To add to it, launchpad and passengers have walked away from every crash, so he has that going for him
This has been mentioned, but bears repeating. Launchpad crashes everything he touches, but nobody ever gets so much as a sprained wrist from crashes that should end up with everyone dead twice over or at least looking like cartoon mummies. Honestly, this strikes me as reason enough for Scrooge to employ him in every expedition where his family comes with him.
To this add that he seem genuinely able to fly (and eventually crash) anything, from a plane to a truck to a giant bird to a spaceship, and that he's too dumb to ask for the millions in hazard bonuses that anyone else contracted to go into The Temple Of Eternal Painful Death or whatever would ask for, and the fact that honestly it seems like Scrooge kinda likes Launchpad, and it's not really as terrible as all that.
Found out Valerian is derived from a comic from the sixties. It also has a western animation with the budget of a box of crayons and ends up being Ranma in Space. V & L are surrounded by aliens that want to marry them about every other episode. The VA for Valerian spends so much wind on his fake accent that he has nothing left for any range of emotion other than "British Douche" https://www.youtube.com/watch?v=yOL3hS3hSOY
Reminds me of the style of those Totally Spy shows and Martin Mystery. And in fact it seems it was done partly in France like those were. Neat.
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21stCenturyCall me Pixel, or Pix for short![They/Them]Registered Userregular
Found out Valerian is derived from a comic from the sixties. It also has a western animation with the budget of a box of crayons and ends up being Ranma in Space. V & L are surrounded by aliens that want to marry them about every other episode. The VA for Valerian spends so much wind on his fake accent that he has nothing left for any range of emotion other than "British Douche" https://www.youtube.com/watch?v=yOL3hS3hSOY
Reminds me of the style of those Totally Spy shows and Martin Mystery. And in fact it seems it was done partly in France like those were. Neat.
Ah, the Marathon shows.
I really liked Spies and Martin Mystery, but the Galaxy Academy one, whatever it was called, really sucked.
Found out Valerian is derived from a comic from the sixties. It also has a western animation with the budget of a box of crayons and ends up being Ranma in Space. V & L are surrounded by aliens that want to marry them about every other episode. The VA for Valerian spends so much wind on his fake accent that he has nothing left for any range of emotion other than "British Douche" https://www.youtube.com/watch?v=yOL3hS3hSOY
Reminds me of the style of those Totally Spy shows and Martin Mystery. And in fact it seems it was done partly in France like those were. Neat.
It's arguably closer to Oban Star Racers; both were French-Japan collaborative projects; in this case you had Satelight and EuropaCorp (Wiki says there's another one by Dargaud as well, not sure if it's this one in later episodes or what) all working together on it. Director is Philippe Vidal, with scripts written on the France side of the collaboration; Animation directors were Tooru Yoshida and Toshiyuki Kubooka (according to wiki at least).
Which, speaking of Oban, is apparently rumored to be finally getting a sequel?
Its on Crunchyroll (under the name Valerian and Laureline, instead of Time Jam). I never heard of it before but I made a trial account so I could watch this of all things.
EDIT - Episode 30 broke my heart
I just finished it. This rendition of Valerian needs a punch in the dick. And I have the orchestral theme in my head forever.
Castlevania got a four episode season, "testing the waters" so to speak, and was so phenomenal that its already getting a second season. https://www.youtube.com/watch?v=z0kaYs8SbMs
"Howabout those kids today, eh? Always on their cellphones.... Get this, apparently there's an 'emoji' that's an actual pile of poo. Instead of coming up with their own insults, they'll just text these 'emojis' to each other instead!"
<forced Kevin Eubanks laughter>
So much time playing games lately i haven't gotten caught up on any of this. I caught the first half of season 2 of Star Vs, most of Elements and Islands from Adventure Time (but not all), some of Clarence Season 3, but none of the back half of Star Vs season 2.
Good god the violation of show-don't-tell in that Emoji opening scene. What is you doing, Sony?
Im not expecting the most excellent of teen dramas, but Gravity Falls, Regular Show, and Steven Universe have set the bar pretty fucking high as far as resolving issues, relationships and stories, and im kinda spoiled now.
Yea, 80s punk, all chrome title cards and neon matrix colors are nostalgic as fuck.
It wasnt even tapped all that much as a resource.
Kind of off tangent here, but has there been a defined futurism aesthic lately?
Im probably opening up a giant fuck off can of worms with this question, but you can look at a decade of television and movie scifi and a general aesthic is pronounced.
Im using broad swathes, but like the 40s and 50s were buck rodgers rockets and rounded tech and fins, the 60s and 70s were cylinders and struts with hard angles (look at the enterprise and a lot of ships in star wars. Also the hero mechs in mech jocks). The 80s and 90s were defined by robocop, aliens, terminator, universal soldier, kinda gritty and excessive.
I guess if i had to pick a scifi look, for 2000 on, it would be all white and apple product curves, but there are tons more different styles and im not sure if that is due to many more different visions of the future or something else....
Sorry that was a long thought, but im curious about that now...
Yea, 80s punk, all chrome title cards and neon matrix colors are nostalgic as fuck.
It wasnt even tapped all that much as a resource.
Kind of off tangent here, but has there been a defined futurism aesthic lately?
Im probably opening up a giant fuck off can of worms with this question, but you can look at a decade of television and movie scifi and a general aesthic is pronounced.
Im using broad swathes, but like the 40s and 50s were buck rodgers rockets and rounded tech and fins, the 60s and 70s were cylinders and struts with hard angles (look at the enterprise and a lot of ships in star wars. Also the hero mechs in mech jocks). The 80s and 90s were defined by robocop, aliens, terminator, universal soldier, kinda gritty and excessive.
I guess if i had to pick a scifi look, for 2000 on, it would be all white and apple product curves, but there are tons more different styles and im not sure if that is due to many more different visions of the future or something else....
Sorry that was a long thought, but im curious about that now...
The modern era is kind weird from an aesthetic standpoint. I mean, there's extremes like BSG's austere retro-futurism and NuTrek's Apple Store look. I think the biggest thing I've noticed is an embrace of augmented reality HUDs and holographic interfaces. Things like Tony Stark's workshop where he uses gestures to flip through holographic things. It's become so familiar, I don't think the novelty even registers anymore.
There's also a lot of AI, but that's not necessarily an aesthetic.
Yea, 80s punk, all chrome title cards and neon matrix colors are nostalgic as fuck.
It wasnt even tapped all that much as a resource.
Kind of off tangent here, but has there been a defined futurism aesthic lately?
Im probably opening up a giant fuck off can of worms with this question, but you can look at a decade of television and movie scifi and a general aesthic is pronounced.
Im using broad swathes, but like the 40s and 50s were buck rodgers rockets and rounded tech and fins, the 60s and 70s were cylinders and struts with hard angles (look at the enterprise and a lot of ships in star wars. Also the hero mechs in mech jocks). The 80s and 90s were defined by robocop, aliens, terminator, universal soldier, kinda gritty and excessive.
I guess if i had to pick a scifi look, for 2000 on, it would be all white and apple product curves, but there are tons more different styles and im not sure if that is due to many more different visions of the future or something else....
Sorry that was a long thought, but im curious about that now...
The modern era is kind weird from an aesthetic standpoint. I mean, there's extremes like BSG's austere retro-futurism and NuTrek's Apple Store look. I think the biggest thing I've noticed is an embrace of augmented reality HUDs and holographic interfaces. Things like Tony Stark's workshop where he uses gestures to flip through holographic things. It's become so familiar, I don't think the novelty even registers anymore.
There's also a lot of AI, but that's not necessarily an aesthetic.
It's not a look so much as a general attitude in most current sci-fi that the future has gotten increasingly dystopian.
From NuTreks "Admiral Robocop is secretly working to drag us into a pre-emptive war", to BSG's "Our past sins are coming back to haunt us in the form of Cylon extermination" to newer series on SyFy like Dark Matter ("The corporations rule everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit") or Killjoys ("The corporations run everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit and also aliens have infiltrated the highest levels of everything").
I don't know, maybe that was always there, but it seems that hopeful future outlooks have become increasingly rare in the genre. It might just be what I'm consuming though.
Yea, 80s punk, all chrome title cards and neon matrix colors are nostalgic as fuck.
It wasnt even tapped all that much as a resource.
Kind of off tangent here, but has there been a defined futurism aesthic lately?
Im probably opening up a giant fuck off can of worms with this question, but you can look at a decade of television and movie scifi and a general aesthic is pronounced.
Im using broad swathes, but like the 40s and 50s were buck rodgers rockets and rounded tech and fins, the 60s and 70s were cylinders and struts with hard angles (look at the enterprise and a lot of ships in star wars. Also the hero mechs in mech jocks). The 80s and 90s were defined by robocop, aliens, terminator, universal soldier, kinda gritty and excessive.
I guess if i had to pick a scifi look, for 2000 on, it would be all white and apple product curves, but there are tons more different styles and im not sure if that is due to many more different visions of the future or something else....
Sorry that was a long thought, but im curious about that now...
The modern era is kind weird from an aesthetic standpoint. I mean, there's extremes like BSG's austere retro-futurism and NuTrek's Apple Store look. I think the biggest thing I've noticed is an embrace of augmented reality HUDs and holographic interfaces. Things like Tony Stark's workshop where he uses gestures to flip through holographic things. It's become so familiar, I don't think the novelty even registers anymore.
There's also a lot of AI, but that's not necessarily an aesthetic.
It's not a look so much as a general attitude in most current sci-fi that the future has gotten increasingly dystopian.
From NuTreks "Admiral Robocop is secretly working to drag us into a pre-emptive war", to BSG's "Our past sins are coming back to haunt us in the form of Cylon extermination" to newer series on SyFy like Dark Matter ("The corporations rule everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit") or Killjoys ("The corporations run everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit and also aliens have infiltrated the highest levels of everything").
I don't know, maybe that was always there, but it seems that hopeful future outlooks have become increasingly rare in the genre. It might just be what I'm consuming though.
It was definitely there in the late 70's and early 80s. I mean, cyberpunk is borne out of Cold War weariness married with political corruption tied to corporate greed. And there's a shit ton of post-nuclear apocalyptic sci-fi during that time and earlier. There's everything from Alien(s), to Robocop, to Terminator, to Mad Max, to Blade Runner, to.... even cartoons had some dystopia in their premises (Spiral Zone, Captain Power, Thundarr the Barbarian, fucking She-Ra of all things, etc.).
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It's a shitload easier to write bleak shows to crank up the drama than to write for futures that aren't shitty and try to find drama in them. Far, far easier to write about how everything is going to hell worse than ever (it isn't) than to try and write a futuristic setting which is halfway cognizant of actual history and human behavior.
It's a shitload easier to write bleak shows to crank up the drama than to write for futures that aren't shitty and try to find drama in them. Far, far easier to write about how everything is going to hell worse than ever (it isn't) than to try and write a futuristic setting which is halfway cognizant of actual history and human behavior.
Those aren't mutually exclusive ideas. And most of the early dystopian sci-fi was born from the writers trying to make commentary on the present rather than on the future. Robocop, Predator 2, and Escape from New York built on the Reagan Era's over-representations of crime in the media and the persistent perception of cities as these cesspits of random acts of violence.
Mad Max, the primogenitor of the car chase movie, was based on George Miller's experiences in the ER and the worldwide chaos at the gas pumps from the 1970s era of stagflation where the artificial scarcity sent gas prices soaring.
These aren't divorced from either history or of human behavior.
In general I think futurism is going to be constrained by Westerners finally realizing that not every part of the world is growing toward Western culture's norms just yet, the large number of regressive forces trying to keep the world from changing into something new, and the baby boomer generation continuing to set the pace.
It's pretty hard to look at the future when the present is controlled by the folks who thought the 80's were where history should stop, and the world has only *barely* started looking at a future with basic income and such.
Honestly, I'd love to see more mid-topias... futures that aren't necessarily good or bad, just a continuation of the same. Futurama was a great example of that.
It's a shitload easier to write bleak shows to crank up the drama than to write for futures that aren't shitty and try to find drama in them. Far, far easier to write about how everything is going to hell worse than ever (it isn't) than to try and write a futuristic setting which is halfway cognizant of actual history and human behavior.
Those aren't mutually exclusive ideas. And most of the early dystopian sci-fi was born from the writers trying to make commentary on the present rather than on the future. Robocop, Predator 2, and Escape from New York built on the Reagan Era's over-representations of crime in the media and the persistent perception of cities as these cesspits of random acts of violence.
Mad Max, the primogenitor of the car chase movie, was based on George Miller's experiences in the ER and the worldwide chaos at the gas pumps from the 1970s era of stagflation where the artificial scarcity sent gas prices soaring.
These aren't divorced from either history or of human behavior.
Regarding the over-representation of crime in the media, we see the same thing today with sanctuary cities and no-go zones and whatnot. Detroit is still viewed as a dystopian urban wasteland. Truthfulness means far less than conformity with confirmation bias, especially if it reinforces the idea of danger just outside the door. It's Gerbner's Mean World Syndrome in overdrive, with the target not just being poor non-white inner city folks, but Muslims too.
I think it's why a lot of cyberpunk still resonates. It's a lot of the same problems from the Reagan era, just cranked to 11 because of the internet and 24 hour news cycle.
It's a shitload easier to write bleak shows to crank up the drama than to write for futures that aren't shitty and try to find drama in them. Far, far easier to write about how everything is going to hell worse than ever (it isn't) than to try and write a futuristic setting which is halfway cognizant of actual history and human behavior.
Those aren't mutually exclusive ideas. And most of the early dystopian sci-fi was born from the writers trying to make commentary on the present rather than on the future. Robocop, Predator 2, and Escape from New York built on the Reagan Era's over-representations of crime in the media and the persistent perception of cities as these cesspits of random acts of violence.
Mad Max, the primogenitor of the car chase movie, was based on George Miller's experiences in the ER and the worldwide chaos at the gas pumps from the 1970s era of stagflation where the artificial scarcity sent gas prices soaring.
These aren't divorced from either history or of human behavior.
I was commenting on the modern tendency towards grimdark futures, not criticizing it in any specific older media where it's applied to an appropriate and good effect. Films like those are why similar efforts are so hollow now, because those overly-dark futures are done for reasons that often don't have much to do with anything but lame or lazy justifications of the setting.
The common tendency is to portray that humanity will return to savagery overnight given any reasonable opportunity, and that definitely does not match history. How much of Europe was devastated across two world wars? Did those all turn into permanent murder-zones full of feral people? No, people rebuilt what was lost because most people actually don't want to live in blood-drenched hellholes if they've seen any different. Much of the history of the Western world involves a lot of cities or nations being invaded, razed, then rebuilt again. And it's a trend seen pretty much everywhere else in the world; unless a city or town is annihilated down to the very last person, people just rebuild.
Heck, Machiavelli wrote about inevitability of people forcing a return to their notion of freedom and a good society some five hundred years ago, even when actively kept under a conqueror's boot. But acknowledging that human civilization is strongly and inevitably averaging in a positive direction isn't nearly as easy to work with compared to just having most of the population of the world suddenly and irrationally just decide civilization is dumb and it works way better to just murder and rape everybody you want.
When one fan asked if the new show would ever bring back any other classic Disney Afternoon characters like Darkwing Duck, Angones provided this appropriately shadowy response: “Are you referring to the terror that flaps in the night? [pause] I have never heard of this character. Next question.”
The official Facebook page of the character posted this link, so there miiiiiiiiiiight be something to this.
When one fan asked if the new show would ever bring back any other classic Disney Afternoon characters like Darkwing Duck, Angones provided this appropriately shadowy response: “Are you referring to the terror that flaps in the night? [pause] I have never heard of this character. Next question.”
The official Facebook page of the character posted this link, so there miiiiiiiiiiight be something to this.
Don't play with my emotions about this! I'm still trying to accept that a new Ducktales cartoon, which actually appears to be good, is a thing.
Posts
I'm on episode 12, so yes.
EDIT - Shit gets real in episode 16.
Where can one see it?
Check out my site, the Bismuth Heart | My Twitter
This has been mentioned, but bears repeating. Launchpad crashes everything he touches, but nobody ever gets so much as a sprained wrist from crashes that should end up with everyone dead twice over or at least looking like cartoon mummies. Honestly, this strikes me as reason enough for Scrooge to employ him in every expedition where his family comes with him.
To this add that he seem genuinely able to fly (and eventually crash) anything, from a plane to a truck to a giant bird to a spaceship, and that he's too dumb to ask for the millions in hazard bonuses that anyone else contracted to go into The Temple Of Eternal Painful Death or whatever would ask for, and the fact that honestly it seems like Scrooge kinda likes Launchpad, and it's not really as terrible as all that.
Reminds me of the style of those Totally Spy shows and Martin Mystery. And in fact it seems it was done partly in France like those were. Neat.
Ah, the Marathon shows.
I really liked Spies and Martin Mystery, but the Galaxy Academy one, whatever it was called, really sucked.
Check out my site, the Bismuth Heart | My Twitter
It's arguably closer to Oban Star Racers; both were French-Japan collaborative projects; in this case you had Satelight and EuropaCorp (Wiki says there's another one by Dargaud as well, not sure if it's this one in later episodes or what) all working together on it. Director is Philippe Vidal, with scripts written on the France side of the collaboration; Animation directors were Tooru Yoshida and Toshiyuki Kubooka (according to wiki at least).
Which, speaking of Oban, is apparently rumored to be finally getting a sequel?
Its on Crunchyroll (under the name Valerian and Laureline, instead of Time Jam). I never heard of it before but I made a trial account so I could watch this of all things.
EDIT - Episode 30 broke my heart
"Howabout those kids today, eh? Always on their cellphones.... Get this, apparently there's an 'emoji' that's an actual pile of poo. Instead of coming up with their own insults, they'll just text these 'emojis' to each other instead!"
<forced Kevin Eubanks laughter>
5 episodes. Starting July 17.
Cartoon Network's scheduling still the worst.
There are some spoilers for the episodes in the link.
nerdist.com/adventure-time-is-returning-with-5-new-episodes-exclusive/
Bad news bears all around with evil big bad Toffee, and maybe an inversion of Marco hanging out with star in mewni this season.
No idea what they are doing with jackie since that was a big arc in season 2 and she's not even in the new opener...
Steam - NotoriusBEN | Uplay - notoriusben | Xbox,Windows Live - ThatBEN
CN is doing a 4 episode bomb during the week of August 1 with a story revolving around it.
Im strangely looking forward to it...
Steam - NotoriusBEN | Uplay - notoriusben | Xbox,Windows Live - ThatBEN
Steam - NotoriusBEN | Uplay - notoriusben | Xbox,Windows Live - ThatBEN
Jackies arc is done I think. The show knows who its otp is.
Star and Marco balance each other out in important ways.
I want more time spent on Marco losing 15 years of his life they barely touch on that
Jackie is clearly Eclipsa.
Good god the violation of show-don't-tell in that Emoji opening scene. What is you doing, Sony?
Hekapoo is the best.
Jackie Lynn is the fucking worst.
But every time they try to do serious romance in the show is kind of awful.
Steam - NotoriusBEN | Uplay - notoriusben | Xbox,Windows Live - ThatBEN
I fucking love this song and episode.
I hope they bring back the 80's fantasy punk aesthetic.
They are
Switch (JeffConser): SW-3353-5433-5137 Wii U: Skeldare - 3DS: 1848-1663-9345
PM Me if you add me!
I would watch at least three seasons of one-hour episodes of that.
It wasnt even tapped all that much as a resource.
Kind of off tangent here, but has there been a defined futurism aesthic lately?
Im probably opening up a giant fuck off can of worms with this question, but you can look at a decade of television and movie scifi and a general aesthic is pronounced.
Im using broad swathes, but like the 40s and 50s were buck rodgers rockets and rounded tech and fins, the 60s and 70s were cylinders and struts with hard angles (look at the enterprise and a lot of ships in star wars. Also the hero mechs in mech jocks). The 80s and 90s were defined by robocop, aliens, terminator, universal soldier, kinda gritty and excessive.
I guess if i had to pick a scifi look, for 2000 on, it would be all white and apple product curves, but there are tons more different styles and im not sure if that is due to many more different visions of the future or something else....
Sorry that was a long thought, but im curious about that now...
Steam - NotoriusBEN | Uplay - notoriusben | Xbox,Windows Live - ThatBEN
The modern era is kind weird from an aesthetic standpoint. I mean, there's extremes like BSG's austere retro-futurism and NuTrek's Apple Store look. I think the biggest thing I've noticed is an embrace of augmented reality HUDs and holographic interfaces. Things like Tony Stark's workshop where he uses gestures to flip through holographic things. It's become so familiar, I don't think the novelty even registers anymore.
There's also a lot of AI, but that's not necessarily an aesthetic.
It's not a look so much as a general attitude in most current sci-fi that the future has gotten increasingly dystopian.
From NuTreks "Admiral Robocop is secretly working to drag us into a pre-emptive war", to BSG's "Our past sins are coming back to haunt us in the form of Cylon extermination" to newer series on SyFy like Dark Matter ("The corporations rule everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit") or Killjoys ("The corporations run everything in a careful balance and oops that balance just got tipped so everything's rapidly going to shit and also aliens have infiltrated the highest levels of everything").
I don't know, maybe that was always there, but it seems that hopeful future outlooks have become increasingly rare in the genre. It might just be what I'm consuming though.
It was definitely there in the late 70's and early 80s. I mean, cyberpunk is borne out of Cold War weariness married with political corruption tied to corporate greed. And there's a shit ton of post-nuclear apocalyptic sci-fi during that time and earlier. There's everything from Alien(s), to Robocop, to Terminator, to Mad Max, to Blade Runner, to.... even cartoons had some dystopia in their premises (Spiral Zone, Captain Power, Thundarr the Barbarian, fucking She-Ra of all things, etc.).
Those aren't mutually exclusive ideas. And most of the early dystopian sci-fi was born from the writers trying to make commentary on the present rather than on the future. Robocop, Predator 2, and Escape from New York built on the Reagan Era's over-representations of crime in the media and the persistent perception of cities as these cesspits of random acts of violence.
Mad Max, the primogenitor of the car chase movie, was based on George Miller's experiences in the ER and the worldwide chaos at the gas pumps from the 1970s era of stagflation where the artificial scarcity sent gas prices soaring.
These aren't divorced from either history or of human behavior.
In general I think futurism is going to be constrained by Westerners finally realizing that not every part of the world is growing toward Western culture's norms just yet, the large number of regressive forces trying to keep the world from changing into something new, and the baby boomer generation continuing to set the pace.
It's pretty hard to look at the future when the present is controlled by the folks who thought the 80's were where history should stop, and the world has only *barely* started looking at a future with basic income and such.
Regarding the over-representation of crime in the media, we see the same thing today with sanctuary cities and no-go zones and whatnot. Detroit is still viewed as a dystopian urban wasteland. Truthfulness means far less than conformity with confirmation bias, especially if it reinforces the idea of danger just outside the door. It's Gerbner's Mean World Syndrome in overdrive, with the target not just being poor non-white inner city folks, but Muslims too.
I think it's why a lot of cyberpunk still resonates. It's a lot of the same problems from the Reagan era, just cranked to 11 because of the internet and 24 hour news cycle.
But, yeah, I hear moving drawings are a thing.
I was commenting on the modern tendency towards grimdark futures, not criticizing it in any specific older media where it's applied to an appropriate and good effect. Films like those are why similar efforts are so hollow now, because those overly-dark futures are done for reasons that often don't have much to do with anything but lame or lazy justifications of the setting.
The common tendency is to portray that humanity will return to savagery overnight given any reasonable opportunity, and that definitely does not match history. How much of Europe was devastated across two world wars? Did those all turn into permanent murder-zones full of feral people? No, people rebuilt what was lost because most people actually don't want to live in blood-drenched hellholes if they've seen any different. Much of the history of the Western world involves a lot of cities or nations being invaded, razed, then rebuilt again. And it's a trend seen pretty much everywhere else in the world; unless a city or town is annihilated down to the very last person, people just rebuild.
Heck, Machiavelli wrote about inevitability of people forcing a return to their notion of freedom and a good society some five hundred years ago, even when actively kept under a conqueror's boot. But acknowledging that human civilization is strongly and inevitably averaging in a positive direction isn't nearly as easy to work with compared to just having most of the population of the world suddenly and irrationally just decide civilization is dumb and it works way better to just murder and rape everybody you want.
Switch (JeffConser): SW-3353-5433-5137 Wii U: Skeldare - 3DS: 1848-1663-9345
PM Me if you add me!
So much better than the whiny tag along version
The official Facebook page of the character posted this link, so there miiiiiiiiiiight be something to this.
Don't play with my emotions about this! I'm still trying to accept that a new Ducktales cartoon, which actually appears to be good, is a thing.