdigs]

Matsson being a mirror/foil for Roman makes that scene at the top of the mountain even more heartbreaking. Roman can't forgive himself for laughing at Matsson's joke about Logan's death, for the way Matsson is playing little power games with Logan's legacy. The way that Matsson (and, thus, Roman) has no respect for anything real because nothing means anything. Because if anything meant something, Roman (and, thus, Matsson) would have to sit with it and realize how incredibly empty his life is, devoid of all seriousness and meaning. Roman may like a joke, he's told himself, but he isn't a clown. Really, he's not.

Ghosts at the theme park, the Hanna-Barbera school of business. Matsson's lines are almost word-for-word Roman's actual strategy for the proxy battle in S2. And now, in s4, it's too silly, Waystar Royco means too much. Logan means too much. And Roman should have realized it then, but he didn't. So he starts yelling.

[namorssideburns]

hello jalix my dear new f4 content i need to know your thoughts ^_^ also hruu

Hi Ali I'm great 💪 honestly, Fantastic Four trailer? Cautiously optimistic! Maybe it's because all I've been watching recently are Mission Impossible sequels but. Honestly, I was expecting the trailer to just kind of ignore (not miss, but ignore) the point of the Fantastic Four, and it kinda... didn't. I mean, it hit quite a few of the major beats of their characters. Ben is sad but he hides it, Reed is wracked with guilt, Sue is brave (admittedly, she and Johnny get less characterisation in this trailer than Ben and Reed). Johnny is surprisingly absent, I have to say, which is surprising just because he's one of the more popular members from what I understand. You'd almost think that this was the Hanna-Barbera cartoon the way there was more Herbie than Johnny.

Emphasising their family bond is a good beat to start on. The thing is, a lot of what makes the Fantastic Four special is what makes (or made, anyway) them different. They are a family of superheroes, not the equivalent of colleagues or team members, but best friends. They didn't even wear costumes at first, or have secret identities either, because they were much more inspired by contemporary adventure sci-fi stories than by superheroes themselves (despite, obviously, Johnny Storm technically being a human torch legacy character), although in the MCU no superhero has a secret identity so that doesn't make a big difference. The one thing I would say it's nice to keep in mind is that the other thing that made them different is that... they were kind of a bunch of jerks. Like, in Fantastic Four #1 they steal things and burst through walls and pavements and go invisible and ignore people and Sue calls Ben a chicken when he thinks the plan is too dangerous, and that's one of the things I like best about them. I would say that a common misconception is that the fantastic four are lame, outdated, that they are the stereotype of superheroes, sometimes the kindly euphemism is "classic". But there's nothing like that about them, really. They were so cool because they were inspired by everything BUT superheroes and they were different from every other superhero. In 1961 the superhero genre was near dead, so Jack Kirby reinvented the superhero.

All this to say that the trailer shows you the Fantastic Four. Not a re-imagining, not an update, not a New Take, not a never before seen vision. Just Marvel's first family. And with the popular attitude being that the fantastic four "don't work", I'm pleased to see that. I was sceptical about doing a retro vibe. I was worried that would suggest that the FF are relics. But then again... if the movie really is accurate... it can be forgiven, because a movie that replicates that they actually are rather than what they're imagined, misremembered, to be, would be really quite valuable.

To be fair, it's not as though I expect it to be an actual good movie- the MCU is no longer capable of making good movies, I believe that's become clear. Despite the retro-futurist styling, the visuals look dull. I don't expect the dialogue to be very clever. But a movie that's not an active insult would be a gift, to me.

[new-employeeamillion]

Love your Quick Draw video! It's a great video that highlights an early H-B cartoon, but your review kinda highlights a sad reality about Hanna Barbera's legacy. With the exception of Scooby-Doo(and maybe The Flintstones and The Jetsons and definitely the early CN originals(oh, I forgot Smurfs and Tom and Jerry, but the former is licensed while the latter's from MGM) as well), what do you think are the reasons behind why more recent generations of kids, which are millennials-onward don't see the appeal in Hanna-Barbera's classic characters and series as well as WB not putting them on the same pedestal as Looney Tunes, T&J and Scooby?

That’s a very interesting question. There’s a lot of factors at play, including:

-Underexposure. After Hanna Barbera shut down in 2001 and before Jellystone! came out, it was hard to find these characters in new things. Cartoon Network pushing nearly all the reruns to Boomerang soon after didn’t help. The Hanna Barbera cartoons were some of the last everyone saw, before entertainment options splintered off as the 20th century ended. Someone at Warner Bros. thought for a long time they’d outlived their usefulness, which is a shame.

-Presentation. Because of the more limited animation, way more limited than the theatrical shorts preceeding them, it’s hard for them to find a newer, more forgiving audience. Not everyone is going to take into account the context of their production. You do have a couple of people like me interested in vintage TV like this, but not a lot.

There’s definitely a few others I could be missing, but there’s a big video I need to work on. This was a good question though, thanks for asking.

[soul-dwelling]

While I'm on the topic of rambling about Gorillaz:

I also found suddenly bringing Powerpuff Girls into Gorillaz to be a bridge too far for me--just because I am really not a fan of the McCracken/Tartakovsky school of animation and those characters.

I'm not ignoring those animators' importance in the industry and the art form, including the legacy they have influencing later, and more often better, works.

I just really don't like what they have made, which I find to be mostly cynical. (Powerpuff and Dexter's and Foster's are some of the meanest shows I have sat through.)

And, especially in the case of Tartakovsky, I think he is hardly as ground-breaking as most people suggest. Everyone stands on the shoulders of someone else; the techniques Tartakovsky uses did not begin with him, you can trace those back to Hanna, Barbera, Avery, and Chuck Jones--and they too were not the first, either, because they stood on someone else's shoulders, too, but, damn it, I think they did it far better than Tartakovsky does them.

At least those stories usually had a handful of characters that deserved to be in better stories. And those shows did give work to animators who ended up making better stories, and kept certain really good actors employed.

[canmom]

Animationo Night 177 - Kizazi Moto + Fatenah

Hey everyone. It's Animation Night again. We aten'nt dead!!

Huge apologies to European viewers that I couldn't stream this one earlier. Still, I'd like to get back into the swing of things, so we're back. (Bros. We're so back.)

So. tonight we're gonna be checking out Kizazi Moto: Generation Fire. This is a collection of scifi films created by studios from five different countries across the length of Africa.

The impetus came from the South African studio Triggerfish - originally a stop motion studio, but they switched over to CG a few decades ago. We saw some of their work back on Animation Night 166 in Star Wars: Visions, which came close enough to the stop motion feel as to leave me in doubt. There's no question they have a ton of talent.

Like Visions, this short film collection has the financial backing of the Mouse; it also has another American, Spiderverse director Peter Ramsey, serving as executive producer. But there's no monolithic franchise involved this time - the individual directors and studios were given considerable creative freedom. Styles range from anime-esque to Hanna-barbera; stories span aliens in high speed races through near future dystopias to apocalyptic stories about gods.

The creators are a little hands off towards the term 'afrofuturism'; in an interview with Skwigly magazine, producer Tendayi Nyeke asks us to interpret it just as scifi more broadly:

We don’t use the word Afro-futurist! Part of that is we are seeing science fiction, but through the context of Africa, and trying to demystify Afrofuturism. It’s not a genre for us. Because, you start to raise questions like can a French person do an afro futurist movie? And what does that even mean? So it’s an African filmmaker using science fiction as a medium to communicate. Science fiction allows them to imagine big futures. I love when a lot of Western science fiction is looking at  a dystopian context, we’re looking at hope. It really comes from trauma in some ways, though we have a rich heritage prior to the trauma. And then we’re like, hey, technology is evolving. We’re evolving as human beings. If there was hope, what could that look like? Science fiction as a medium allows you to explore that just by its design.

Among the filmmakers, there is considerable ambition to change the general layout of the animation industry. Raymond Malinga, director of Herderboy, remarks:

But somehow, because of all these things like colonialism and everything, it’s almost like our creativity was stifled by that and we just keep on accepting the fact that we are supposed to tell mundane things, you know? Mundane. Normal. So with “Herderboy”, I just took one of the oldest professions of the whole continent. And I said if I can update that and Ugandans watch that, they can start saying, you know, if cattle herders can look cool, then what else can look cool?

It's a cool interview, he's very charmingly down to earth when he talks about how after working on the film for a year he has no idea what's funny or not. Isn't that a mood...

Of course, until fairly recently there were a lot more animated films about Africa, such as the French Kirikou series, than animated films created in Africa. Which is nuts when we're talking about an entire continent, right? Thanks, "legacy of colonial extractivism". But things are really moving now! African animation was the subject of Annecy 2021, and in the online version of the festival I got to see the impressively varied Mshini TV collection of the edgier end of the spectrum, which carried all sorts from Newgrounds-esque flashes to South Park-like comedy skits. And this year at Annecy 2023, I got to see the first feature-length animated film from Cameroon, The Sacred Cave. A bug is spreading!

With this field, Kizazi Moto stands out for its startlingly high level of technical polish. And of course, I just like scifi. From the Mouse's perspective, they have their eye on the long game - trying to capture an 'emerging market' and all that. But, I would far rather they spend their money this way than having animators add yet more weight to the sinking Star Wars boat, you know?

So let's go take a look at what they've put together! In total, Kizazi Moto comprises 10 films, typically about 10 minutes long each. You can get summaries here or just watch along tonight, and I'll be posting my thoughts on each one later~

And. For a dose of the heavy along with this fun stuff - the ongoing genocide has put Palestine and specifically the Gaza strip in the front of everyone's minds. While there have been a few animated films touching on the occupation from the Israeli side, like Waltz With Bashir, a celebrated psychological drama in a realist style in which a former Israeli soldier reflects on whether he did a warcrimes, and Seder-Masochism, in which Nina Paley attempts to lay out a story about how the patriarchical Abrahamic religions suppressed an ancient matriarchal religion (she is a terf, how did you guess!), which includes the undeniably conceptually effective but highly equivocating This Land Is Mine segment... there is less available from the Palestinian side for the obvious and sad economic reasons.

But, a couple of weeks ago, Animation Obsessive wrote an article to celebrate Fatenah (2009), a short film animated in the West Bank about a woman in Gaza struggling to get breast cancer treatment. It's available free on Vimeo:

It's directed by Ahmad Habash, a native of the West Bank who came to study animation here in the UK, and secured WHO funding after they saw his student film. But the film is not a one-note activist project, it's a careful character study trying to give a convincing portrait of the different facets of its title character's life. This film was completely new to me and I'm grateful to AniObsessive for highlighting some Palestinian art in my favourite medium. So I'd like to slot this into my little Twitch show as well!

I have a bunch of other short films I'm excited to show, between recent Gobelins works and another AniObsessive piece highlighting their favourite short films from the festival circuit which have become available online. But given the ludicrously late start, I don't want to pack too much in to this one. We'll save that for another week!

I know Animation Night has been very spotty recently. I've been going through it with the old brain a bit ('a bit' she says). I'm trying to get things back on track with sleep and stuff, thank you for all the kind things people have said, and for bearing with me.

So! Let's go! Animation Night 177 will be going live in just a moment in its usual home, https://twitch.tv/canmom!

[thatcartoonnetworkblog]

Cartoon Network Friday Spotlight: Time Squad- “White House Weirdness”

I remember being surprised that Time Squad didn’t really catch on. Compared to other short-lived Cartoon Cartoons like Mike, Lu & Og or Sheep in the Big City, it seemed like a bigger deal and stuck around for a little bit longer. It also fit the network better than the former and wasn’t as esoteric as the latter, but now its most significant legacy is being the first show made exclusively for Cartoon Network Studios as Hanna-Barbera dissolved and morphed into CNS.

Do I think that the show is some kind of lost classic? Eh, not really, but it[ still has its moments, and this is a particularly interesting one to my tastes. In it, the Time Squad (which if you need a reminder, includes young orphan and history nerd Otto, butt-kicking officer Buck Tuddrussell and prim robot Larry 3000) discover a disturbance with 27th President William Howard Taft. It turns out that the White House is now considered haunted at the start of the 20th century, which is preventing Taft’s eventual opponent, Woodrow Wilson, from running and winning the next election.

In a pastiche of Scooby-Doo, Where Are You?, the Time Squad go through the White House and discover the “ghosts” of various former Presidents as they try to get to the bottom of this. The show even uses the iconic Scooby-Doo musical cues, which are nice to hear as they’ve largely been phased out from the franchise at this point. While the episode is light on one of Time Squad’s most noteworthy elements, its excessive violence, it trades the butt-kicking for a fun romp and a downshading of its usual color palette. I think it’s a good time, even if it’s no “Bravo Dooby-Doo”.

[paulsebert]

Loony Toons Tiny Toon Adventures, I Love Lucy, and Night Court exist in the DC Multiverse: Prove Me Wrong!

Wile E. Coyote appears in the 1990 episode "Still Another Day In the Life." Night Court is fairly unique among televised sitcoms of it's era in that it does not take place in any known sitcom universe (Nickelodeon Cinematic Universe, TGIF Universe, Snow Globe Universe, Hurricane Saturday Universe, etc.) However I Love Lucy did meet Superman in the 1957 episode "Lucy and Superman." This was Pre-Crisis but it may suggest that Night Court is connected to it in the Post-Crisis continuity. In 1992 Superman would appear in the direct-to-video animated film "How I Spent My Vacation." The timing of the Night Court appearance and How I Spent My Vacation occur during the post-Crisis/Pre-Zero Hour period suggesting that Night Court and Loony Toons/Tiny Toon Adventures all took place in the mainline DCU. Somewhat confusingly pre-crisis cartoons like "Super-Rabbit" and "Stupor Duck" take place on a world where the DC Superheroes are all fictional (not unlike Earth Prime) however The Plucky Duck Show pilot "Batduck" appears to take place in a world where Batman exists but is apathetic to Plucky's efforts to get cast in "Batman Returns" a film that perhaps Bruce Wayne is financing. Batman does however make a cameo in the "Dance of Doom" pilot of Freakazoid adding evidence the existence that these shows shared an earth. Some will argue that this is proves that the Warner Brothers series and Night Court exist on Earth-12 however remember this appearance is post Zero-Hour. Also Earth-12 wasn't officially introduced until after Flashpoint.

In the 2000 comic mini-series Superman & Bugs Bunny (written by the great Mark Evanier) the Loony Toons are brought to earth by Mr Mxyzptlk. In this comic the Loony Toons are from a parallel world. Given that this book was published after both Zero Hour and The Kingdom we must assume that Hypertime is involved.

DC Meets Loony Toons comics suggest that there in fact multiple Warner Brothers Cartoon worlds some of which the The Loony Toons and the DC Superheros co-inhabit and some don't. My theory is that these worlds were split after the events of Flashpoint and the various Loony Toons (as well as Night Court and I Love Lucy) were taken dome worlds by Braniac. Somewhat confusingly this was published post Rebirth but clearly takes place during the prior Convergence event. This would also also account for the Hanna-Barbera Beyond event as well as the Flintstones and Snagglepuss comics from the era.

The Loony Toons would once again meet the DC Superheroes in 2021's Space Jam: A New Legacy the Loony Toons (and many other cartoons) exist on one single earth. Somewhat confusingly they encounter superheroes twice while Bugs is rounding up the gang. I believe this means that Daffy was playing Superhero on Earth 12 while Lola was training with the Post-Rebirth Wonder Woman. Something confirmed by the fact that the Loony Toons jump into a literal comic to recruit Lola. The Loony Toons continue to have a mostly shared earth but 2022's Jellystone and the upcoming Tiny Toons Looniversity exist in their own parallel pocket dimensions.

As for Night Court despite John Larroquette returning to the 2022 reboot we have overt references to Dan Fielding's successful prosecution of Wile E. Coyote however the fact that the charges in the episode were dropped from attempted murder to harassment in the 1990 episode reflect Fielding's personal growth and softening of a character. It appears to once again be on it's own pocket universe separate from all superhero, cartoon, and sitcom universes unless it is confirmed to be the future of I Love Lucy.

[ptbf2002]

My Top 30 Warner Bros. Movies

#30 Happy Feet

#29 Happy Feet Two

#28 The Powerpuff Girls Movie

#27 Storks

#26 Smallfoot

#25 Pokémon: The First Movie

#24 Pokémon The Movie 2000

#23 The LEGO Movie

#22 Space Jam: A New Legacy

#21 The LEGO Movie 2: The Second Part

#20 Harry Potter and the Philosopher's Stone

#19 Mortal Kombat (2021)

#18 Pokémon: Detective Pikachu

#17 Shazam!

#16 South Park: Bigger, Longer, And Uncut

#15 DC League Of Super-Pets

#14 Justice League

#13 The LEGO Batman Movie

#12 The LEGO Ninjago Movie

#11 Space Jam

#10 Teen Titans: Trouble In Tokyo

#9 LEGO DC Comics Super Heroes: The Flash

#8 Tom And Jerry: Blast Off To Mars

#7 Scoob!

#6 Tom And Jerry (2021)

#5 We Bare Bears The Movie

#4 Steven Universe: The Movie

#3 Aquaman

#2 Batman vs. Teenage Mutant Ninja Turtles

And #1 Looney Tunes Back In Action

Honorable Mentions: Lego Batman: The Movie – DC Super Heroes Unite, Green Lantern, Superman Returns, Justice League: The Flashpoint Paradox, Mortal Kombat Legends: Scorpion’s Revenge, Teen Titans: The Judas Contract, Lego Scooby-Doo! Blowout Beach Bash, Lego DC Comics Super Heroes: Justice League – Cosmic Clash, Tom And Jerry: A Nutcracker Tale, Scooby-Doo! WrestleMania Mystery, Tom and Jerry: The Fast and the Furry, Tom and Jerry: Shiver Me Whiskers, Tom and Jerry: Santa's Little Helpers, And Tom and Jerry: Snowman's Land

Original Template: https://www.deviantart.com/princessflamefigher/art/My-Top-30-Favorite-Meme-763485673

Happy Feet Belongs To George Miller, John Collee, Judy Morris, Warren Coleman, Animal Logic, Kennedy Miller Productions, Kingdom Feature Productions, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Happy Feet Two Belongs To George Miller, Gary Eck, Warren Coleman, Paul Livingston, Dr. D Studios, Kennedy Miller Mitchell, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

The Powerpuff Girls Movie Belongs To Charlie Bean, Lauren Faust, Craig McCracken, Amy Keating Rogers, Paul Rudish, Don Shank, Rough Draft Studios, Inc. Mercury Filmworks, Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Storks Belongs To Nicholas Stoller, Stoller Global Solutions, RatPac Entertainment, LLC, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Smallfoot Belongs To Sergio Pablos, John Requa, Glenn Ficarra, Karey Kirkpatrick, Clare Sera, Zaftig Films, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon: The First Movie Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon the Movie 2000 Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

The LEGO Movie Belongs To Dan Hageman, Kevin Hageman, Phil Lord, Christopher Miller, Lin Pictures Inc. Lord Miller Productions, VERTIGO Entertainment, LEGO System A/S, RatPac Entertainment, LLC, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Roadshow Films, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Space Jam: A New Legacy Belongs To Juel Taylor, Tony Rettenmaier, Keenan Coogler, Terence Nance, Jesse Gordon, Celeste Ballard, Industrial Light & Magic, Luma Pictures, Cinesite, Company 3 Animation, Tonic DNA, House of Moves, Day For Nite, Studio D, Virtuos, Proximity Media, SpringHill Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The LEGO Movie 2: The Second Part Belongs To Phil Lord, Christopher Miller, Matthew Fogel, Animal Logic Vancouver, LEGO System A/S,, Rideback, Lord Miller Productions, VERTIGO Entertainment, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Philosopher's Stone Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Mortal Kombat (2021) Belongs To Ed Boon, John Tobias, Oren Uziel, Greg Russo, Dave Callaham, Broken Road Productions, Atomic Monster, Blumhouse Productions, LLC, Blumhouse Holdings, LLC, New Line Cinema, New Line Productions, Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon: Detective Pikachu Belongs To Dan Hernandez, Benji Samit, Rob Letterman, Derek Connolly, Nicole Perlman, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. Toho Co., Ltd. Legendary Entertainment, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Shazam! Belongs To Henry Gayden, Darren Lemke, The Safran Company, Seven Bucks Productions, DC Comics, Inc. DC Studios, New Line Cinema, New Line Productions, Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

South Park: Bigger, Longer, And Uncut Belongs To Trey Parker, Matt Stone, Pam Brady, Silicon Graphics, Pacific Title/Mirage, Mackinnon & Saunders, CANAL+ España, Telefónica, S.A. PRISA Televisión, S.A.U. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Televisión Española (TVE), Radiotelevisión Española (RTVE), MFP Munich Film Partners GmbH & Company I. Produktions KG, Scott Rudin Productions, Braniff Productions, South Park Studios, Comedy Central Films, MTV Films, MTV Production Development, MTV Studios, MTV Entertainment Studios, MTV Entertainment Group, Paramount Media Networks, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, Warner Bros. Discovery, Inc. Paramount Pictures Corporation And Paramount Global

DC League Of Super-Pets Jared Stern, John Whittington, Seven Bucks Productions, DC Comics, Inc. DC Entertainment, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Justice League Belongs To Chris Terrio, Joss Whedon, Zack Snyder, Cruel and Unusual Films, Inc. The Stone Quarry, Atlas Entertainment, RatPac Entertainment, LLC, DC Comics, Inc. DC Studios, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

The LEGO Batman Movie Belongs To Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern, John Whittington, Lin Pictures Inc. Lord Miller Productions, VERTIGO Entertainment, LEGO System A/S, RatPac Entertainment, LLC, DC Comics, Inc. DC Entertainment, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The LEGO Ninjago Movie Belongs To Bob Logan, Paul Fisher, William Wheeler, Tom Wheeler, Jared Stern, John Whittington, LEGO System A/S, RatPac Entertainment, LLC, Lin Pictures, Lord Miller Productions, VERTIGO Entertainment, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Space Jam Belongs To Leo Benvenuti, Steve Rudnick, Timothy Harris, Herschel Weingrod, Bardel Entertainment, Inc. Character Builders, Premier Films Ltd. Spaff Animation Inc. Stardust Pictures, Uli Meyer Features, Weddington Productions, Silicon Graphics, Inc. Northern Lights Entertainment, Courtside Seats Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Teen Titans: Trouble in Tokyo Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, DongWoo Animation Co. Ltd. Kadokawa Shoten Publishing, DC Comics, Inc. DC Entertainment, 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, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Family Entertainment, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

LEGO DC Comics Super Heroes: The Flash Belongs To Robert Kanigher, Carmine Infantino, Jim Krieg, Jeremy Adams, SN Studios, LEGO System A/S, DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom And Jerry: Blast Off To Mars Belongs To William Hanna, Joseph Barbera, Bill Kopp, Toon City Animation, Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Family Entertainment, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Scoob! Belongs To Joe Ruby, Ken Spears, Adam Sztykiel, Jack Donaldson, Derek Elliott, Matt Lieberman, Eyal Podell, Jonathon E. Stewart, Atlas Entertainment, 1492 Pictures, Hanna-Barbera Cartoons, Inc. Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Tom & Jerry (2021 film) Belongs To William Hanna, Joseph Barbera, Kevin Costello, Framestore Limited, The Story Company, Turner Entertainment Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

We Bare Bears The Movie Belongs To Daniel Chong, Christina Chang, Alex Chiu, Manny Hernandez, Yvonne Hsuan Ho, Quinne Larsen, Sang Yup Lee, Sooyeon Lee, Charlie Parisi, Lauren Sassen, Sarah Sobole, Louie Zong, Mikey Heller, Kris Mukai, Rough Draft Korea Co. Ltd. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Steven Universe: The Movie Belongs To Rebecca Sugar, Lamar Abrams, Miki Brewster, Danny Cragg, Hilary Florido, Joe Johnston, Amish Kumar, Jeff Liu, Katie Mitroff, Chris Pianka, Maddie Queripel, Paul Villeco, Ben Levin, Ian Jones-Quartey, Jack Pendarvis, Kat Morris, Matt Burnett, Sunmin Image Pictures Co., Ltd. Gallagher Entertainment Insurance Services, Gallagher Entertainment, LLC, Rough Draft Korea Co. Ltd. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Aquaman Belongs To David Leslie Johnson-McGoldrick, Will Beall, Geoff Johns, James Wan, Mad Ghost Productions, Cruel and Unusual Films, Inc. The Stone Quarry, The Safran Company, RatPac Entertainment, LLC, DC Comics, Inc. DC Studios, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Batman vs. Teenage Mutant Ninja Turtles Belongs To Bob Kane, Bill Finger, Kevin Eastman, Peter Laird, James Tynion IV, Freddie Williams II, Marly Halpern-Graser, DR Movie Co., Ltd. IDW Publishing, Idea and Design Works, LLC, IDW Media Holdings, Inc. Mirage Studios, Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. Paramount Global, DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes: Back in Action Belongs To Larry Doyle, Amalgamated Dynamics, Amalgamated Pixels, Digital Domain, KNB EFX Group, Mercury Filmworks, New Deal Studios, Inc. Rough Draft Studios, Inc. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. Yowza! Animation, Lonely Film Productions GmbH & Co. KG. Goldmann Pictures, Baltimore Spring Creek Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

[grishamanimationstudios102]

Ronald Raccoon and Pals

Set in a colorful, 1970s-inspired world, Ronald Raccoon and Pals follows the adventures of Ronald Raccoon and his close-knit group of friends as they navigate teenage life, explore their individuality, and celebrate their differences. Packed with humor, groovy aesthetics, and heartfelt moments, the series is a nostalgic tribute to the era’s cultural vibrancy.

The Cast

Ronald Raccoon:

A free-spirited teen with a love for adventure and self-expression. Ronald is the son of Rack Raccoon, a retired slapstick cartoon star. While he respects his dad’s legacy, Ronald prefers spending his time exploring music, skateboarding, and hanging out with his eclectic group of friends. His charisma and natural leadership often inspire his pals, even if his impulsiveness sometimes leads them astray.

Rack Raccoon:

Ronald’s dad, Rack, was a legendary slapstick cartoon star from animation’s golden age. Now retired, Rack enjoys telling stories about his old Hollywood days, occasionally demonstrating his over-the-top cartoon antics to help Ronald and his friends solve problems. Despite their generational differences, Rack and Ronald share a strong bond.

Bernie Bear:

A mellow, soulful bear with an African-American accent. Bernie is the group’s voice of wisdom and an aspiring funk musician, often jamming on his bass guitar. He brings a cool, laid-back vibe to the crew, always ready to share life advice or a funky tune.

David Dog:

A lovable, easygoing American Greyhound of Latino descent, David is known for his relaxed personality and sharp mind. Despite his lazy demeanor, he’s an excellent problem-solver with a knack for turning chaos into opportunity. David loves sharing food from his culture with his friends, often introducing them to dishes like tacos, tamales, and churros. His kitchen skills and culinary knowledge make him a cherished member of the group.

Ricardo Rat:

The grumpy but lovable Italian-American rat with a heart of gold. Ricardo is the realist of the group, quick to point out flaws in their plans but always willing to lend a hand. He’s passionate about cooking, especially pizza, and dreams of owning his own pizzeria. Despite his sourpuss attitude, Ricardo’s loyalty to his friends runs deep.

Philip Fox:

The sophisticated British fox with a love for poetry and drama. Philip often adds a theatrical flair to the group’s adventures, narrating events in rhyme or offering dramatic commentary. While his refined demeanor sometimes clashes with the others’ casual attitudes, his poetic insights and wit make him an invaluable friend.

Rita Raccoon:

Ronald’s girlfriend and an independent, outspoken feminist. Rita is a passionate advocate for equality and environmental causes, often organizing community events and protests. She’s not afraid to stand up for what she believes in or call out the boys when they’re being immature. Rita’s fierce determination and clever humor make her an inspiring role model.

The Show’s Style and Themes

With its psychedelic 70s aesthetic, funky music, and warm humor, Ronald Raccoon and Pals blends slapstick comedy with heartfelt storytelling. The show celebrates cultural diversity, individuality, and friendship while addressing timely themes like activism, self-discovery, and community. Episodes often feature a mix of goofy hijinks, meaningful moments, and a touch of nostalgia, making it a perfect blend of humor and heart.

The animation style mirrors the charm of Hanna-Barbera classics with a touch of Schoolhouse Rock!’s vibrant design, while the dialogue reflects the slang and cultural vibes of the 1970s. The series’ mix of timeless themes and retro fun ensures its appeal to audiences of all ages.

[twistedtummies2]

The Price May Be Right - Number 22

Welcome to “The Price May Be Right!” I’m counting down My Top 31 Favorite Vincent Price Performances & Appearances! The countdown will cover movies, TV productions, and many more forms of media. Today we focus on Number 22: Vincent Van Ghoul, from The 13 Ghosts of Scooby-Doo.

Hanna-Barbera’s “The 13 Ghosts of Scooby-Doo” was a different kind of Scooby-Doo series. At the time, the studio was experimenting with new ways of working with the Scooby gang: while Shaggy and Scooby himself were always present, they began working with new side characters to join them. The company also started toying with the idea of them solving mysteries that involved real supernatural entities, rather than cases that simply involved criminal masterminds in disguise. Some of these experiments worked, others did not, but they set the stage for many future Scooby-Doo projects: nowadays, Mystery Inc. faces real ghosts and goblins just as often as they do masked hoodlums who would get away with it if it weren’t for those meddling kids! And while the core gang of the series would, eventually, recrystallize and remain constant for decades to come, some of the new characters imagined for these early creations still found life in later stories. One of the most memorable of these side characters was Vincent Van Ghoul from “13 Ghosts.” Voiced by and drawn as a caricature of Vincent Price (obviously), Van Ghoul was a mysterious but thankfully friendly warlock, who was given the job of guarding the legendary Chest of Demons. The Chest – a sort of riff on Pandora’s Box – was a wooden trunk that contained the thirteen most evil spirits to ever roam the world, trapped so their evil could be contained. After Scooby and Shaggy are tricked into opening the box, and setting the evil spirits free, they are forced to help Vincent recapture all thirteen ghosts and send them back into their cursed prison. The pair are joined in their quest by the classic character of Daphne, along with a new associate, Flim-Flam – a young and sparky con-artist, who…isn’t well-liked by fans, to say the least. While Flim-Flam never really got much love, Van Ghoul was popular with fans of the Scooby series. Something about this dark but good-hearted sorcerer, with the powerful vocals of Price behind him, really managed to enchant audiences. He was like a cross between Dracula and Professor X: a wise mentor with a ton of power behind him, and a Gothic sense of style. In fact, in more recent years – despite the loss of Price himself – the character has managed to reappear in more modern Scooby-Doo works. In “Mystery Incorporated,” the character was reimagined as a direct parody of Vincent Price: a classic horror actor who appeared in movies that were, themselves, satires of Price’s pictures. Later still, the original Van Ghoul would reappear in the feature-length special “Curse of the 13th Ghost.” In these later reappearances, Van Ghoul would be voiced by Maurice LaMarche. He does a decent impression of dear ol’ Vinnie…but nothing can really hold a candle to the original Vincent Price. While “The 13 Ghosts of Scooby-Doo” may largely have been an unpopular entry in the franchise, Price’s appearance in it has only helped to solidify his own legacy. Tomorrow, the countdown continues with my pick for Number 21!

[mccraecook99]

MGM-100 Years of Entertainment Tribute

After WB and Disney had their centennials last year and Columbia Pictures had it’s centennial last January this year,another legacy Hollywood powerhouse studio has finally reached it’s centennial today.

On This Day,100 years ago,Louis B. Mayer merged his company,Louis B. Mayer Pictures with Metro Pictures Corporation and Goldwyn Pictures Corporation to form the Hollywood studio powerhouse,Metro-Goldwyn-Mayer(AKA MGM Studio),whose logo of a roaring lion opened almost every picture the studio has produced and released to this day.

It was the studio that defined ”More Stars Than They Are In The Heavens”,that gave us beloved iconic Hollywood classics like Gone With The Wind,The Wizard of Oz, The Philadelphia Story, National Velvet,On The Town,An American In Paris,Singin‘ in The Rain,Forbidden Planet,Ben Hur,Doctor Zhivago,The Dirty Dozen,2001:A Space Odyssey,Shaft,Network,Logan’s Run,Fame,Poltergeist,Diner,A Christmas Story,WarGames,Moonstruck,Spaceballs,Willow,A Fish Called Wanda,Rain Man,Child’s Play,Stargate,GoldenEye,Legally Blonde,Barbershop and others and modern hits like the Creed and Hobbit movie trilogies,Bill and Ted Face The Music,Dog,Cyrano,Licorice Pizza,Candyman(2021),The Hustle,Bottoms,and The Beekeeper, established some of the biggest stars in the world such as Gene Kelly,Judy Garland,Spencer Tracy,Katherine Hepburn,Lana Turner,Elizabeth Taylor,Lionel and John Barrymore,Lassie the Dog,Clark Gable,and many others, introduced to the world two of the most memorable seven-time Oscar winning cartoon characters created by William Hanna and Joseph Barbera(Tom and Jerry)and produced a series of fast-paced,off-the-wall masterpiece cartoons by screwball director,Tex Avery in the 40’s and 50’s and also,released and produced several animated features such as How The Grinch Stole Christmas(1966),The Phantom Tollbooth(1970),The Secret of NIMH(1982),Rock and Rule(1983),and All Dogs Go To Heaven(1989),it also produced TV hits like The Man from U.N.C.L.E,Wednesday,The Handmaid’s Tale,Harlem Coben’s Shelter,CHiPs,MGM Parade,Flipper,FX’s Fargo,and various modern game and reality TV shows in the 2010’s and 2020’s,acquired the rights to United Artists in 1981 and other film companies such as Orion Pictures,Nelson Entertainment,and American International Pictures,now having them become part of the Lion’s den and the studio eventually got acquired by Amazon in 2021 for $8.5 billion.

Happy 100th Anniversary to the Lion of Hollywood and the studio that gave us the best lavish movie musicals and later, the James Bond series of films,Metro-Goldwyn-Mayer(AKA MGM Studios). Here is a special commemorative drawing I did for MGM’s centennial anniversary featuring Leo the Lion(the studio’s roaring lion mascot)in a tuxedo.

Thanks for 100 Years of Entertainment,MGM.