#programs shown by cartoon network

[cartoonnetwork-india]

Lamput Offshore Chases - 22 | Lamput Cartoon | only on Cartoon Network India

The hunters have now become the hunted! Their quest to catch the orange slime has caused Specs & Skinny to have a “Sea Monster” problem. Will the Docs be able to get themselves out of this pickle? Watch #Lamput only on #CartoonNetwork Do not miss any updates on your favourite #cartoons by Subscribing to the Cartoon Network India YouTube Channel, Facebook page & Instagram page YouTube - https://www.youtube.com/@cnindia Facebook - https://www.facebook.com/CartoonNetwork.India Instagram - https://www.instagram.com/cartoonnetworkindia/ #cartoonnetworkindia #cartoonnetworkshows #cartoonnetworkcartoons #lamputcartoon #cartooncartoons #cartoonvideos #cartooncharacters #bacchonkecartoon #cartoonsforkids #newcartoon #Slime #SlimeCartoon

[fly-pow-bye]

The Lost Blossom Shampoo Commercial

During my very early days on Tumblr, I was loving all the GIFs and I wanted to join the community. Along with my love of video games, I love animation and I love Cartoon Network, and I wanted to contribute even if my main Tumblr, which is all that I had back then, wasn't animation focused. I wanted to give something that nobody else has posted. I knew non-American commercials have unique animation not seen anywhere else, so that felt like a good idea. I decided, to add some unique Cartoon Network GIFs to Tumblr, to look through various Cartoon Network commercial reels on YouTube and Vimeo. One of the videos I found on Vimeo was this reel from Brendan Rogan, a producer at Cartoon Network Latin America. I found a clip of the Powerpuff Girls I had never seen at 0:32.

Wait, is this...a shampoo commercial? Seems really fitting considering the Blossom hair wave scene in The Mane Event, and I shouldn't be surprised someone decided to use something inspired by that scene in advertising. Not going to lie: I was intrigued.

After the break, my entire history of my attempt to track down this commercial.

Right after this part of Blossom that I made the GIF from is this clip of three superhero-like mascots flying around three different bottles of different hair products. The one on the left has a bubbly hairstyle that is the same color as the bubbles shown in the Blossom part, suggesting that these two clips are from the same commercial. I did not want to believe it at first, but it did fit pretty well. The Powerpuff Girls are 6 years old at the most, and they could still be using baby shampoo.

After my searches went nowhere, I e-mailed Brendan Rogan back in 2015, who was pretty much my only lead at the time, about it. Rogan asked me why I wanted to see the "full spot". I immediately recalled one YouTube video about people trying to find the guy from Active Enterprises of Cheetahmen infamy only to be met with an all caps "WHY DO YOU WANT TO KNOW THIS INFORMATION" and no further replies, and I was hoping it was not going to end like that video. I did e-mail him with honesty, saying I just wanted to see the context of the full spot, and I'm a big Cartoon Network and Powerpuff Girls fan.

Rogan did not reply back.

I did not e-mail him again because I did not want to pester someone about a baby shampoo commercial, and I was holding onto the hope that it'll appear in a upload of commercials on YouTube so I do not have to test my anxiety. Of course, it'd be in way higher quality if I got it from someone who worked on the commercial rather than a VHS recording of commercials, but I was not thinking of that at the time. At least he indirectly confirmed a full spot exists.

Years later, I found a promotional reel based on the Toonix era of Cartoon Network Latin America, dated to 2011. It advertises The Amazing World of Gumball and Johnny Bravo Goes To Bollywood, both from 2011, so I can believe the year. It seemed to be made for investors and advertisers, showing off Cartoon Network's programming, and how they can have synergy with other brands. This includes a bunch of cross-promotion. Showing up at 4:52, to my surprise, is the Blossom ad. It was almost the exact same clip seen in the Rogan reel. The keyword is "almost." I got out my video editing software, and this is what I can see:

The Cartoon Network reel does have more of the commercial we did not see in the Rogan reel, though it's just more of the mascots flying in from outside of the frame and a little bit less of Blossom waving her hair around. This does confirm to me that neither reel was showing a single clip from the full spot, but two clips from different parts of the spot, showing the Cartoon Network character and showing what that Cartoon Network character was advertising. It also reconfirms that what I am looking for is not a Cartoon Network promo, but a baby hair product line commercial.

I also notice that even with these two different appearances, we only have 2.5 seconds of what could be a 15 or 30 second commercial. That alone does make that intriguing even with the possibility that Blossom only appears for that one second and the rest is just a generic baby shampoo ad. I hope that's not it, but it would explain why the full spot was not uploaded.

I did find one other piece of this campaign. It's not from the commercial, but it is related. Maybe it was an extremely lucky Google Image Search, or I just somehow stumbled across it in one of my searches. This was from a company named Bau Print, who specializes in different kinds of printing, including printing on vehicles, and, hey look!

There they are! It's even a photo taken from a camera that wasn't edited, meaning I could see from the metadata that it was taken in April of 2010. That does narrow down the beginning end of my search, though I had no doubt that the spot was at least post-Powerpuff Girls Movie. It also made me realize a bit of lore about these three super obscure mascots: they each represent the three different kinds of intense hydration: shampoo, conditioner, and combing cream. There are no Powerpuff Girls, showing either these superheroes were not just made for the commercial, or they wanted to use them without having to contact Warner Bros. or Cartoon Network.

This picture does prove that this campaign, at the very least, got to the point where it was advertised on trailer trucks. I did have a feeling this was a part of a scrapped campaign; maybe Johnson's got cold feet for having their clean baby shampoo brand be associated with girls that have beaten monkeys, criminals, talking dogs, and clowns to a pulp. However, wouldn't it be false advertising if a campaign that fell through ended up in a video that seemed to be made for advertisers?

And that's where my search runs cold. I have searched a lot of Cartoon Network Latin America commercial breaks on and off over the years, and I even used Filmot to search YouTube's subtitles for phrases that could be a part of it, like that "salud es belleza" tagline on that truck, and the full spot remains elusive after years of searching. I guess I could just imagine what the rest of the commercial could be.

The City of J&Jville, where our heroic trio responds to a dis-tress call: Blossom, superheroine of Townsville, is having a bad hair day and won't have the confidence to beat up Mojo Jojo and stop his "turn everyone into chickens with his chicken ray" plan. Lather, Rinse, and Repeat are called to action, and with their ultra-cleaning powers, they go into Blossom's hair as she stares at the mirror, and her hair magically turns luscious again. With her newfound confidence, Blossom flies to Mojo Jojo, and knocks his teeth out, bruising him with all of her techniques, her flurry of punches, her eye lasers, and the dreaded ponytail whiplash! The day is saved thanks to Blossom, and Johnson's Baby Hidratación Intensa! (Warning: Baby shampoo will not give your baby superpowers, do not let them fight crime.)

...okay, maybe that violence wouldn't have happened, but there is only one way we can find out for sure, and I can only wish I could find that way. So uh, here's another shampoo ad starring Hanna-Barbera characters that appears to be unrelated. Yes, the Powerpuff Girls are technically Hanna-Barbera. Bye.

< n/a - Part 2 >

[onenettvchannel]

#K5NewsFMExclusive: A Dark and Dramatic Conclusion as the 4th Season of Wakfu will be the Last Season of its historic French cartoon series (updated as FINAL!!!)

(Written by Rhayniel Saldasal Calimpong / Freelanced News Reporter and Presenter of OneNETnews)

ROUBAIX, FRANCE -- The upcoming Season Premiere of Wakfu, which will air on the 'Okoo' kids and teens programming block through French public broadcaster 'France Televisions' is set to be a dramatic heartstopping conclusion. This will mark the beginning of the show's 4th and Final Season, scheduled to debut in early mid-February 2024. It is worth mentioning to recall that the entire production at Ankama Studios in France has been successfully concluded, thanks to the global campaign fund of Kickstarter that took place in late-June 2020.

(PRESS RELEASE OBTAINED by K5 News FM Dumaguete)

Per the press release exclusively obtained through DWFH-FM 97.7mhz's K5 News FM, the latest synopsis for the final season of a French cartoon show portrays intense and potentially darker scenes that comes up a bit close to happen: "After their destructive battle with Oropo, but also with their own demons, Yugo the Eliatrope and his friends find themselves at the gates of Ingloriom, the realm of the Gods. The Tofu Brotherhood (TFB) has no time to wonder what fate the 12 Divinities have in store for them for this sacrilege: the floating territory is devastated!".

(SCREENGRAB COURTESY: FranceTVPro website)

(PHOTO COURTESY: Google Images)

Before an actual final season premiere on a national French television, a sneak preview in the panel is yet to be shown in-person at the Angoulême International Comics Festival (AICF) on Thursday late-afternoon (January 25th, 2024 at 5:30pm -- France local time).

(PHOTO COURTESY: AICF via X Network's FranceTVPro)

Inside a panel in Angoulême City, the said country, will discuss about the upcoming 4th and Final Season of the show, in the presence of Wakfu show creator named Anthony "Tot" Roux, one of the authors with French YouTuber personality (Malec) and Wakfu's historical Character Designer (Sonia Demechlis).

(SCREENGRAB COURTESY: Okoo / France Televisions / Ankama Animation via The X Network)

In a televised trailer 'X Network' (formerly Twitter) released Tuesday afternoon (January 16th, 2024), the heroes of the Brotherhood of the Tofu, Yugo the Eliatrope, Prncs. Amalia Sheran Sharm, Ms. Evangelyne the Cra, Mr. Ruel Stroud and among others have fought against formidable enemies and ancient evils. But sadly, things are gone crazier and darker situations as the fate of 'The World of 12' rests on their shoulders.

K5 News FM learns exclusively that the runtime for this 4th Season of Wakfu is 22 minutes long, with a final 13 new episodes.

(FILE SCREENGRAB COURTESY: Generation TV_FR via YT VIDEO)

French cartoon show of Wakfu was started in the late-October 2008 during France 3's kids programming block "Toowam", before transitioning to Ludo (home of between Wakfu on the said date of 2008 and LoliRock in the late mid-October 2014).

(FILE PHOTO COURTESY for REPRESENTATION: Zodiak Kids and Family for Banijay & Ankama Studios / Editing Provided by the Anonymous Artists, and from the top left to the bottom right: Lyna, Carrisa, Talia, Iris, Aurianna, Evangelyne, Yugo the Eliatrope, Prncs. Amalia Sheran Sharm)

At the time of the writing with a confirmation from Ankama Studios and Zodiak Kids & Family (part of Banijay Group), theories in French kids cartoon suggest between LoliRock and Wakfu will not be planning to do a crossover episode for now, in and outside of this same public broadcasting network on Wakfu's final season for France Televisions.

As reported exclusively between AnimeTVFrance news bureau (via The X Network) and Ankama News (also via the press release division of Wakfu), we do know that the new episodes to be aired back-2-back on primetime until early mid-March 2024.

With this, you can catch LIVE new episodes of the final 4th Season of Wakfu, premieres February 9th, 2024 at 1:30pm Eastern / 12:30pm Central (in the United States) / 7:30pm in France -- only on France 4's Okoo programming block and streaming LIVE via the France TV website, Animation Digital Network (ADN) and on the Okoo app for Google Play and Apple App Stores in France.

PHOTO COURTESY: Ankama Animations

SOURCE: *https://www.francetvpro.fr/contenu-de-presse/64569626 [Referenced Event Listings via FranceTVPro] *https://www.youtube.com/@malec3821 [Referenced YT Home Page via Malec] *https://en.wikipedia.org/wiki/Angoul%C3%AAme_International_Comics_Festival *https://www.francetvpro.fr/contenu-de-presse/64684101 [Referenced PR News Article via FranceTVPro] *https://twitter.com/Totankama/status/1736789152455131477 [Referenced X Network Captioned VIDEO via Totankama] *https://twitter.com/francetvslash/status/1744403591736050165 [Referenced X Network Captioned VIDEO #1 via FranceTVSlash] *https://twitter.com/francetvslash/status/1747280767598641312 [Referenced X Network Captioned VIDEO #2f via FranceTVSlash] *https://fr.wikipedia.org/wiki/Toowam *https://fr.wikipedia.org/wiki/LoliRock *https://www.banijaykidsandfamily.com/shows/lolirock/ [Referenced Show Biography via Banijay Kids and Family website] *https://fr.wikipedia.org/wiki/Saison_4_de_Wakfu *https://fr.wikipedia.org/wiki/Wakfu_(s%C3%A9rie_t%C3%A9l%C3%A9vis%C3%A9e_d%27animation) *https://www.youtube.com/watch?v=HjWsaz7gxI4 [Referenced YT VIDEO via Kass Koui] *https://www.youtube.com/watch?v=J_7yLJQZ6JA [Referenced Classic YT Video via Generation TV_FR] *https://twitter.com/francetvpro/status/1750584660021666155 [Referenced X Network Captioned PHOTO via FranceTVPro] *https://www.wakfu.com/en/mmorpg/news/announcements/1680321-wakfu-s4-soon-available-viewing [Referenced News Article via Ankama News for Wakfu PR Division] *https://www.france.tv/france-3/wakfu/saison-4/5698308-wakfu-saison-4-des-le-9-fevrier-sur-okoo-et-france-tv.html [Reference News Article via France 3 Info] and *https://twitter.com/animetv_fr/status/1754591809651507421 [Referenced X Network Post via AnimeTVFrance News Bureau]

-- OneNETnews Team

[animesavior]

“Usagi, I need you to listen to me. Strange things are happening in the city. Even the Police can't handle what's going on. A dangerous enemy has appeared. You're the only one who can defeat this enemy. You're the guardian that's been chosen for this mission. But there's more than just that. you also have to find the other Guardians and our Princess.” -          Luna, Sailor Moon (Ep. 01)

The Toonami Trending Rundown for May 31 and June 1-2, 2024. For the first time since April 15, 2004, Toonami would return to airing on a weekday timeslot on Fridays with Toonami Rewind as part of Adult Swim’s expansion to 5pm to showcase classic Cartoon Network programming. The inaugural lineup featured the return of Sailor Moon to Toonami for the first time in 23 years alongside an hour of DBZ Kai and OG Naruto. 

And fans on social media responded very positively to Toonami Rerun’s debut. On Twitter, #ToonamiRewind trended in the USA alongside Sailor Moon and DBZ Kai.

Meanwhile on the regular Toonami late night lineup, Zom 100 returned from its three-week hiatus, and Demon Slayer begun its rerun of the Entertainment District arc in the meantime. In terms of trends, #Toonami trended in the USA on Twitter alongside My Adventures with Superman and Zom 100. #Toonami also trended on Tumblr.

This week’s feature was a game review of Dave the Diver, developed by Mintrocket studios. It received an 8.5 out of 10 score.

Despite the present upheaval at Warner Bros Discovery, the current success of Toonami was paramount to Cartoon Network and Adult Swim creating Toonami Rewind. According to Jason DeMarco on Blue Sky, “It was the network’s idea to try a second Toonami block since they are very happy with the performance of the Saturday night version. They wondered if a throwback Toonami would be interesting. We liked the idea!” And assuming things go well, Jason says he has “all kinds of cool plans to bring more shows in” including shows Toonami has aired in the past, Adult Swim action shows, western animated action classics and more.

Of course, that all depends on if people continue to watch Toonami Rewind every Friday as with regular Toonami every Saturday. So be sure to keep watching (or at least set your DVRs) and help contribute to the social media buzz if you’re into it. And as with any potential Toonami show, if you do wish to see a show air on Toonami or Toonami Rewind, feel free to let Toonami know on their Facebook page as well as letting Jason DeMarco know on his Bluesky @clarknova.bsky.social. It also doesn’t hurt to let your favorite show’s respective licensor(s) know (whether it’s Crunchyroll, Toei, Viz Media, and the like) on their respective social media outlets as well. On a related note, Jason DeMarco no longer posts on Twitter outside of “promotional information related to my work,” and has privatized his account (after previously deleting it) for archival purposes, so we’re not sure if he’ll still read any show requests and feedback that is sent to @clarknova1.

Finally, this past week was the birthday of yours truly, so I’d like to give a huge thank you to Jason, Steve, Dana, and everyone at Cartoon Network who are doing their part to rebuild the better cartoon show. as well as those that watch, record, and live tweet and blog this great block. No doubt that Toonami is the gift that keeps on giving and showing that hope springs eternal for the mainstream success of anime and action cartoons overall.

Legend: The shows listed are ordered based on their appearance on the schedule. Show trends are listed in bold. The number next to the listed trend represents the highest it trended on the list (not counting the promoted trend), judging only by the images placed in the rundown. For the Twitter tweet counts, the listed number of tweets are also sorely based on the highest number shown based on the images on the rundown.

Toonami Rewind May 31 Trends

United States Trends:

#ToonamiRewind [#3]

#SailorMoon [#9]

#DBZKai [Trended with #ToonamiRewind]

Tweet Counts:

#SailorMoon [5,245 tweets]

Toonami June 1-2, 2024 Trends

United States Trends:

#Toonami [Trended with #Toonami]

#MyAdventuresWithSuperman [#18]

#Zom100 [#8]

Tweet Counts:

#MyAdventuresWithSuperman [2,266 tweets]

#Zom100 [2,098 tweets]

Tumblr Trends:

#toonami [#7]

If you wish to send me a tip for the work on the trending rundown, donations can be sent to PayPal.Me/DanielLimjoco.

Bon Appetit. Only Toonami on [adult swim] on Cartoon Network.

[shiyonasan]

The Dragon Ball Z episode of JBVO, which aired on May 7, 2000 on Cartoon Network. It is Episode 6 of JBVO.

The full episode was considered lost media until May 14, 2023 when it was uploaded to the Internet Archive by a user named SandersPlanet.

In the episode, a fan request letter was sent by a girl named Jennifer from Sterling, Colorado to air her favorite episode of Dragon Ball Z: Episode 105 (Episode 90 in the American episode order). Johnny explains that due to time constraints the Dragon Ball Z episode can't be aired unless fast-forwarded (both JBVO and DBZ have half-hour long episodes). As the Dragon Ball Z episode is shown, Johnny commentates over the episode with the American dub audio vaguely being heard in the background.

The Dragon Ball Z segment begins at 13:12 and ends at 14:53 in the episode.

The episode also features a crossover episode of Scooby-Doo with Johnny Bravo, and the Rhapsody Rabbit episode of Merrie Melodies featuring Bugs Bunny.

JBVO, also known as JBVO: Your All Request Cartoon Show, was a programming block that aired Sundays on Cartoon Network starting from April 2, 2000 and ended sometime in the middle of 2001. JBVO allowed callers to write into the show to request a cartoon from Cartoon Network's cartoon library to be aired as long the cartoon wasn't a half-hour long or longer. It was hosted by Johnny Bravo and sometimes had guests such as Chicken from Cow and Chicken.

[dorothydalmati1]

Obscure Animation Subject #157: Bookworm Bunch

Alright, we we have here for tonight is not one, but multiple shows from a programming block by the name of Bookworm Bunch! This block aired on PBS for Saturday mornings from September 30, 2000 to September 5, 2004. It is the second preschool-oriented Saturday morning block, with the first being Nick Jr. on CBS which launched two years prior. The block served as a collaborative deal between PBS and Nelvana teamed up to create the first-ever animated weekend programming block for the network. Nelvana is a Canadian animation studio founded in 1971, which previously had a deal with CBS to have its own Saturday morning lineup in 1998 but Nick Jr took their place in 2000, so the studio decided to another with another network, PBS. Some stations may air the block on Sunday mornings when there was less competition. Originally was gonna post this yesterday, but didn’t have the time to due to how long this entire post is.

The block was created to boost viewership of the preschool audience on weekends, specifically on Saturday mornings when that attention was shifted elsewhere. Prior, many PBS stations devoted their Saturday morning schedules to general audience programming, including crafting or do-it-yourself shows, meanwhile commercial networks had extensive lineups for Saturday morning cartoons. This block was created to compete with the big commercial networks.

The lineup consisted of six shows based on children’s books, those being Corduroy (by Don Freeman), Elliot Moose (by Andrea Beck), Timothy Goes to School (by Rosemary Wells), Seven Little Monsters (by Maurice Sendak), George Shrinks (by William Joyce) and Marvin the Tap-Dancing Horse (by Betty and Michael Paraskevas). A seventh series, Junior Kroll and Company (by Betty Paraskevas), was in development, but was later scrapped.

During the block's first season, all the shows (with the exception of the first 15-minute Corduroy episode) were shown either 15 or 45 minutes past the hour, in an effort to discourage "channel-flipping" to other competing children's cartoons. Another 15-minute Corduroy episode then ended the block, making its total runtime three hours. This block proved to be a success, gaining high ratings at first, although as time went on the viewership declined.

A drastic revamp was made to its second season when it premiered on November 3, 2001. Elliot Moose and Corduroy were both dropped from the lineup entirely, thus shortening the block to two hours. The four remaining series (Timothy Goes to School, Marvin the Tap-Dancing Horse, Seven Little Monsters, and George Shrinks) were instead seen on the hour and half-hour. This second season ended on February 23, 2002, but reruns continued until September 5, 2004 when it was discontinued all together.

In spite of this, new episodes of Seven Little Monsters and George Shrinks started airing separately from the block for their final seasons, and reruns continued separately for Timothy Goes to School on Discovery Kids until 2006 and Qubo until its shutdown, with Elliot Moose and Marvin the Tap-Dancing Horse also airing on the latter. PBS also continued airing reruns for Seven Little Monsters until 2004, and George Shrinks until 2009. Alright, now let’s look at the 6 programs shall we?

The first show is Corduroy, which aired new episodes until February 24, 2001. It also aired on TVOKids in its origin country Canada. The series was developed by Betty Quan and directed by Eduardo Soriano, with the animation outsourced from China’s Sichuan Top Animation. Storyboard artists include Paul Dedi, Dave Mah, Ken Davis, Trent Larson, Sam To (later an MLP storyboard artist), Don Boone, John Delaney and Marvin Tabo Estropia, with the animation supervised by Greg Woods

Based on the book from 1968 (I remember seeing its cover on the opening for Blue's Clues), it follows an alive teddy bear Corduroy (whose personality is similar to a preschool child) and his best friend Lisa, a young schoolgirl of Jamaican heritage. They go on adventures through the town of New York, USA. 13 half-hours were produced for the series, but the episodes were split into 26 11-minute episodes when airing on the block. I haven’t seen it so not much to say here.

Elliot Moose, which was based on the 1998 book series, actually originally aired in Canada on TVOntario from September 6, 1999 to September 20, 2000, prior to debuting on Bookworm Bunch. The series had 26 half-hour episodes produced of 2 seasons, each episode containing four 5-minute segments, two in live-action and two animated. The live-action segments are directed by Steve Wright and Michael McNamara, while the animated segments are directed by Charles E. Bastien, infamously known as the sole director for PAW Patrol from its third season until the tenth season when his death occurred, his death from cancer is thanks to the toxic work environment of Guru Studio. Anyways, Elliot Moose features a young moose named Elliot who lives in a place called "the Big House". He goes on adventures with his friends Beaverton, Lionel, Socks, and Paisley. Again, I don’t have much to say about it because I haven’t seen, and is probably the most forgotten show of the bunch.

Anyway, moving on the third series which is Timothy Goes to School. This show is developed by Kate Barris and directed by Gary Hurst. It lasted until January 26, 2002, and was co-produced by Silver Lining, with animation provided by Animation Services (Hong Kong) Limited. Notably, this isn’t the only collaboration Nelvana had with Silver Lining, as they would later co-produce the more well-known Max & Ruby, which was also based on the books by Rosemary Wells, being done with flash animation and lasting from May 3, 2002 to April 9, 2020, wow nearly 18 years, with 7 seasons and 130 episodes of 334 segments. Timothy Goes to School though was animated traditionally with digital ink-and-paint, as with the other shows from Bookworm Bunch. It had 2 seasons of 26 episodes with each containing two 11-minute segments. It follows Timothy as he attends kindergarten at the fictional “Hilltop School”. I think I remember watching it, but I don’t remember what happens in every episode, so moving on. My step sister loves Max & Rudy so I may show this to her since it’s from the same creator.

The fourth show is what I consider to be my personal favorite of the bunch, Seven Little Monsters, which follows a family of 7 monsters (each named after a number) and their mother, sharing a lot in common visually with the other work of the original author, Where the Wild Things Are. Based on the 1977 book, it aired for three seasons of 40 episodes from September 30, 2000 to October 6, 2003, with season 3 featuring two 11-minute segments per episode. Animation was outsourced from Suzhou Hong Ying Animation Company Limited from China for the first two seasons and Philippine Animation Studio Inc. from the Philippines for the final season. Glenn Sylvester directed the first season, while Neil Affleck, known for his collaborations on The Simpsons and Family Guy, directed every episode of the second season and also directed episodes of the third season with Lynn Reist. Affleck and Reist later reunited to serve as the two episode directors of Miss Spider's Sunny Patch Friends. What I really like about this show is that it has a calming slice-of-life aesthetic, although the monsters are like their book compartments design-wise, they act far less naughty which makes sense as PBS is about teaching kids positive values. What I like about this show is that it has less emphasis on teaching educational values, but more about the family dynamic, which makes the relationships of the family feel realistic, which also having a relaxing slice-of-life tone that’s reminiscent of Arthur, with a bit of a goofy nature thrown in, mainly with how Three likes using different personas in each episode. The character designs do really give the series edge to it when compared to other PBS shows, feeling reminiscent of something you would see on Cartoon Network. And plus, the theme song preformed by Barenaked Ladies of Big Bang Theory fame is great. So overall, I’d say this is the show I recommend the most from this bunch.

George Shrinks is the fifth show of this bunch and, it isn’t anything special really. It is animated by Jade Animation and lasted from September 30, 2000 to January 23, 2003 for 3 seasons of 40 episodes. Doug Thoms directed every episode in the first season, and while he was kept for directing certain episodes of seasons 2 and 3, other directors usually took his place. Already the show differs from the original source material by having the title character not returning to his normal size at the conclusion, appearing to have already been small with no apparent explanation, and it teaches kids about having a positive outlook, which is fine but it doesn’t make me interested. If you think I’m missing out on something please let me know, because I know it has its own fans.

And now the most weird of the bunch, the final series, Marvin the Tap-Dancing Horse. Animated by Hong Guang Animation, it lasted for two seasons of 26 episodes from September 30, 2000 to January 26, 2002, with each episode containing two 11-minute segments. It tells the stories of a young horse named Marvin who is part of a carnival. Interestingly Marvin used to be a movie celebrity but moved on from that life for a more humble existence.Some episodes include original songs to help illustrate the theme or accompany montages that carry the story forward. The show is based on the love of personal interests of the co-creator, Michael Paraskevas, for carnivals and his mother’s love for musical theatre. It’s like Bojack Horseman if in an alternative wholesome universe.

And so that’s bookworm bunch, a forgotten PBS relic that has some hidden gems, but for the most part it’s fine. Very ambitious to create a Saturday morning block targeted at preschoolers through since older children are usually home. But, there’s some great stuff to behold, like Seven Little Monsters, but otherwise an interesting experiment that unfortunately, flopped.

[razistoricharka]

Super Billy/Super Bili is the first animated series from Bosnia and Herzegovina. It was shown on the BHT 1 channel as part of a children's program. The premiere of the series was on November 10, 2005. The series was made as an advertisement for the meat industry Lijanovići. It was also shown in the US through the largest production company for children's programming, Cartoon Network. The series was produced by Via Media and Pixel, and the series was produced for a year and a half.

insane, suppressed childhood memory rediscovered.

[cartoon-network-things]

The Boomerang UK Schedule from the 26th of November to 2nd of December 2012

Taking a small break from Cartoon Network to post a throwback Boomerang schedule from the early 2010s. I specifically chose this era for mainly two reasons:

It's Nostalgic

It's a lot easier to find accurate archived listings from the 2010s than it is for the 2000s (at least from my experience)

Anyway, the first thing you'll have noticed by now (if you're aware of the main channel's state at that time) is how many more shows are actually on compared to Cartoon Network UK's. Sure, it's not exactly good, but it's somewhat better I suppose.

Another noticeable difference is the presence of a Cartoonito weekdays block running between 9am and 12pm. I don't even know the thought process behind this one. Why was Cartoonito on Boomerang when they already had a channel of their own? Besides, it's not like Boomerang's ratings at the time were doing badly, so what's the deal? It just seems odd to me. Thankfully, this didn't last very long, and was probably discontinued very shortly the following year (or the year after idk).

As for programming, we have a decent number of shows that were on that week. A little disappointing (as a fan) to see only one weekday evening slot for OG Looney Tunes, and also very weird seeing fewer Tom & Jerry airings (both Tales and the Theatrical shorts), as I recall seeing them on-air a lot more often later that same decade. I've also noticed that rather than endless airings of Scooby-Doo/Tom & Jerry, Boomerang UK REALLY LOVED The Garfield Show for some reason. I mean, the show alone took up A THIRD of the late-night slots, as well as constant marathons and special events as you can clearly see from the chart itself. Aside from that however, we do have a decent mix of both old and new shows, though the balance may have been a little off (still better than what we have today). Most of the remaining Hanna Barbera classics (apart from Scooby-Doo and Tom & Jerry) were relegated to graveyard slots (between 4am and 6am), and if you wanted to watch them but didn't have access to a working DVR, you very much had to either wake up extremely early, pull an all-nighter (NOT IDEAL) or just give up.

And for those wondering, yes, this is where Skatoony & Cramp Twins moved to after being pulled from the main network. They were also being shown on CN Too if I remember correctly. Not the best use of their overnight slots if I'm being honest. And just to quickly clear things up, "Casper (2009)" is referring to the show Casper's Scare School, which was a CGI cartoon that had a 3 YEAR GAP between seasons 1 and 2.

Yeah, I'm very much done here. Take care!

[clyde49]

Moltar, 10 and 21

Ok i have solid enough answers for both of these on analysis alone so this will be closer to analysis than fanfiction.

10-Fears: they actually go over this quite a bit in coast to coast. In one episode he's afraid of ghosts (just not Space Ghost) but gets over it by the end. In a different episode he has a nightmare that involved Space Ghost and Zorak being classy while he was fumbling his responsibilities and embarrassing himself in front of them. On a related note he's shown to be insecure about the fact he's the least popular of himself, Zorak and Brak on several occasions. He's definitely afraid to disappoint his wife (if she's real, I hope she is).

21- turning point in his life: Objectively, the biggest changing point in Moltar's life is "Coast to Coast" itself. On a meta level he went from the weakest character in the Concil of Doom to Space Ghost's third most popular villain. In universe it seems like working on C2C did exactly what good a prison labor program is supposed to do on paper for him. While he wasn't really getting paid alongside other sketchy conditions, it's clear working for Cartoon Network is a massive improvement to live in prison where he was working with amateur theater productions and spending a lot of time in solitary confinement. But he definitely goes through a shift from not giving much of a shit in season 1 to his behavior in the adult swim seasons. I'm not even joking I think getting into old cop shows and anime helped him control his bloodlust a bit better and that helped him a lot. Being the director/editor/producer on a talk show taught him a level of discipline he didn't have before.

[thegreatlukeski]

MARSCON 2024 March 8th, 9th, & 10th, 2024 Hilton Minneapolis/St Paul Mall of America – Bloomington, MN Comedy Music Track website: http://marsconcomedy.com Main Convention website: https://marscon.org/2024/index.php

Andy Merrill is a comedian, voice actor, writer, and multi-talented creative known for his significant contributions to the early years of Cartoon Network, Williams Street, and Adult Swim. Merrill's breakthrough role was as the voice of the lovable and eccentric character "Brak" on the groundbreaking animated talk show "Space Ghost: Coast to Coast." Premiering in 1994, this show was a pioneer in adult-oriented animation and played a crucial role in the establishment of Cartoon Network's late-night programming block, Adult Swim.

Merrill continued his work with the character Brak in "Cartoon Planet," a show which started out as a showcase of classic cartoons from the Turner library with interstitial segments featuring Space Ghost (George Lowe), Zorak (C. Martin Croker), and Brak. With the popularity of the interstitial comedy sketch segments and funny songs surpassing the classic cartoons being shown, the show switched to being composed entirely of their sketches and songs, some of which were improvised. On both "Space Ghost: Coast to Coast" and "Cartoon Planet", Andy's comedic timing and distinctive voice brought Brak to life in a way that resonated with audiences and contributed to the show's success. Cartoon Network released three albums featuring music from both "Cartoon Planet" and the two-part variety show special "Brak Presents The Brak Show Starring Brak", which are prized CDs of any comedy music fan. Dr. Demento has played many tracks from them on his radio / internet show since the mid 90's.

In 2000, Merrill went on to create and star in the Adult Swim series "The Brak Show," a spin-off from "Space Ghost: Coast to Coast" that focused on Brak, his best friend Zorak, Brak's Mom and Dad, and their daily sitcom adventures. The show continued the tradition of having excellent funny songs and musical episodes, and ran for 3 seasons. Merrill expanded his involvement with Adult Swim, lending his voice to various characters in popular shows like "Aqua Teen Hunger Force" where he played the recurring role of Oglethorpe the inept alien invader. As the years progress, his voice work continues to extend to notable shows like "Adventure Time," where he brought his unique style to James the Ice Cream Bar.

Merrill showcased his musical versatility by covering the Suicidal Tendencies song "Institutionalized" in character as Brak on the 2018 album "Dr. Demento Covered in Punk". Some people (or at least some people named Luke Ski anyway) say it is the best track on the amazing collection.

Andy makes regular appearances at conventions in the midwest, as well as performances in stand-up clubs where he brings his ukulele and cracks up the crowds with his hilarious jokes and catchy songs. We at the MarsCon Comedy Music Track have been wanting to have him as our guest for many years, and we are very honored to have him join us as our 2024 Comedy Music Guest Of Honor. All hail Brak.

[adultswim2021]

The Venture Bros. #49: "Pinstripes & Poltergeists" | December 14, 2009 - 12:00AM | S04E08

The mid-season finale! The season four split of Venture Bros has been covered somewhat, but basically the boys burnt themselves out behind the scenes and needed a break, so they asked Adult Swim if they could cut season four into two halves, while also upping the episode order from 13 episodes to 16 episodes. The network went for it, and it took them nearly a whole ‘nother year to deliver the back half. So, this ends up sorta being a mini-finale.

This is another one of those episodes that’s more effective if you’re devoted to the story of Venture Bros. Meaning: it’s a little light on laughs. There are jokes in here, and they’re all fine, but there probably won’t be a big long list of all the times I laughed at this one or anything like that. It’s goal is mostly to get Brock back into the fold and to set up story elements that are going to come into play for the second half of season four. There’s nothing wrong with that, but I prefer when the show makes me laugh. But I don’t not care about the story, either. 

In this one: The Monarch gets swindled by Monstroso (mentioned in a previous episode and now here in front of our eyes) into signing a bad deal thinking that he’s merely going to help the Monarch defeat Dr. Venture. Turns out he’s signed away his rights to arch Dr. Venture to Monstroso.

Monstroso’s methods are lawyerly by nature, attempting to financially ruin Dr. Venture by making him use a certain amount of square footage of his compound towards some public good. When scoping out an abandoned factory on his property he discovers that Brock and SPHINX, the super-secret organization dedicated to stopping villainy that falls outside the purview of the OSI by being non-costumed and non-Guild-of-Calamitous-Intent-affiliated, have been using the space secretly. In other words: Brock has been with the Ventures this entire time. Aww. 

Also of note: 21 is shown speaking to 24’s ghost. We’d seen him chatting with 24’s skull throughout this season. He also confronts Brock, a callback to the scene in Tag-Sale, You’re It (apparently repeating the same dialogue) where 21 tries to take Brock on with a non-working light-saber. Brock’s dismissive “boo.” to get 21 to run away is now met with a punch to Brock’s face. Brock doesn’t kill 21, but his newfound respect for giving him a decent fight leads him to team up with him to go beat up Monstroso. The episode ends with Brock casually eating a bowl of cereal in the Venture’s kitchen and Hank, in a delayed reaction, being stunned to find him there. 

SPHINX were previously portrayed as bad guys, but it’s explained that when they were conquered, it was decided to just take all their Egypt-themed crap and use it to start what’s essentially a new group. This explanation seems squarely aimed at the fans of the show who just wish it were an unironic action cartoon. But it's alright! I like it fine, okay! I'm not pissed off at all! At this, I mean.

EPHEMERA CORNER

The Family Guy Chicken Star Wars Double Feature (December 20, 2009)

Sometimes I’ll make note of something to cover for Ephemera Corner; like some kind of specially scheduling thing Adult Swim does that in theory is worth mentioning. But then it comes time to talk about it and it’s like damn, I do not care about this at all. Consider how now in 2024, it seems like they run marathons of certain shows all the time, just because that’s a proven-to-work model for cable television nowadays. So, I might get choosier with these EPHEMERA CORNER programming things.

But for those of you who care: Take note, Star Wars heads! Your favorite Seths went head to head and did a Star War double feature rivaling the Ewok TV Movies. The sci-fi epic about one man turning to the darkside and deciding to deprive his children of committing incest with each other by moving them to different planets will knock your socks off, because that’s what this is: It’s just the movie Star Wars but with cartoon guys in it. I don’t even think they changed the words or anything. Have fun imagining how it must’ve played with 2009-era commercial breaks.

[cartoonnetwork-india]

Lamput - Best Inventions of Specs and Skinny 6 | Lamput Cartoon | only on Cartoon Network India

Specs and Skinny have decided a way to minimize their “orange problem”. Have they finally achieved success or will things take a twisted turn once again? Watch the trio of chaos in #Lamput only on #CartoonNetwork

Do not miss any update on your favourite #cartoons by Subscribing to the Cartoon Network India YouTube Channel, Facebook page & Instagram page

YouTube - https://www.youtube.com/@cnindia Facebook - https://www.facebook.com/CartoonNetwork.India Instagram - https://www.instagram.com/cartoonnetworkindia/

#cartoonnetworkshows #cartoonnetworkindia #cartoonnetworkcartoons #slimevideo #slime #lamputcartoon #cartooncharacters #cartoonsforkids #cartoonsvideos

[ariannapeterson]

Adult Swim cuts ties with domestic abuser Justin Roiland

Adult Swim: After learning that voice actor Justin Roiland has been charged with felony domestic abuse in California, Adult Swim has opted to end its affiliation with him.

Even though Roiland had a key part in the creation and continuance of Rick and Morty, the TV network didn’t think twice about making the crucial decision.

The news

Marie Moore, senior VP of communications for Adult Swim and Cartoon Network, confirmed the claims in a statement released on Tuesday:

“Adult Swim has ended its association with Justin Roiland.”

According to a post from the official Rick and Morty Twitter account, the show will go on without Roiland.

“Rick and Morty will continue,” the tweet said. “The talented and dedicated crew are hard at work on Season 7.”

Adult Swim

Adult Swim is a block of programming on Cartoon Network that mostly consists of animated material targeted at adults and airs late at night.

The block, which debuted in 2001, has become well-known for its varied and occasionally avant-garde programming, which consists of a blend of original shows, acquired programs, and feature films.

Among the most popular shows to have shown on Adult Swim are:

Rick and Morty

Boondocks

Aqua Teen Hunger Force

The Venture Bros

This block’s programming is well-known for its quirky comedy as well as its mature themes and imagery.

Adult Swim has a reputation for cultivating a strong sense of community among its fans due to the fact that several of its episodes have become cultural phenomena and have inspired merchandise, fan art, and even live events.

All things considered, Adult Swim provides an outlet for animators to experiment and push the boundaries of animated television as well as a destination for fans looking for something distinctive and out of the ordinary.

Roiland

Since Rick and Morty’s continuation has been confirmed, Justin Roiland’s voice parts will be replaced.

Since the show’s debut, Roiland has been acknowledged as a co-creator.

After his departure, Dan Harmon will be the sole showrunner left.

Rick and Morty will air until season 10 as already guaranteed.

Justin Roiland continues to work on other projects while departing, such as providing the voice of the lead character in the Hulu comedy Solar Opposites.

He also produces and contributes voice to Koala Man, which will be released on January 9.

Additionally, Roiland has a deal with 20th Television Animation...Read More

Read also: Behind-the-Scenes Look at 80 for Brady with Jane Fonda, Sally Field, Rita Moreno, and Lily Tomlin

Source: The Wall Street Times

[brehaaorgana]

Correct, that's always been the case for Americans. If you're American and didn't see 9/11 that day/don't remember it, then you're not a millennial, you're gen Z.

I had a teacher refuse to put the news on while we were at school, but by that point I'd already seen the news before school started. I'm sure everyone else saw it when they got home. People weren't watching anything else.

There also wasn't really anything else on TV that day, except for a small handful of children's channels.

From Wikipedia:

The television coverage of the September 11 attacks and their aftermath was the longest uninterrupted news event in U.S. television history, with the major U.S. broadcast networks on the air for 93 continuous hours. From the moment the news was broadcast that the first plane hit the North Tower of the World Trade Center, all programs and commercials were suspended, with all four networks broadcasting uninterrupted news coverage.[36] At the end of the night, Nielsen estimated that at least 80 million Americans watched the evening news, while an estimate by the University of Georgia held that about two billion people either watched the attacks in real time or through the news.[37]

The September 11 attacks were also the first time since the assassination of John F. Kennedy that television networks announced that there would be no television commercials or programs for an indefinite period of several days after the attacks, since it was widely felt that it was an inappropriate time for "fun and entertainment" programs to be shown when so much death and destruction was being seen live on television

Most ochannels switched to their parent company's news feed broadcast† and other channels (like food network or HGTV) displayed just like...static messages and slide show images, sometimes also scrolls telling you to switch to the news channels.

† MTV, VH1, & BET switched to CBS. I believe also CMT - all the Viacom networks basically. TNT and TBS showed CNN. FX, Fox Family, and Fox Sports switched to Fox news. Can't recall if ABC family switched to ABC news, or if it was Fox at the time. Local news stations all switched to the national news simulcasts until at least the next day. ESPN and its related channels switched to ABC.

The channels with regular programming were all children's channels or premium channels without news network affiliates:

Disney

Nickelodeon

Cartoon Network

+ possibly TV land, stuff like that.

But even with Nick and CN I don't remember if they switched to news coverage for like, Nick @ Nite and evening CN slots.

Guys, I need to know something (if you're american)

[sweetmariihs2]

.𖥔 ݁ 🛸 ˖ִ ࣪ ₊ 🪐.⊹ Why, based on clues given by the Toy Story movies, the Buzz Lightyear toy was not inspired by the movie "Lightyear" but actually by the cartoon "Buzz Lightyear Of Star Command" .𖥔 ݁ 🚀 ˖ִ ࣪ ₊

Buzz Lightyear was a character exclusively made for the movie Toy Story, which was about toys. In the movie he is a famous character from a franchise called "Buzz Lightyear", and he clearly is the protagonist and hero of this franchise, although it's main media is unclear. There are Buzz Lightyear toys, games, backpacks, bedsheets, posters, tons of different products, but we don't surely know what is the main media of this franchise.

Recently, in 2022, the movie Lightyear came out, describing itself as the reason for Andy to love his Buzz Lightyear toy. But the movie is extemely different than what is shown in Toy Story, and in the year 2000, many years before the release of Lightyear, a cartoon was made with the same premise, called Buzz Lightyear of Star Command. In this case, the show is extremely more accurate to the Toy Story franchise. In this post I would like to describe what brought me to this conclusion.

.𖥔 ݁ ⭐️ ˖ִ ࣪ ₊⊹ Children's cartoons on TV and how this affected their popularity during the 2000s:

Not all of this was shown in the Toy Story movie, but I decided to use this as a period context:

It would be easy to assume that the Buzz Lightyear franchise's main media is the videogame that Rex played but Andy didn't had a videogame at the first movie, and he was a huge fan of Buzz Lightyear already.

In the 90's and 2000's people watched TV quite often. There were schedules for TV programming and many people had routines that aligned with these schedules, for example to watch a specific program at a specific time. I can't speak for the north-american lifestyle, but in Brazil this was a very common part of the 90s/2000s. Children would rush home from school at lunchtime (when school ended) to get home in time to watch the new episode of their favorite cartoon. Since this program was on almost everyone's TV, all the children followed it and were collective fans, something that no longer happens today because of the Internet and streaming (everyone likes different things and belongs to different groups/fandoms). When a program was a hit with children on TV, the network would show advertisements for toys and products related to the program, which were probably manufactured after they noticed how successful the program was, and then finally exhibit movies about the same franchise. This happened a lot in Brazil with Monster High, Dragon Ball, Naruto, and others. Children would buy the products and show them to each other at school, like the craze for Pokemon and Naruto card collections that everyone bought and exchanged.

This was common until the 2010s, which also occurred with Miraculous Ladybug, Monster High, Ever After High (the cartoons were shown on the same TV network as the product commercials, most of the children watched the cartoons and then bought the products, taking them to school and showing them to their classmates who shared the same interest, this included toys). The same kind of excitement was not seen with movies though, at least not as often as with cartoons (but there are exceptions), because while cartoons were shown every day in people's homes, movies were shown mainly in theaters, then later bought in VHS or rented, which make Buzz less likely to be from a movie, based on his popularity.

Considering that:

All of Andy's friends at his birthday party seemed as excited as he was to get a Buzz Lightyear toy;

That Buzz Lightyear toy commercials were on TV as seen in Sid's house (on the very channel that Sid's father was watching, showing that this commercial was not restricted to just cartoon channels but also national broadcasters that broadcast programs for adults (it was a common practice to have a cartoon time in those channels during the 90s and 2000s));

That at first the number of Buzz Lightyear toys produced was not enough to meet demand (as stated by the Barbie tour guide), shows that this franchise was extremely popular;

That we see so many different Buzz Lightyear products at Al's Toy Barn that there is an entire aisle dedicated to just toys featuring the franchise's protagonist, and besides that, there are Zurg toys and magazine guides for the video game in separate aisles, meaning that they were so popular that they were all around the store (like Monster High and other franchises);

It is highly likely that Buzz Lightyear is a character from a cartoon that airs on a major channel network that everyone watches, thus bringing his show to the attention of children, which would explain the great popularity of his franchise.

Personal experience moment: My childhood was during the peak of Monster High in the 2010s. The cartoon was shown on the second most famous open network in Brazil (SBT) and basically all the girls watched it. On the same network, they showed commercials for the dolls, and since most of the girls were fans of the cartoon, they fell in love with the dolls. Soon at school, during the back-to-school period, notebooks, backpacks, and pencils with a Monster High theme began to appear (and in stationery stores). Monster High dolls started to appear in gift shops or toy stores. When a classmate arrived at school with a new Draculaura doll, it was a celebration for most and a source of envy for some. Since the internet was already at everyone's hands, there were online games, websites, review and unboxing videos, and makeup tutorials inspired by Monster High. In addition, we also bought collectible cards, children's makeup with a Monster High theme, and everything with the Monster High logo on it. The TV commercials were changing to more recent ones about new doll releases, there were entire aisles and shelves dedicated to Monster High in toy stores, Monster High themed bedrooms and birthday parties, and in 2014 we reached a point where Monster High was more popular than Barbie herself. Monster High movies also had a spot on the TV network that aired the cartoons, and we (children) rented and bought DVDs of these movies to watch at home. Monster High's fame lasted some years and was quite consistent, but over time it faded and today it has its own niche community. I think the same happened with Buzz Lightyear in the early 2000s, except that it's franchise lasted longer and became a classic, instead of only having a niche community.

.𖥔 ݁ 🛸 ˖ִ ࣪ ₊⊹ Cartoons based on toy lines:

Following the same line of reasoning, it is very common to create cartoons with the intention of selling toys. It is so common that many franchises start with the toys and then create media around them to serve as marketing for the main product. Mattel does this quite often with Barbie (and their Barbie movies), Monster High, Ever After High, but also My Little Pony, Yu-Gi-Oh, Beyblade, Pokemon, Trolls, Bratz, and more.

It's clear that the Buzz Lightyear toy is a big deal among children, and the commercials that air on TV are probably fueling this. In the 2000s, sensationalist toy commercials were very common, the kind that makes you beg your parents to get that toy for Christmas. There are many toys that are interactive like Buzz Lightyear was, that make noise, have lights and movement, for example, like the commercials for Barbie dolls *which by the way were also part of the Barbie movie collection!*. These toys were so hyped in the commercials that they made children beg to have one (even though after a while you got used to the functions of the toy you had and realized that it wasn't that big of a deal, even though it had all the functions shown in the commercial, lmao).

Barbies were always made first and the movies were the advertising for the toys, and from what we've seen in Toy Story, the Buzz Lightyear toys are the biggest product in their franchise, as their popularity is shown in the TV commercials and the Buzz Lightyear-only aisle at Al's Toy Barn. It is made clear that the Buzz action figures are the most popular and most purchased products from the franchise, as the other Buzz Lightyear products are shown in smaller quantities and in separate aisles (and just like Barbie said in the second movie, initially the quantity did not meet demand, showing that sellers needed even more action figures due to the toy popularity)

(I would like to add that the Barbie movies are animated films and are very popular with children. When I say that Lightyear would not be popular with children, it is because a single, mature, live action film would not be able to hold the audience of children for long nor sell as many toys. Clearly Barbie has a great marketing strategy and the films are many and are as successful as a cartoon would be, with endless content about it.)

That brings us into the next subject:

.𖥔 ݁ 🚀 ˖ִ ࣪ ₊⊹ Target audience for toys are children, just as it is for cartoons:

If the Buzz Lightyear action figures were the most popular products from the franchise, the creators of the franchise would want the children to find them, thus putting commercials on TV and probably, as an incredible marketing strategy, making a cartoon that would bring an even stronger bond between the character and children, besides the fact that most of the children already love cartoons and they're also the main public for them. Movies are also liked by adults, but cartoons... cartoons make children go crazy.

If the owners of the Buzz Lightyear franchise wanted to sell toys to children so badly, then they would make a cartoon and not a "live action" movie (it's live action in the Pixar universe). And even if the Buzz Lightyear franchise wasn't about the toys initially, but rather about the media they were producing around the character, a mature film with real actors and an adult target audience wouldn't make toys sell to children as well as Buzz does in Toy Story 2, making it a virtually impossible probability to happen. Maybe if it was a more immature cartoon film, but that's certainly not the case with Lightyear. Lightyear is too mature for the target audience that Pixar wants us to believe that this film had.

(Furthermore, Andy's childhood and the events of the first Toy Story movie take place around 2000, so that was when Buzz Lightyear was popular in the Pixar universe. But at the same time we see that Buzz Lightyear is still popular in Bonnie's childhood, during the early 2010s, with Buzz Lightyear still being recognized by people and therefore being a famous toy up until that point (as he was recognized in the amusement park), being reinforced by the idea that there is still licensed merchandise being produced of him out there (like the promotion shown in Small Fry and Bonnie's backpack in the special "Toy Story That Time Forgot", her mom wouldn't buy her a discontinued item) showing that Buzz Lightyear products are still being manufactured, and Bonnie herself doesn't seem to care that her toy is "old"; He must still be a popular character, and considering that apparently his franchise has games, backpacks and more merchandise, I believe that his case is similar to what happens with several works nowadays, like Star Wars, superhero movies and even Disney movies themselves. Was such a big thing back then and it's company still keeps making more products of it, keeping it popular for a longer period of time.)

.𖥔 ݁ 🪐 ˖ִ ࣪ ₊⊹ "Lightyear" doesn't look like an early 2000s movie:

Now we need to adress the big elephant in the room. Lightyear looks like a 2020's movie, and not only because of the high definition of the animation.

This movie looks too mature; being a sci-fi movie, visually, looks a lot like the movie Interstellar or The Martian (both having adults as target audience and being produced in the 2010's). In this type of film, the main focus is on science and the characters' plot (on planets that actually exist, if I may say so). These are films that make you think and question theories of physics (I personally don't like them very much). Even though Lightyear is set on a fictional planet, we see that there are influences from Mars in this planet's design, and in addition, the planet's own fauna and flora seem very realistic in some points, something that is far from the surrealism shown in fantasy films from the 80s to the 2000s, in which Lightyear is supposed to be set. The film has a less saturated color palette and a slower, more mature pace, things that appeal better to adult audiences.

Furthermore, this type of plot also follows a more modern pattern, as the protagonist is very human, flawed and less stereotypical than would be expected from a character like Buzz Lightyear (from the Buzz Lightyear franchise, not the toy from Toy Story). I'll go into more detail on this later.

Modern films today often address mental health, trauma, and social pressures, and these subjects were treated more recklessly during the 2000s. Not that I think this is a bad thing, but for a film about a supposedly "very cliché superhero trope" that should look like it was made in the early 2000s, this is a very unusual trait.

The character Buzz Lightyear from the franchise has a very striking personality and visual identity, but somehow Buzz in the Lightyear movie doesn't have the same impact and presence, seeming like a more irrelevant character than he is shown to be in the Toy Story universe. He also only gets to wear his main uniform after the first half of the movie.

Speaking of period contexts, I highly doubt that an action film that came out in the 2000s and was supposed to have a standard hero protagonist (they couldn't even do that lmao) would have female characters that were made so respectfully and important to the plot (😬). In the same way, a film with so much natural representation and diversity would be easily boycotted by Hollywood studios. The writers would have to change the things that bother the studio, which would make the film very different from the initial idea, or else there would be no film. But these arguments about representation in the film are somewhat invalid, since the Pixar universe is fictional and Pixar could very well write that in the 2000s, within its universe, there was not so much prejudice like we had in ours.

I would like to already get to the visual topic, but I need to talk about the classic hero trope first.

.𖥔 ݁ 🌌 ˖ִ ࣪ ₊⊹ Buzz' flawless hero trope shown in Toy Story:

In the first Toy Story movie (and in the next ones) Buzz Lightyear acts like those superhero characters who are protagonists, who knows that they're strong and everything always work out for them in the end. For the most part of the movie that was the comic relief and what moved the plot. Buzz was reckless, made reckless decisions, subconsciously believing that because he was a hero all his plans would always work out and end well. He does risky stunts, makes sudden heroic decisions (like the decision to save a Combat Carl from one of Sid's explosions when all the other toys knew it was impossible to do so and held Buzz back, which led him to lament "I could have stopped it"), he is overconfident and takes risks because he subconsciously believes there will be no consequences, just like all heroes. In short, Buzz Lightyear is a cliché hero.

He has a great sense of optimism, heroism and protagonist syndrome that is backed up by what is shown in BLoSC: things always work out for him because he's great, he's the protagonist, he's brave, and he's the hero. Toy Buzz fits perfectly into the flawless hero trope, which does not happen in the movie Lightyear, because he has tons of flaws and is dealing with personal issues throughout the movie. The character Buzz Lightyear in Toy Story is meant to be a satire of the flawless hero trope (a satire that is very common in out media nowadays, like in the movie Megamind or the cartoon Villainous for example), so his behavior is not consistent with the movie Lightyear.

In Lightyear, Buzz is insecure for a huge part of the movie. Flawed characters/protagonists are not the mistake here, the mistake is that the Buzz Lightyear franchise needed a source media and this source media was supposed to portray a cliché hero, otherwise it wouldn't make sense with the whole Toy Story franchise... which is what was made first. Immediately everything we know about the character Buzz outside of the toy no longer makes sense.

(And the same goes for Zurg. Toy Zurg in Toy Story 2 knew that he was Buzz' father... of course, that could maybe be a lie of his if he's an elder Buzz like in Lightyear, but I refuse to believe that 'BuzZurg' would play with his younger self and call him his son. And he would also look at his body and find it weird. But guess what? The cartoon walks side by side with canon and fits with everything that was shown in Toy Story)

In Toy Story it is implied that even when the toys discover that they're toys, the personality they had still remains in them. Buzz remained brave, tactical, intelligent, analytical, knew how to fight, and takes things very literally (because his *franchise* character only required him to take things literally, he's from a simple *franchise* character, easy to understand!)

I would like to talk more about this in the Buzz Lightyear of Star Command topic of the post, that is after the visuals topic.

.𖥔 ݁ 🌘 ˖ִ ࣪ ₊⊹ "Lightyear" does not match visually with the Buzz Lightyear franchise in Toy Story, while "BloSC" does — The futuristic Y2K neon space theme:

The Buzz Lightyear character and franchise have a very unique visual identity. The references to futuristic depictions from the 90s and 2000s are very clear, and we can already notice it just by looking at the bright colors and fun design in Buzz' uniform. Him and his franchise have very solid design choices: with bright neon colors, it's saturated, futuristic, very fictional and "star wars" inspired, and yet very 2000s coded.

There are other similar real life franchises that can be compared to what Disney was trying to show through Buzz Lightyear, a bit like The Jetsons, but different like Space Channel (I know that there are more, I'm just not very familiar with this genre and I can't seem to find anything in my own cultural repertoire lmao). This post really sums up everything.

I made an improvised post where I talk about this specific visual that Disney/Pixar chose for the Buzz Lightyear franchise, and this is backed up not only by the movies but also by the way Buzz is marketed in the Disney parks.

Quoting myself:

"Something that really caches my eye about Buzz Lightyear of Star Command (the show) is it's aesthetic. My eyes light up when I see the nostalgic neon space theme the series has going on."

"I searched more about it, trying to find a name to define this; it's heavily influenced by 90s/early 2000s design choices, and there's some inspiration from Wacky Pomo but that's not it yet. BLOSC reminds me a bit about futuristic views from the 50's like the aesthetic Googie Kitsch, but I don't feel like that's it. Reminds me a lot of internet nostalgia aesthetics. Also I feel like there is some influence from the 80s in it too, reminds me of malls, arcades and rollerskates, kinda like what FNAF did to his Security Breach game, specially the Fazer Blast part, even though it doesn't appears much in the game (we can see more of it in Help Wanted 2). I found some inspirations of what I'm talking about on Pinterest."

"We can see a lot of influence from the series' aesthetics in the Buzz Lightyear Astro Blasters ride at Disneyland (I went on that one, at Disneyland Paris)"

"And also in the Alien Swirling Saucers attraction. (I never went to this one)"

Besides that, we have references that are given in the films of what would be the visual identity of the Buzz Lightyear franchise. We can see it in Andy's room during the song "Strange Things" and in other moments of the films (Like in Toy Story 2 and the hallway focused only on Buzz in Al's Toy Barn).

The Buzz Lightyear franchise shown in the Toy Story movies has very solid visuals but Lightyear does not share the same aesthetic (It doesn't even look like a movie that children would be interested in, much less a great hit, even less a movie that would sell so many toys and market itself so differently from it's source material in the first place).

And Buzz Lightyear of Star Command knows that (Weirdly, I couldn't find the intro in english).

The visuals of BLoSC match with what was shown in Toy Story. And in canon, or at least for a long time, all the intros showed Andy's toys watching the show and seeing it as Buzz' cartoon, which means that Andy probably had access to it too, if he owns the VHS tape shown in the debut movie.

.𖥔 ݁ ☄️ ˖ִ ࣪ ₊⊹ Buzz Lightyear of Star Command — The show that wins where Lightyear fails:

The cartoon/show "Buzz Lightyear Of Star Command" started being produced before Toy Story 2 came out, and then Disney decided to hold back the debut to release it after Toy Story 2, meaning that it's creation was being considered between the first and second Toy Story movies (around 1997/98).

The movie Toy Story was about Pixar testing waters first. They were still developing the universe, the characters, the 3D animation (it was the first 100% CGI movie ever made, c'mon!), their own company, and Pixar did not had the fame and fanbase they have today. Of course they had Disney's money, but this does not change the fact that Toy Story was at it's sketch and the people involved were trying to make things work out first. The fictional Buzz Lightyear franchise was only that: Fictional, a fake brand that manufactured toys, that was popular among children, and that looked cool enough to make it believable to the audience that a Buzz Lightyear really was a much-coveted toy among young boys, and rightly so. They wanted us to look at this toy from this fictional brand and think "hell yeah that toy is cool as heck".

Eventually, Toy Story was a success and it blew up. Disney then noticed that there was a demand and a public for the fake brand they created; their fictional brand/toy was so cool that people were actually buying the toys they made based on this fake brand, and then they noticed an oportunity: "what about making it real?"

Buzz Lightyear of Star Command came out in October 2, 2000; after Toy Story 2 that came out in 1999. We also need to take into account that the people responsible for making the first Toy Story movie and who were on Pixar when BLoSC came out are not the people responsible for making Toy Story 4/Toy Story 5 (it didn't came out yet) and Lightyear. Thus, those who started the story are not involved in the project anymore. Many were fired or laid off from the company by Pixar. Which explains how Lightyear doesn't make sense with Toy Story (although I find this debatable; in my opinion, with enough effort, a new team is capable of making a good adaptation, especially of what is expected from a big company like Pixar).

What I find interesting about this show is how it's creators took the information that was given about the Buzz Lightyear franchise within Toy Story and used each of those tips cautiously so that the show would live up to what was indirectly described about it in those films, which makes BLoSC... the perfect Buzz Lightyear source material. Even in Toy Story 3, released in 2010, long after BLoSC came out and looong before the premiere of "Lightyear", this film has so many references about Buzz before discovering that he was a toy, the directors decided not to deny any information given about him that was in the show. Meaning that BLoSC was probably still canon even in Toy Story 3. Gosh, they even mentioned that his character graduated in a Space Ranger academy, just like in the show (Demo Buzz says that under Lotso's manipulation in Toy Story 3, and we literally see scenes of Buzz in his academy years at the episode Tag Team).

I should also mention that the design of the Buzz Lightyear toy is more in line with the cartoon design than the movie design (same with Zurg). Even though in Lightyear it is said that Andy is a fan of Buzz because of the movie, the toy doesn't look as much like the character from the movie as it does from the cartoon. He doesn't even have the same voice actor (okay, Toy Buzz and BLoSC Buzz have different voice actors too, but at least they're supposed to sound similar!). I would be sad if as a kid I asked for a toy of my favorite hero and got a toy that has nothing to do with him. And all of Andy's friends are so hyped about a toy of their favorite hero that doesn't look or sound like their favorite hero? This doesn't make sense at all. Here is a comparision between the two medias and the toy they're about.

Besides that, if toy Buzz' memories were from the movie "Lightyear", he would have looked at his own body and have a panic attack because it doesn't look like his uniform in the movie. Why would his chest be so big out of a sudden? And what about his cat Sox that's not with him? And the hair he did not even thought about searching for in his own head? The BLoSC Buzz never even showed his hair, so that is another reason of why he didn't even think about taking his cap off, because he never does (his hair is a mistery). Buzz from the movie Lightyear, however...

I think the picture I chose for Buzz from Buzz Lightyear of Star Command doesn't show his design enough. He actually looks a lot like the toy Buzz' design. Let me add some gifs.

"Buzz Lightyear of Star Command" shows situations similar to what is shown in "Lightyear" too. In both movies, Lightyear lost his partner and has difficulty working on a team, thinking he can handle everything on his own. Eventually in both stories the plot brings him a group of rookies and he learns to accept them as his team while they fight against Zurg. There is also a plot twist at the climax of both films: In BLoSC, Buzz discovers that his former partner Warp Darkmatter was actually alive and working for Zurg. In Lightyear, Buzz discovers that Zurg is actually himself from the future.

(It seems that Lightyear tried to make references and be like a reboot of BLoSC, but the execution was not so good since the work is very far from what is shown as canon in Toy Story)

BLoSC also easily fits in the TV show theory I spoke about earlier in the post. It is possible that this cartoon was shown on a big TV network inside the Pixar universe, the same network where the commercials were shown. It is also possible that the cartoon was made to promete the toy line, similar to other shows that follow the same pattern, considering the relevance of the toy among children and for the brand itself (probably their biggest source of income).

.𖥔 ݁ 🌠 ˖ִ ࣪ ₊⊹ List of things shown in BLoSC that accurate to Toy Story (therefore, better than in Lightyear):

The visual identity (the 2000s futuristic theme);

BLoSC actually looks like it was made in the early 2000s;

The character's designs;

The character's personalities;

The character's lore (Zurg being Buzz' father, Buzz coming from a Space Ranger academy, the cliché hero trope);

The cartoon is easily believable to be loved by young boys and it's target audience is clearly children, while Lightyear is much more mature;

BLoSC came out first and was considered canon for a really long time since when the first movies came out, and the Toy Story movies showed things according to the show itself, which did not happened with Lightyear;

.𖥔 ݁ 🛸 ˖ִ ࣪ ₊ 🚀⊹.𖥔 ݁ 🌌 ˖ִ ࣪ ₊ 🌘⊹. 𖥔 ݁ ☄️ ˖ִ ࣪ ₊ 🪐⊹.𖥔 ݁ ˖ִ

[luzarvizublog]

Film Journal #3: WWII & 1940s (What's up Prop-aganda?)

"A Wilde Hare" (1940)

Directed by: Frederick Bean Avery

1) Technique section:

How was it made? 

"A Wilde Hare" also introduces hunter, Elmer Fudd, with his classic look and voice. While the animators played around with Elmer's design for a bit longer, this cartoon gave us the foundation for his final appearance. As for Bugs, his character continued to grow and change, but his iconic look, voice, and personality all started right here. It’s a fun piece of animation history!

What materials were used?

Like many other films, this was made using traditional cel animation. Disney popularized the multiplane camera, but Warner relied on simpler camera techniques, with characters and backgrounds moving more traditionally.

How was it captured?

The short was filmed using a 35mm camera and an animation stand. This setup allowed for precise frame-by-frame photography. While Warner could have used a multiplane camera, they opted for simpler techniques instead.

2) Representation section:

What is the short about?

Elmer Fudd is out in the woods enjoying "wabbit" season, but his day takes a fun twist as he gets playfully teased by Bugs Bunny, who’s always one step ahead!

This short is considered one of Bugs Bunny's first appearances. However, there was another bunny in Merry Melodies before, such as the one that appears in the "Porky's Hare Hunt" animated short from 1938. In this short, they provided a glimpse of Bugs Bunny's future personality, design, and iconic catchphrase, "What's Up, Doc?"

Who does it depict?

It depicts Elmer Fudd and Bugs Bunny's first confrontation, primarily showcasing Bugs Bunny's initial appearance and his big personality. This moment marks the rivalry between these two characters.

3) Reception section:

How was it shown?

Television was not accessible for some households, so people would go to the movie theater to watch animated shorts. Nowadays, when you visit the cinema, you often have the opportunity to watch a few shorts before the main film starts. This was a common way for audiences to enjoy these types of films, as they could view them before the feature presentation. It probably wasn't until the late 1940s-1950s that these shorts started appearing on TV.

How did you see it?

I vividly recall watching this when I was young. I did some research cause I remember watching it on Cartoon Network along with other animated shorts from Warner, and yes, It was part of the regular programming blocks dedicated to classic Looney Tunes shorts.

What was the response at the time? Now?

The short film was very well received when it was in theaters. The catchy phrase "What's Up, Doc?" captured everyone's attention and shaped their expectations of how a rabbit would react to a hunter. As a result, nearly everyone wanted to watch that short film. Nowadays, it is considered a classic and historically significant animation film because we could say it marks the birth of Bugs Bunny.

Fun fact: This phrase was added by director Tex Avery, who explained that he didn't think it too much because the phrase "What's up, dog?" was actually common in Texas, where he was from.

Sources used: