I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.
I hold Ducktales '17 with He-Man '02, Transformers Animated, Teenage Mutant Ninja Turtles '12, and most DC Comics cartoons among the best cartoon reboots of all time.
I'm still so mad Transformers Animated got yeeted because of the existence of the Michael bay movies of all things. In a just world, the Animated team would have been given the Bayformer's budget
Yet to watch but the vibe for rescue rangers I got was less that it’s meant to be cynical about the show, so much as the show being used for yet another of hollywood’s kind of… well, self-absorption about the Industry and the celebrity machine.
Like if Roger Rabbit’s a noir riffing on the intersection of the industry, politics and the end of an era (and, if memory serves, it was said to be based, aside from the novel, on an unused script for a sequel to The Two Jakes, though I don’t know how you make those dates fit unless the thing was being scripted before they even shot Jakes), then Rescue Rangers is that latter day cynicism about the way the industry burns people out as fuel and finds a way to keep pecking at the corpse.
Yet to watch but the vibe for rescue rangers I got was less that it’s meant to be cynical about the show, so much as the show being used for yet another of hollywood’s kind of… well, self-absorption about the Industry and the celebrity machine.
Like if Roger Rabbit’s a noir riffing on the intersection of the industry, politics and the end of an era (and, if memory serves, it was said to be based, aside from the novel, on an unused script for a sequel to The Two Jakes, though I don’t know how you make those dates fit unless the thing was being scripted before they even shot Jakes), then Rescue Rangers is that latter day cynicism about the way the industry burns people out as fuel and finds a way to keep pecking at the corpse.
I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.
I hold Ducktales '17 with He-Man '02, Transformers Animated, Teenage Mutant Ninja Turtles '12, and most DC Comics cartoons among the best cartoon reboots of all time.
Haters aside, Kevin Smith's MotU: Revelation had ample evidence that he loved the source material. There are DEEP cuts in there.
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ShadowenSnores in the morningLoserdomRegistered Userregular
Yet to watch but the vibe for rescue rangers I got was less that it’s meant to be cynical about the show, so much as the show being used for yet another of hollywood’s kind of… well, self-absorption about the Industry and the celebrity machine.
Like if Roger Rabbit’s a noir riffing on the intersection of the industry, politics and the end of an era (and, if memory serves, it was said to be based, aside from the novel, on an unused script for a sequel to The Two Jakes, though I don’t know how you make those dates fit unless the thing was being scripted before they even shot Jakes), then Rescue Rangers is that latter day cynicism about the way the industry burns people out as fuel and finds a way to keep pecking at the corpse.
Write what you know, I guess.
The industry having had nearly every segment of it fully unionized until the advent of digital effects (what, you thought companies turning to CGI well before it was ready was because people who'd been funding movies their whole lives thought shitty mid-late 90s/early 00s CGI looked just as good as practical effects?), this also explains the strange commonality of jokes about weird trade unions.
Yet to watch but the vibe for rescue rangers I got was less that it’s meant to be cynical about the show, so much as the show being used for yet another of hollywood’s kind of… well, self-absorption about the Industry and the celebrity machine.
This is exactly what it was, but then you are left with the ever important question of why?
And why was Disney okay with letting two of their benchmark characters be used that way? It’s clear this movie wasn’t originally intended to be just for Disney+ and someone somewhere along the saw it wasn’t good or on brand.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
I've never been to Disney World, but while I'm sure you can find Chip and Dale walking around, they'll most likely just be their normal versions. They don't have actual Rescue Ranger dressed versions, do they?
If I ever went and was pressured into getting a photo with a mascot, this would be my top 3 list, knowing full well they most likely won't have them:
1: Darkwing Duck.
2: Rescue Rangers, bonus points if it's one of the 3 besides Chip/Dale.
3: Ariel. But she has to specifically be the mermaid version with the fin. No cheating with the dress and the feet.
"The sausage of Green Earth explodes with flavor like the cannon of culinary delight."
I've never been to Disney World, but while I'm sure you can find Chip and Dale walking around, they'll most likely just be their normal versions. They don't have actual Rescue Ranger dressed versions, do they?
Are Chip and Dale benchmark characters? I mean, they're no Horace Horseshoe or Clarabell Cow.
They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.
I hold Ducktales '17 with He-Man '02, Transformers Animated, Teenage Mutant Ninja Turtles '12, and most DC Comics cartoons among the best cartoon reboots of all time.
Haters aside, Kevin Smith's MotU: Revelation had ample evidence that he loved the source material. There are DEEP cuts in there.
Someone who worked on that show probably did, but it wasn't Kevin Smith. By his own admission, he had never seen any prior version of the show or toyline before being hired to oversee his own version.
Are Chip and Dale benchmark characters? I mean, they're no Horace Horseshoe or Clarabell Cow.
They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
Huh. I'd consider the biggest ones to be, in no particular order: Mickey, Minnie, Goofy, Donald, Daisy, Scrooge, and the Nephews. (Minnie and Daisy optional.)
I suspect that the list of "most key" Disney characters might not translate across the Pond or all national borders.
Are Chip and Dale benchmark characters? I mean, they're no Horace Horseshoe or Clarabell Cow.
They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
Speaking of Pluto, there was an earlier draft of the movie where…
…he was the primary antagonist instead of Peter Pan. His motivation for becoming a media pirate was jealousy toward Goofy for always being cast as an anthro dog, while he was always cast as a regular dog.
Focus groups apparently hated this idea, so it was scrapped. But you can still see lingering hints of it in the final product. The dog ear that Chip gets partway through the movie is actually Pluto's ear, although the dialog referencing it was changed to instead reference Snoopy from Peanuts.
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FencingsaxIt is difficult to get a man to understand, when his salary depends upon his not understandingGNU Terry PratchettRegistered Userregular
Are Chip and Dale benchmark characters? I mean, they're no Horace Horseshoe or Clarabell Cow.
They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
Huh. I'd consider the biggest ones to be, in no particular order: Mickey, Minnie, Goofy, Donald, Daisy, Scrooge, and the Nephews. (Minnie and Daisy optional.)
I suspect that the list of "most key" Disney characters might not translate across the Pond or all national borders.
Are Chip and Dale benchmark characters? I mean, they're no Horace Horseshoe or Clarabell Cow.
They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
Huh. I'd consider the biggest ones to be, in no particular order: Mickey, Minnie, Goofy, Donald, Daisy, Scrooge, and the Nephews. (Minnie and Daisy optional.)
I suspect that the list of "most key" Disney characters might not translate across the Pond or all national borders.
The comics are not really in play in the US.
I'm aware that Americans have terrible taste in comics, yes.
I watched about half of Rescue Rangers and it had some funny jokes (the above spouled one included) but I just couldn’t get into it.
I appreciate that it felt like a tribute to the Roger Rabbit movie, but it took too much joy in tearing them down like a former child star rather than embracing the nostalgia. When old balding Peter Pan with a beer gut became one of the villains I was out.
I say this a lot, but when I watch a reboot of something I love, I want to feel like the people making the reboot love that thing as much as I do. The last thing I want is to feel like the people making the reboot are embarrassed by that thing, or that they have a reductive and condescending attitude toward it, or that they only ironically like it because of how outdated they think it is.
But we've been seeing a lot of that kind of reboot lately. The ironic, self-aware reboot. And it's especially common for media that's very niche or socially stigmatized, such as children's cartoons. These reboots are more like parodies, emphasizing the negative aspects of the media. They aren't made for the niche audience who still love it. They're made for the mainstream audience who used to love it, but no longer do. Or at least, are no longer willing to publicly admit they do.
The so-called Rescue Rangers movie has a lot of that energy. Too much of it for me, which is why I won't be supporting it personally.
But if it makes you feel any better, just know that there were earlier drafts that took the piss even harder. The movie we got is actually the toned down version.
The Ducktales reboot is the perfect example of a reboot that was made with love by people that loved the original. It made me feel good, nostalgic, and most importantly happy to be watching it.
I hold Ducktales '17 with He-Man '02, Transformers Animated, Teenage Mutant Ninja Turtles '12, and most DC Comics cartoons among the best cartoon reboots of all time.
Haters aside, Kevin Smith's MotU: Revelation had ample evidence that he loved the source material. There are DEEP cuts in there.
Someone who worked on that show probably did, but it wasn't Kevin Smith. By his own admission, he had never seen any prior version of the show or toyline before being hired to oversee his own version.
Not true.
He was a young teenager during “He-Man’s” run from 1983 to 1985, and he wasn’t exactly a die-hard fan. “I almost hate-watched it, because I was like, this show’s for babies,” he said. “They have one of the baddest-ass villains in history, Skeletor, visually incredible, and all they did was somersault and not really fight. Nobody ever got stabbed. But it was the ’80s, so you watched everything that was on.”
He watched it but wished it were as awesome as the potential. He made it for adult nostalgia fans.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
Chip and Dale worked on the Gummi Ship, and Scrooge was all about that Sea Salt ice cream.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
Chip and Dale worked on the Gummi Ship, and Scrooge was all about that Sea Salt ice cream.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
Chip and Dale worked on the Gummi Ship, and Scrooge was all about that Sea Salt ice cream.
Yes, but only in their generic incarnations.
Kingdom Hearts only features generic incarnations.
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Chip and Dale have been showing up fairly regularly in Disney Junior tv shows over the last five or six years. They also have their own "Park Life" show on D+ (not sure if that's on regular TV) that started last year. Their general presence in the Disney universe is definitely on the upswing.
Chip and Dale are high C-tier, but Disney rarely supports any of their TV cartoon series. Goof Troop and Duck Tales were rare exceptions (both getting movies), but you still don't see them in Kingdom Hearts.
Chip and Dale worked on the Gummi Ship, and Scrooge was all about that Sea Salt ice cream.
Yes, but only in their generic incarnations.
Kingdom Hearts only features generic incarnations.
Except for Dream Drop Distance. That game really delved into some alternate takes. The reboot version of Tron, the Three Musketeers version of Mickey & friends, the Fantasia version of Mickey, the Runaway Brain version of Pete.
Fan demand has gotten Disney Afternoon characters into a few of the recent mobile games like Heroes Battle Mode and Sorcerer's Arena, but something as high budget as Kingdom Hearts would take a small miracle. Especially since those games are made for a primarily Japanese audience, and those shows don't have nearly as strong a cult following in Japan as they do in the west.
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Golden YakBurnished BovineThe sunny beaches of CanadaRegistered Userregular
Everything in this is already looking better to me than what S2 had.
3 robots return, yey!
This was great, by the way. A much better crop than S2, on par with the best of the first season. Bad Traveling is probably my favorite, but Jibaro was incredibly striking.
Everything in this is already looking better to me than what S2 had.
3 robots return, yey!
This was great, by the way. A much better crop than S2, on par with the best of the first season. Bad Traveling is probably my favorite, but Jibaro was incredibly striking.
Two I'd want to watch again, two I'll refuse to re-watch, five meh.
"Three Robots: Exit Strategies": Didn't like it. Good message, but hamfistedly delivered, and too depressing for my tastes.
"Bad Tavelling": This one was excellent, and easily the best of S3.
"The Very Pulse of the Machine": OK, but feels like a concept I've seen done before, many times.
"Night of the Mini Dead": Worst of the season. I personally loathe zombie stuff, but even if you like that sort of thing this is literally just tired cliches.
"Kill Team Kill": Seen it done a thousand times before, and this does not have anything to elevate it above the pack.
"Swarm": Incredibly predictable. Just once I wish someone had an interesting story to tell with insectoid aliens. Also, story doesn't really go anywhere, just stops. A story shouldn't just stop because the author put down the pen at the end of that sentence.
"Mason's Rats": Second best of S3. Although why they didn't go for the last solution first I don't know. Slightly unrealistic end, but given the downer endings of everything else, I'll take it.
"In Vaulted Halls Entombed": Seen it done before. Brings nothing new to the table.
"Jibaro": Good visuals, novel concept. No idea what they're trying to tell me, though.
So with the last episode of season 2 of the owl house:
Oh hey same universe as Amphibia.
How great would it be if the Amphibia invasion and the Boiling Isles invasion of Earth happened at the same time?
I don't think there will be any invasion from Boiling Isles.
The Collector seems pretty happy just playing with his new toys and Philip will probably just be reduced to a ghoul in a shack suffering from a cultural shock in a modern world.
Everything in this is already looking better to me than what S2 had.
3 robots return, yey!
This was great, by the way. A much better crop than S2, on par with the best of the first season. Bad Traveling is probably my favorite, but Jibaro was incredibly striking.
Two I'd want to watch again, two I'll refuse to re-watch, five meh.
"Three Robots: Exit Strategies": Didn't like it. Good message, but hamfistedly delivered, and too depressing for my tastes.
"Bad Tavelling": This one was excellent, and easily the best of S3.
"The Very Pulse of the Machine": OK, but feels like a concept I've seen done before, many times.
"Night of the Mini Dead": Worst of the season. I personally loathe zombie stuff, but even if you like that sort of thing this is literally just tired cliches.
"Kill Team Kill": Seen it done a thousand times before, and this does not have anything to elevate it above the pack.
"Swarm": Incredibly predictable. Just once I wish someone had an interesting story to tell with insectoid aliens. Also, story doesn't really go anywhere, just stops. A story shouldn't just stop because the author put down the pen at the end of that sentence.
"Mason's Rats": Second best of S3. Although why they didn't go for the last solution first I don't know. Slightly unrealistic end, but given the downer endings of everything else, I'll take it.
"In Vaulted Halls Entombed": Seen it done before. Brings nothing new to the table.
"Jibaro": Good visuals, novel concept. No idea what they're trying to tell me, though.
There have been thirty-five Love, Death + Robots episodes. Something like thirty of them are based on a previously-published short stories. Only one of those stories is by a woman. (Also, only one of those stories—not the same one—is by a person of color.) And frankly, that’s not only reprehensible in its own right, but it tells in the final product. There’s a certain laddishness to the stories the show chooses to tell, a disinterest in the inner life of anyone but manly, taciturn men. Bug hunt stories abound, and despite the show identifying itself as science fiction, there is no shortage of episodes that are just plain horror, whose appeal seems primarily to be watching a lot of people get torn to bits cinematically (“The Secret War” in season 1; “The Tall Grass”, season 2; “Bad Traveling”, season 3). Though some episodes have female protagonists, there are also a lot of stories where women exist to be ogled (“The Witness”, season 1) or fucked (“Beyond the Aquilla Rift”, season 1; “Snow in the Desert”, season 2).
Everything in this is already looking better to me than what S2 had.
3 robots return, yey!
This was great, by the way. A much better crop than S2, on par with the best of the first season. Bad Traveling is probably my favorite, but Jibaro was incredibly striking.
Two I'd want to watch again, two I'll refuse to re-watch, five meh.
"Three Robots: Exit Strategies": Didn't like it. Good message, but hamfistedly delivered, and too depressing for my tastes.
"Bad Tavelling": This one was excellent, and easily the best of S3.
"The Very Pulse of the Machine": OK, but feels like a concept I've seen done before, many times.
"Night of the Mini Dead": Worst of the season. I personally loathe zombie stuff, but even if you like that sort of thing this is literally just tired cliches.
"Kill Team Kill": Seen it done a thousand times before, and this does not have anything to elevate it above the pack.
"Swarm": Incredibly predictable. Just once I wish someone had an interesting story to tell with insectoid aliens. Also, story doesn't really go anywhere, just stops. A story shouldn't just stop because the author put down the pen at the end of that sentence.
"Mason's Rats": Second best of S3. Although why they didn't go for the last solution first I don't know. Slightly unrealistic end, but given the downer endings of everything else, I'll take it.
"In Vaulted Halls Entombed": Seen it done before. Brings nothing new to the table.
"Jibaro": Good visuals, novel concept. No idea what they're trying to tell me, though.
There have been thirty-five Love, Death + Robots episodes. Something like thirty of them are based on a previously-published short stories. Only one of those stories is by a woman. (Also, only one of those stories—not the same one—is by a person of color.) And frankly, that’s not only reprehensible in its own right, but it tells in the final product. There’s a certain laddishness to the stories the show chooses to tell, a disinterest in the inner life of anyone but manly, taciturn men. Bug hunt stories abound, and despite the show identifying itself as science fiction, there is no shortage of episodes that are just plain horror, whose appeal seems primarily to be watching a lot of people get torn to bits cinematically (“The Secret War” in season 1; “The Tall Grass”, season 2; “Bad Traveling”, season 3). Though some episodes have female protagonists, there are also a lot of stories where women exist to be ogled (“The Witness”, season 1) or fucked (“Beyond the Aquilla Rift”, season 1; “Snow in the Desert”, season 2).
I largely agree with her assessment (except on "Mason's Rats", which I largely enjoyed, and "Jibaro", which I didn't). Everything feels very samey and like something I've seen done too many times before (even on the same show) and usually better.
"Jibaro": I have no idea what the fuck is going on in this story. I don't hate it, I'm just confused by it. (Also, I don't subscribe to Abigail's interpretation that the men are conquistadors; their armor is wrong (European, but off by 150 years) and their facial decoration is hilariously out of place for 16th century Spaniards.)
So with the last episode of season 2 of the owl house:
Oh hey same universe as Amphibia.
How great would it be if the Amphibia invasion and the Boiling Isles invasion of Earth happened at the same time?
I don't think there will be any invasion from Boiling Isles.
The Collector seems pretty happy just playing with his new toys and Philip will probably just be reduced to a ghoul in a shack suffering from a cultural shock in a modern world.
"Jibaro": I have no idea what the fuck is going on in this story. I don't hate it, I'm just confused by it.
The short reminded me of Angelina Jolie's Malificent. Supernatural girl meets a guy in the forest, guy tears her wings off for $$, supernatural girl gets revenge.
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Man that was wild.
I hold Ducktales '17 with He-Man '02, Transformers Animated, Teenage Mutant Ninja Turtles '12, and most DC Comics cartoons among the best cartoon reboots of all time.
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Like if Roger Rabbit’s a noir riffing on the intersection of the industry, politics and the end of an era (and, if memory serves, it was said to be based, aside from the novel, on an unused script for a sequel to The Two Jakes, though I don’t know how you make those dates fit unless the thing was being scripted before they even shot Jakes), then Rescue Rangers is that latter day cynicism about the way the industry burns people out as fuel and finds a way to keep pecking at the corpse.
Write what you know, I guess.
It already did the Rescue rangers were barely allowed a cameo in the new Ducktales because of the movie
Haters aside, Kevin Smith's MotU: Revelation had ample evidence that he loved the source material. There are DEEP cuts in there.
The industry having had nearly every segment of it fully unionized until the advent of digital effects (what, you thought companies turning to CGI well before it was ready was because people who'd been funding movies their whole lives thought shitty mid-late 90s/early 00s CGI looked just as good as practical effects?), this also explains the strange commonality of jokes about weird trade unions.
This is exactly what it was, but then you are left with the ever important question of why?
And why was Disney okay with letting two of their benchmark characters be used that way? It’s clear this movie wasn’t originally intended to be just for Disney+ and someone somewhere along the saw it wasn’t good or on brand.
If I ever went and was pressured into getting a photo with a mascot, this would be my top 3 list, knowing full well they most likely won't have them:
1: Darkwing Duck.
2: Rescue Rangers, bonus points if it's one of the 3 besides Chip/Dale.
3: Ariel. But she has to specifically be the mermaid version with the fin. No cheating with the dress and the feet.
Funny you should say that
https://dapsmagic.com/2022/05/chip-n-dale-rescue-rangers-arrive-at-disney-california-adventure-as-movie-arrives-on-disney/
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They're two of the eight gold statues in the main plaza of the Magic Kingdom at WDW for the 50 year celebration. Given that the other six are Mickey, Minnie, Donald, Daisy, Goofy, and Pluto...
Someone who worked on that show probably did, but it wasn't Kevin Smith. By his own admission, he had never seen any prior version of the show or toyline before being hired to oversee his own version.
Huh. I'd consider the biggest ones to be, in no particular order: Mickey, Minnie, Goofy, Donald, Daisy, Scrooge, and the Nephews. (Minnie and Daisy optional.)
I suspect that the list of "most key" Disney characters might not translate across the Pond or all national borders.
Speaking of Pluto, there was an earlier draft of the movie where…
Focus groups apparently hated this idea, so it was scrapped. But you can still see lingering hints of it in the final product. The dog ear that Chip gets partway through the movie is actually Pluto's ear, although the dialog referencing it was changed to instead reference Snoopy from Peanuts.
The comics are not really in play in the US.
I'm aware that Americans have terrible taste in comics, yes.
Not true.
He watched it but wished it were as awesome as the potential. He made it for adult nostalgia fans.
Source:
https://variety-com.cdn.ampproject.org/v/s/variety.com/2021/tv/news/he-man-masters-of-the-universe-revelation-kevin-smith-netflix-1235026831/amp/?amp_gsa=1&amp_js_v=a9&usqp=mq331AQKKAFQArABIIACAw==#amp_tf=From %1$s&aoh=16532504224534&referrer=https://www.google.com&ampshare=https://variety.com/2021/tv/news/he-man-masters-of-the-universe-revelation-kevin-smith-netflix-1235026831/
Yes, but only in their generic incarnations.
Chip and Dale are in Kingdom Hearts. Gummie ship
Damnit Sorce
Kingdom Hearts only features generic incarnations.
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Except for Dream Drop Distance. That game really delved into some alternate takes. The reboot version of Tron, the Three Musketeers version of Mickey & friends, the Fantasia version of Mickey, the Runaway Brain version of Pete.
Fan demand has gotten Disney Afternoon characters into a few of the recent mobile games like Heroes Battle Mode and Sorcerer's Arena, but something as high budget as Kingdom Hearts would take a small miracle. Especially since those games are made for a primarily Japanese audience, and those shows don't have nearly as strong a cult following in Japan as they do in the west.
This was great, by the way. A much better crop than S2, on par with the best of the first season. Bad Traveling is probably my favorite, but Jibaro was incredibly striking.
Quote instantly came to mind.
Two I'd want to watch again, two I'll refuse to re-watch, five meh.
The Collector seems pretty happy just playing with his new toys and Philip will probably just be reduced to a ghoul in a shack suffering from a cultural shock in a modern world.
This is a fair criticism of the program, I think:
I largely agree with her assessment (except on "Mason's Rats", which I largely enjoyed, and "Jibaro", which I didn't). Everything feels very samey and like something I've seen done too many times before (even on the same show) and usually better.
"Jibaro": I have no idea what the fuck is going on in this story. I don't hate it, I'm just confused by it. (Also, I don't subscribe to Abigail's interpretation that the men are conquistadors; their armor is wrong (European, but off by 150 years) and their facial decoration is hilariously out of place for 16th century Spaniards.)
With the latter will we get the infamous:
The short reminded me of Angelina Jolie's Malificent. Supernatural girl meets a guy in the forest, guy tears her wings off for $$, supernatural girl gets revenge.