Novid – ToonBarn http://www.toonbarn.com Cartoon news from Nickelodeon, Cartoon Network, The Hub, Disney, Pixar, DreamWorks, CG animation, anime, movies, or any kind of cartoons! Fri, 15 Dec 2017 20:00:54 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.8 4530339 John Lasseter is taking a leave of absence for his inappropriate behavior. http://www.toonbarn.com/disney/john-lasseter-taking-leave-absence-inappropriate-behavior/ http://www.toonbarn.com/disney/john-lasseter-taking-leave-absence-inappropriate-behavior/#respond Wed, 22 Nov 2017 01:31:17 +0000 http://www.toonbarn.com/?p=89920 Things are getting really Interesting in Hollywood in recent weeks. We at Toon Barn, have covered some of the news with powerful CEO’s. But today, things are much more quiet, and subdued. For it wasnt the wage suppression scandal that has ended this man’s career. It was his inappropriate behavior. Here are links to the […]

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Things are getting really Interesting in Hollywood in recent weeks.

We at Toon Barn, have covered some of the news with powerful CEO’s.

But today, things are much more quiet, and subdued.

For it wasnt the wage suppression scandal that has ended this man’s career.

It was his inappropriate behavior.

Here are links to the news articles that will give more details:

John Lasseter Takes Leave of Absence Following Missteps

John Lasseter’s Alleged Misconduct Detailed by Disney/Pixar Insiders

But these are troubling times, and I will have my statements later.

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Sony TV Distribution (the TV/Syndication Arm of Sony) will own a Majority Stake in Funimation. http://www.toonbarn.com/other-cartoons/sony-tv-distribution-tvsyndication-arm-sony-will-majority-stake-funimation/ http://www.toonbarn.com/other-cartoons/sony-tv-distribution-tvsyndication-arm-sony-will-majority-stake-funimation/#respond Wed, 02 Aug 2017 23:23:51 +0000 http://www.toonbarn.com/?p=85069 Well, ain’t this a twist. Sony TV Distribution (Formerly Columbia, Tri-Star, Screen Gems – which Sony Pictures still use in various forms) will now pretty much own lock stock and barrel – Funimation entertainment, the US distributors of the Dragon Ball Franchise and other anime. Now there has been a lot of confusion about the […]

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Well, ain’t this a twist.

Sony TV Distribution (Formerly Columbia, Tri-Star, Screen Gems – which Sony Pictures still use in various forms) will now pretty much own lock stock and barrel – Funimation entertainment, the US distributors of the Dragon Ball Franchise and other anime.

Now there has been a lot of confusion about the future of Funimation – so lets clear this up:

First Issue – Sony has many different divisions. The US TV side of Sony bought Funimation for 147 Million. Now the confusion comes from the fact that Aniplex is owned by Sony. But folks that’s a different division. Its Sony Music. Japan. While under the same name – they have much different polices and structure. Now in theory something from Aniplex would have a much easier time because Same Corporation – shorter change fee, we all gravy. But that’s way far from the truth in practice.

Second Issue – The VRV service? No changes until the deal with AT&T and Time Warner goes through if it even does. That’s the big one. That effects Toonami more than this deal with Sony TV does and I care more what happens to Toonami than what happens to Funi at this juncture. What i do see, if the deal does go through – VRV dies or gets reformatted.

Third Issue – Sony will Change Funi? Not at the present moment. None of the projects Funi has done will end and at this time, no major changes will take place.

So why was the deal done?

Here might be one of the reasons – Union representation and the unavailability of Voice Actors/Actresses. One of the main reasons there is such contention with the genre – outside of its content (that’s a issue for another time) is the Voice Actors working non union jobs. Hollywood has been a Union town for decades and unions wither the fans like it or not tend to look down on non-union work. One of the reasons why the longest strike in recent memory have taken place is because the Unions want the share of the profits the Video Game industry has made over the years. There is also the case of where entry level actors are trying to get into Sag/Aftra and to other roles (or for larger actors to take smaller roles between work) – so this would make that aspect easier.

One of the other reasons may be that it might be a way to build up their syndication arms and their digital footprint, and possibly their movie division (yeah, outside of Spiderman and their deal with Disney – they don’t have much to go on and their successes have been…middling to bad for several years.  The whole broadcast dub without a broadcast partner thing goes out the window because they have the opportunity to (or have a much easier time mind you) of getting broadcast deals with other stations. There are too many positives with this – but those positives can be negatives right quick.

Their will be more about this deal as it develops.

Source: http://deadline.com/2017/07/sony-pictures-tv-networks-acquires-majority-stake-funimation-japanese-anime-1202139652/

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June Foray: Voice of Rocky The Squirrel, Natasha Fatale, Witch Hazel and Granny (Sylvester and Tweety Shorts) passes away at 99 http://www.toonbarn.com/looney-tunes/june-foray-voice-rocky-squirrel-natasha-fatale-witch-hazel-granny-sylvester-tweety-shorts-passes-away-99/ http://www.toonbarn.com/looney-tunes/june-foray-voice-rocky-squirrel-natasha-fatale-witch-hazel-granny-sylvester-tweety-shorts-passes-away-99/#respond Thu, 27 Jul 2017 10:41:55 +0000 http://www.toonbarn.com/?p=84878 In a time where most forget history, the history that made art, animation and cartooning stand up as a form of cultural mark in the nation, June Foray, was one of its greatest defenders. One of the biggest voice actresses of her time, and possibly the biggest female voice actress in the western animation world, […]

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In a time where most forget history, the history that made art, animation and cartooning stand up as a form of cultural mark in the nation, June Foray, was one of its greatest defenders.

One of the biggest voice actresses of her time, and possibly the biggest female voice actress in the western animation world, she stands as one of the greatest defenders of the medium. While there weren’t many in her field, she paved the way for others to enter.

Her greatest accomplishment may have been the most quaint – she convinced (with many others) as a member of the Academy to allow Animation – to be apart of the Academy Awards (OSCAR) both in the short and long form entries. For years they bandied about – but in 2001 she succeed.  She was one of the founders ASIFA Hollywood, and later in the 1970’s created the Annie Awards.

While Peggy Charren and others fought against animation at every turn (ultimately succeeding by 1991), June Foray worked to bring animation out of the gutters. Without her voice and her influence, many animators and those connected in the animation industry would have never made the moves they did during the 70’s and the 80’s which gave a chance – if in many major cases unsuccessful as we see in more recent times – animation in US something more than what the rest of the mainstream thought it was.

She is pretty much, the genesis (good or bad) of animations movement towards more mature works. Even though her claim to fame were hitting a cat trying to eat the cute little bird. And on that front – while many of her male counterparts retired, she came back in the 80’s with the Duck Tales series, reprise her role of Granny on the Sylvester and Tweety Mysteries in the late 90’s and did other smatterings of works.

Of the greats of any century, This is one the great losses animation has bared to witness.

Chuck Jones, the greatest of his age, once remarked: “June Foray isnt the female Mel Blanc, Mel Blanc is the Male June Foray”

She will be deeply, exceptionally at this time in animation, DEEPLY Missed.

Cartoon Brew has more details, and we will update this as more follows.

Animation Scoop (Jerry Beck) also has more details.

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Between Kids Click and Universal Kids, A Small Rebirth of Sorts is Starting. http://www.toonbarn.com/4kids/kids-click-universal-kids-small-rebirth-sorts-starting/ http://www.toonbarn.com/4kids/kids-click-universal-kids-small-rebirth-sorts-starting/#respond Thu, 29 Jun 2017 07:12:34 +0000 http://www.toonbarn.com/?p=83741 Comcast and Sinclair are two companies that have many detractors. And some of criticisms are not without merit. But the announcements over the last several weeks, first with the Universal Kids rebrand of Sprout (once owned by CTW, creators of Sesame Street), and Kids Click, the MGM/Weigel/Sinclair project which will bring both weekend and weekday […]

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Comcast and Sinclair are two companies that have many detractors. And some of criticisms are not without merit.

But the announcements over the last several weeks, first with the Universal Kids rebrand of Sprout (once owned by CTW, creators of Sesame Street), and Kids Click, the MGM/Weigel/Sinclair project which will bring both weekend and weekday animation back to the network airwaves (via Sinclair increasingly large station group, with the addition of the Tribune stations), a sort of rebirth has begun.

While the first few months will be slow, and the first year will be filled with growing pains – its become near apparent that their entries in the Kids Industry will have an affect – much smaller for Sinclair for now, much larger for Comcast at the beginning of the re-brand will have an effect on Disney (the king of the industry at the moment), Paramount/Nick and Cartoon Network/Boomerang.

For Comcast, this has been in the offering for almost 15 years. Rumblings started way back when they bought Classic Media but nothing come out of it. Then by co owning Sprout (and then when they bought NBC using it as a spring board for Sprout content). Then they bought Illumination entertainment – the animation house that made the formidable Despicable Me franchise, and then with Comcast buying Dreamworks Animation, they had no choice but to build the network. Despicable Me is a 3 BILLION dollar powerhouse, and with the addition of the myriad of Dreamwork’s IP’s and the fact they have tried to get back into the kids industry (since the end of the USA Cartoon Express) for this long they will be playing for keeps.

Sinclair is another beast of a different strain. With the announcement that BOTH former runners from the 4Kids era and the short Vortexx era will be joining Kids Click, Sinclair is trying to get tried and true success stories into the fray. You also have to remember that Sinclair runs everything – on a basis of penny pitching. Everything to cut costs they will do, but they will not (and they never do this for their local stations in the mid major markets, when it comes to news) short change quality. The massive, massive question comes down to the acquisition of newer shows from places like Netflix and others and the big question, will they go after the Toy Based anime (such as Yokai Watch) etc? Will Sinclair (who have good connections with the major evangelical groups, which air their preachers) ask for concessions (read this as airing certain shows of Christan bent) if expansion takes place later on with certain Christan based product (Veggie Tales etc)? Will they be a much stricter on what will air on Kids Click then 4Kids was in the past, or Saban and his dealings in the past?

This has all come at a time when Youtube has become a place where kids watch their stars, and where stars are born. The recent controversies concerning these stars, and with advertising rates and how and where Youtube is sending said ads. There is also massive, massive disconnects since all the changes with advertising for food, toys and others around children have changed – but only two products (Legos and Star Wars) have succeeded post the Marvel/LucasArts mergers. Then came fidget spinners, a product that wasn’t promoted on the kids networks, but on Youtube mostly – and it became a massive success. Something is wrong with the way the shows are promoted, the ads are placed and all  the rest. The advertisers – cant fully trust YouTube, and if Unilever’s chief marketing and communications officer is to be believed, a lot of the advertisements on the net (from Facebook etc) are based on fraud on a immense scale.

Things are going to change on a dramatic scale in the next several months to years, and as the corrections continue – players like Comcast and Sinclair will want a slice of the pie. The catch however is this. Are Comcast’s IP’s big enough to cause changes in the cable world? Or is Sinclair with a new hit in the future that will shock the system? Much stranger things have taken place. We will see what take place starting July 1st, and all throughout this year and next.

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Universal Kids Network will become a reality this September 9th http://www.toonbarn.com/dreamworks/universal-kids-network-will-become-reality-september-9th/ http://www.toonbarn.com/dreamworks/universal-kids-network-will-become-reality-september-9th/#respond Tue, 23 May 2017 08:12:54 +0000 http://www.toonbarn.com/?p=81145 After the deal with Dreamworks was made, it was only a matter of time. From Cartoon Brew and Deadline Hollywood Sprout is expanding its reach. NBCUniversal Cable Entertainment’s preschool network is rebranding to become Universal Kids, extending its audience to 2-11 year olds with content to include DreamWorks Animation Television series, unscripted entertainment, live action […]

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After the deal with Dreamworks was made, it was only a matter of time.

From Cartoon Brew and Deadline Hollywood

Sprout is expanding its reach. NBCUniversal Cable Entertainment’s preschool network is rebranding to become Universal Kids, extending its audience to 2-11 year olds with content to include DreamWorks Animation Television series, unscripted entertainment, live action scripted originals, along with international hits.

Programming on Universal Kids remains mostly a mystery, but a couple of the launch programs will be re-runs of Dreamworks Animation series for Netflix: All Hail King Julien and DreamWorks Dragons: Riders of Berk. NBCUniversal will air other family product it owns besides just Dreamworks content, including Illumination films and potential programming related to attractions at Universal theme parks.

And it won’t be strictly animation either. In fact, the network’s first original series is a kids’ reality show, Top Chef Junior, which is spun off from the popular cooking competition on Bravo (also owned by NBCUniversal).

Also part of the Universal Kids programming mix are award-winning international hit series, including Nowhere Boys from NBCUniversal, a fantasy-adventure that follows four teenagers who get lost in a forest and discover – when they return home – that they are stuck in a world where they never existed; Little Lunch, a comedy series from the Australian Children’s Television Foundation that takes place during lunch, where kids tackle the big issues; and The Next Step, a single-camera tween drama from Boat Rocker Studios that follows the lives of a group of elite dancers.

 

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In the all of the Craziness dealing with Sinclair and Tribune – Sinclair ALSO is getting into the animation business with new Block. http://www.toonbarn.com/other-cartoons/craziness-dealing-sinclair-tribune-sinclair-also-getting-animation-business-new-block/ http://www.toonbarn.com/other-cartoons/craziness-dealing-sinclair-tribune-sinclair-also-getting-animation-business-new-block/#comments Fri, 19 May 2017 06:24:31 +0000 http://www.toonbarn.com/?p=81656 On the heels of one of the biggest deals for local stations, Sinclair is (coming back?) to the animation and Kids industries, with KidsClick. They will be working with Wegels and MGM’s THIS TV to show the block on a 3 hour basis every day, and 7 to 10 every Saturday. The reason possibly for […]

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On the heels of one of the biggest deals for local stations, Sinclair is (coming back?) to the animation and Kids industries, with KidsClick. They will be working with Wegels and MGM’s THIS TV to show the block on a 3 hour basis every day, and 7 to 10 every Saturday. The reason possibly for the LONGER daily strip is that they want to get over credit (similar) for e/i shows like PBS does.

So, here is a interesting thing. the 4 major networks do live action works now (Via Litton), while Sinclair MIGHT possibly do animation, in house (as in, in house in that they are the direct distributors of the content.) Sinclair is playing for keeps, and this Tribune deal and now the KidsClick block is only just the start.

And everybody forgets that that Sinclair gets a lot of money from the retransmission fees via cable. The more these cable nets die off, and the more the OTT substations live, the more it favors Sinclair.

Read more here:

Sinclair to Launch ‘KidsClick’ Multiplatform Programming Block for Children

 

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Thoughts About 4Kids 5 Years After its End: A Challenge to Readers http://www.toonbarn.com/4kids/things-about-4kids-and-the-industrymarket-place-5-years-after-its-end-and-a-challenge-for-those-reading-this/ http://www.toonbarn.com/4kids/things-about-4kids-and-the-industrymarket-place-5-years-after-its-end-and-a-challenge-for-those-reading-this/#respond Sun, 26 Feb 2017 06:00:35 +0000 http://www.toonbarn.com/?p=78961 In an email conversation with fellow Toonbarn staff Neil, I was told that a lot of people still come to this site looking for info on 4Kids. To me, it’s not a surprise. A lot of companies die out, leaving the products behind to other owners. 4Kids’s bankruptcy in reality left a gaping hole that […]

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In an email conversation with fellow Toonbarn staff Neil, I was told that a lot of people still come to this site looking for info on 4Kids.

To me, it’s not a surprise. A lot of companies die out, leaving the products behind to other owners. 4Kids’s bankruptcy in reality left a gaping hole that exposed a lot of things in the process.

The biggest thing it exposed? That the way animation is distributed in the country for the last several decades has been disrupted forever, and if such entries as Netflix and others go by the way side, most of the animation industry in the US would be flushed down the drain.

All 4Kids bankruptcy did was to showcase how much collusion was in not only the return of Saban back to Saturday morning, but in a weird way, showcased the bigger wage scandal Hollywood’s animated studios were doing (to be fair, 4Kids and Saban were doing the same things in different ways and this was because one side didnt get is bailout money and the other had just restarted the company after being away for a while.)

But I think what was lost in the whole thing is that 4Kids did do some amazing things with the limited funds they did have and also gave some of the ideas of having their own Ad Agency (they were once Leisure Creations back in the 1970s and still had that appperatiaus) which now Illumination studios does with its movies and its advertising. One of the reasons why these companies are starting to use this concept is because it may be more advantageous (especially with all the issues with the Youtube influencers and so on) to control the ads the product is based on in order to sell other people products on. 4Kids did this with Yugi-Oh and Nintendo many times and so on. It going to increase as the ad men lose more and more control of their influence – and as this election has proved, the ad men and their companies have bitten more than they can chew.

But I could talk more about these things about 4Kids. I rather let you who have been coming here to Toon Barn looking for more information about 4Kids, to tell me what we need to discuss and to explain in better detail. I have other projects that I do need to finish, but since I have pretty much found a home here, i want you folks to help me. Keep sending suggestions to Neil, and on the comments below or Toon Barns Growing Message Board. I will do my best to help explain what I know and to give better context to these questions.

Thanks, and watch for more articles on 4Kids and other topics soon…

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A Final Word on the “Techtopus” Wage Suppression Scandal and its Implications http://www.toonbarn.com/disney/final-word-techtopus-wage-suppression-scandal-implications/ http://www.toonbarn.com/disney/final-word-techtopus-wage-suppression-scandal-implications/#respond Sun, 05 Feb 2017 15:00:07 +0000 http://www.toonbarn.com/?p=78802 To read Mark Ames’s (should in a better world win him a Pulitzer) reports exposing this scandal for the for the first time: Click Here and Here. To Read up on my response and the news articles dealing with the scandal, click these links: http://www.toonbarn.com/disney/wage-fixing-scandal-hit-snag-court-doesnt-mean/ http://www.toonbarn.com/disney/animation-anti-trust-lawsuit-now-can-go-forward-big-news-plaintiffs/ http://www.toonbarn.com/disney/remember-wage-fixing-conspiracy-lawsuit-looks-like-disney-board-knew/ http://www.toonbarn.com/disney/remember-wage-fixing-scandal-back-going-huge/ http://www.toonbarn.com/disney/dreamworks-now-owned-comcast-settles-artists-wage-suppression-scandal/ View story at Medium.com The Views […]

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To read Mark Ames’s (should in a better world win him a Pulitzer) reports exposing this scandal for the for the first time: Click Here and Here.

To Read up on my response and the news articles dealing with the scandal, click these links:

http://www.toonbarn.com/disney/wage-fixing-scandal-hit-snag-court-doesnt-mean/

http://www.toonbarn.com/disney/animation-anti-trust-lawsuit-now-can-go-forward-big-news-plaintiffs/

http://www.toonbarn.com/disney/remember-wage-fixing-conspiracy-lawsuit-looks-like-disney-board-knew/

http://www.toonbarn.com/disney/remember-wage-fixing-scandal-back-going-huge/

http://www.toonbarn.com/disney/dreamworks-now-owned-comcast-settles-artists-wage-suppression-scandal/

View story at Medium.com

The Views in this essay, are not necessarily the views of Toon Barn or its affiliates:

A 3-year investigation is going to end on March 9, with the final reading of the verdict in the wage suppression scandal. The fact remains that the biggest animators in the world had committed acts of suppression and collusion that would have bankrupted most other companies and sent their CEO’s in prison.

However, just as in finance and medical – the entertainment business may be one of those too corrupted for actual justice to prevail. The events that have taken place in the Techoupus scandal has showcased massive failures not only in the reporting of the event, but the major implications not only for the animation industry – but its fan sites and those that follow cartooning and animation as a whole – not only in the mainstream, but from its super fans to others.

The underlining argument in this whole scandal is the issue concerning the future of animation and the question that was asked in the mid 1990’s to 2005 at the very latest. Should CGI take over 2-D animation? And that question was answered, on the backs of animators who were being used to make money hand over fist for these corporations. The Union, knowing this issue for years – sat on their hands while they aimed their barbs at the “scabs” – Saban (from the days when he ran KidVid) to 4Kids (during KidVid’s dying aura), not knowing, or maybe couldn’t do anything about the obvious wage suppression that was cooked in the overall deals that SAG and later AFTRA (which TAG is a part of the latter) were working on in the 88’ and 2011 deals.

The biggest questions one needs to ask themselves is simple, and maybe more profound than what once realized. Were all the great CGI works promoted with the knowledge that workers couldn’t send their talents elsewhere in the industry? Was there a “culture of servitude” preventing newer stars to be made, possibly causing even more consternation in the animation schools and the cultural changes surrounding them. What was the role of the sites such as Toonzone and the Disney Blogs and other “nerd” sites? Where they in on the whole thing? Why when concerns from myriad of fanbases, most importantly the anime fanbase in the 90’s and early 2000’s about western animation and its storytelling and quality weren’t even given a fair hearing and actual explanation? Because if this was known, and it was – and would have been showcased especially on certain anime blogs explaining why they left the western works – if not the main reason, one of the bigger reasons; people would have called bloody murder and things would have changed so that we wouldn’t have the messes we see today. We as fans of animation would not have known the extent of the scandal without Mark Ames from Pando Daily, who does not even do animation news!

Don’t get me wrong. This is a huge, massive victory for the artists. But it comes too little, and much too late in the game to have any effect other than historical, and mostly another black eye in the modern day animation market place in the west, which because of its tone policing, censorship, horrendous talent pool (some of the worst in decades, last time this happened was in the 70’s) has caused animation in the west to become a tool for Netflix and Amazon Prime to use for their “Kid” ventures, and the main three Cable Kids TV nets to use “diversity for diversity’s” sake. But its ten years too late, and it is seen by the fans of the animation marketplace in the west as a cynical ploy to get points by a lost media, news and fansites, as a massive cash grab for a dying toy industry only held up by Lego’s and Star Wars… just like it was for most of the late 70’s and very early 80’s.

The real farce of it is that not only the wage suppression hindered honest people from getting honest pay – it shows that CGI was being FORCED upon the audience. There were suspicions it was being done. Message Boards talked about it, but nothing was being done. Now that the full scope of the wage scandal is shown, we realize that not only CGI was being used as a new way to make money over fist- that sadly Pixar’s glory was heavily financialized on the backs of some of the smartest people in the country. Not only that, it prevented ANY one else coming in – because as I have theorized in other writings – companies such as Crunchyroll and other entities do not come overnight – they are made by those who wish to keep the status quo in check. They didn’t want those who were trying to create a new studio (I remember the interviews and such around 2003 and 2004 from many a AWN forum member) to succeed. The biggest thing? 2D was never allowed to evolve in the west unless; it was done under Pixar/Disney purview. 2D was “Disney’s Property” and anybody that made bank on 2D, that wasn’t them, had to be shamed, wrecked, looked bad and so on.

This is why folks, Anime (in the states, mostly with movies) as a rule had a Corporate champion (Miyazaki, and Studio Ghibi), and had to be at the same time shamed by the same Press, because if they realized there were other talents such as him, the gig was up. The unusual thing was that it was already up on the TV side. 2D worked in TV, and the rare times that a Western Animated film did do well that was 2D, people were stunned at the numbers.

So what in the world gives? Why hinder actual diversity of styles and artistry? There could have been a independent movie company that only did 2D in the United States. There could have been other studios who did the pen and paper (and digital cells) as well as CGI. But it falls to nothing, because the major studios colluded, and joined forces to not only promote each other using their connections in the ad agencies, hinder wages with wage suppression, and lack of worker mobility between companies, they also made sure that no other competitor could ever leave for another company (here again the union could have helped but didn’t fully) or start his own production firm until late in the game. This also means that the animation audience mainstream or not – was lead into supporting CGI over 2D, these companies switched the writers and the ad agencies and nothing changes. People still went to the theaters. It also means that Disney was in the process of buying or working with these companies in the future – so there was no way Pixar was going to Warner Brothers or a another company outside the cabal’s grasp.

It means that we were sold a false bill of goods.

It also means that the animation marketplace in the west only now has flushed some of the corruption out, but by having none of the players face any sort of jail time, only makes the same type of corruption not only possible once again, but part of the structure that keeps things going in that marketplace.

Let us not mince words here. These heroes of the industry by the way they treated their bread and butter, are no better than what the Animation Union say that the “Scabs” (Saban and 4Kids) say they were back in the mid 90’s to the mid 2000’s. For that, the TAG union has to come to terms with this and do better in the future, as they have done as well in other cases with those that work in VFX for example.

A final note, these types of scandals have happened before – in Japan with one of their major studios – Mushi Productions (this is the production house Tezuka created), one of the financiers was caught, and sent to prison. The studio was disbanded afterwards, and another took its place under Tezuka’s name. Nevertheless, that moment gave the medium in the east time to breathe and breathe in new life.

The same can’t be said for the west and in particular the Animation Marketplace in the United States.

The gangsters run the town, and we are its pawns, drug users and in the end – its prostitutes.

 

 

 

 

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Disney finally settles the lawsuit in the wage scandal, which “ends” the suit, but not its implications. http://www.toonbarn.com/disney/disney-finally-settles-lawsuit-wage-scandal-ends-suit-not-implications/ http://www.toonbarn.com/disney/disney-finally-settles-lawsuit-wage-scandal-ends-suit-not-implications/#respond Sat, 04 Feb 2017 06:00:07 +0000 http://www.toonbarn.com/?p=78762 After many months of litigation, the wage fixing scandal that rocked the animation world has finally come to a close. The suit includes many famous studios, including LucasFilm, Pixar, Imageworks and Imagemovers, and now also names Two Pic MC. Variety Continues: The lawsuit was filed in 2014 by Robert Nitsch, a former DreamWorks Animation senior […]

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After many months of litigation, the wage fixing scandal that rocked the animation world has finally come to a close. The suit includes many famous studios, including LucasFilm, Pixar, Imageworks and Imagemovers, and now also names Two Pic MC.

Variety Continues:

The lawsuit was filed in 2014 by Robert Nitsch, a former DreamWorks Animation senior character effects artist; David Wentworth, a former ImageMovers Digital production engineer; and Georgia Cano, a digital artist who held jobs at Rhythm & Hues, Walt Disney Feature Animation, and ImageMovers Digital. The legal filing says that each of the plaintiffs plan to seek service awards that would amount to $100,000 for the entire litigation.

The workers contend that the roots of the anti-poaching agreements go back to the mid-1980s, when George Lucas and Ed Catmull, the president of Steve Jobs’ newly formed company Pixar, agreed to not raid each other’s employees.

Other companies then joined the conspiracy, the suit contended, with agreements on such things as cold calling and notifying each other when making an offer to an employee of another company. In addition, the lawsuit claimed that the company making such an offer would not increase the compensation offered to the prospective employee in its offer if the company currently employing the employee made a counteroffer.

They also go through what has happened, including the recent settlement from Dreamworks (now owned by Comcast), worth 50 Million. With this plus the other 415 Million settled already by others in the suit, nearly a third of a billion dollars have been settled.

The Implications of this suit and what it did to animation and in turn the fans and the shows/movies you see on the small and big screens, will be shown in a future essay in the upcoming days.

 

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Dragon Ball Super and Dragon Ball Z Kai Buu Saga will Air On Toonami back to Back Starting in January http://www.toonbarn.com/dragonball/dragon-ball-super-dragon-ball-z-kai-buu-saga-will-air-toonami-back-back-starting-january/ http://www.toonbarn.com/dragonball/dragon-ball-super-dragon-ball-z-kai-buu-saga-will-air-toonami-back-back-starting-january/#respond Mon, 12 Dec 2016 00:55:54 +0000 http://www.toonbarn.com/?p=78199 From IGN: Toei Animation, Funimation, and Adult Swim have announced that the Dragon Ball Super English dub will air as part of Adult Swim’s Toonami lineup beginning next year. Dragon Ball Super season 1 will premiere on Adult Swim on January 7, 2017 at 8 p.m. ET/5 p.m. pT/1 a.m. GMT/11 a.m. AEST and 11:30 […]

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From IGN:

Toei Animation, Funimation, and Adult Swim have announced that the Dragon Ball Super English dub will air as part of Adult Swim’s Toonami lineup beginning next year.

Dragon Ball Super season 1 will premiere on Adult Swim on January 7, 2017 at 8 p.m. ET/5 p.m. pT/1 a.m. GMT/11 a.m. AEST and 11:30 p.m. ET/8:30 p.m. PT/4:30 a.m. GMT/2 p.m. AEST.

The first season’s 26 episodes are set to air during the Toonami block in the coming weeks and months.


Toonami will also air Dragon Ball Z Kai: The Final Chapters, which focuses on the Buu Saga, will also on January 7 at 12 a.m. ET/9 p.m. PT following the second airing of Super that night. A new Dragon Ball Super website has also launched, which will include exclusive content, video, character information, and more of the latest news about the series. Previous Dragon Ball series Dragon Ball, Dragon Ball Z, and Dragon Ball GT all aired on Cartoon Network’s Toonami block throughout the late 1990’s and early 2000’s.

Toonami will be entering its 20th Anniversary in 2017 and it starts off with a bang…

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Why The AT&T/Time Warner merger, means a massive change in US Dubbing (and isnt a good thing) http://www.toonbarn.com/cartoon-network/atttime-warner-merger-means-massive-change-us-dubbing-isnt-good-thing/ http://www.toonbarn.com/cartoon-network/atttime-warner-merger-means-massive-change-us-dubbing-isnt-good-thing/#respond Tue, 25 Oct 2016 00:49:48 +0000 http://www.toonbarn.com/?p=77798 Note: The opinions expressed in this article are not necessarily the views of Toon Barn or its affiliates For a few years, I have been talking about Crunchyroll and its effects on the US Dubbing of anime and the way anime has been marketed in the states for some time. It has also been an […]

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Note: The opinions expressed in this article are not necessarily the views of Toon Barn or its affiliates

For a few years, I have been talking about Crunchyroll and its effects on the US Dubbing of anime and the way anime has been marketed in the states for some time. It has also been an issue with how licensing has been done, with certain artists (western artists like LeShawn Thomas who has worked in the industry before) bringing their work over to Crunchyroll instead of Toonami. Given the fact that Toonami has limited space but has done well in the ratings, the opinion of this essayist remains firm. Toonami makes anime a part of the wider animation community, while Crunchyroll creates a ghetto for the genre in this country. To say otherwise is the promotion of political, social and physical piracy. 

Now, why do i mention the deal with AT&T and Time Warner.

For this, you must look at a company named CA Media. CA Media is a collaboration between AT&T and Chernin Group. This same group, Bought the Pirating firm, Crunchyroll back in December of 2013 for about 100 Million dollars. AT&T and CA Media partnered later in 2014. This was one of the reasons why Crunchroll got a influx of money. They were bankrolled by the now regrowing MaBell, and the former Leader of both Fox Network (and yes, Fox Kids – with Haim Saban back in the 90’s).

Now with the deal about a year away – There are small, but significant rumblings inside the house of Piracy. They know that they will have SOME say in Toonami’s handling, because AT&T now has the distribution arm (Direct TV), the networks (part of The CW, which they sponsor half of the shows, and the turner networks) and with CA Media – the online platform.

The question is, where does this all lead?

The immediate answer would be a wait and see approach. But we have seen with Comcast, they didnt wait too long after the merger to lock NBC down after the 2012 Olympics. AT&T will do the same (if they can raise the money with the banks, and who has 40 Billion to spend to see Bugs Bunny sell cell phones?)

But the biggest concern, has to be how the handle Toonami. I felt that the block has found its place in the world. But Crunchyroll, the pirates that they are will spoil the fun. You see, their culture and Toonami’s culture may be politically similar(last i checked, Chernin is a DNC supporter), but socially not similar. Toonami started as an Idea, Crunchyroll started as a rebellion of sorts (but really, Piracy) dealing with the editing practices of 4kids during their run of One Piece. Toonami’s culture is one of understanding ones individuality, while Crunchyrolls is the continuation of a type of authoritarian collective (which also explains all the strange messages against Toonami concerning music videos, many of these contrarians are fans of at the very least subscribers or paid by Crunchyroll to antagonize Mr Demarco and others working for him, and we also see that in recent articles going after Adult Swim by Polygon and others).

Will AT&T force Toonami to work with this monstrosity, Crunchyroll that has hurt their chances of bringing even better work to the fore? Or better yet – what if this gets Crunchyroll Into the North American animation business using Toonami as a vector?

What does it also mean for the two pirate sites, Kiss Anime and Toonami Aftermath? Do they make a deal with say – Verizon and or Cox for streaming? Does AT&T blocks them?

The bigger question for you is – who do you trust if Toonami gets taken over by someone not fitting of what the block represents?

All this does is prove to others that wish to Pirate – you will be rewarded in the end. That our government sadly is selective in who they punish with law. Thats both scary and sobering.

In a better world, This Merger signals the end of Crunchroll and all its stands for. Toonami takes the whole joint over, all of the executives of Crunchyroll leave with nothing, and Toonami Jetstream will return as a secondary part of the much larger Toonami entity, which will bring artists, shows and videos together, and they finally have the networks (the CW along with AS. and the other turner networks) to do so.

That would be a much better fate for North American animation and Anime in this country as a whole in this new age.

But i know these sly pirate scumbags and degenerates from Crunchyroll will not go without a fight.

Im with Toonami.

I come for a fight Mr Gao. I hope your ready. You will not win, not this time.

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Dreamworks (Now Owned By Comcast) settles with artists in the wage suppression scandal http://www.toonbarn.com/dreamworks/dreamworks-now-owned-comcast-settles-artists-wage-suppression-scandal/ http://www.toonbarn.com/dreamworks/dreamworks-now-owned-comcast-settles-artists-wage-suppression-scandal/#respond Sat, 22 Oct 2016 23:50:18 +0000 http://www.toonbarn.com/?p=77774 The drama, and story continues to takes even more twists, even more turns and now – the end might be near? As I and Mark Ames and others have been reporting for three years, the wage suppression scandal has been a stick in the crawl of many of the major media folks. Now with AT&T […]

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The drama, and story continues to takes even more twists, even more turns and now – the end might be near?

As I and Mark Ames and others have been reporting for three years, the wage suppression scandal has been a stick in the crawl of many of the major media folks. Now with AT&T possibly going to make a deal with Time Warner (or is CBS is also in play as well), it would be advantageous for these media folks not to step out of line with the FCC… they still have some power to prevent mega mergers – and Comcast already knows this all too well. Now with Comcast owning all of Dreamworks, and also dealing with overcharging of its Cable subscribers, it been a setting move for the media “empire” as of late:

As part of the settlement agreement, the named plaintiffs—Robert A. Nitsch, Jr., Georgia Cano, and David Wentworth—will be awarded $10,000 in consideration of their efforts on behalf of the class. Additionally, the agreement allows for 30% of the settlement amount (or $15 million) to be paid to the plaintiffs’ attorneys. (When an attorney is hired by a plaintiff on a contingency basis—that is, without pay unless the plaintiff wins the case—that attorney will typically receive anywhere from 25-40% of the amount awarded to the plaintiff.)

Chump change sadly, compared to the billions these animation companies made for their studios.

All there is left is Disney – and they may go to court…

There will be more about this – It could be the end of the story – or even more intrigue…

Source: Cartoon Brew

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Why Crunchyroll Is causing more problems than good…and Zootopia shows why… http://www.toonbarn.com/disney/crunchyroll-causing-problems-good-zootopia-shows/ http://www.toonbarn.com/disney/crunchyroll-causing-problems-good-zootopia-shows/#respond Sat, 01 Oct 2016 09:00:48 +0000 http://www.toonbarn.com/?p=77531 Note: This Essay is not a review of Zootopia, nor a criticism of the movie. This essay takes its queue mostly in response to the wisecrack video about Zootopia and its issues about Race – this topic deals with why Jared made these criticisms, but expands on these questions to the how and why these […]

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Note: This Essay is not a review of Zootopia, nor a criticism of the movie. This essay takes its queue mostly in response to the wisecrack video about Zootopia and its issues about Race – this topic deals with why Jared made these criticisms, but expands on these questions to the how and why these issues come up. The opinions and observations made in this essay, do not represent the views of ToonBarn.

There is a question folks need to start asking, and it comes in the form of the comments made by Wisecrack on YouTube.  These comments made on the movie have merit, but the real issue is that on why this movie succeeded while other movies like Kubo and a few others failed, in what was historically and monetary wise – the biggest year in animation in recent decades.

Zootopia is in no uncertain terms, a movie for kids and as such the directors had to generalize the social context the movie was trying to show. Wisecrack implied that the directors really didn’t do a good job at generalization (stated in no uncertain terms that it should have been made much more simple because the history of race relations in the western world). And as many reviewers and commentators have stated – it’s a good film, with a better story and much tighter script then the other mega-hit Frozen.

But Jared, unwittingly has exposed a massive truth in his concerns. It has sort of become an unwritten secret – that you see between the lines in many of these movies reviewed- that the “puritan” block has reared its ugly head once more. But now, its being helped by another source – the source that is causing a lot of the piracy (or the support of such) in the anime industry – that site name is Crunchyroll. Let me explain with this analogy from the car industry.


You all have to realize that for decades, the auto industry in the United States has not recovered from what happened in the 1970 and most of the 80’s. Other businesses, whether it was in entertainment, construction and other such took note of these changes. Universities used these incidences to showcase market pressure and how government, other connecting markets, and other economic pressures effect society and its choices in buying product. So many businesses made it their mission, knowing that these pressures were here to stay – was to prevent such things from taken over their businesses. It became so important in the entertainment industry – that I am hear to say that Crunchyroll was one of Hollywood’s major creations of a kind in the Piracy of anime, and once successful – was given money from people in the tech field and then later the former head of Fox (Peter Cherinin) and now is in the hands of AT&T.

This in a way was both Disney’s doing of a kind as well, In 2004;  the company was publicly and majorly embarrassed after a most intriguing board meeting in Philadelphia. Disney and their ad agencies made it their mission to not only save the Disney Brand, but to stop their rivals. So they did things in the music industry, they reconfigured deals, they made certain dealings with Universities for research in Internet Technology (this is where the whole issue of the H1B Visas came into play), they started to fund research into how girls interact with other girls and other boys, and what changes in society were taken place between men and women and other such.  They also via ESPN started to take major sports rights into their umbrella and as well they move towards a more political sphere since 2014 and the elections – but as we now know – the market is fickle and their one sports stop shop is shaky a best – and a full on disaster at worst.

All of this, is because of the Success of Toonami in its early years, and the success of Dragon Ball Z and Sailor Moon (augmented as well by Toonami) and Pokemon – twice over. The fact that Pokemon could have a resurgence in the years when Finding Dory, Frozen, Zootopia, and others are breaking records sticks in Disney’s crawl. And as well, Disney got out of the Video Game Business only 6 months before Pokemon Go even arrived. These shows mentioned, begat other shows coming from Japan. It was difficult to handle – even now – even with the most inoffensive works.

Crunchyroll was pretty much created as Hollywood’s dirty little secret – it keeps Toonami struggling to get to the next level (you see it with the recent unneeded kerfuffle over Gucci’s new video, which i felt was fine) because Crunchyroll not only creates a culture that makes anime into a ghetto of sorts – it also keeps the same meme of “cartoons are for kids” mantra that still hurts other animation work from all over – because it makes it very very hard for ad agencies – especially now with all of the social puritanical streak and purity questions going around today – to take risks in TV, which keeps good anime off the airwaves where they could find a audience outside of the “ghetto” that Hollywood created with their tacit support of Crunchyroll. But there is an audience, and the Piracy proved it sadly. Crunchyroll is now working with former rivals Funimation in streaming. The rise of Kiss Anime (and Kiss Cartoon, where a lot of people see shows before they air on Cartoon Network and the like) is in the hopes of getting a similar deal with some companies like Verizon or Comcast. Hollywood in turn, uses both Crunchyroll and illegal sources take “inspiration” from these shows in order get this “ghetto” into the mainstream. Piracy pays when you have the right names – or the right colleges backing you.


But the most insidious thing about this is that Zootopia is the only thing allowed to be shown to the masses because of all of these market forces in place. All businesses want is to make money – not social change. In fact social change or the promise of social change helps these advertisers to make more money (also mentioned by WiseCrack) – making a dystopia out of the ideas great men used in order to get humanity to think. Anime has been very neutral to this argument depending on the genre or aim of the creator of the manga or light novel author. But that isn’t good enough for many in the western ad agencies, they have to match a certain atmosphere and a lot of them don’t do it – or it seen much differently due to language and how relationships between men and women are. You also have to understand that censorship also comes into play, and has gotten much, much worse after 2004. So it limits how show airs in the states and elsewhere.

Kubo had a more important story – and was funny in moments. But is hard for Laika to make inroads because of the power structure Disney and others have put on the animation industry as a whole. It is so front heavy and even despite the ad agencies support of Kubo – it just couldn’t get an audience.  A very similar thing happened with Dreamworks’s last inventive movie – Jack and the Guardians, which killed any chance of Dreamworks taking any more risks and lead i feel, to the company being bought by Comcast.

So all these forces are being used, plus all the rest of these issues with what people can see or watch – causes people to not look beyond what is given to these writers and so on. These writers do what they are given, and they can make good movies at time. There is even a argument that because it was Union (SagAftra and TAG union) that they still have a say in making Disney a lot of money. But also – you see, the Union can also in a way unwittingly prevent folks from writing and making movies they want. As we have just witnessed, voice actors, animators and so on take a lot of money. One of the reasons we have problems  in the industry is wage suppression and lack of movement between companies and issues with overtime. A lot of the anime that became popular came from Non union sources and that also got the leaders of said unions a bit peeved. I am never against any union, but one must take things into a honest way and see the situation on a even keel. The Union also has a say in censorship in a way – because the US dubbers margins are BEYOND tight – they lose a lot of voice actors to the mainstream work like Zootopia and other such work, that and the Unions are still pretty liberal (its is the foundation of the true left and not the new left) and they tend to talk about stories dealing these issues, a lot of them warranted. But it is a form of censorship regardless.

And all these forms now showcase the problem. Zootopia may be a good film, with a message the writers and directors tried to fit different pieces into a ever changing narrative in the movie, but Jared from Wisecrack stated that that narrative was too muddled. I’m saying this is the best American animation can reach because now a majority of the entertainment industry in Hollywood and its ad agencies are in a autocratic state and are now dealing with autocratic nations (such as China) in order to continue to fund their works. And all autocracies work in the form of collusion and censorship to prevent the truth of said collusion or to break out from said collusion and its ideologies, and mannerisms and end the unnecessary censorship. Crunchyroll is in the hands of Hollywood and now Kiss Anime wants the same, and so does Toonami Aftermath.

What it has done in the west in animation has been myriad and all of it very bad for its future – weaker works pass, the fanbase becomes a cult of sorts with no leaders (see Steven Universe and so on), there is a question of body structure in female leads which doesn’t make any lick of sense unless your in the censorship camp and so on. Its going to reach a point where stick figures will be the only thing allowed because how can stick figure offend me and doesn’t hurt the bottom line of those who bought the rights to those stick figures!?


I just want to end this with a small message that I think truly shows how sad all this collusion to hurt art and animation – and maybe in a sense –  how it effect a people, really is.

Consider if you will,  a people who helped build the railroads. they gave to the world. Because that is what the people are.

The wanted a honest pay. Many others got fired, because railroads wanted slave labor. They were never going to stand for it.

From this people ancestral home, travelers go around the world to find a government that will work, while other nations are used and abused for war and money and profit. In 30 years, they build a modern nation out of the ashes of war.

Many years later, this nation goes to war, and their people – there descendants that live in the US – are punished for no reason, and interned for fear of betrayal. and because of a translation mistake – two, not one…two bombs of unimaginable power hit this nation and changed it forever.

Other folks wouldn’t open their arms, wouldnt rebuild – but some how this people was able to do so (with changes to there constitution of course) rebuild. And it jumped ahead – so far ahead that even it shocked everyone that dealt with them. Many tried to copy but dont have the history – nor its methods to succeed.

They give, while we censor the gift.

They give, while we try to take away their honest pay yet again.

They give and give, while we say they are a part of a politics we no longer accept.

They give and give and give.

When are we going to accept the gift? They are not perfect – no people are and no nation will ever be.

But when one is outpacing you, and they still want to give to you, after we support lessors and copycats…

When will you accept that its time to grow up?

And just accept their gift as is?

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The Voice of Moltar (On Space Ghost Coast to Coast and the first few seasons of Toonami) has Passed away http://www.toonbarn.com/cartoon-network/voice-moltar-space-ghost-coast-coast-first-seasons-toonami-passed-away/ http://www.toonbarn.com/cartoon-network/voice-moltar-space-ghost-coast-coast-first-seasons-toonami-passed-away/#respond Wed, 28 Sep 2016 23:08:34 +0000 http://www.toonbarn.com/?p=77529 On September 18th, news broke over twitter and facebook, that C. Martin Croker – the first voice of Toonami, passed away at the age of 54. One of the more underrated voice actors in his time, his work made Space Ghost Coast to Coast a cult classic. He also did Zorak for the series. But […]

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On September 18th, news broke over twitter and facebook, that C. Martin Croker – the first voice of Toonami, passed away at the age of 54. One of the more underrated voice actors in his time, his work made Space Ghost Coast to Coast a cult classic. He also did Zorak for the series. But his work on toonami’s early years will stand as one of his great accomplishments.

Toonami later did a very, very emotinal tribute to him Last week:

Truly, Mr Croker will never be forgotten for what he did to make this great block, the gold standard.

May he truly rest in peace:

Source: Twitter, Toonami Faithful

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The Battle Between Respect and Fanbases (Whats Going on with Steven Universe and Sausage Party?) http://www.toonbarn.com/cartoon-network/battle-respect-fanbases-whats-going-steven-universe-sausage-party/ http://www.toonbarn.com/cartoon-network/battle-respect-fanbases-whats-going-steven-universe-sausage-party/#respond Wed, 17 Aug 2016 00:27:44 +0000 http://www.toonbarn.com/?p=77193 Note: The Opinions in this essay are not necessarily are the views of Toon Barn and its affiliates  There are more black marks in animation these days than most. But right now, these black marks are turning into an abyss. In the last several days, we have seen what a marketplace based on a “entities” […]

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Note: The Opinions in this essay are not necessarily are the views of Toon Barn and its affiliates 

There are more black marks in animation these days than most.

But right now, these black marks are turning into an abyss.

In the last several days, we have seen what a marketplace based on a “entities” biases towards content does to the producers of these works.

For years, Steven Universe has been used as symbol for progressive politics. In some ways – many in those same circles have called it the biggest series in recent memory.

But the fan base, mostly from the LBGT+ community, and some from other progressive movements – have bared their fangs on not only a fan artist Zamii – but as well one of the main artists of the show Lauren Zuke. Lauren left twitter after the shippers went on a war path.

The fan-base pretty much don’t care, as they continued on tumblr like nothing has happened.

Now over at the Movie Sausage Party, a interview with Nitrogen Studio’s Conrad Vernon and Greg Tieraian became more than just an interview – in the comments section (so much for getting rid of comments huh folks). Stories abound about bad plannings, nobody getting credits in the movie, lack of overtime pay and all the rest.

Those in power dont care, as long the headlines goes their way – and with Sony Pictures – it has happened  yet again with this summer movie season.

I have mentioned these issues before with issues with fanbases, and issues with workers rights in animation. But never it has become apparent that not only the small studios/and fan-bases which large corporations like Time-WarnerTurner promote to – are now doing the worse type of behavior to artists.

Until now.

No longer a Industry- with customers, employees, employers, infrastructure, concept of make goods, times when the big guns fade and the little guys win for a while, trade, discovery and of most import a keen eye for style… has been replaced by a market place, full of investors, trade-busting, disruption, pirating acceptance, questions about who censors who, a hatred for those who respected the past, a unwillingness to see the market it as is, and a acceptance of a culture who never cared about animation until it became acceptable to their identities and life markers. While there was a time were many shows that showed other experiences from many minority cultures – those shows were hindered by a political idea of uplift and saving children all based on faulty metrics and full on lies – they were good on their own merits and didn’t necessary need other things to push it forward. Today, that is no longer the case.

So what do we see? Artists have no control, no final say in their work. Those artists that have already sold out to those who propagandize on the new web-channels, snapchat, Instagram, and tumblr – selling products of lower quality, lower metrics – and everybody wonders why everything is not doing as well.

It has become a horrendous joke. VFX artists traveling from place to place looking for a steady job,  While the market place makes money from the subsidies hand over fist, the VFX houses die out. Meanwhile – artists are being censored left and right for the sell out artists who are given and allowed to do anything as long as they say the “keywords”, and allowed to do all sorts of things that other artists arn’t allowed to in other mediums. And the fans making the fan art are with more in cahoots with the media corporations than they care to admit. Saying “Damn Capitalism” on one hand but using a iPhone with Instagram (the iPhone is around $660-$2,300 plus tax a year), promoting shipping that sounds like some sort of Sanskrit script unreadable, untouchable to normal human minds and eyes. And its good for the business of the new Capitalism, not based on work, or leadership – but on a concept of disruption, change agents, Venture Capitalist Unicorn finds, and pretty much – social censorship, not unlike the BSnP censorship – and now they work in tandem because of the political connections the sell out artists, many of the executives and the advertisers all follow and vote for (and in some cases they don’t have to vote for the same people or believe in the same things, but they have to have some aspect of the similar view of human beings as blank slates that haven’t heard “the good news”)

Years ago, John K mentioned the audience as Troglodytes when mentioning the concept of attitude and its overuse in the 1990’s. I say it today when it comes to these issues we see now. The audience has now accepted this form of entertainment – a myriad of tricks, metrics, fraud, piracy, political correctness, and political incorrectness as a form of communication and a form of separation and balkinazation of the animation audience in the west and in particular North America. Truly John K was a couple years too early.

I talked to a few folks on the other social media platforms. They ask simply to support Adult Animation and not give up on it. However, that isn’t really a solution. The audience doesn’t want “adult” animation – they want animation to talk about issues of the identity of themselves and how to relate to the world. The sad truth is that these audiences are erasing not only animation’s history on a nearly daily basis, they are placing themselves as the show runners of the newer franchises, and the major corporations – as long as the advertisers are happy are glad to throw artists who don’t want to play ball under the bus, and then send a twitter message calming the only groups of people blindly buying their products because it protects there identity from being challenged.

That is the audience. That is what these companies now aim for. And if you are shocked, stunned and surprised on the looks of these shows, and what their audience acts towards those that don’t fit their identity narrative, like they did with Zamii and now with a storyboard artist Lauren Zuke, they are thrown away and lumped with what they preserve with the fascists they say they fight against on a daily basis.

In a way, this is the result of the E/I laws that were passed in the 1990’s and its continuation in to the mid 2000’s. It was meant to limit ads, and promote social this that and the other, and education. It didn’t do any one of these things. It instead promoted even darker aspects of advertising – propaganda by government and certain social, regardless of which party, censorship of the highest order (at one point NBC censored Veggietales which was … outrageous) and what could be the biggest issue of the matter – is bankrupting the major networks (none of the Litton shows on three networks get anywhere near a 0.1, and despite all of the credits given to PBS over the last 25 years since the E/I was passed, Sesame Street is no longer in the hands of PBS – recently sold its TV rights to Time Warner’s HBO, and Time Warner fired 3 of the original cast members.), and caused the mass exodus of the audience to cable, and this would have GROWN larger…if it wasn’t for the 2008 crisis which screwed everybody over – but the audiences you now see existing now, who were born from conservative parents, still use their political truisms (truthiness = intersectinality theory) but are rebelling using concepts from the LBGT+ community to forms that the community never asked them to use and has been used to bait actual LGBT+ people in a form of a political purity test! The Old Soviet Union couldn’t come up with a perfect propaganda scheme.

So maybe we have to take some sort of action against these particular issues. Maybe if not Union, a Trade Organization? Maybe a education of consumer rights for not only artists but fans and how to treat people with respect, and artists to handle criticism in a fair manner? To give enough separation between customer and corporation, with government as the arbiter and not the supporter of either side unless something was done egregious to the customer/citizen.

Because while we have semblances of a republic, with rule of law and ideals, and reason… we have become a bit autocratic in our social interactions and our appeal to emotion, is leading us to ruin.

Its causing us to lose connection to our imagination.

And causing those who do have the skills, to leave us behind, over these “troglodytes” based on identity – when they have neither that identity or a soul.

 

The post The Battle Between Respect and Fanbases (Whats Going on with Steven Universe and Sausage Party?) appeared first on ToonBarn.

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