#ted geisel

[smbhax]

How the Grinch Stole Christmas! (1966)

[talkstothemoonandstars]

Happy Birthday, Dr. Seuss!!

March 2

[mudwerks]

The Cat in the Hat Publicity Cel (DePatie-Freleng, c. 1970s-80s) 

The Cat in the Hat is featured here in this delightful hand-painted original publicity cel based on Dr. Seuss' beloved classic children's book. The first adaptation of the book was the famous 1971 animated TV special produced by DePatie-Freleng Enterprises in collaboration with Chuck Jones and Ted Geisel.

[acmeoop]

Voice of The Grinch

Top: Drawing of Boris Karloff as the Grinch by Chuck Jones, created during the sound recording of Jones’ “Dr. Seuss’ How the Grinch Stole Christmas” 1966.

Bottom: Photo of Ted “Dr. Seuss” Geisel, Boris Karloff, and Chuck Jones during the sound recording of “Dr. Seuss’ How the Grinch Stole Christmas.”

[barxlupin]

Muses' Sexualities

Maurice Leblanc: gender non-conforming, bisexual (male-leaning)

Georgette Leblanc: gender non-conforming, bisexual (female-leaning)

James Joyce: pansexual

Murasaki Shikibu: bisexual

Henry Poe: homosexual

Ted Geisel: pansexual

Arthur Conan Doyle: demisexual

Patrick Süskind: pansexual (female-leaning)

[dailylooneys]

Happy 80th Birthday to Private Snafu!

Snafu.......Situation Normal All........All Fouled Up!

A series of World War 2-themed animated short films screened for young military men. They were mainly instructional, educational films, but still contained that same irreverent, slapstick comedy style of humor of the Looney Tunes & Merrie Melodies, thanks to the contributions of the boys of Termite Terrace: Chuck Jones, Bob Clampett, Friz Freleng and Frank Tashlin, and voice legend Mel Blanc.

The intention these cartoons had on the military audiences was that, the titular character, Private Snafu was an incompetent soldier that was meant to illustrate, in more straightforward way, what NOT to do (true to his name that is), with practically each short ending with Snafu getting blown.

Imagine how different it could've been if Disney had done these instead of Warner Bros., as that was the United States Army’s first choice. But that didn't happen as Leon Schlesinger would bid lower than Disney.

These shorts, of course, generally remained obscure in the minds of the mainstream audiences (until recently that is) as they never were intended to be shown in public theaters. As Martha Sigall, a staff of the ink-and-paint department at Leon Schlesinger Studios, stated these Private Snafu cartoons were top secret. They wore ID badges, did fingerprints, got FBI approval and were given ten cels rather than the usual thirty cels, to prevent them from knowing about the stories.

Therefore, it was never made for a general audiences of kids and adults as the publicly released Looney Tunes shorts were, especially considering it’s content; mild swearing (i.e., damn, hell) and fanservice displayed all over these cartoons that couldn't have been possible in the days of the Hays Code (it's especially surprising to note that Ted Geisel, AKA Dr. Seuss, of all people, was the main writer for THESE!!! Wowie!!!!). 

Fun fact: (one of the shorts titled “Censored” was shown on Cartoon Network’s trivia show Toonheads late at night with half of the scene featuring a topless Sally Lou cut out!)

And, naturally, because this was a WWII-themed series, featured a good deal of derogatory depictions/imagery of Japanese/Germans and Nazis (which will not be shown here).

It's interesting to see not only how strongly connected Private Snafu is to the Looney Tunes, considering, not only the same style of humor, but the two cameo appearances of Bugs Bunny (Gas and Three Brothers), which could make Snafu himself a Looney Tune. 

This is especially considering his early bird cameo in Chuck Jones’s The Draft Horse.

Later on, Private Snafu would not only be done by Warner Bros., but also by it’s competitors, like MGM, UPA, Harman-Ising and Disney. 

Two shorts were left unproduced. One of them was originally going to be directed by none other Tex Avery at MGM. Too bad that didn’t happen!! 

Though the Private Snafu series maybe a time capsule of World War 2, as oppose to being as timeless as the classic Looney Tunes cartoons are, they still serve as a fascinating historical art, a look at what our world was going through, and still included a lot of the trademark style of humor seen in the Warner Bros. cartoons that still kept it entertaining enough.

[sleepy12ftpanda]

hope is a skill

[franki-lew-yo]

About the 'Roald Dahl edits'

Can someone please just show me an actual, undoctored picture of the changes being made to which books?

That's all I ask! I keep seeing absurd clearly liberal-mocking fake scans that no book company would ever make being presented as "evidence" of the changes. Don't do that. Show me a list of the changes.

Welp, I'm writing about this because, as I've expressed before, I love Roald Dahl as a writer but I don't like him as a person. That's the thing about some people's work- it just comes with the territory that they are at LEAST 'problematic' given the creators worldview; Dahl, Lovecraft, Tezuka, Uncle Walt, even my German-crabapple daddy Ted Geisel. I'm not gonna @ these dead ppl for DARING to not be up to my modern liberal standards no more than I am gonna paint them as REAL LIBERATORS bcuz I want them to be -! When it comes to removing books from circulation or editing out words, I understand.

Regarding the changes though...I really haven't seen anything that's too wild?? Yet.

As a brief aside, I think it'd be better for everyone if The Witches was just removed from publication. It's Dahl's most offensive book when you combine it with his real world politics. And again I say screw the accusations that this book is 'sexist' when the problem with it is that it's antisemetic and so was Dahl.

But honestly? Changing the line to be "some ladies do wear wigs and there's nothing wrong with that" works with Dahl's writing style. Same with calling Augustus Gloop 'enormous'. Same effect in place, just without the sting of just calling a child fat.

Now, if these lines are left in place while Luke's grandma's explaining in the text how "no, don't pick at people's hair even if they're wearing gloves they aren't all witches" are given the boot, I can understand some outrage. But, again, to me I think this is better proof as to why Witches should just be left alone and maybe not published anymore. The og text did provide context, the problem is that the book itself is racist by asserting that all witches are 'evil', and that the only reason to not bother women with wigs and gloves is they "may not be a witch". That's messed up, even if it weren't alluding to any real life antisemetic-isms. Asideaside-- I'd be very curious to see how the The Twits is changed if it's changed at all. Twits has this very poignant description of how, no matter how unconventional you are, you can never be 'ugly' if you are good and sweet- where no matter how "pretty" you are, if you are an ugly person inside people will see you that way. It's a really good breakdown of that phenomena even though it's still technically bodyshaming. Also, they're monkeys, not people (take that as you will) but The Twits is about an abused family of stolen monkeys and birds tricking the Twits, who are their captors, into killing themselves and then returning to the wild where they belong. --- Anyway...removing the part of BFG where the giants says humans of different country's taste different or Mr. Grasshopper's awful quip about Mexicans in James and the Giant Peach isn't any skin off my nose. Especially if they are going to read to young kids today, kids don't need to hear that kind of language. Philly Pullman can disagree with me all he wants but personally I think these books, not their author's squeaky image or politics, deserve to live on.

That being said-

I would be upset if changes were made that started insisting that characters who were fat AREN'T fat, now. Or that the white cis cast Dahl wrote were now being described as bipoc or genderfluid when they weren't. Let's not pull a JK Rowling here. Yes, it is true that for Charlie and the Chocolate Factory Roald both a) wanted Charlie and the Buckets to be a black-British family and b) removed racist descriptions of the Oompa Loompas within his lifetime from real life pygmies to a fantasy-race. That's awfully neat of him for someone so much of turdwhich. Those kinds of changes are best for adaptations and reinventions of the stories. But it'd be indecent of the publishers to suddenly push the idea that the Buckets are black and always have been now, and/or that the Oompa Loompas can't still be racist somewhat just because they aren't depicting a real life ethnic group. To alter the original text of the books well after Dahl's death to be more 'friendly' IS the kind of censorship and historical revisionism to be wary of.

It's there that Pullman's comments of 'read another book' ring true: If you can't take that the book has some problematicisms in it, I tell you there are other children's books to read! By making the text of the books 'progressive by modern audiences' standards, that'd be erasing this very discussion and, more importantly, the concerns of BIPOC/Jewish people everywhere.

That'd be like if Disney rereleased Fantasia and had a redesigned, less offensive Sunflower in the background. That'd be disgusting, not because Sunflower shouldn't be reclaimed or redesigned, but because that's a company wanting to hide from the mistakes of the past in order to sell more stuff to you and make you trust them. I'd love me a black Charlie Bucket, but in a new version of Chocolate Factory, not an attempt to hide liberals from the fact that uncle Dahl was racist.

That's what I think should be continued, both as a way to keep his work alive and also to diss Dahl from beyond the grave: adapt his works!!!

Fantastic Mr. Fox, Matilda, James and the Giant Peach, BFG, and Willy Wonka are awesome. Dahl hated changes to his stories being made for film....so change his stories for film! Some things have to change and should change. While the 2020 Netflix The Witches was bad, I could get on board making Luke and the humans in the story people of color. That has the potential to turn the connotations of the original on it's head; instead of witches being a metaphor for 'secret societies' they'd be an illusion to real life organizations that tout themselves as kind and homely and traditional but are actually pure evil. How the witches specifically target children of certain demographics only for the dog to bite back and fight them with their own medicine- also keep the nice witch from the 80s film.

None of these changes would ever fix the fact that the og book is what it is, but they're an example of why adaptation, not revisionism, is so important.

Don't hide from mistakes of the past. That's why I'm as upfront with you all about my inspiration for my works being Dahl and Dr. Seuss. These people are not perfect and they're also not my own essence of creativity- but you can believe I was inspired to write because of them. Dana Terrace absolutely has Harry Potter to thank for The Owl House-it doesn't mean Owl House should pay for Harry Potter's sins. Let Owl House pay for it's own sins, thank you!

When it comes to problematic/ offensive work of the past, we should not be hiding from them. Teach kids and adults to think critically and learn that their white-made nostalgia is biased and bad sometimes. When it comes to problematic/ offensive works by still living authors, please just don't by Hogwarts Legacy.

That's all I got. Feel welcome to @ or message me if there's something my white-Gentile-ness forgot or am leaving out. I want to have an actual conversation about this cuz I think it's important. This post also kept me from falling asleep midday again.

[inscryption-gamers-au]

oh to answer yourself question lu. I mean nobody,

The Lorax (also known as Dr. Seuss' The Lorax) is a 2012 American 3D computer-animated musical comedy film directed by Chris Renaud, co-directed by Kyle Balda (in his feature directorial debut), and produced by Chris Meledandri and Janet Healy, from a screenplay written by Cinco Paul and Ken Daurio. Paul and Daurio also served as executive producers alongside Dr. Seuss' widow Audrey Geisel. The second screen adaptation of Seuss' 1971 children's book of the same name following the 1972 animated television special, it was produced by Illumination Entertainment and distributed by Universal Pictures. The Lorax stars the voices of Danny DeVito, Ed Helms, Zac Efron, Taylor Swift, Rob Riggle, Jenny Slate, and Betty White.[4] It builds on the book by expanding the story of the Lorax and Ted, the previously unnamed boy who visits the Once-ler.

[The scrybe remains silent, despite your rambling about this lorax]

[... I do not know any of those names, either. Except Betty White]

[barxlupin]

Ted glances at the lone customers sitting at the counter. Technically speaking, Bar Lupin isn't quite open for business yet - explaining the lack of other people inside - but the boss had made it a general rule to still let people in (especially if it looked like they needed a place to hide).

Ted isn't used working behind the counter yet, he's still learning. The manager says he's a quick learner and is doing well - probably the reason why he trusted to leave him alone while he went out to run some errands after serving this one customer.

He nods when the customer asks if smoking is allowed, then gestures for him to wait while he shuffles to the back. He knows they have things others than alcohol in there, such as coffee and tea, although they tend to be more akin to secret menu items or for the staff's consumption. Neither of the waitresses is that fond of alcohol.

As he disappears through the door leading to the back of the bar, a cat jumps on the counter and approaches Ayatsuji. It's a strange feline, not much for its fur pattern, a pretty standard black-and-white tuxedo, if not for the fact that it's wearing a small top hat and what looks like a bow tie collar with a tag reading 'Seuss'.

"He'll be back shortly." Oh yeah, and when the cat opens its mouth, perfectly enunciated words can be heard rather than meows.

True to the cat's words, Ted returns quickly, carrying a steaming cup of coffee, which he swaps the glass of alcohol with, alongside a sugar bowl and a small jug of milk, since the customer hasn't specified how he wanted his coffee.

@barxlupin

"Is smoking allowed in here?" Seated at the bar, he twirls his pipe in his fingers, gazing at the liquid before him. Had he ever drank anything alcoholic in his life? No. He didn't like the thought of not being in control or the possibility of the government finding the perfect chance to adorn him in lead. But as they say-

When in rome, do as the romans do.

Placing it to his lips, he takes a small sip. Absolutely disgusting-

"And do you have coffee?"

[crownshattered]

@barxlupin inquired: quick! while they're not looking, we can make a run for it. (Ted @ Malleus)

⁕| Shrek 2 |⁕

What was he doing..?? Malleus watched with a--mildly--confused expression as the human started to tug the dragon prince away. He liked this human, what with his inept ability to revive Malleus' most dearest treasure. But he was still so odd... Not that Malleus minded. Most people thought he was odd too, after all.

Malleus made an off-hand comment about the annoyance of having his guards follow him any time he wasn't in his classes. He didn't expect Geisel to suddenly try to help him make an escape. It was almost like the human had experience evading people...

So, Malleus put up no resistance when Geisel tugged him away from his guards when their back was turned. This method was far more risky... He usually just teleported away, but he supposed this worked too.

[barxlupin]

HSR AUs

Maurice Leblanc

Leblanc, an intergalactic thief known as Thief of Shooting Stars, with a bounty of over 100,000,000 credits, infamous for his thrill-seeking tendencies and reputation as being uncatchable.

Path: The Nihility

Damage Type: Lightning

Georgette Leblanc

Enola Holmes, a Galaxy Ranger who seems to have a particular obsession for catching Leblanc unaware that they're siblings. Catches criminals by disguising herself as a civilian to make her targets lower their guards.

Path: The Hunt

Damaga Type: Lightning

James Joyce

Feixue, a former healer, field medic and Alchemy Commission member who fought during the Third Abundance War as a Cloud Knight. Currently runs an inn on the Xianzhou Luofu, in Aurum Alley.

Path: The Abundance

Damage Type: Ice

Murasaki Shikibu

A former Memokeeper turned History Fictionologist with a fondness for 'writing' herself into certain situations to better observe without being noticed unless she choose to be seen.

Path: The Harmony (combat), The Remembrance (former), The Enigmata

Damage Type: Quantum

Ted Geisel

Xiao Hei, a long-lived human who was abandoned by his biological parents for being born without the ability to speak, and adopted by two short-lived women who raised him lovingly, if a bit sheltered, until their passing. He now travels the galaxy as an artist and illustrator.

Path: The Erudition

Damage Type: Imaginary

Patrick Süskind

Baptiste, a member of the Masked Fools, a perfumer who runs a perfume shop on Penacony, with a perchant for playing tricks on his customers for his own amusement.

Path: The Nihility (combat), The Elation

Damage Type: Wind

Henry Poe

Henry, a space pirate turned smuggler who travels the galaxy in search of his missing siblings.

Path: The Preservation

Damage Type: Imaginary

Arthur Conan Doyle

Professor Edward Doyle, a member of the Armed Archeologists faction of the Intelligentsia Guild with ties to the Garden of Recollection.

Path: The Erudition

Damage Type: Fire

[delcat177]

I've been using a phrase wrong comrades

[tomfowlery]

Everyone knows about Jones' How The Grinch Stole Christmas special from 1966, but do you know about the 1986 Russian Thidwick adaptation? With artwork painted on glass, it looks even more beautiful in motion

[behemothhecatombe]

Stag at eve

by Ted Geisel (Dr. Seuss)