#Disney Branded Television

[disneytva]

Atomic Monster and Disney Branded Television Fly Again With Live-Action Gargoyles Series For Disney+

It is the nature of human kind to fear what they do not understand. Their ways are not our ways -- Goliath

Almost 30 years after first appearing as an animated television series, Gargoyles is taking flight once more, this time in live-action according to The Hollywood Reporter and DEADLINE

The project hails from Annabelle writer Gary Dauberman and James Wan with Atomic Monster (Warner Bros "The Conjuring Universe", Universal Pictures & Blumhouse Studios "M3GAN" Franchise) serving as production studio with Disney Branded Television trought Disney Television Studios. No word yet if original creator Greg Weisman will join the project

A live action adaptation had been discussed by Disney since the beginning of the show's run and went with multiple directors over the years at Walt Disney Studios like Todd Garner, Jim Kouf, David Elliot,Paul Lovett and Jordan Peele.

Gargoyles is the lastest Disney TVA property in getting the live action treatment after Kim Possible as a DCOM on 2019 and Chip 'n Dale: Rescue Rangers as a live-action animation hybrid film on Disney+ in 2022 additionaly Gargoyles joins the lastest trend of Disney Afternoon reboots with DuckTales as a animated reboot for Disney XD, Chip 'n Dale: Rescue Rangers a Prime-Time Emmy Award live-action animation hybrid film from Walt Disney Studios,Mandeville Films and The Lonely Island on Disney+, Darkwing Duck and TaleSpin as upcoming animated reboots by Point Grey Pictures & Disney TVA also for Disney+

The only shows on The Disney Afternoon slate left to reboots, having films or live action adaptions are Adventures of The Gummi Bears, Goof Troop, Bonkers, The Shnookums & Meat Funny Cartoon Show and The Mighty Ducks The Animated Series.

#Gargoyles #Gargoyles Live Action #Greg Weisman #Gary Dauberman #James Wan #Atomic Monster #Disney Branded Television #Disney Television Studios #Disney+ #Disney Plus #Disney+ Originals #Disney Plus Originals #Disney+ Original Series #Disney Plus Original Series #Disney Afternoon #The Disney Afternoon

[violetganache42]

Be sure to watch the season 2 premiere of Moon girl and Devil Dinosaur because the show is in danger of being cancelled

Yeah, everyone at the Disney Beat server and I saw a couple of nights ago, and we've all been so fucking ANGRY at Disney. 14 episodes getting dropped all at once on Disney+?! What the fuck were they thinking?!

(Rant under the cut.)

It's bad enough they release batches of episodes at once like what Netflix did with Sonic Prime, but they plan to drop around half a season there to where they're making the main channel do two episodes per week?! You seriously couldn't do weekly premieres on TV and have the new episodes get released the next day on streaming, like what HBO Max did with Unicorn: Warriors Eternal and My Adventures with Superman?! The fact they reveal this on the MGDD Crew TikTok and paint it as a good thing does not help either. "How could you not celebrate" HOW COULD YOU NOT REALIZE YOU'RE BEING SO FUCKING DENSE RIGHT NOW?! LOOK AT THIS SHIT!

You cannot make this up! Streaming as a whole has seriously fucked over entertainment. Netflix made the binge format the new norm, and it's not working anymore. If you thought shows getting shorter-lived hype through binging compared to a weekly release was an issue, the quantity is a-whole-nother problem. If it was 5 or 6 episodes getting added at a time, that would be less infuriating, but this is 14 half-hour episodes we're talking about! That's 308 minutes of straight-up binging Disney expects us to do! No one is gonna binge this many episodes in a timeframe like that! And keep in mind, this isn't an earlier season from a finished or ongoing show; this is a whole new season we're talking about. People who haven't watched MGADD yet or don't have Disney+ and/or cable are gonna get exposed to a fuck ton of spoilers. Not to mention Disney Channel is gonna have to spend 7 weeks catching up to Disney+ with the episodes they air on TV. That will do a serious number on the TV views! And don't get me started on the international releases because I was told MGADD has been delayed so much to where S2 of dubbing is done (hence the promos in Japan), but considering the company's crapass handling of international releases, people won't be able to watch it until a much later date. Oh, and there are also countries that don't have the show despite it being dubbed in their language. Right off the bat, that's international views down the drain and the strong possibility of people in the other countries being exposed to spoilers depending on what they come across and who they're following.

You know what the absolute kicker is? They had the fucking audacity to reveal this shortly after they treated The Ghost and Molly McGee like garbage. No joke! The very minimal reruns they gave it throughout its run, its cancellation as season 3 was being drafted, the shitty promotions, them releasing "Jinx vs. the Human World" on iTunes and "The End" on YouTube ahead of their TV and Disney+ releases. I am not kidding about the last part; because Disney didn't temporarily remove them, SpoilerTV reported both episodes received only 63K and 56K TV views! Now compare that to the 375K views "Watching and Dreaming" got; all three TOH specials weren't released on YouTube or Disney+ until after the DC/XD simulcast premiere! And this is the same show that got shortened by the now retired Gary Marsh! The upsetting part is Bill Motz is blaming himself for putting too much pressure on the fans for watching TGAMM and appointing ambassadors to help promote it. No, it's not your fault, Bill. It's the Disney executives and their shitty marketing strategy's fault your show got cancelled. You care about the show you and Bob Roth created, and you wanted it to do well. The higher ups didn't bother to continue promoting the show after it premiered, and that alone just forced you, the ambassadors, and the audience to do their job for them. They're the reason why it underperformed on D+ and DC. Now, it may potentially happen again with MGADD thanks to them!

Why did they pulling any of this shit was a good idea?! The show got ample marketing, from an advertisement outside the Days of Christmas store in Disney Springs and Moon Girl herself appearing in Disney California Adventure to merchandise such as a Moon Girl Funko, a couple of books, and even a graphic novel! It has received nominations and won awards, and the current lead executive Ayo Davis said season 1 performed well in ratings! Yet they turn around and pull all of this bullshit as season 2 approaches! Seriously, what is preventing you from doing next-day weekly releases and continuing your marketing, Disney?! All your other Marvel shows have gotten weekly releases and so much promoting, and regardless of the reception of each show, they all get high ratings! That even includes What If…?, the MCU's first animated show! Just because MGADD is adjacent/not entirely connected to the MCU and is a Disney TVA show doesn't give you the excuse to treat it like crap post-season 1!

I'm sorry for the ranting, but this multi-whammy has been so fucking frustrating. I have been a big fan of MGADD since the beginning, and like I previously said, it helped fill the DuckTales-shaped hole in my heart. I'm glad that it has such a strong start, and I want it to continue doing well, but the upcoming 14-episode release was such a fucking gut punch. The more the active Disney Beat server memebrs and I ranted and vented about it, the more furious we grew to where a few of us—myself included—were in tears; it is such a horrendous decision the Disney executives made! I'm at least glad the past week has gotten people to talk about how shows are getting treated nowadays thanks to streaming, and Disney Beat tweeting about the 14-episode bomb release announcement got deleted. Unfortunately, the higher ups most likely deleted it just to save face and won't reverse the decision in the end. Regardless, more people are catching onto the pitfalls with streaming and are noticing how shows no longer have the opportunities to build audiences over time. They are treated as nothing more as a means of gaining views and instant gratification rather than a medium made for one's enjoyment. With the Animation Guild's contract having been expired for around a few months, I hope one of their demands is to stop the shows' mistreatments and lack of sufficient marketing because streaming left a devastating and worsening impact on the entertainment and animation industries.

#my inbox #anonymous #moon girl and devil dinosaur #mgadd spoilers #the ghost and molly mcgee #tgamm spoilers #disney branded television #disney channel #disney+

[demifiendrsa]

A live-action Gargoyles series is in works at Disney+ from Gary Dauberman and James Wan’s Atomic Monster.

Dauberman will write, executive produce and showrun the series with Atomic Monster, the company run by Wan and Michael Clear, joining the executive producing ranks. The project is described as being in early development at Disney Branded Television.

#Gargoyles #Gargoyles live action #Gargoyles Disney+ #Gargoyles Disney Plus #Gary Dauberman #James Wan #Atomic Monster #Disney Branded Television #Disney #Disney Plus #Disney+ #television #live action #live action television

[vintage1981]

Gary Dauberman, James Wan’s Atomic Monster Tackling Live-Action ‘Gargoyles’ for Disney+

lmost 30 years after first appearing as an animated television series, Gargoyles is taking flight once more, this time in live-action.

Two major names in the creature feature business, Gary Dauberman and James Wan’s Atomic Monster banner, known for their collaborations on the hit Annabelle horror movies, have teamed up to remake the 1990s cartoon as a live-action series for Disney+.

Dauberman will write, executive produce and showrun the series with Atomic Monster, the company run by Wan and Michael Clear, joining the executive producing ranks. The project is described as being in early development at Disney Branded Television.

Gargoyles was made by Walt Disney Television Animation and aired three seasons, from 1994 to 1997. The premise involved gargoyle statues moved from a castle in Scotland to modern-day New York. Once in the Big Apple, the statues awaken from a thousand-year-old spell and take on the mantle of protecting the city, becoming, as the show’s narration gravely said, “stone by day, warriors by night.”

The series, created by Greg Weisman, came during a time of innovation in series animation, with Gargoyles riding a wave of shows with more complex storylines and darker tones that also included Batman: The Animated Series and X-Men. As with those shows, Gargoyles burrowed into the consciousness of a generation of TV watchers who have given it cult status.

#Gargoyles #James Wan #Atomic Monster #Walt Disney Television Animation #Disney Branded Television #Greg Weisman #Disney Plus #Gary Dauberman

[downthetubes]

BBC and Disney Branded Television join forces on Doctor Who - will it mean a change of tie-in comic publisher?

Disney+ is to become new global home for upcoming seasons of Doctor Who outside the UK & Ireland, BBC continues as Doctor Who's exclusive home in the UK

The BBC and Disney Branded Television – two giants of entertainment – have come together to transform Doctor Who into a global franchise for UK audiences and the rest of the world. There is no information yet on how this agreement may the licensing of the show. Disney, for example, also own Marvel Comics. Both Panini UK, publishers of Doctor Who Magazine, and Titan Comics have longstanding…

View On WordPress

#BBC #David Tennant #Disney Branded Television #Disney+ #Doctor Who #Doctor Who Magazine #downthetubes News #Ncuti Gatwa #Panini UK #SF Comics #Titan Comics

[geekcavepodcast]

New “King Kong” Film in Development at Disney

Disney Branded Television is in early development on a live-action King Kong series for Disney+. The series is being written by Stephany Folsom. Folsom, Atomic Monster, and World Builder Entertainment are producing.

King Kong (working title) will bring the monster story into the modern age with a return to Skull Island and the dawn of a new Kong. The series will explore King Kong’s origin story and the mysteries of Skull Island based on Merian C. Cooper’s original books and Joe DeVito’s new novelizations.

(King Kong 1933 Movie Poster via Wikipedia)

#king kong #stephany folsom #atomic monster #world builder entertainment #king kong series #disney+ #disney branded television #merian c cooper #joe devito #skull island #TGCLiz

[circlique]

In all seriousness though---

Korra got a ton---and I mean a TON---of hate, for daring to be a headstrong, non-genderconforming woman of color. So forgive me if I don't react well to "korrasami doesn't deserve it"

Korra already fought through enough misogyny and racism while it was actively airing. She already got enough criticism for not being the "target audience" of 8-12 age males who buy action figures. She already got enough criticism for having flaws as a woman, for not "acting ladylike". She already got enough criticism for not being white or white passing in a show that has ZERO white characters. So when you come at korrasami fans with "they don't deserve it"? Don't be surprised when korrasami fans look at it with a lens of suspicion, because korrasami already fought through the criticism, already fought through being stuck in the "dead slot" air time in nickelodeon (which they were moved to in season three, when the show runners actively started hinting at a wlw ship), already fought through being pulled off air and onto online viewing only, in 2014, for those of you who are a bit young. (Obergefell vs Hodges, the Supreme Court case which legalized gay marriage nationwide in the US, happen on June 26, 2016). "They only held hands in the finale" because that's all they could get away with at the time. They were the FIRST. Bubbeline came later. Rupphire came later. Catradora came later. There are still no notable mlm ships in children's media, so the work ISN'T done. Korrasami fans "screech and yell" at you for not understanding because you accuse them of "queerbaiting" without understanding that they were the FIRST in their time to OPENLY hint at being gay on a a children's television network. In a time, for most intents and purposes in the US, being gay was still ILLEGAL.

And by the way? The Owl House, a recent, animatec children's show on Disney, was recently canceled for not being "the Disney brand". It features a bisexual woman of color (in an EXPLICITLY wlw relationship) as the main character, not unsimilar to Korra. Misogyny is not dead. Homophobia is not dead. Know your history, and know the work isn't done.

#avatar #lok #tlok #toh #the owl house #legend of korra #korrasami #lumity #wlw #pride #lgbtq #wlw ships #catradora #rupphire #steven univerise #shera #lgbt #lesbian #bisexual #pride month

[renthony]

Weird trend I've noticed:

When it comes to Disney-owned television shows, people seem much more willing to recognize that Disney just owns it, Disney didn't make it. The creators, writers, and actors are more likely to be credited and celebrated within fandom spaces, and even people who dislike it will acknowledge that it was made by the individual artists.

Disney movies, though? They don't seem to get that as often. The movies are much more likely to be treated as if the vague entity of "Disney" made it. Fans will say "Disney made a great movie," and critics will say that "Disney made a piece of crap." The directors and writers get mentioned much more rarely.

For example, people know that Dana Terrace created The Owl House and Alex Hirsch created Gravity Falls and Matt Braly created Amphibia, but far fewer people seem aware that Turning Red was directed and co-written by Domee Shi, Encanto was directed by Jarded Bush and Byron Howard, and Moana was Musker & Clements.

I'm sure a decent amount of that is due to the way Disney itself markets the films as part of their brand. Show title cards will list the title and the "created by" credit, but you never see that in film title cards (if the film even has a title card). The company wants you to look at the movies and only see the corporate branding. They want the movies to lead to new theme park attractions and merch deals, where they just don't put that level of marketing into their television productions nine times out of ten.

I do often think fandom spaces could be more diligent in learning the names of the artists behind the films, though. Disney didn't make them, the workers did, and it's the workers who get exploited in the process. At least give them the credit instead of the studio.

#original post #disney

[diet-comet-soda]

I don't think anyone will be surprised when I say this, but there's a fundamental problem with western "adult" animation and that really sucks. To summarize the obvious: nearly every animated show not "made for kids" is limited to one very specific ~type~ of show (you know the one). And sure, some people like this style of show, but the potential left untapped is infuriating.

What I want from adult animation is shows like The Owl House, but taken further, without the limitations that networks put these shows through to make them "suitable for younger audiences". I don't even think they need to necessarily be completely inappropriate for younger viewers, they just need to prioritize their adult audience more and not get bogged down by "think of the children!!" rhetoric.

Animation targetted at older audiences doesn't all have to be like Family Guy. Even the more well-liked adult shows such as Harley Quinn don't stray nearly far enough off the established model to really meet the potential of the medium. Sometimes I want a sincere story without bathroom humour or gratuitous gore or hypersexualization. Sometimes I want to watch something that doesn't even really have "adult" content, but that's still designed for older audiences first and foremost, instead of held in a creative chokehold by brands like Disney to make sure it's colourful and light-hearted enough for little Timmy.

Maybe what I want would more accurately be called "Young Adult" or "Teen" animation, but I feel like those labels would undervalue these shows to the average viewer, similalry to how "YA" vs. "Adult" novels are treated. Just look at what Infinity Train was able to do when it was allowed to go places "kids'" shows usually aren't allowed to! Look at the beta concepts and imagine what The Owl House could have been if it wasn't on Disney Channel!

Of course, I love what we got with toh and how far they've taken this story, and I wouldn't trade it for anything. But there are admittedly a lot of weird moments and character/lore inconsistencies in the show, especially in season 1, where you can really feel Disney's enforced quota of "haha silly cartoon hijinks" messing with things. And I try to ignore them, but I often look at that one Bat Queen concept art and I get this sense of longing for a world where these shows can exist without having to toe the line of conforming to being "kids" shows.

Really my main point is that no one is hitting this specific niche like serialized non-"adult" cartoons are. But these types of shows have no stable space carved out for them in western media. The only place where they can even exist is on kids television networks, where their content is heavily policed and limited. And being trapped on these networks causes the general public to often lump them in with every other cartoon, dismissing them all as "for kids", no matter how different the story-telling style and intended audiences are. And if any of these networks one day decide that serialized cartoons no longer fit their brand, then we lose like half of the shows we have, out of an already measly selection.

Western animation has so much diverse potential, and yet all we get is the same genre of shows with that horribly bland and low-budget artstyle that makes everything just looks like Family Guy. Why does it have to be this way?

#Toh #The owl house #Infinity train #Animation #amphibia #gravity falls #king's tide

[strawberryeuphie]

anybaby wanna go to disney world with me?

imagine… we wake up in our resort room just before sunrise. we cuddle in our blankets with our pacifiers and watch disney cartoons on the television as the sun comes up, then we get ready to have our adventure for the day!

we start by brushing our teeth with our favorite flavored toothpaste, put on plenty of sunscreen, then pick out our cutest, most magical outfits. you can choose to wear mickey ears or a princess tiara! before anything else, though, we need to have breakfast. would you like mickey waffles or oatmeal? what flavor of juice should we get? eggs scrambled or fried? you pick!

after our meal, we pack up our disney-themed backpacks with sippy cups full of water (have to stay hydrated on an adventure!), autograph books, and other must-haves, and then it's time to set out! we head to the monorail and go on our way to magic kingdom. the day is sunny and blue-skied when we arrive. we walk down main street, admiring cinderella's castle and stopping in stores! we each pick out a new plushie to come on our adventure with us. what would your dream disney stuffed animal be?

we ride plenty of baby-friendly rides and attractions — it's a small world, mad tea party, peter pan's flight, dumbo the flying elephant, the many adventures of winnie the pooh, prince charming's regal carousel, the jungle cruise, the journey of the little mermaid, the laugh floor from monster's inc, enchanted tales with belle, and of course, the walt disney world railroad train!

we meet some of our favorite characters along the way — we get plenty of hugs from them, our photos taken with them, and even get their autographs! what character would you most want to meet? we get to watch all the characters in a parade on main street, too, and we get a front row place to stand!

before we know it, it's time for lunch. we're skipping nap time, so we need something really delicious to keep us going... surprise! we have reservations to cinderella's royal table! how exciting is that?! we get to eat in the castle and meet all the princesses, too! we get special cups of juice with glowing buzz lightyear and tinkerbell straws.

after we finish lunch, we decide we're feeling extra brave, and want to go on a roller coaster like the seven dwarves mine train or space mountain. don't worry, we'll hold hands the whole time!

we have all sorts of fun the rest of the day and get plenty of souvenirs from the gift shops. we end the night with a special dessert-before-dinner as we watch the wishes fireworks together. would you like ice cream from the parlor or a pastry from the bakery?

when we get back to the resort, we're super tired. it was a long adventure for little ones, after all. but, we have a bubble bath and get all squeaky clean anyway, brush our teeth, and finish the night being told a disney bedtime story on the television cuddled up with our brand new plushies.

it was a magical day!

#euphie posts #age regression #agere #agere imagine #age dreaming #agedre #agedre imagine

[disneytva]

Disney Television Animation Executive Danyel Mendoza Promoted To Vice President, Programming Strategy & Content Planning For Disney Branded Networks

Disney Television Animation Executive Danyel Mendoza has promoted to Programming Strategy & Content Planning for Disney Channel and Disney Junior.

Mendoza implemented a short-form strategy for Disney TVA Multi-Platform Content (Me & Mickey,

Mendoza implemented a short-form strategy for Disney Television Animation's Multi-Platform Content (Me & Mickey, Mickey's Christmas Tales, Minnie's Bow Toons, Chibi Tiny Tales, Broken Karaoke, Theme Song Takeover, How NOT To Draw, ZOMBIES: The Re-Animated Series Shorts etc.)

This expands Mendoza’s purview to oversee both linear and nonlinear platforms, and aligns linear and nonlinear planning and strategy teams into one team. She will also work closely with the DTC Programming teams on migrating content from branded networks to Disney+ and Hulu.

She will continue reporting into Christian Drobnyk, executive vice president, Programming FX, National Geographic, Freeform & Disney Branded Television with Disney Entertainment Television’s News Groups & Networks.

#Danyel Mendoza #Disney Television Animation #Disney TV Animation #Disney TVA #Disney Channel #Disney Junior #Disney Entertainment Television #Disney Branded Television #Disney+ #Disney Plus #Hulu #FX #FX Networks #FXX #National Geographic

[psychic-refugee]

Here is a bit of a cheat sheet to The Boys universe without having to watch The Boys, and still get the context of Gen V.

Spoilers under cut

Vought International is a mega corporation on steroids. It’s like if Amazon, Disney, ConAgra, and Pfizer had a baby. They have their hands in everything: movies/television, food, theme parks, any kind of merchandise they can stick a Supe’s brand on, and drugs. They are ultimately a pharmaceutical company, and they are responsible for everything to do with the Superhero “Supes” community.

Compound V is a serum that gives people abilities. Vought produces this serum and runs secret experiments trying to perfect an affordable version of Compound V that works safely on adults, while making billions exploiting their experiments as Superheroes.

The serum has its roots in Nazism and eugenics. Long story short, the Americans got their hands on the creator who defected from the Nazis, Frederick Vought, and created the first Supes. The origin of the powers was kept secret, and Vought sold the idea that the powers were gifts from God, specifically towards Americans.

The current formula only has a 20% survivability rate in adults. The “better” formula is too expensive to produce, so to cut costs they give the serum to babies in utero, infants, and very young children.

Once a Supe, the drug can boost their powers temporarily and gives them a high. If you’ve ever seen The Gifted, it’s the equivalent to Kick for mutants.

The powers are totally random, but durability and super strength appears to be the most common “base” powers.

Vought gives the serum out across America and basically at random. Parents accept dosing their children in order to exploit them for fame and money. Think stage moms, momagers for child stars, dance moms, and family vloggers type of narcissistic, greedy assholes. The children themselves are told that they are special and chosen by God to have these powers.

The powers are strictly only within America.

Supes are basically treated as movie stars/influencers. It’s not enough to have powers, they have to be likable and marketable.

Supes can get contracts to “protect” specific areas. The bigger cities offer the most money, with New York being the top city as it’s protected by The Seven. These are Supes that are at the highest level of Superhero fame. They get their own whole floors as apartments in the Seven Tower, and all the big blockbuster movies and merchandising revolves around them.

Any protection for the city is basically staged, and their whole life is a Truman Show/Reality TV/completely on social media.

By the time Gen V starts, it’s revealed to the public that the powers are not God sent and that Vought created Compound V.

The Red River Institute is a Vought sponsored and monitored orphanage for minor Supes. Some end up there because their child’s parents died when their powers manifested, like Marie, the parents were casualties of Supe’s using their powers in the line of duty, or because the parents choose to dump them there when the child’s powers are weird or not marketable and have no future as a Superhero.

See https://the-boys.fandom.com/wiki/An_Animated_Short_Where_Pissed-Off_Supes_Kill_Their_Parents

#Gen V #spoilers #prime's Gen V #The Boys #Prime's The Boys

[obrienpolycule]

Okay, I said some of this in tags of another post but that post doesn't actually have to do with this issue so I'm making another post.

Disney is not part of the production and writing of the new episodes and season of Doctor Who. Doctor Who is currently being produced by Bad Wolf and BBC Studios Production. Disney+ has exclusive streaming rights to new Doctor Who episodes for audiences outside the UK and Ireland. This is to make the show more accessible to international audiences (whether it's doing that is definitely debatable). They have streaming rights in the same way that Max (formerly HBOMax) has streaming rights to S1-Flux of NuWho. Disney doesn't have control over the content of the show, just what they stream on their platform. (Considering HBO used to have a minority stake of shares in Bad Wolf before their shares got bought by Sony in December of 2021, a year before they started producing the 60th anniversary specials, I don't think they had any influence on the production of the RTD2 episodes.)

I'm clarifying this because a lot of people are complaining that Disney is affecting the show even though both BBC and Disney, in their announcements of the streaming deal have paragraphs where they specify exactly who the producers, studios, and writers are for the new specials and season.

Whether or not you liked the writing and subject matter of the 60th specials, you should know who is actually making the show. (In my personal opinion, I don't think Disney should get credit for RTD genuinely trying to have good trans and bi rep in Doctor Who when they can barely give us crumbs in their media. Whether or not y'all think he's successful at that is your opinion.)

I also want to address Whoniverse. Whoniverse is the BBC giving the overall Doctor Who Franchise an official name and logo. If you access BBC iPlayer, you can now find all the episodes (NuWho and Classic), behind the scenes videos, spin-offs, specials, and commentaries in one place.

That's kind of it. Whoniverse is just the same stuff we've been watching and talking about and interacting with for decades but now they're all on the same page on an official website. And they have a new logo.

TLDR: BBC makes Doctor Who. Disney Branded Television distributes it internationally. Whoniverse is basically a logo.

#doctor who #dw #dr who #russel t davies #rtd #whoniverse #disney #disney+ #bbc

[thy-spicy-orange]

At long last, my analysis on the down fall of the cartooning industry.

Cartoons have long been a medium of storytelling for all ages. You’ve got things ranging from Dora the Explorer to Family Guy.

And you’ve got all the in between’s that (while not rated for all ages) everyone can watch. Like Miraculous and The Owl House.

Cartoons (or animated series) as a whole have always been made for everyone. The use of beautiful and fluid animation is a great way to draw in viewers and get them engaged. And then in most cases, the plot comes through and gets viewers hook, line, and sinker.

Unfortunately as this form of storytelling gains popularity, the stigma around it continues to grow. That stigma being that Cartoons or animated series are only for children.

The idea surrounding that stigma is false. You wouldn’t let a child watch shows like Family Guy or South Park or even Camp Camp. And those are cartoons.

With the rise of more child friendly cartoons though, the misconception continues to rise as well.

The most prominent example of this in the Modern Animation Era? The Owl House.

Despite the creator, Dana Terrace herself, tweeting about her target audience for this show, many still believe that this show is for kids only.

This was only proven false though when Kids weren’t tuning in though. In fact, a majority of Owl House fans consisted of people ages 13-25. Not the audience Disney expected.

Unfortunately it wasn’t the audience they wanted either. In 2021 Disney announced it would be canceling the show and shortening its third and final season into three, hour-long specials.

A lot of Fans (and even the creator herself) speculate it has to do with Homophobia seeing as the show featured Disneys first WLW/ Sapphic couple in a children’s cartoon. And while I think that definitely contributed to their decision, I think there’s a bit more to it than that.

The Owl House, from the get go, set itself apart from other Disney Series. It jumped in with its darker concepts and art styles. The color pallet was different from Disney’s typical pastels. The character was relatable to audiences and portrayed the struggles of growing up different and weird.

Then, after a good Season 1 A, the second half came in. Here’s when the plot developed. This is where I believe Disney began to have problems with it.

Because of the complicated storyline and development of actual plot they couldn’t just air it on the Disney Channel on cable.

Which means they couldn’t get children to sit still and watch when it was on. Which means less people watched the Disney Cable channel.

Essentially what is happening is Disney as well as other streaming and Cable services are “kidyfying” Animation to make it cable worthy for children.

Hence The Owl House “not fitting their brand” and being cancelled while shows like Big City Greene and The Loud House have been, and traditionally are, aloud to run for multiple seasons one after another.

And shows like Infinity Train and The Owl House get cancelled or shortened.

I believe the act of doing this will truly be the downfall of the cartoon industry.

By reducing cartoons and animation to be kids only your depleting 75% of your audience. The 75% that is able to go out and buy mercy or go to see movies produced about the shows or convince adults to continue paying for services to watch these shows.

They’re killing their biggest sources of revenue and with it killing one of the greatest forms of story telling through television.

#mlb #miraculous ladybug #toh #the owl house #infinity train #shera netflix #over the garden wall #amphiba #gravity falls #cartoons #animation #winx club

[coolchevistianofficialsite]

Owlphibia Vs Disney Television Animation Next Era - When I Learned That Serialization Can Be Bad In Excess....

The night i posted this, i didn’t bothered with it beacuse i was ready to hop on an airport to Acapulco for the weekend, returning on Tuesday evening, i was surprised by the many QRTs, Replys and Reblogs as the tweet went viral over-night to the point of cringy Tik Toks and YT Shorts where putting made up bs.

Since the announcement that Disney Branded Television will stop the serialized era at Disney Channel for the 2020s and from now on will focus on musical episodic comedies specially many of them created by Big City Greens with exception of Moon Girl And Devil Dinosaur who was confirmed to be serialized later on, there has been some bias againts the current and future Disney TVA lineup for Disney Channel from the Owlphibia fandom (Owl House and Amphibia) this has been prominent since Q3 2021.

These past years i haven’t been bothered by that beacuse right now im 24 years old and im more focused on finding my first animation job after finishing college by next year and starting to save money for equipment of my art, to bother if people i don’t know cry if their favorite storytelling on the medium of animation for a multimedia company will go away

However recently the Owlphibia community has been on a very toxic situation with future Disney TVA shows by simply existing that finally decided to speak up, specially with some things that have been bothering me with the community that i have been carrying since 2021 to a point where someone attemped to “cancel me” and decided to finally writte this over the following bs that happen during the Annies weekend where OPs pic scares away potential fans of both TOH and DTVA shows

1) TREATING BIG CITY GREENS LIKE THE SECOND COMING OF SATAN 

Big City Greens is a curious case where a fandom hate goes so much, beacuse im tired of going to the BCG tag on Twitter and evey 5 or 3 tweets i see a Owlphibia fan hating the show beacuse the bitter truth “JEALOUSY” recently these people treat this show as a soulless project that only exists just to cancel serialized shows to give it more attention, BCG dosn’t have any fault of that, Dana has explained that the show was axed due Gary Marsh leadership at DBTV on 2020 or on 2021 where TC was delayed and the Owlphibia fandom was pissed that a BCG marathon was replaced instead.

Im tired of repeating myself with this point but the show is very popular with it’s target demographic aka children who support the show legally as opposed to Twitter & Tumbrl who searches the latest MEGA as soon at is posted AND barely supports it’s official release on legal platforms,Bob Chapek’s LGTBQ+ scandal was a fair boycott and i respect it if that case made you NOT want to support any official release of TOH & Amphibia to give Disney money, if that was the case i completly understand.

However Big City Greens, the show and it’s crew dosn’t have the fault of being the cancelation of TOH or delaying True Colors as that’s illogical and dosn’t make any sense and if you have following me you know that im glad that their Alumnis like Natasha Kline,Cheyenne Curtis,Monica Ray,Amy Hudkins and Raj Brueggemann as well The Houghton Brothers mentor C.H Greenblatt will do their own Disney shows and being succesful with their own franchises as Disney has faith in them to make big hits and becoming next storytellers and honestly that’s fine, im sure you will love them and speaking of future Disney TVA shows...

2) APATHY TO ANY OTHER NEW DISNEY TVA SHOWS ON THE WAY.

This where real tweets when these shows where announced and got me a laugh out of me, the first one beacuse on the same day Disney literally announced two serialized series for Disney+ under the Disney Europe Animation (The Doomies & Dragion Striker) while ignoring The Witchverse and Rhona Who Lives By The River and the second one was beacuse we literally confirmed that InterCats will be a more mature comedy for kids and teenagers ala Regular Show which explains it’s Disney+ greenlight.

Or recent attacks to The Witchverse for being a show about witches and being the major blamed for Owlphibia for TOH cancelation or Owlphibia fans crying when Phineas And Ferb announced a revival, being angry at Hamster and Gretel making a dark blood joke or throwing a tantrum over Moon Girl And Devil Dinosaur aka a Marvel IP getting merchandise right off the bat and bothering Disney TVA excs on Twitter to ask them to break NDA to know if there’s a new serialized show on development.

I understand being afraid however things change as well and it’s very obvious that the era of Gravity Falls alumni-leading projects at Disney is over as S.H Cotugno and Emmy Circiega and others have left Disney for good now that TOH is over or that their development deal is now over however this dosn’t excuse to  look with apathy to this new era as this new shows might even surprise you and is interesting that other animation communities of other countries are open to this new era than American cartoontwt and cartoontumbrl recently one Facebook page from Latin America posted the first photo and the community commented on this with positive reactions with the new episodic era, here are some of the highlights

1 - In my opinion, it's good that they let this type of series rest with deep serious plots and deep character developments. The truth is, I was already fed up with those fandoms that fought with everyone and among themselves, defending tooth and nail every idea or theory that It arose throughout the series and that when it ends, the fans want answers about what happened next or they want a continuation of it, and they don't understand that if it's over, it's over, period.

2 - Well, I think it was time to put this kind of series to rest, over time they began to fall into the Adventure Time and Gravity Falls formula, it worked well, but perhaps that genre of storytelling in the medium needs a reinvention.

3 -  I feel sad that they are stopping these type of animated series with that format. Rebecca Rose said it months ago that this is the new approach because it is easier for the target demographic to get into the series and get hooked on a random episode that happens, but it doesn't mean anything bad ,there is Molly Mcgee and other projects that don’t look bad

4-  Serialized shows are good, but once in a while, you need a break, something simple, to watch over a meal and for that, the return of Phineas & Ferb is appreciated

5- I'm not saying that the GF-type "formula" should disappear, but that Disney itself stagnated with it...  Pretty much like the anime, the tropes started to be repetitive a lot like "a normal person arrives in a magical world and blah blah blah..." I think they can be more creative than that

6-  Im fine with it, at the end of the day Disney knows how to reinvent itself, this will not be the end of the company or Disney's animation units.

7-  People prefer to watch shows without following a plot so much, it's normal that they want to put that aside for a while.

As for me im pretty excited that finally Harvey Beaks/Big City Greens alumnis are getting their time to shine besides More Than Us from Disney Wish, Encanto’s song What Else Can I Do? is what represents what i feel with this new era:

Before finishing an aclaration with this editorial im not forcing you to like every new Disney TVA series for Disney Channel, im just asking nicely to the Owlphibia community to level down their hatred with other Disney shows for simply existing and direct your anger to older dumb excecutives instead of other shows who don’t have any fault of a cancelation.

And be positive that at least that someone still greenlights original animated series in this sea of cancelations based on the betrayal of Netflix Animation and the mess that is WBD, Cartoon Network Studios WISHES right now to have someone as passionate on animation as Ayo Davis and Meredith Robers.

Finally im my opinion overall on this is pretty much “Change can be difficult, but it's how we grow. It can be the hardest thing to realize you can't hold on to something forever. Sometimes, you have to let it go” and with this new era of episodic musical comedies by BCG alumnis well “But, of the things you let go, you'd be surprised what makes its way back to you.” -- Anne Boonchuy.

Take care and support animation - Seb

#Amphibia #The Owl House #Gravity Falls #DTVA #Disney TVA #Disney Television Animation #Disney TV Animation #Big City Greens #The Ghost And Molly McGee #Hamster And Gretel #Moon Girl And Devil Dinosaur #Hailey’s On It #Primos #Phineas And Ferb #Zombies The Re-Animated Series #ZTRA #Star Vs The Forces Of Evil #DuckTales #DuckTales 2017 #Big Hero 6 #Big Hero 6 The Series #The Witchverse #Witchverse #Rhona Who Lives By The River #InterCats

[trainsinanime]

Haven't seen this one here on Tumblr yet (but maybe I just missed it). Key information:

Currently in production, the sixth and seventh seasons, as well as the specials will roll out on Disney Channel worldwide in the fall, and will go on to stream on Disney+ globally thereafter. 

Both seasons will have 26 episodes, and there are three new specials in the works. Also, they're going to use Unreal Engine for their visuals in the future.

#miraculous ladybug