#i think on the livestream when the narrators part came up in that song i nearly started crying??? just out of pure emotion and hyperfixation

[lucifer-kane]

the music change when they go into subspace/metalevels is so visual to me. i keep imagining them going off the tracks and as the music shifts there's columns of black streaked with various colors they're going through now forming down around. rattles the bars

[philiie]

Interactive Introverts London highlights

MAJOR SPOILERS AHEAD PROCEED AT YOUR OWN PERIL

This is also the most extra shit like I spent hours writing everything up lol

Go check out @danfanciesphil post here of the Brighton show which inspired me to do this :))

- When they first came it was the coolest thing ever. They were standing on the podium thing and the screen at the back lifted to reveal them in a cloud of smoke and they were silhouettes until the spotlight shined on them. Holy shit it was the best thing ever it doesn't even seem real.

- They were quite close to their apartment as well so Phil said they were considering bringing their sofa and "sitting in our browsing position".

- Dan mentioned how Phil's old videos from 2008 were very different from now (lots of audience approval) and how they were kind of really creepy and weird and honesty it probably isn't a good thing (I disagree but sure whatever). Phil talked about 'snokoplasm' and how it was literally just him rubbing slime over himself shirtless pretending to be futuristic (lots of audience approval for that lol) but he doesn't make videos like that anymore because he wants to make things that are actually entertaining and things he WANTS to make.

- Montage of everything they aren't gonna do in the show just so our expectations are levelled.

- They went backstage to get a silver box (Dan literally Naruto ran for no apparent reason) from which they were acting out the things using props from it in the centre while a voice narrated. In between each one the lights went darker so you could only see their silhouettes as they grabbed props. It was all very pantomime like which was really cool and theatrical.

- The things included: 24 hour livestream of them doing domestic home things (recording of dan on the toilet and Phil munching on crunchy nut appeared on the screen lmao), Erotic roleplay (Phil was in a policeman hat and had a baton thing while dan was in handcuffs. The recording of dan saying please be gentle, I have sensitive skin played), Stripping on stage... they started acting like they were going to actually take their tops off and they actually ripped them off to reveal an exact copy of the top underneath except Phil was now in a half sleeved shirt instead of full sleeved (I now understand Louise's joke)

- Phil stumbled and almost tripped on the step when going into the centre and was like "I almost forgot there was a step there" and was walking really strangely into the middle like elongating his legs after every time he lifted them and Dan made fun of it being like who tf walks like that. "Does anyone ever feel like Phil is actually an alien learning how humans work?" Later on in the show Phil says something about removing his lizard face and Dan says THAT would explain the weird walking. He also imitates Phil going up into the centre and says "I'm doing a Phil walk" v v cute :))

- For the Dan vs Phil segment they talked about the electric shock machines and for each round the pointer moved up one level of electric shock. The first time it moved into the yellow area and Phil said "Finger in the yellow" which elicited a massive audience reaction and dan stopped and was like oh god and Phil was giggling in his 'oops shouldn't have said that' way, somehow he made that adorable.

- The first round was seeing how well they know each other and Dan made the comment saying "don't worry guys I'm Phil trash #1 and all"

- Phil's question was: What did Dan swap alcohol with in ISG10?

Phil answered green tea correctly but the electric shock sound effect came up anyways. Dan was like no you answered that correctly it should have been a ding but the ding didn't come up anyways (lol tech crew nice one)

- Dan expressed extreme discomfort with 'x rated lester' "in any interpretation"

- Dan's bad thing was 'spoilers' and he tried to say that it's better to not be surprised. (I'm pretty sure this is the bit where he said "otherwise I'd be like 'Phil... Phil I don't feel so good'" reaching his arm out to him (infinity war reference for those who don't know,,, I could have killed him in that moment can he not) "Too soon? Yeah probably too soon."

- Phil's good thing that he had to make bad "getting unlimited money" Dan found that hilarious. His way of making it bad was that it gives you too much power- he would strap two planes together and stand on top of and ride them which would probably make them explode.

- They used the Isle of Man pic of Dan for the Dan, Phil or a rat segment (you guys know the one where he's smiling super happy) that just made me feel very warm :)

- The picture for Dan was just a really pale cream colour and Dan made the joke that it might be translucent enough to be Phil's skin but he said no I bet it's a troll and guessed rat. Turns out Dan was right and it actually was Phil's skin lmao from the picture of Phil with the silver hair dye.

- When Dan got electrocuted he fully hit his shin on one of the benches and basically died on stage. He fully snorted and turned away in shame and pain and it was the most hilarious thing ever. "Who designed this stupid set" LMAO

- Phil asks us to clap on the count of 3 after which some people immediately clap and Dan's like omg no on the count of 3. But then people start clapping for the people that clapped "are you seriously clapping for the people that just clapped" and then basically everyone started clapping and oh my gosh it was the best moment ever I've never felt more collectively part of something in that moment it was so funny and Dan looked so done with us all. A great moment.

- Someone asked in the getting deep part that there's a guy she likes but all she does is makes vine references. Phil's response to that is if he doesn't appreciate your vine references he's not worth it. Dan: "there's your dating advice from Phil"

- Phil was cleaning in 'Dan's' room (dan says "like you've ever done a chore") Phil's indignantly says he vacuums doing the hand movement. Apparently he found 'something weird' under 'Dan's' bed so he brought out a silver box that was locked saying it was heavy and handed it to Dan. [yes I'm putting that all in quotation marks fight me]

- He wanted the audience to guess what they thought was inside the box and the things that people said were: A single piece of Phil's hair, A fursuit and a Dildo(ll) rip they kept emphasising DOLL it was too funny nice one whoever that was lmao

- Phil was asking the audience if anyone had a key to open the box and Nora (what a legend) threw some plastic keys onto the stage and Phil fully tried to unlock the box using them lmao what a cutie. When Dan came back with the actual key Phil was like someone had plastic keys and dan was like wtf it was too funny.

- Do you really know Dan and Phil? 1% of people said 'who are Dan and Phil?' Lol they wouldn't stop bringing that up. 47% (?) of people said they don't really know Dan and Phil and Dan was like wow Phil why are you so shady? (He said this twice in the show when addressing the idea that their personalities are different online)

- They did a pie chart to show fave video series which apparently they were really excited about seeing as they hyped that up for a solid 2 minutes,,, "90% of the budget of the show was for this pie chart"

- Dan got sacrificed attached to the wheel of death comes out yelling with no warning so everyone is just screaming because it was so unexpected so i couldn't actually hear anything he said but the basic gist of it was fuck you all lmao.

- When Phil tried hitting him with a slinky it was a couple inches away from "the danger zone" I.e. Dan's crotch. Phil repeats the phrase danger zone two more times after that lmao.

- Dan says "almost hit my balls" w o w.

- The last time is some massive intense bazooka that Phil started stroking and then dan was like "stop stroking it- especially with those gloves on".

- Phil hits him the last time with the bazooka literally almost at his crotch and Dan screams. They say how it's all our fault and that we should feel bad. Phil is like "I don't think they feel guilty" lol I mean he's not wrong

- At the end dan was like "Phil help unstrap me" clearly looking for Phil to unstrap him around the waist but Phil went for his feet instead lmao (Dan just wanted a reaction from us Phil lmao well done). Phil finally got the memo though and helped and then dan stumbled out being like okay get away from me don't touch me and Phil just giggled.

- The white protection suit lab coat thing got stuck on dans shoe so he was hopping around and Phil was like do you need a hand there and Dan said "no Phil I don't need your help to get me undressed" and everyone screamed and Dan was like okay okay shut up (idk if that was an intentional line or not I couldn't actually tell but... nice)

- Phil's diss track happened and if you're reading this you've probably seen a transcript of it already but damn hearing him say bitch live was the best thing ever lmao. Also when he said the line about not wanting to get demonetised he did the making it rain hand gesture (thanks anon) which was hilarious

- There was a point where Dan was like no Phil you can't swear on stage and Phil was like aw why not I wanted to say "what the (fuck)" mouthing it and that's more than I could have ever hoped for

- They did the song and it was v cute and got stuck in my head. When Phil got up and sat on the piano he was swaying one leg back and forth and it was adorable.

- They ended the show bowing and went back behind the black screen that they came out from and were waving the whole way through and Phil was bending down to wave as the screen was going down and it was v lovely :))

And then I died the end.

[seeksstaronmewni]

Samurai Jack Season 5 in Review: EPISODE XCII

Here is my absolute favorite Samurai Jack episode, because it’s not the end. It’s only the beginning of the end.

I was on the hype train for the return of @cartoonnetwork​’s Samurai Jack after I saw the Season 5 trailer on February 8th, 2017 A.D. (I made a recent post to celebrate it) One reason was that I became obsessed about The Powerpuff Girls during the nostalgically incorrect Season 7 (the first “reboot” season) due to a liking for the Season 5-6 designs and animation, a part of the "Cartoon Cartoons” I grew up watching... and I was right to expect former PPG creatives on it! This post highlights the events of the episode and why it’s one of the best Samurai Jack episodes ever--and how much I binged on it at first! You can check the episode out here (Season 5 reran Sunday mornings at 3:30A on Adult Swim), and soon on HBO Max. Also, if you’re on Twitter, check the links to my tweets in the underlined text! They’re old tweets and need some love!

If you saw not this episode yet, be aware of SPOILERS!

/!\ SAMURAI JACK This Program is rated TV-14-V. Intense Violence.

X

The day of the season’s premiere, March 11th, 2017 A.D., too late found I that [as] was doing a streaming of Season 1-4 (I came in during EPISODE XXXIII’s “Wild Ride”). Following was a Q&A livestream with Genndy Tartakovsky, during which I tried again and again to call, but the line was always busy. Luckily Season 5′s premiere was going to be for free--online--via the stream at 10:40P! I was so there for it! Of course I watched the televised premiere on @adultswim​, but the stream first!

While I began ceasing from trying to get Genndy on the PPGs again, all of a sudden...

...it began, and I was totally there for it.

A view of a distant town (not Townsville) appeared. All quiet.

That is until an explosion or 2 set off (and not with the stereotypical H-B/Universal “powah-wahh” explosion sounds either). There goes the giant windmill.

Partially and slowly revealed is that some aliens are on the run from the town...

...from those “beetle bots”. GIANT beetle bots, I might add.

There is this precious little moment where, being surrounded by the giant beetle bots, the mother and daughter visually--not by speech--exchange “I love you!” to each other with hearts in place of “love”. Oh, and there’s a baby too.

As the beetle bots come to a stop, the sound grows quiet. A motorcycle is heard approaching. When the motorcycle is revealed close-up, Tyler Bates’ bass-filled music is sparked: a warrior with a serious, menacing face is riding on these hot wheels...

...and he aims his machine gun out... only to launch a projectile at these familiar foes...

...resulting in the first explosion Jack caused in this glorious 5th season.

He slowly circles around with his gun. Is he a threat to the aliens?

Nope. Just pwning more evil scrap metal.

Once I heard the Looney Tunes-esq “pshhh...” of smoke from his guns, I became more certain that Joel Valentine was back on the show... unlike the PPG “reboot”.

As the Season 5 sneak revealed late in February 2017 shows, the warrior’s motorcycle is packed with punk tires that can scrap these pests up! All of his guns are just as lethal... with all of those cool action shots and poses and all.

The warrior then reveals another weapon: not a sword, exactly, but some manner of pitchfork on one tip and a taser on the other. Graphically, he destroys one beetle bot by twisting the wires inside, and proceeds to scrap the rest until one of them knocks... the mask off?

That warrior is none other than the samurai called...

“...?”

Just another day in the life of the samurai! Shouting a charging yell, Jack continues smashing the wires out of the beetle bots with a front scruff that fits perfectly with the mane... a look that is very appropriate, new and fitting for Jack.

The daughter gives a symbol of either “Is it dead?” or disgust. Because of the emoticons that are a major part of their visual language, I suppose that these aliens should be called... emoji-fawns?

“50 years have passed, but I do not age.”

As the samurai continues onward into the sunset, a new intro is revealed for Jack to explain how much worse things are become. The former intro started with Aku’s prologue before the theme song, but Season 5′s intro is pretty much a prologue. This feels true to the nature of of The Powerpuff Girls’ former intro which also started with a prologue, but PPG Season 7-9 has a shorter, different intro (although the extended version has an updated version of the prologue with most of its original Tom Kenny narration, “DJ Avalanche” score, and few of Joel’s SFX).

Regarding Jack’s opening statement, creator Genndy Tartakovsky said that 50 years were passed apparently between the events of EPISODE LII, “Jack and the Baby”, and EPISODE XCII. I think, however, that Jack meant that 50 year passed since he ended up in the future in EPISODE II, “The Samurai Called Jack”. There could be more seasons of this show to explore more adventures of Jack, regardless of the time that passed; if anything, turn those comic books into episodes!

Anyway, for some reason, the rip in time Aku created to send Jack into the future caused Jack’s body to supposedly not grow old, though I believe that, slowly, he still aged to a point. Aku’s still the bad guy (with a new voice, but I talk about this in XCIII’s post), and hope seems lost unless Jack can return to the past.

The intro ends with a slow reveal of the shows title, burning red in the dark, sporting an epic, exciting, modernly cinematic feel to the show. What follows, of course, is a scene just as cinematic...

A quiet, eerie chant of the name “Aku” subtly fills the dark, fire-lit room. This reveals the worship of a great evil which reminds us of how dangerous and powerful Aku truly is... given that “Jack vs. Aku” is the previous episode where Aku has a speaking role (you know... “EXTRA THICK!”), though he vocalizes in a following episode “Seasons of Death”.

The episode’s opening credits reveal that Bryan Andrews and Genndy Tartakovsky are the main board artists for this season, still directed by Tartakovsky himself with art direction by Scott Wills. Apparently, character design was very crucial to this season, so the main character designer of the season, Craig Kellman, is listed at the beginning on all of these episodes. This’s rare for cartoon shows, but this isn’t much different from old CN shows of the 1990′s like Dexter’s Laboratory crediting the model/character designers on the episode’s opening credits.

“They will succeed where so many others have failed, and we will find favor in your glory.”

Seven daughters?! Is that kind of physical labor even possible?! That explains all of Grey Delisle-Griffin’s screams, but she’s soon back on her feet... to raise her children to serve pure evil.

BTW, it’s a good thing that the baby vocals that Joel used are not the common Sound Ideas Series 6000 cries, since that recording is far more annoying. Anyway, I find the scene very intriguing and exciting because it’s all really dark, and that’s something that “kids” shows often weren’t in the past. It all just feels so epic that it sucks you in; am I right?

Back to Jack: the score revs up quickly in this montage of Jack riding around the country, wherever he is, as if he’s on some epic quest. Is he looking for a time portal or Aku’s place?

It’s Fall at this point and Jack’s in a pretty forest. The lighting is beautiful, cinematic and very realistic in this shot--one of my favorites from this episode. The paintings are still by art director Scott Wills; they’re just digital.

Such scenes as this are long periods of no dialogue, where music and sound can help to set the mood--sometimes, a very peaceful mood...

...until, slowly but surely, Jack’s mind is hauntingly messed up. This’s where Tyler Bates’ music hits on the slow, hardcore, eerie, electronic percussion that subtly drives the intense situation that’s not like what kid’s action shows used to be. This would be frightening to younger children, but the sheer terror of this scene is awesome, and the music is hardcore hot!

Some days later, we go to another sequence that occurs at night, where we focus first on a cute little owl hooting (and not the cliche, classic H-B/Valentino SFX Library owl hoot that many cartoons use, including past episodes of Samurai Jack). This goes to show just how realistic Joel’s sound design can be, and I admire him greatly for that attention to detail.

Jack endured another vision that night, where his father claims that he never came back, though Jack revealed that “Aku destroyed the way home!”

The way? How many time portals or such were there?

“He destroyed everything! Everything is burning!”

Woah. Was it something that Jack ate? It may be that that rat was under-cooked...

Anyway, every time Jack was haunted by the visions, a mysterious figure appeared afterward. Now Jack was motivated to find the village that he previously noticed was under attack. Time for a commercial break... and a breather for us fans of this nostalgic series!

As we return from commercial, we see the progression of the 7 daughters in training. They kind of remind me of Pokey Oaks Kindergarten’s students... but taller.

Training is tough on these little munchkins, though--but Ashi is distracted by a light that comes from the outdoors... to which her mother slowly objects. Her strength endures some real testing over time with her mother’s harsh treatment!

“Are you weak?!”

I mean... I felt like it was almost all over for Ashi at this point.

Luckily for her, “Aku’s fire stirs inside”. The art direction on the following scene is very interesting in terms of lighting: black, white and some red. It helps for the simply-detailed designs to stand out more. Since I saw very little of Sym-Bionic Titan at this point, Ashi’s hairstyle reminded me somewhat of Ilana (who has the same hairstyle and same voice actress, Tara Strong).

Meanwhile, Jack walked through the village to find whoever caused the destruction. He comes to a shady figure in the smoke, revealed to be a hot-shot assassin robot who goes by many names...

“Scaramouch the merciless! The Pied Piper of Ruination! The Crooner of Carnage! The Ambassador of Annihilation! The Eradicator of All, baby!”

The chipper, upbeat, overly positive attitude of “Aku’s most favorite assassin” made him instantly lovable. I loved this tin man from pretty much the very beginning. I immediately tweeted about this guy during the online premiere. I took a little while to know who voiced this guy (kind of sounded like Jimmy Gourd to me for some reason), but it was certainly familiar. Tom Kenny is the groovin’ voice of Scaramouche--another iconic voice from the man who narrated The Powerpuff Girls and voiced the Mayor of Townsville, Spongebob, Bon Bon the Birthday Clown and so many other great voices!

“Wait. Back off, beardsly. Where... is... your sword?”

You were probably wondering about that... so was I.

“You... lost... your sword!”

Well, the coloring on the handle of the sword is reversed in this shot, and it was just brown for the previous shot of the sword, but... yeah. Flashback to an episode that appeared not in Season 4. Destined to become an episode in the next season if CN makes any to explore the pre-Season 5 events.

Jack’s new pitchfork/taser thingy still makes the same “ching” sounds that his sword makes (and not the cliche Hollywood Edge recordings), though.

Anyway, Scaramouch was about to tell Aku the news (Aku apparently forgot about Scaramouch ‘cause he’s all like “Who is this?” First line since “Jack vs. Aku”!) when Jack and Scaramouch dance in a duel of musical magic.

“Ooh, nice choreography, baby!” Scaramouch replied. In a tweet I made of that line, I was thinking of cinematography instead and noted this to art director Scott Wills. I probably meant to note this to board artists Bryan Andrews & Genndy Tartakovsky.

Oh I just LOVE that “fffwwwhOOMP!” sound there on the ease-in. Joel Valentine packs the perfect punch into the sound of an object’s weight with those big whoosh sounds.

More important, perhaps: how can Scaramouch play the flute when he’s just a robot? He hasn’t any lungs or lips... that I know of... though he apparently has teeth and a tongue, and I can hear breath sounds during his lines... and his voice sounds not at all robotic!

Jack can really throw some real weight around as he battles against a monster made by music and of building parts...

“That samurai has gone beaucoup cuckoo!”

...but his haunting visions distract him from his heroic efforts...

...once again seemingly attributed to that shadowy figure. This is a “CinemaScope” ratio for this shot, while the show is in standard widescreen (1.78:1 “matted”/”flat”). Those ratios can change a lot, kind of like IMAX (in movies in IMAX, one often sees certain shots of a 2.39:1 movie turning into 1.78:1 on a large screen, and the ratio goes back and forth). Still, ultimately the show is not in “letterbox” widescreen / “scope” format, like most Cartoon Network DVDs say; perhaps Warner Bros. Home Entertainment says this because Star Wars: The Clone Wars (the Dave Filoni series, only produced for Turner networks) was in 2.39:1; this caught on to some [as] shows like Genndy Tartakovsky’s Primal and Tigtone (the logos are 1.78:1, however), but most CN shows are just in 1.78:1.

Anyway, knocked out of his mentally overwhelmed state, Jack was back into the fight, but, even though he sliced the flute in half, Scaramouch was the real “musical magic”. He just goes all “Scatman John” on Jack and can control wherever his sword goes, striking it right at Jack!

This is definitely one of my favorite shots from the episode... a slow-mo shot.

Jack seems to be fighting the sword itself until he comes closer to Scaramouch, who soon pulls another cold blade out...

“Dig that beautiful sound, baby!”

...a split blade whose very tone of ring when clashed against an object can cause the clashed object to explode!

Luckily, Jack has good aim for his sword... so good, that it just blows Scaramouch away.

“Looks like you’re the headliner now; huh?”

Was...

...is...

...and always will be.

Before the end of the episode, we see the last of the 7 daughters’ training. The music here just rocks. Its long, harsh percussion and bass-blowing beats really drive all of the action in this sequence.

This shot has great animation and angles, where Ashi shows an opponent who’s boss as she grabs the 3rd arrow shot and kills her with it.

For more sensitive viewers, first note that this and the following shot are violent/bloody enough to earn the episode its “TV-14-V” rating “for some intense violence” (I’d think that “TV-PG-V” might fit it, since it’s not as strong as it could be). However, CN aired some “TV-14-V” rated movies on their “Action Flicks” block back in early 2009 (i.e. Batman: Gotham Night). That’s right: CN, not [adult swim]! Since, like, 2007 or 2008, they aired a lot of TV-PG rated cartoons like Teletoon’s edgy Total Drama franchise, Regular Show, MAD, Teen Titans Go!, and even The Tom and Jerry Show (though that one seems overrated). I can understand why they often rated certain programs TV-PG-V: even a kick or punch could be a bad influence if a kid was prone to imitating action (The G-rated Garfield’s Pet Force strangely earned this rating too). The point is that CN needs to air Samurai Jack Season 5 on, even if some of the episodes are bloody (only few deserve the TV-14-V rating IMHO). They might be able to cut EPISODE XCII down to a TV-Y7-FV, perhaps.

It’s nice to see that Darrick Bachman from Paul Rudish’s Mickey Mouse still served on this lovely season. He’s the head writer for the 5th season... and the upcoming video game Samurai Jack: Battle Through Time.

As a devote fan of “Cartoon Cartoons”, I personally point the sheet timers out since CN’s traditionally animated shows have lesser animation these days, namely SMIP-animated shows. I mean, that Robert Alvarez and Randy Myers did the “Sheet Timing” on this episode of Samurai Jack (animated by Digital eMation) and animation direction on Seasons 7-9 of The Powerpuff Girls (the “reboot” episodes, animated by SMIP). Compare the action sequences of both shows, and the animation/timing will stand out; unlike Samurai Jack, the 2016-2019 PPG episodes (like SMIP’s work on Infinity Train & Ben 10) usually lack weight in their rather gentle, slow-paced animation. Those PPG episodes animate not at all like The Powerpuff Girls Movie or any PPG episode where Genndy Tartakovsky directed.

Here’re some of the new people on Genndy’s team for Season 5: Susy Campos, Andy Flexner, Jackie Sheng and Dick Grunert. Production Assistants (or, in this case, maybe production coordinators) can turn into major creatives for the story or art of the show, so watch for those names in future CN Studios projects! Team Cartoon Network Studios rules!

This season’s prop design is in the hands of @heydusty​, who also contributed effects design and some character design / design clean-up. Dustin D’Arnault and others are new talent that live up to the work of Genndy Tartakovsky! The late and great Chris Reccardi returned, starting off with some prop designs as well. The design clean-up artists were also new to the team; these people clean the character, props and effects designs up after the respective designers did their designs, so they’re just as much designers as the designers listed. These “Clean Up” people are not to be confused for animation clean-up, however.

Next up are the background artists: “Layout Keys”/background designer Lou Romano (The Powerpuff Girls, Cats Don’t Dance, Ratatouille) and art director/Background Painter Scott Wills (The Ren & Stimpy Show, Quest for Camelot) bring the beautiful, colorful locations to life. Leticia Lacy, a former Spümcø member like Wills and Reccardi (and many other Cartoon Network Studios creatives), returned as a color stylist, who chooses the specific colors for the character, props and effects designed.

The voice credits are a bit lacking, since lesser characters are only listed as “ADDITIONAL VOICES”, compared to Seasons 1-4. This happened on Seasons 7-9 of The Powerpuff Girls too; i.e. Ms. Keane play supportive or minor roles in an episode, but Jennifer Hale is just credited as “ADDITIONAL VOICES”, though Keane is an important character to that series. Tara Strong is uncredited for voicing young Ashi since she only vocalizes--no lines. Greg Baldwin is in place of Mako as Mako passed away years before Season 5′s dialogue was recorded. Ultimately, though, Jack and his parents are still their respective voices, and it certainly is Phil LaMarr’s best.

Unlike Seasons 1-4, Genndy Tartakovsky himself served as the voice director; previously Colette Sunderman handled the voice direction. Aku may no longer be voiced by Mako, but Genndy was able to direct Greg Baldwin’s “Aku” voice himself. Robert Serda still served for engineering the dialogue recording equipment at CN Studios.

The score composers score with their super awesome hardcore score. Tyler Bates composed music for Genndy’s Sym-Bionic Titan (I can’t believe that I never watched that show when it aired). Joanne Higginbottom co-composes with Tyler on Primal. Dieter Hartman also contributed score on Samurai Jack Season 5. For this episode, no score mixer is listed. Music Editors are uncredited in this season.

The animation company on most episodes of Season 5 is Digital eMation, which looks much smoother than the designs in the digital animation of Rough Draft Studios (lines looks slightly blobby on close-ups). The animation directors credited on the series are generally the overseas animation directors; in Season 5 they’re listed on the end credits since they relate to the animation studio.

Regarding post-production, I was very happy to see Joel Valentine credited for “Sound Editing” (He used to prefer being credited by the name of his company “TWENTY FIRST CENTURY ENTERTAINMENT, INC.” AKA 21st CENTURY SOUND DESIGN CORP.). I was afraid that it would be like Dexter’s Laboratory Seasons 3-4 (or 5-6) and The Powerpuff Girls Seasons 7-9, where mixing studio Hacienda Post/Sabre Media would do the sound design, but luckily Joel was on it. This time, former Supervising Re-Recording Mixer Timothy J. Borquez, CAS is just a Re-Recording Mixer with Alex Borquez (former Hacienda mixer Eric Freeman moved to mixing and editing sound at Disney Television Animation in 2014); both Tim & Alex were Supervising Sound Editors and mixers on PPG’s reboot era. Also credited for the final mix is Taylor Pierce, then a Mix Assistant. Currently, Genndy’s shows credit Hacienda Post’s facility, Sabre Media Studios, Inc., as the “Audio Mixing Facility”, rather than referring to Hacienda/Sabre as Post-Production Sound Services (Joel Valentine/21st Century Entertainment is just as much a sound service, NOT just editing!). I’m not sure if any other editors are involved at Sabre/Hacienda, but someone was recording and performing foley for this show, and, due to time, they get no credit, which is a crime in my opinion since that brings the show to aural life. Paul Douglas remains as the Supervising Editor and Jim Hearn as the Dialogue Editor for CN.

The Cartoon Network Studios logo for this season was visually simple, as it was just the face reveal scene show inside the logo (CN tends to use episode clips more often than animatics these days). Joel Valentine fit the sound effects to this well, though, with the sounds of a sword (not the ones Joel tends to use) and an anime-like accent. As for the “reboot” PPG episodes, they just did something weird... (couldn’t they show, like, the Hanna-Barbera swirling star inside the CN Studios logo instead?! at least for nostalgia?)

The Williams Street logo ([adult swim]’s production company), complete with the Mark VII jingle, follows since it was produced for that often junky block of CN...

...but, on the digital copy prints, the 2016 Cartoon Network ID follows! Nostalgically, though, I prefer the 1999 “Cartoon Cartoons” ripple ID, which Samurai Jack and even PPG Seasons 7-8 used to show. I mind the 2016 ID on the PPG “reboot” episodes, but I mind it not on Samurai Jack because it proves that, while considered “Adult Swim”, the amazing Season 5 still remains a part of the “new new new new” era of Cartoon Network.

Any viewer of Samurai Jack could start with this episode as Jack’s adventures are just beetle bots here and Scaramouch there, occurring over few days. The other side of the episode, the youth of Ashi, occurs over probably years; this only sets the main events of Season 5 into action with the next episode.

As for me, I did all that I could with the streaming marathon of EPISODE XCII. It went on from, like, 10:48P or something until, like, 7:30A that morning. I couldn’t help but observe the episode again and again and again... I binged on it. I update the credits on IMDb. I tweet much about this episode and its team. By the end of over 8 hours of the episode’s stream, I felt that this was an appropriate response:

Before the end of this post, here’re reasons why EPISODE XCII is one of the best Samurai Jack episodes ever:

This “Cartoon Cartoon” returned after 12 years, 14 months and 5 days. According to Genndy’s forward on the Season 4 DVD, “The big question as we neared the end of production was, ‘Should we end the story and send Jack home?’ At the time, I felt that the proper way to end it would be to do a full-length movie - and still do. Hopefully, that movie is somewhere in the near future...” CN Asia-Pacific did this “Sayonara Samurai Jack” marathon for Season 4, but they were hasty, since the return came a dozen of years later, and Season 4 wasn’t the true end of the story. I feel the same about Disney Channel calling Star vs. the Forces of Evil Season 4′s finale “Cleaved!” the “series finale”, and both Daron Nefcy and fans look forward to more episodes in the future.

The nostalgic design and animation of Genndy’s Cartoon Network Studios team was something that the then-current Powerpuff Girls episodes were certainly lacking.

The action is just as intense and detailed as ever, with the right amount and style of music too. Perhaps even more wicked than before, though I miss “DJ Avalanche” James L. Venable, who wasn’t on it because he was busy with Clarence. Paul Rudish wasn’t on this season either, probably due to his hilarious vision of Mickey Mouse of course. Still, the stakes are high and handled well.

The precious moments of our little emoji-fawn family and the haunting fears of Samurai Jack are draaamaaa

The wonderful Scaramouch is our comic relief for the episode. Thanks, Tom Kenny!

“WATCH OUT!” There’s that classic closing to most of the episodes, just like we remembered it. The credits look just as simple as they looked before, too.

Next Episode’s Review

Tweet version here.

Tweet version as a shoutout to Tom Kenny & Greg Baldwin here.

[sinceileftyoublog]

Buzzy Lee Interview: Heavy Spoils

BY JORDAN MAINZER

Musician and actress Sasha Spielberg has been making music for over a decade but finally released her debut solo album under the moniker Buzzy Lee just this past Friday via Future Classic. She describes the record, Spoiled Love, as “understated;” it’s also the most assured batch of songs she’s released to date. 

Early on during her college years, Spielberg collaborated with producer and fellow Brown University alumnus Nicolas Jaar on various projects, eventually culminating in a short-lived duo project called Just Friends. [Disclaimer: I went to Brown the same years as Spielberg and Jaar but did not know them.] In the meantime, she also made tunes with her brother Theo under the name Brother/Sister and then Wardell. She first released solo music with the Jaar-produced EP Facepaint in 2018, upbeat pop tracks that netted her an opening slot on tour for Dirty Projectors and sets at Primavera Club and Pitchfork Festival Paris. 

Yet, Spoiled Love is entirely different than anything she’s released, and certainly doesn’t sound like a debut, whether or not you’re familiar with Spielberg’s previous work. (In an interview with Nylon, she said it doesn’t feel like a debut given the amount of work put into Facepaint.) The songs are years in the making, dating back four years, written about and over the course of multiple breakups, often spontaneously in the studio, and finessed over various sessions, also with Jaar, finally finished in September 2019. From the keyboard-laden title track to piano instrumental “Brie” and ambient “Mendonoma”, much of the album is straight up quiet and solemn, let alone downtempo and with minimal effects, avoiding the expectations of those who’ve only heard singles “Strange Town” and “What’s A Man Done”. It’s confessional without being too outwardly tell-all or overly earnest, a subtle, yet powerful collection.

I spoke with Spielberg over the phone last month from her home in L.A. about the lead-up to the album, including how she decided to work again with Jaar, as well as how she envisions eventually performing these songs. Read our conversation below, edited for length and clarity.

Since I Left You: What’s unique about Spoiled Love as compared to anything else you’ve released?

Sasha Spielberg: This is really intimate, this record. More intimate than any record I’ve ever made. I sort of stripped myself of a live band. I first envisioned strings, an orchestra, live drums, so many elements. But the reason I chose to go with Nico is when I went to the studio with him, and we were just playing around, not expecting to record anything, I was in this process of looking for a producer. He just started recording me playing “Rules” on the piano. He played me back some of the waves he was recording, and I knew immediately that it had to be very intimate and I had to go with him.

SILY: You can definitely hear his stamp. It reminds me of some of the early tracks he was putting out with you and Scout LaRue Willis.

SS: We would collaborate in our college years, where he would push my songs and I would push his songs, and we’d push each other to go a bit deeper. He and I loved to make jammers and fun songs and easy songs, so with this record, neither one of us wanted to make an easy record. 

SILY: What does the term “spoiled love” mean to you?

SS: A lot of different things. It means spoiling something--I have so much anxiety, and nobody wants to hear me talk about anxiety, but I sort of cradle it and am unable to even take a walk. I spoil it. Spoiled love is about spoiling that side of me. At the same time, I was going through two breakups, so it’s about love that was spoiled. Spoiled is also a word I think of often, as I see the way people see me, and I judge myself often, especially during quarantine. [Spielberg is the daughter of Steven Spielberg and Kate Capshaw.] I think, “I cannot have any complaints, I have to be perfect, happy, and getting through this.” I don’t want to come off spoiled. There’s so many meanings in spoiled love.

SILY: Did that factor in the decision to begin the album with that song?

SS: The title came after the song title. Sequencing is so important on the album. Every song and outro and intro is so deliberate, I wanted to tell the story of love being spoiled.

SILY: What role do some of the more ambient instrumental passages like “Brie” play in the story of the record?

SS: They’re pauses and reflections. I find that instrumentals are inherently cinematic. They feel like part of the narration. They’re moments of breathing. It was a way to sort of get me through each song.

SILY: Where did the field recordings come from on these tracks?

SS: We opened the windows during recording, so that’s what that was.

SILY: It gives it a nice sense of place.

SS: Exactly!

SILY: Why did you decide to release “What’s a Man Done” as the first single?

SS: “What’s a Man Done” felt really realized, yet understated. I originally wanted to release four singles, and “What’s a Man Done” was always gonna be first. “Strange Town” is the more obvious single, so I wanted “Strange Town” to be the focus of the album, but not the opening of it. I wanted people to get to “Strange Town” by making it through the first three songs.

SILY: What’s the story behind the cover art?

SS: I’m very nostalgic as a person, and I’m very inspired by the books I had growing up and my piano composition books. [At first,] I did a record cover shoot, but this didn’t necessarily feel like an album that needed my face on it. So I went back to childhood, looking at the piano books I would write in. All the colors were colors from where I recorded the record, from Mendonoma, from Los Angeles. They were all mementos of the places I wrote the record.

SILY: Are you planning on doing a live stream?

SS: They feel so intimate--and they should be, since they’re in a bedroom or a house. But you’re ingesting the sound right before your eyes, and not seeing it or in the room, so it’s so dissonant. It feels weird to perform this album on a livestream, but I have to do it. I really can’t wait to be in a small venue playing these songs in front of a crowd.

SILY: Have you thought about how you’re going to adapt these songs to a live performance?

SS: Yeah, so the first half is just gonna be me on piano and vocals, and then my dream forever is to be in a small seated theater and have a piano and a microphone, very stripped down. “High on You”, though, really needs the sampler, and I probably need more backups for those.

SILY: Do you have a favorite track on here?

SS: “Rules” is the most important to me, and then “Strange Town”. “All The While” is also important. Those were the heaviest for me. I equate “favorite” with that.

SILY: What else have you been up to lately, and what’s next for you in the short and long term future?

SS: I’ve been painting dogs in watercolor, which has kind of taken over my life. It started out as a fun little gift idea, but it’s become a full business. I got a lot of Christmas orders, so I am very busy with that. I’m not a businesswoman at all, and I don’t know how to do this, but I keep getting commissions and saying yes to them, which is fun and exciting, but all the due dates are Christmas! I have no idea how to cap it.

I’ve been doing a lot of baking. I’ve been watching a lot of movies I’ve never seen.

SILY: Anything of note you’ve been watching, reading, or listening to?

SS: I started reading a lot of Ben Lerner. I’ve been watching lots of film noir. I was getting into neo noir, too, like Body Heat. I had a note on my phone of bucket list movies I’ve been plowing through. I’ve been attempting meditation.

[mchenryjd]

2017 in Review

Necessarily incomplete, mostly for my personal record. I will probably regret this.

MOVIES

10.  mother!

Got to a screening late, had to sit in the third show, could barely tell what was happening and spent most of the movie staring at J. Law’s flared nostrils. An ideal viewing experience.

9.     Personal Shopper

Nothing captures the purposeful emptiness of spending time online like Kristen Stewart texting a ghost.

8.     Get Out

I kept telling my dad this movie was funny to get him to see it, not realizing he didn’t already know it was a horror movie. Afterwards, he texted me, “that was not a comedy!” Feels like that’s enough a metaphor. Daniel Kaluuya for best actor.

7.     Star Wars: The Last Jedi

A Star Wars movie about loving Star Wars movies, which means loving the epic, silly struggle between good and epic, loving the spiral staircase that is John Williams’s force theme, loving it when character always do the coolest possible thing followed by the next coolest possible thing, loving dumb furry creatures and sarcastic slimy ones, loving it when characters kiss when you want them to kiss, loving the hundred-million-dollar sandbox of it all. After the constricted dance steps of The Force Awakens and Rogue One, give me this bleeding freestyle any day.

6.     Phantom Thread

Finally, proof that everyone in a serious relationship has lost it.

5.     Call Me By Your Name

I refuse to believe that being stuck in rural Italy would be anything other than deadly boring and if my father insisted on turning everything into a lecture on classical art, I would run away. Also, there’s a contrast between the book (vague on the details of place and time, vividly specific on matters of sex) and the film (more contextually specific, sexier, but less horny than the original). Also, who am I kidding, I was moved and unsettled by the force of the thing. *Michael Stuhlbarg voice* Pray you get a chance to fall in love like this.

4.     Dunkirk

Having your tense, churning, clanking, thrumming, score transform into Elgar right when the beautiful, imperiled young heroes are reading a stirring speech (and Tom Hardy is heroically sacrificing himself in what looks like the middle of a Turner painting) is a level of craft so deft if feels like cheating, but it works.

3.     BPM

A film about a community in danger that acts as both a memorial to and rallying cry for that community. Uncompromising, accommodating, queer in the best way, BPM makes you want to cry and go dancing at the same time.

2.     Columbus

The kind of movie that makes you want to get in a car and keep driving until you find something beautiful, it has stuck and expanded in my memory ever since I saw it over the summer. Like the architecture that looms large in the setting, the plot can feel uncomfortably schematic – John Cho wants to leave and gets  stuck, Haley Lu Richardson is stuck and gets to leave. The question is how people live within, and blur the edges of, those confines. John Cho has a winning, curdled decency; Haley Lu Richardson gives the hardest kind of performance, in that she often seems unaware of her character’s own wants. I’d watch her quietly assemble dinner for hours on end.

1.     Lady Bird  

A movie that feels less plotted and more prefigured – every fight between Lady Bird has happened before, every high school landmark lumbers by with inevitability, every boy disappoints in the way you expect. What redeems all this? Paying attention, which is also love, in this movie’s pseudo-religious sense. Between Lady Bird and Marion, between Lady Bird and Julie, between Lady Bird and Sacramento. Watch people closely, as Greta Gerwig does, and they reveal glimmers of themselves (I know so little, and yet everything, about Stephen McKinley Henderson’s drama teacher from a few moments that feel perfect, in the sense of contained, past-tense completeness). It’ll all so ordinary. Fall in love with it.

Honorable mentions: Regina Hall’s speech about friendship in Girls Trip, Sally Hawkins tracing a droplet with her finger in The Shape of Water, Meryl Streep on the phone in The Post, Cara Delevingne in Valerian, Rihanna in Valerian, the part where the ghost jumped off the building in A Ghost Story, the fact that Power Rangers was surprisingly good, the soldier who gasps as Diana whips out her hair in the trenches in Wonder Woman, Ansel Elgort’s jacket in Baby Driver, whenever anyone tried to explain anything in Alien: Covenant, Elisabeth Moss in The Square, Anh Seo-hyun feeding Okja in Okja, Lois Smith being in movies, the kids eating ice cream in The Florida Project, the Game of Thrones joke in Logan Lucky, Vella Lovell in The Big Sick, and finally, most preciously, the moment in Home Again where Reese Witherspoon kissed Michael Sheen and someone in my theater shouted “she’s not feeling it!”

TELEVISION

10.  The Good Doctor

Listen, he’s a good doctor.

9.     Riverdale

They’re hot. They’re angsty. They do drugs that look like Pixy-Stix. They never seem to do homework. They love to hook-up in weird locations. They have terrible taste in karaoke songs. They love hair dye, and a well-defined eyebrow. They have really hot parents. They’re TV teens! I love it.

8.     Insecure

This is just to say that I am far too invested in Molly’s happiness as a person. I would also like to view a full season of Due North.

7.     American Vandal

From Alex Trimboli to Christa Carlyle, the best names on TV are on this show. Also the best reenactments, and somehow the most incisive take on what fuels, and results from TV’s true-crime obsession. Jimmy Tatro mumbling!

6.     Crazy Ex-Girlfriend

More shows should take the opportunity to explode in their third seasons, rocket forward at full speed, diagnose their main characters, and give Josh Groban wonderful, unexplainable cameos.

5.     Alias Grace

A show that conjured a performance for the ages out of Sarah Gadon and somehow made Zachary Levi palatable as a dramatic actor, this miracle of collaboration between Mary Harron and Sarah Polley is all the better for being binged. Down it in an afternoon, think of Grace under her black veil, daring you to disbelieve her, for years to come.

4.     Twin Peaks: The Return

A show that drove nostalgia into itself like a knife to the chest. Totally absurd. The best revival/exorcism yet on TV.

3.     Please Like Me

“Sorry about your life.” “I’m sorry about your life.” In a time when things tend to peter out, what a final season, in which everything goes to shit and then some. Maybe TV’s most prickly comedy, Please Like Me’s heart is of the “stumble along and keep going” sort and never does it test itself as much as it did with this bleak, pastel final statement.

2.     The Leftovers

Do you believe Nora Durst’s story? Sometimes I do. Sometimes I think it sounds ridiculous. Sometimes I relax in the comfortable, academic premise that it only matters that Kevin does. It’s a haunting idea, though, this image of world even emptier than The Leftovers’s own, where it’s possible to wander for untold time in darkness. Carrie Coon’s description of it is a kind of journey to the underworld – we’re there with her, maybe, and then we make it back, maybe. The trick of The Leftovers is the wound’s never fully healed.

1.     Halt and Catch Fire

The world changes. People sorta don’t.

Honorable mentions: the twist in The Good Place, the Taylor Swift demon character in Neo Yokio, Claire Foy on The Crown, Vanessa Kirby on The Crown, the stand-up in The Marvelous Mrs. Maisel, Cristin Milioti in Black Mirror, the televised Academy Awards ceremony, the weeks when Netflix didn’t release new TV shows I had to watch, Girls’s “American Bitch,” the fact that Adam Driver is both in Girls and Star Wars, Keri Russell and Matthew Rhys performances on The Americans (and life in Brooklyn), the moments in Game of Thrones that were good enough to make me stop thinking about what people would write about Game of Thrones, season 2 of The Magicians’s resistance to any sort of plot logic, Jane the Virgin’s narrator, Nicole Kidman at therapy on Big Little Lies, Reese Witherspoon’s production of Avenue Q in Big Little Lies, Alexis Bledel holding things in The Handmaid’s Tale, Maggie Gyllenhaal directing porn in The Deuce, Alison Brie’s terrible Russian accent in Glow, Maya Rudolph in Big Mouth, Cush Jumbo miming oral sex with a pen in court in The Good Fight, the calming experience of watching new episodes of Superstore and Great News on Fridays, Eden Sher in The Middle, the fake books they make up for Younger, and Rihanna livestreaming herself watching Bates Motel.

THEATER

10.  Indecent

History, identity, community all mangled together in something that’s both excavation and revivification. I’m so mad I didn’t get to see it with my mom.

9.     Mary Jane

A nightmare that goes from bad to worse, which Carrie Coon performed with the endurance of a saint.

8.     SpongeBob SquarePants

Highlights: The tap number, the Fiddler on the Roof joke, the many uses of pool noodles, David Zinn’s design in general, the arms, the volcano setpiece, the fact that somehow I kept laughing for two-and-a-half hours at something SpongeBob SquarePants. Tina Landau, you’re a hero.

7.     Hello, Dolly!

I had a wonderful viewing experience like this, in that I sat alone on an aisle next to an older gay man who turned to me right when the curtain came down on the first act and said, “man, we love Bette.” (Shout out to any and all gags involving the whale.)

6.     Groundhog Day

Proof you can dig deeper into the material you’re adapting and still find more. Sometimes, the funniest gags come out of old-fashioned repetition. Andy Karl has the Rolex-like ability to make it all speed by without revealing any of the ticks, and then wallop you in the second act.  

5.     The Glass Menagerie

A lot of unconventional ideas piled onto each other that go so far into strange territory that they loop back around to being immediate. Maybe distant to some, but enough to unsettle me. I can still smell the onstage rain.

4.     The Wolves

A sign of a good play is probably that you remain invested in the characters long after you see it, and I’m going to spend so much time worrying about all the girls on the soccer team in The Wolves for the rest of my life.

3.     The Band’s Visit

Katrina Lenk has a gorgeous voice. Tony Shalhoub is restrained to the point that he could move his baton with nanometer accuracy. The songs are transporting. But most of all, The Band’s Visit manages to capture loneliness better than nearly any musical I’ve seen. Everyone, audience included, experiences something together, and then it all, slowly, both lingers and drifts apart.

2.     A Doll’s House, Part 2

What, you think I wasn’t going to include a play with a Laurie Metcalf performance? ADHP2 is perhaps clever to a fault in its set-up, but in the right hands, it turns into something both funny and moving – a story about what it takes to become a complete person, in or outside the influence of other people. Nora’s monologue about living in silence near the end is the full of the kind of simple statements that are so hard to act, and so brilliant when done just right.

1.     The Antipodes

Both an extended meditation on what it means to run out of stories and a brutal subtweet of Los Angeles, The Antipodes is my kind of play, in that it’s mostly people talking, Josh Charles is involved and very disgruntled, and everyone eats a lot of take out.

Honorable mentions: the music in Sunday in the Park With George, the pies in Sweeney Todd, the ensemble of Come From Away, seeing Dave Malloy in The Great Comet of 1812, Alex Newell’s “Mama Will Provide” in Once on This Island, Cate Blanchet having fun in The Present, Imelda Staunton in the NTLive Follies, Michael Urie in Torch Song, Patti LuPone’s accent(s) in War Paint, Ashley Park in KPOP, and Gleb.

[disneydreamlights]

 Everything about Happily Ever After will be under a read more, since I don’t want to ruin it for anybody.

Everything is bullet pointed because lazy.

So my impressions on Happily Ever After.

Initial thoughts:

If you can’t see the projections, you miss half the movies. Movies like Big Hero 6 and Zootopia, along with some others like Cars, Ratatouille, Snow White, and Cinderella and a few other movies I haven’t named.

The story of the show is a cohesive unit. That being, individual portions don’t feel as cohesive. The cohesion of the first section after the intro (the dreams section) is by far the worst because too many songs take directly from the movies, rather than musical renditions and occasional lyrics. (As a note the best at this was the friendship section.)

The fireworks are phenomenal, some of the best pyrotechnics that Magic Kingdom and the Walt Disney World resort have ever seen.

I’m disappointed by the lack of a full orchestral score, that being said, it was definitely a lot better than I expected.

The full show is really made if you can see it. You lose a lot of the story if you can’t see the projections, it actually kinda feels like you’re missing out on something.

NO STAR WARS THANK FUCK!

Heather’s friendly reminder that talking over the show and complaining about elements you don’t even know are in it (somebody at the start of every section of the show predicted Frozen and whined, not kidding, it was the most annoying thing ever) ruins the experience for everybody around you and if it wasn’t for the fact that this was the first Happily Ever After showing and not the last showing of Wishes instead I would’ve punched some people in the face for not knowing when to shut up.

The Songs:

I was blown away by the song choices for this show. While there were a few songs I’m not so fond of in it (You’ve Got a Friend in Me being my main gripe) they did a fantastic job with them.

Out There used Quasimodo’s voice and that’s just cringeworthy, it’s probably a large part of what made the first section weakest aside from the only nonvocal piece in it being Part of Your World.

SEE THE LIGHT LANTERN SECTION YOU’VE RETURNED. OWO

Also, returning from Wishes: Go the Distance and I’m really glad because I love Hercules and I was so worried that its last real bit of representation (besides a small part of Zero to Hero in Fantasmic!) in the parks was going to be lost when Wishes left but it’s the only song besides Friend Like Me (and Part of Your World/A Whole New World) to return. That being said it’s not the orchestral, powerful version from Wishes, but it is the song.

On top of that, When You Wish Upon a Star does not play at all during Happily Ever After. A fair bit of heartbreak for poor Jiminy and his iconic song, which for the people who haven’t seen Wishes, was the tying theme song to Wishes (along with the star light star bright quote I have on my blog’s about.)

That being said Trashing the Camp played and I’m not really sure what it has to do with friendship but I died.

Romance section: Not a romance section, but in fact a love section. There’s an entire portion to You’ll Be In My Heart on family love, but you lose that if you can’t see the castle and don’t know Tarzan since all you hear are lyrics and see the romance songs surrounding it.

Frozen: Not Let it Go, the first Disney parks show since Frozen came out not to feature the song! Instead you have an open with Olaf and then Love Is An Open Door rendition.

Opening and Closing song, if you haven’t heard them yet, they’re super catchy and well sung. It’s no Wishes main theme (and I don’t love the walk off as much either) but still good.

Finally not really on the songs themselves but each segment opens with a quote and after a villain’s adversity section (opened with a great Mulan quote) they have the overcoming adversity section and it opens with Mufasa’s remember who you are quote.

Speaking of which the Lion King representation A+

(I’ve left out a few movies that just personally didn’t excite me as much as these things so...there’s a lot more that I didn’t bring up.)

Fireworks and Projections:

This show’s pyrotechnics are phenomenal firework tech is incredible now why couldn’t we have this with Wishes.

Projections are stunning, and flow really well together. 

Especially the newly animated stuff! That’s beautiful!

That being said, the show can’t carry itself without the projections. Like I said earlier you miss some of the movies and also some of the unifying factors. I won’t say much on it but the transition from the Adversity to the Triumph section is really, really strong, but you can’t tell that without the projections at all. Like it goes from battle section (to Pirates music) and Maleficent to suddenly Mufasa and Go the Distance if you don’t have projections and left me real confused where I assumed it was just a Celebrate the Magic kind of transition.

DID I MENTION THE FIREWORKS ARE STUNNING I’D WATCH THIS SHOW WITHOUT THE MUSIC JUST TO SEE THOSE AGAIN.

Compared to Wishes:

Technologically: Very superior to Wishes.

I this is obvious but I feel like even if Wishes was given a facelift and some projections its technical level given the fireworks used just goes above and beyond.

That being said the soundtrack to Wishes is much better imo. Sorry I prefer my soundtrack to remain When You Wish Upon a Star based and prefer the movies based in the 90s and classic era. Plus like I said I appreciate the orchestral score and nothing will beat hearing the kid sing “Star light, star bright, first star I see tonight. I wish I may, I wish I might, have the wish I wish tonight. We’ll make a wish and do as dreamers do, and all our wishes will come true.”

I don’t like new narrator voice for some reason, I definitely prefer Jiminy, but he only really comes in at the beginning and the end so it’s not that big a deal.

I feel like they were honestly going for two very different responses to be honest. Wishes feels like it was trying to embody magic and the magic of Disney, and as such uses your Disney nostalgia, the overall lack of lyrics, and does a subtle job of manipulating your emotions so you feel that magic and wishes really are real, so when the Blue Fairy was telling you to believe in the power of wishes because they were the magic of the world, you believed her that they were. There were times in showings of Wishes where I’d come close to crying because they convinced me magic was real. Happily Ever After (thankfully) did not try to go for this, but instead decided to focus on having you believe anybody can get their happily ever after, and so while it does have its emotional parts (the love section being the most emotional) it does so in a way that’s aiming to have fun. 

That being said Wishes is also overall more cohesive feeling, and doesn’t need the projections to be the full show.

So really, both shows have/had their strengths and weaknesses. I personally prefer Wishes but really that’s just my own preference.

Favorites:

SEE THE LIGHT IS BACK FUCK YEAH

Anytime it brought out the orchestral soundtracks I was happy.

Pirates is a minimal section and while it’s still...I feel like I’m just sick of the Pirates soundtrack at this point tbh, it’s at least not Pirates of the Caribbean characters or stupid skeletons so it’s actually a reasonable section.

No Try Everything. No Immortals. No Star Wars.

Opening and Closing songs are absolutely fantastic.

Overcoming adversity section is beautiful.

New animation is beautiful.

Also Maleficent.

So much Lion King. 

Wonderful fireworks, they were gorgeous and above and beyond anything I have ever seen.

Cons:

I really miss Jiminy Cricket. Remember when he was the icon of Magic Kingdom? I do too. The poor thing deserved better.

I also miss When You Wish Upon a Star. I wasn’t expecting my favorite parts of Wishes, but I was expecting to have that song playing somewhere.

A lot of Pixar and modern movies. There was more old than I thought, but I still think we could’ve had more older Disney movies, I can’t think of too many songs that played from movies before Little Mermaid (there was Bare Necessities, You Can Fly when Tink flies and some Sleeping Beauty music maybe during Maleficent and besides that I can’t think of anything???) so I’m a little sad about that when we had Wishes paying tribute to Pinocchio, Cinderella, Sleeping Beauty, and Snow White with a touch of Peter Pan. That being said they are still there, just in the same short amounts as a lot of other Disney movies.

The projections really are half the show. They’re wonderful but the fact of the matter is I loved the show more watching a recording than live because I could see the castle. Up until I watched the show through a livestream I’d considered the show only a step up from Wishes in terms of the quality of technology rather than in terms of quality itself (because while Wishes is my favorite I can admit that Happily Ever After is technically better) because (forgetting the annoying people talking) I couldn’t see the projections half the time. That being said even without the projections it’s still much better than anything I’ve seen from Disney since Disney Dreams and Celebrate the Magic, easily surpassing Ignite the Dream, Disneyland Forever, and Disney’s Illuminations.

Conclusions:

Happily Ever After is the successor that Wishes deserved, putting Disney World once more as the pioneer and show to beat, not that they really lost that title because as outdated as Wishes was it was still objectively better than half the new shows without even trying.

It’s really good and has a lot of good songs and pyrotechnics, so I definitely recommend even if you can’t see the castle, but the show becomes twice as good if you can actually see the castle because the projections make it.

Technically the show is better than Wishes in nearly every regard unless you’re looking for a show who’s everything flows into each other basically flawlessly since there are some shaky parts early on but besides that it’s good.

I still like Wishes best though because nothing will beat the return to childlike wonder I got from it. Sorry not sorry but Wishes owns my ass and it still hurts me to think that I don’t have it anymore, even if the replacement is amazing.

Picking Disney quotes to identify each section was incredibly smart and I died when Mufasa spoke.

Thinking on it, my sister and I compared it to Fantasmic! when we heard the soundtrack when they posted the first announcement video since it had that sound and I don’t think that’s far off. The projections get in most movies using the “bubble method” (the bubble montage from MGM’s Fantasmic!) with a few more focused on sections. So it’s like a Fantasmic!/Wishes hybrid in that sense.

Overall: Fantastic show, that’s really all you need to know.