Animation Thread

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Garrett Gilchrist
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Re: Animation Thread

Post: # 10316Post Garrett Gilchrist
Sat Nov 02, 2019 2:09 am

She-Ra and the Princesses of Power (Netflix) - Seasons 2 & 3

Hey, Adora: Noelle Stevenson's terrific (and gay-coded) reboot of the Masters of the Universe spinoff is back for another two half-seasons. Remember when animated cartoons would air 65 episodes in a season? Here we get thirteen episodes split over two "seasons." This has never looked like a very high-budget show, but it is a good-looking show regardless. And since the series felt like it was barely getting started with some plot threads in season 1, it's good to get thirteen episodes more with Adora, Catra, and the Princesses of Power. It's adventure and comedy with some great characters.

https://twitter.com/TygerbugGarrett/sta ... 9780358144

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Garrett Gilchrist
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Re: Animation Thread

Post: # 10317Post Garrett Gilchrist
Sun Nov 03, 2019 4:48 pm

Season 4, November 5!

This show is just the woman yelling at a cat meme.

https://twitter.com/voidroonil/status/1 ... 6827620353

Is there really no Entrapta in this trailer? She's always entertaining and I'm wondering what will happen with her character now.

The possible arrival of Horde Prime is an exponentially bigger threat than the show has faced to this point. The show has always felt like a bunch of teenagers still figuring the world out, and making Glimmer Queen and opening Etheria up to a possible massive invasion is a big step.

Mermista, Frosta and Perfuma were underused in seasons 2/3 (apart from the tabletop gaming episode), so the heavy use of Mermista here is nice to see. Castaspella also has the first few lines, and will probably be needed for the sort of stuff Angella used to do.

The show has added Huntara and Flutterina, and will probably keep forgetting that Netossa and Spinnerella exist. Actually they are in this trailer. Spinnerella is voiced by show creator Noelle Stevenson so was possibly never intended as a main character.

I've heard that Mara is replacing Angella in the opening, somehow. But I wouldn't count Glimmer's parents out yet.

https://www.youtube.com/watch?v=juIipTTY1Vo


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Garrett Gilchrist
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Re: Animation Thread

Post: # 10338Post Garrett Gilchrist
Sun Nov 10, 2019 9:00 pm

Noelle Stevenson's She-Ra and the Princesses of Power (Dreamworks / Netflix)

A summary:

Catra loves Adora
Catra screws it all up

Scorpia loves Catra
Catra screws it all up

Hordak loves Entrapta
Catra screws it all up

Hordak wants to open a portal
Adora and Entrapta know that this will destroy reality
Catra screws everything up
I mean literally everything

Shadow Weaver abuses Catra
Catra imprisons Shadow Weaver
Catra screws it all up
Shadow Weaver takes up gardening

Catra conquers Etheria
Hordak is impressed
Catra screws it all up

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Garrett Gilchrist
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Re: Animation Thread

Post: # 10341Post Garrett Gilchrist
Mon Nov 11, 2019 9:30 pm

Noelle Stevenson made Spotify playlists for She-Ra's characters. Apparently Scorpia is a very Fleetwood Mac mood. And Adora, of course, gets "What's Up" by 4 Non Blondes. A lot of the same artists recur (including Marina, Brandi Carlile and Taylor Swift).

https://io9.gizmodo.com/creator-noelle- ... 1839757765

There doesn't appear to be a Youtube video of the "She-Ra" characters handling 4 Non Blonde's "What's Up" (and "Don't Cry Out Loud" by Melissa Manchester), a la "Fabulous Secret Powers," and I'm disappointed. I'm sure I've seen fanart memes to this effect but can't find the one I'm thinking of now.

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Re: Animation Thread

Post: # 10347Post filmfan94
Tue Nov 12, 2019 2:51 pm

Based on reports I’ve read about Disney+, they’ve left Dumbo and Peter Pan alone as far as censorship is concerned and Melody Time is now uncut (though Fantasia still has Sunflower removed and there’s no news as far as Make Mine Music), they just have disclaimers before the films. The site also apparently has a vastly improved transfer of Sword in the Stone among the 4K movies (Black Cauldron is also in that section too).

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Garrett Gilchrist
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Re: Animation Thread

Post: # 10348Post Garrett Gilchrist
Tue Nov 12, 2019 11:51 pm

I am glad to see that Sword in the Stone is not the ruined median-filtered version

Recent versions of Fantasia have removed the racist characters in a way that is clean and not jarring. Certainly the racist material should not be present in current releases.

It's harder to remove from Dumbo and Peter Pan and I have no opinion on that at this time.

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Re: Animation Thread

Post: # 10376Post Garrett Gilchrist
Thu Dec 05, 2019 3:56 am

FROZEN 2: It gives me no joy to say that I didn't like this one, but then the film gave me no joy either. In theory this should have been right up my alley. I have a huge stack of Oscar screeners here and this is the first one I've actually watched. It's made by a team who've done this before and know what they're doing. But it's a McDonald's movie. It's soulless corporate product. And there's really nothing wrong with it except the script.

Frozen was developed as an adaptation of Hans Christian Andersen's "The Snow Queen." When Kristen Anderson-Lopez and Robert Lopez turned in "Let It Go," Disney realized the song was too good to be a villain's song. Elsa became, instead, Disney's most recognizable and marketable heroine. It's a song where she comes into her own as a character, embracing her ice powers and locking herself away from the world. It works better as a hero song than a villain song, and as a vague but universal metaphor for growing up or coming out of the closet or accepting yourself or SOMETHING. But it doesn't actually make sense in the context of the film. She's coming out to nobody, to the darkness. She's triumphantly declaring her intent to do nothing at all. It's powerful on its own. It could have been a villain song, promising that she'd come back as a super-powered threat. Or it could have been a more literal song of self-acceptance. As a hero's song of empowerment, its metaphor doesn't make much sense. Disney was afraid that Elsa could have any real flaws, or make a statement about her sexuality. So it becomes a huge statement about nothing much.

Someone at Disney saw dollar signs, and turned "The Snow Queen" into "Frozen," a massive, marketable franchise that wants to be a Disney princess film, a Broadway musical, a superhero film, and the tentpole of endless merchandise and sequels.

If you liked "Let It Go," Elsa has two songs exactly like it here, "Show Yourself" and "Into the Unknown" (complete with a cover by Panic! at the Disco). They both sound great sung by Idina Menzel. And neither of them mean much in the context of the film. Once again, both songs work as metaphors for growing up, accepting yourself, coming out of the closet, or whatever you like. But the film has studiously avoiding having either of them actually mean anything, or drive the plot in a significant way.

If you liked these characters, they're back. They have no real flaws, and Elsa has superpowers. There is constant, exciting danger but no conflict at all. The film has no villain. It's terrified of examining these characters beyond a very basic surface level, but also constantly stops so they can sing songs about their feelings in the exact fashion of a Broadway musical, which is jarring in a way that it shouldn't be. Especially since I usually like that sort of thing. Shouldn't an animated musical feel like, well, an animated musical, rather than a stage show?

The characters have all picked up the vocal tics of improv comedians, and are constantly going through the motions of Ricky Gervais-like comedy of awkwardness, without actually doing or saying anything funny. It's hard to get a grip on who these characters actually are, besides annoying. They're either hugging one another, talking with comedic awkwardness, or going through the motions of serious drama as if there's a lot more conflict in this movie than there actually is. It all seems to happen for no reason.

The film wants us to feel like something important is happening without digging beneath the surface level of these toy-friendly characters. The film's plot, such as it is, seems to hinge around America's original sin of white colonizers murdering America's natives, but of course the movie doesn't want to delve into that too deeply. It wants a hint of that dark past to make it seem like this movie is about something, without actually getting into that for more than five seconds of screen time.

As with 2009's The Princess and the Frog, Disney is terrified that its characters might have any flaws worth examining. Both films tie themselves in knots trying to make a problem out of their characters being TOO perfect and magical and reliable and hard-working and loveable.

In this film, for no reason, Elsa finds a Pokemon. A Charmander, in fact.

There's lots of magic onscreen visually, due to the film's unexplainable premise that "Water has a memory," as if every drop of water is a camera holding a hard drive's worth of movie data. Perhaps they're daring us to piss a better film.

It looks great, and goes through the beats of a much better movie, and anyone under ten will almost certainly mistake it for one. To my adult eyes the script made no sense at all, as if every page had been stapled in from a different draft after tens of thousands of notes from executives who just want to make sure the movie sells toys.

That's probably what actually happened. Credited to Jennifer Lee, who directs with Chris Buck, the film doesn't feel like anyone wrote it at all. Everyone involved with the film seems talented enough, and it's not as if they're doing bad work here. I can't think of anything they're actually doing wrong.

But they're also going through the motions of a cash-in sequel designed to sell toys and keep a franchise going past its sell-by date, something no previous Disney Princess film has had to do on the big screen. It feels like there were a thousand drafts of every line of every scene, and a rotating panel of executives decided what stayed in. It's hard to get a grasp on this script. There's nothing to hold onto, because nobody just sat down and wrote this script all the way through in a way that builds on itself and makes sense. It's just a collection of stuff that happens, which might even have worked, if this were more like a real movie.

These characters love each other, but can't quite make things work, for no reason, because it's that point in the film where that happens. Don't ask why. There's Olaf again, the allegedly funny snowman. There's lots of magic happening and now they're running away from it, or toward it, or something. Don't ask why. Now they're singing about their feelings, and my feeling is that this is all unearned, and doesn't explain anything.

There's a merchandisable premise here, that Disney's Princesses of the moment are actually superheroes - something that the current She-Ra series does a lot better. And in oddly similar fashion. And they're not as afraid to make their princesses gay.

Frozen 2 is a superhero movie for girls, but there's no villain to fight. There's constant danger but no conflict, just a series of misunderstandings, because these characters act like a collection of borrowed quirky behaviors, rather than acting like real people. Elsa and Anna, with their childlike head proportions, look like dolls you can find at any Wal-Mart since 2013.

After two films, all I really know about them is that Elsa has all the cool powers, and Anna doesn't. They have all the character development of two flavors of ice cream.

Kids will like it, and it'll make a billion dollars.


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Re: Animation Thread

Post: # 10380Post Garrett Gilchrist
Sat Dec 07, 2019 2:54 am

She-Ra. I was wondering why no one had done this, and found out that someone had (at least partly).

https://freezingmyblitzballs.tumblr.com ... 8/its-done

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