Animotion and Car Tunes

[Thad]

Bill Farmer plays Hop Pop in one of his only non-Goofy roles.

Hey, dude's got 252 IMDb credits and only 169 of them are Goofy.

[Mongrel]

Gawrsh!

[beatbandito]

Bill Farmer plays Hop Pop in one of his only non-Goofy roles.

Hey, dude's got 252 IMDb credits and only 169 of them are Goofy.

Roles that aren't Goofy, Pluto, "various" and/or one-offs:
Secret Squirrel in 3 Harvey Birdman credits
The New Adventures of Mighty Mouse on 1988, 8 episodes
Two dwarves from "Disney's 7D", 44 episodes
Hop Pop for 40 episodes, various extras, games

Edit: This post started angrier than it needed to be because of other stuff, that I fortunately caught early. So now it's just random added information.

[Thad]

Fair enough, but I wouldn't dismiss "various" or one-offs out-of-hand. That tends to be where most VAs do the most work.

When I think of Dee Baker, I think "the guy who does the animal noises" before I think "Captain Rex". Though I realize I may not be representative.

[Thad]

I've been watching Duckman and man that is a show of wildly variable quality. At its best it's postmodern, satirical, and formally experimental. At its worst, it's a bunch of whining about political correctness and how it stifles edgy, envelope-pushing comedy like describing Asian people using jokes about Chinese food.

...okay actually at its best it's just Jason Alexander shouting "You thrust your pelvis, HWAH!" over and over again.

[Niku]

Owl House has not grabbed me near so much as Amphibia but halfway through season two it's definitely got its own charms. Living for how both isekai disney cartoons transport their heroines into ABSOLUTE NIGHTMARE WORLDS in their own different ways.

also amity is such a goddamn disaster lesbian she rules

[Thad]

Nitter mirror

(In case you can't see the embed: it's a page-by-page breakdown of the script for Homer at the Bat and the changes from script to screen.)

[Büge]

[Thad]

Pirates, as always...

[Büge]

I mean, yeah. But that's not going to help animators find work if their previous output is languishing in digital limbo.

[Thad]

No, it isn't.

Almost as if the primary purpose of reducing artistic works to "content" and locking them behind DRM so that some C-suite goon could unilaterally cut off all legal forms of access to them at any time was never really about piracy at all but just one more way for businesses to control and dehumanize creators.

[Thad]

Per Owen Dennis, HBO Max's recent wave of cancelling shows and/or pulling them from the site entirely isn't a tax thing like Batgirl and Scoob 2, Discovery's straight-up doing it to avoid paying residuals to creators.

(Which I guess is still slightly better than Disney's strategy of keeping stuff available and not paying royalties.)

Bruce Timm's new Batman cartoon is among the latest round of casualties, though at least that's getting shopped to other networks instead of just locked away forever.

This is...something, all right. I sure didn't expect Discovery to be a worse corporate parent than AOL or AT&T.

[KingRoyal]

A streaming company going ruthlessly cancelling a bunch of stuff that has already been created for economics reason sure does cast a lot of doubt on the actual financial viability of streaming. Aside from the "Every tech company is kept afloat by yearly injections of VC cash" thing we already knew about. And none of that changes that the people who get the most screwed out of all of this are the people who make stuff

[Thad]

I don't know how much any of this generalizes; I've got a sneaking suspicion that Discovery management is just really bad at this.

That said, Netflix is certainly finding that its year-over-year growth is unsustainable and not dealing with that economic reality very well, and I don't think the current fragmentation of the streaming market is going to be sustainable in the long term, either. HBO Max was actually in a pretty strong position before all this, on the strength of its catalogue alone; Warner is really the only company that's on the same level as Disney for the sheer depth, breadth, and history of its library. Now Discovery's started ripping out entire wings of that library, which strikes me as...perhaps not a genius business strategy.

Under AT&T, HBO Max had confusing branding and a shitty UI, but it still had real potential to weather whatever upheaval the streaming industry has coming its way. Now, I'm a lot less sure about that.

Looking at the way things stand now, it's sure looking like streaming is going to be one more industry that Disney dominates. I'm not saying that's a good or desirable outcome, but I am saying that they seem to have a combination of massive back catalogue, popular franchises, and basic business competence that none of their competitors are matching right now.

[Büge]

I don't know how much any of this generalizes; I've got a sneaking suspicion that Discovery management is just really bad at this.

Seems about right

[Büge]

[Mongrel]

Massive love. Mike the TV levels of love.

[Thad]

Nathan Rabin has reached "Virtual Freak" in his Freakazoid series.

This episode has what may be my favorite absurdly specific reference in the series: an extended parody of Dactyl Nightmare.

[Niku]

yeah i played dactyl nightmare on a mall kiosk / VIRTUAL POD one time and lost my shit laughing the first time i saw that freakazoid episode

i had forgotten about the lobe and his special hat store being a part of the same episode though. nathan is absolutely right about lobe being the goddamn mvp of that show.

[KingRoyal]

I wanted to play Dactyl Nightmare but it was like $10, but that was like $50,000 back in 90s' money

And yeah, the Lobe is great, and it speaks to Warner's skill that I did not recognize Ra's Al Ghul when I heard him