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matan4il · 2 years

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I just saw we're getting yet another newbie and now everyone is freaking about her being an Eddie love interest, but what if, she's actually Ravi's. They've already established Ravi as mini Buck, and so what if they bring in a female ex soldier single mom and start having them mirror Buck and Eddie. We always say that if Eddie had been a woman, Buck and him would be together by now, this is the show proving that fact for the casual audience/antis. Then when buddie goes canon and people are like "but it came out of nowhere" they can point to Ravi and the new woman and say "it's the exact same story". 🤔

Or maybe I'm just desperately clutching at straws because I don't want to sit through ANOTHER damn pirate (it's what I call love interests brought in to destroy a ship)

Hi darling!

Okay, I choked up laughing at that pirate bit! XD That's brilliant, and I hope you don't mind if I adopt it, too. Let's make it a thing! It actually kind of reminds me of the ultimate ship pirate IMO, Gwen from the BBC's Merlin. That whole show was built around Merthur's epic love story, but it was obvious that canonically, the show will follow Arthurian legend, and ultimately, Arthur would be paired up with Gwen, not Merlin. Yet s1, which set up the show, was all about Merthur. Arthur and Gwen barely interacted. So when the show decided in s2 that it HAD to jumpstart the Gwen/Arthur romance, I mean literally jumpstart it (going from barely having interacted at the start of ep 202 to having had an "epic" kiss by the end of it), the writers obviously couldn't come up with why Arthur would become so suddenly smitten with Gwen, other than... to have the two of them recreate within that one ep the dynamic that Merthur shared all throughout s1. I kinda died laughing because if anything, it only further proved why Merthur were perfect for each other.

So yes, I could and would love to see this new addition become a love interest to Ravi, that would parallel and demonstrate how right Buddie are for each other. I wouldn't count on it, simply because from what I understand, Ravi's actor has booked himself a regular gig elsewhere, so I doubt we'll see too much of Ravi in s6. For what it's worth, I'm sure we won't be getting a new pirate any time too soon. 911 spent s5 having our boys move away from their former pirates and choosing themselves. Now the show has to explore that. If they just throw them into yet another r/s (that can't compare to Buddie), it'll just be throwing all that good character progression away. Especially for Buck, who only broke up with Taylor in the s5 finale. And the timing really does remind me of where the show left of in s2, where it chose to keep both of them single for the entirety of s3.

Basically, I feel you about not having to deal with pirates in the near future, but I think the water's clear for the near future. ;) Thank you for this ask, hon. Hope you're doing well! xoxox

(If you’re looking for my ask replies, here is my ask tag! xoxox)

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ducktracy · 4 years

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159. she was an acrobat's daughter (1937)

release date: april 10th, 1937

series: merrie melodies

director: friz freleng

starring: mel blanc (dole promise, who dehr, heddie camphor, hippo, stickoutski, donkey, leslie howard, duck, father duck, angry moviegoers)

mel blanc’s roles are growing increasingly larger and larger, as they should be! not only is this a popular motif used in cartoons (such as being sung by daffy in daffy doodles), footage from the cartoon itself has been reused. bob clampett and art davis’ bacall to arms uses a hefty amount of footage from this cartoon, but for good reason. it’s a turning point for freleng for sure as we observe parodies of news reels, songs, movies, and more.

the title song is underscored as we iris in and pan down to the outside of a movie theater, advertising 36 HOURS TO KILL WITH HIS BROTHER’S WIFE (intentionally read as one single title). pan over to the other side: 15 FEATURES 15¢ -- ALSO REJECTED SHORTS (a pun on selected shorts). i believe this gag was in buddy’s theatre as well. inside, reused in bacall to arms, a lone moviegoer gets up and switches his seat. another decides to do the same, and then another, and soon enough the interior of the theater is whipped into a frenzy as everyone scrambles to change seats. a very funny gag with succinct timing. i don’t like comparing everything to tex avery, because friz has just as much talent as tex and i feel like i’m holding tex up as the Ultimate way to do animation, but this gag certainly does feel like an averyism.

one of the many WARMER BROS. puns that we will be seeing in many a short (i believe debuted with hollywood capers? though it could have been from one of the bosko or buddy shorts too) as we open to the beginning of the show, a screen flashing WARMER BROS PRESENTS -- GOOFY-TONE NEWS -- SEES ALL-KNOWS NOTHING. the “sees all - knows nothing” is a take on “sees all, hears all, knows all”, from fox’s movietone news reels back in the day. the puns just keep on coming!

a caricature of movietone news reporter lowell thomas, caricature design courtesy of t. hee, opens us up, billed as dole promise instead. mel blanc provides the vocals as dole announces “good evening, folks. this is, uh...” he pauses, forgetting his own name. the gag is wonderfully structured, as he has a nameplate and a sign posted on his desk, as well as his name posted in big letters right on the screen, yet he still squints at his script with the most analytical, stupefied concentration he can muster. the offscreen whisper of “dole promise!” is just the cherry on top. “oh yeah. this is dole promise, bringing you the latest news events of the day.”

the first news reel: U.S. BUILDS LONGEST LINER IN SHIP BUILDING RACE. wonderful timing (and a neat overhead layout!) as we see the longest liner in person: an extremely elongated ship right in the middle of new york and london. the ship inches forward to london, and then back to new york, and then we cut away to the next order of business. next: FLASH! SPECIAL! heddie camphor (a take on eddie cantor, of course) finds “little oscar”, vitamin (a take on vitaphone) newsreel man gets exclusive interview with oscar. we see a little bug next to a purse (that has the initials of JW on them, jack warner of warner bros fame) and hear mel blanc talking in a russian accent. “ahh, dere you are! tell us, oscar, how does feel for to be back home after being lost for such long time?” the little bug rambles on in high pitched, nonsensical garbles. “oh, thank you very much, oscar! how you like that? he say he would rather be lost!” i haven’t found anything as to what the gag means, so unfortunately the meaning has been lost to the sands of time. but, if anything, it’s amusing hearing mel do one of the voices we’ll be hearing so often in many cartoons.

what is it with movie-centric cartoons and hitler? bosko’s picture show in 1933 was the first cartoon of any studio to ever depict a caricature of hitler, and now we have a gag where a man is invited to sit in the last seat in the row. unfortunately, his view is seldom ideal: we see some rather impressive perspective and animation as hitler on screen marches forward, eventually disappearing into nothingness because the moviegoer can’t see anything. aggravated, he moves a few seats down, right in the front row and in the middle. i believe this is bob mckimson animation--this scene would be reused two years later in the film fan, with porky in place of the dog trying to crane his neck to see animation of a jockey riding on the horse. the warped perspective is quite impressive and does a good job of hitting home. we’ve all been there, stuck in the front row and trying to see what’s happening. nevertheless, the dog begrudgingly accepts his fate, forever doomed to view the news reel at inadequate angles.

also reused in bacall to arms is a gag of a hippo trying to get out of the row, proving to be a nuisance in the process. he’s a polite nuisance, at least, repeating “pardon. pardon me. pardon.” as he bulldozes his way through. tex avery would also lampoon overweight hippo moviegoers in his hamateur night in 1939.

time for the birth of a caricature! we have our first caricature of vaudevillain lew lehr (penned as who dehr in this case), whose catchphrase “monkeys is da cwaziest peoples!” would be lampooned in many, many, many, MANY warner bros cartoons (especially bob clampett cartoons: porky in egypt, porky’s snooze reel, russian rhapsody, and so forth). here, he opens us up with nit-wit news. “ladies and peoples, listen while explaining you the latest news of da day.” the napoleon hat/garb in general is a nice touch, often used to symbolize insanity (like porky suffering here from the “desert madness”).

lehr (or in this case dehr) narrates the malady of a strange dog bite affecting the city of “boondoggle”, mo. that strange malady has turned the citizens of boondoggle into boonDOGS as everyone runs around on all fours. “look at dat! even da mayor leads a dog’s life in boondoggle!” the mayor, digging a hole, comes across a dog and growls (i love the detail of his sideburns raising like a dog’s ears in defense), both him and the actual dog engaging in a tussle. the brushing on the fight is very well done for this time period, feeling like a precursor to drybrushing which would be so prevalent in so many cartoons. the mayor wins the fight, running away with a bone in his mouth. elsewhere, BOONDOOGLE'S LEADING SOCIETY MATRON IS LATEST VICTIM OF SCOURGE. amusing animation and narration by blanc/dehr as a woman sits on a pillow, panting like a dog, eagerly running up to her butler and eating a piece of steak thrown at her. dehr wraps up the presentation, he himself getting a taste of the scourge as one of the affected residents crawls onscreen and bites dehr right in the leg. nonsensical? absolutely. but it’s the GOOD kind of nonsensical. the use of black and white is a nice touch with this being a technicolor cartoon. many of the other news reel cartoons have been/are in black and white, so the mixing of technicolor and B&W really adds some authenticity.

“boulevardier from the bronx” seems to be a theme for slow, lumbering characters as the lumbering hippo makes his return, squeezing himself through an angry row of patrons while he dismissively pardons himself. he sits himself down just in time to see “STICKOUTSKI at the fertilizer”. a lion caricature of leopold stokowski invites the moviegoers to a rousing chorus of “she was an acrobat’s daughter”--not unlike bosko getting his own audience to sing in bosko’s picture show. the song is very catchy, the slideshow visuals equally as entertaining as the lyrics. i especially love the gag where one picture, not a part of the slideshow, reads “please do not spit on the floor”, yet the patrons sing it in tune regardless, then correcting themselves and singing the next verse in the same tune. a hilarious gag with great timing. a short merrie melody for sure, but a good one at that.

next is a parody of the MGM lion, crowing like a rooster instead of doing its signature roar. the film is “petrified florist, a take on “petrified forest” (which would be used as a gag in book revue). after an interminable cast scroll through (reused in bacall to arms), we see the star of the film, a caricature of leslie howard unsuccessfully hitchhiking, tying his thumb to a railroad crossing sign, making the light swing. while the film is playing, a random donkey decides to peddle peanuts, crackerjack, chewing gum (with an underscore of “puddin’ head jones”, a favorite of mine). the donkey is booted out of the theater, hitting his head on a streetlight and still repeating his peauts, crackerjack, chewing gum mantra in a daze. a little incongruous and random, but there are some interesting angles and closeups as the donkey walks straight towards the audience.

back to the film, the leslie howard caricature summons a bette davis cariature (again, caricatures by t. hee), demanding some food. bette flirts with him, smitten. “what’s your name?” “puddin tame. ask me again, and i'll tell you the same.” “are you a poet?” “after a fashion. “ooh, i love poetry!” “would you like me to recite?” “no.” even better than the “no” gag is howard struggling to recite mary had a little lamb regardless. “mary lad a little hamb. mary mad a little amb. mary had... oh, she had a goat.” while leslie struggles to retell the story, bette sighs, completely enamored.

a very interesting discovery, at least for me: i always wondered why in some porky cartoons, porky had a little white duck sidekick (not daffy) who was a pest. mainly a 1939 phenomenon: i’ve only spotted him in it’s an ill wind and porky’s hotel. his name is either dizzy or dippy duck, i can’t remember. but i always wondered why he was porky’s sidekick when daffy was getting to be established as porky’s sidekick at the same time. turns out THIS dizzy/dippy duck’s first appearance, or at least a prototype. here, he pesters his dad, barraging him with questions. “why, daddy? why did the man look at her like that, daddy? why, daddy? does he like her, daddy? does he like the lady, daddy?” and so on. while the dad furiously attempts to hush his kid, his efforts are futile. the duck is only silenced once the entire row in front of him turns back to shoot him down with glares. that is, until the duck starts rambling again, asking a bunch of obnoxious questions. i love this in particular, for i can relate--weird anecdote, but my mom said the first movie she took me to i started walking up and down the aisles and chatting up strangers. so i like this kid! even better is when the angry front row shushes him once more with angry “NYEHHHH!”s. now, the father speaks up in a w.c. fields voice. “heyyy, what’s going on?” a punch to the face from an offscreen fist.

the kid, not getting the memo, pesters his dad once more, who shooes him away. now, the kid darts out of the theater and up to the projection booth. i love the animation of the kid turning his head in wonderment, staring at the door (bob mckimson maybe? it’s pretty solid and constructed). he barges in, fiddling with the controls. he turns a lever from MED. to FAST, and the movie is sped up to frightening speeds. the kid panics, trying to fix his error, but to no avail. now, the movie plays backwards. the animation is quite good--skipping and jumping around, but still room for there to be inbetweens of SOME sort. i can only imagine trying to sort those frames out in the (in)correct order! it’s easy to mess up, but hard to mess up on purpose!

now desperate, the kid sticks his beak inside the projection camera, where it gets caught. in a similar (yet less gruesome/strange) manner to baby bottleneck, the kid gets caught in the gears, his body twisting up and down and around, feathers expelled into the air. iris out as the kid flops to the ground, unscathed, cursing as his body is covered in film.

this cartoon is a GREAT one, probably the best we’ve seen from friz. or, at the very least, the funniest. it’s so ahead of it’s time--so much so that it was reused in chunks in bacall to arms in 1946, which proved to be quite anachronistic. you have the conflicting styles of clampett/davis (mainly clampett, this is probably the most clampett-y short in terms of looks out of the ones he didn’t finish) from 1946, and the simplistic 1937 friz style. that’s QUITE a contrast, but that tells you how well the humor holds up. i’m really fascinated by the dizzy/dippy prototype. in all likelihood, it was just a one off character. friz didn’t sit down thinking this would be his next star (our next review will cover talkative, famous ducks ;)), but he is VERY similar to the duck used in hardaway/dalton’s it’s an ill wind and later clampett’s duck used in porky’s hotel. i believe mel does almost all the voices, save for bette davis. i don’t believe the w.c. fields voice provided by the father duck is tedd pierce. it’s very exciting to see him climb up the ranks--next cartoon, he gets to voice our favorite pig (and duck!) in all, this is a hilarious cartoon. some of the gags are a little (or a lot) dated, often skewing the joke--i wish i knew what the meaning behind the little oscar joke was--but it wasn’t a constant thing. the song number was hilarious (i love the “please do not spit on the floor” gag) and catchy, the animation was good, the caricatures were lovely... while there are many more funny cartoons than this one, in terms of this time period and comparing it to what friz has churned out up to this point, it’s probably his funniest one yet, and that in itself constitutes a watch. it’s definitely the funniest news reel cartoon we’ve seen so far. go for it!

link!

#lt #she was an acrobat’s daughter #reviews #looney tunes #freleng #long post

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matan4il · 2 years

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Kind of weird but I truly focused on Anna and Eddie more then Buck and Taylor becuase I figured if there was an end game it was gonna be them. But now rewatching and focusing a little more on them its funny because they did the exact opposite with Buck then with Eddie and it feels intentional.

We never saw a passionate sexual side to Eddie and Anna but from the beginning that really was Buck and Taylor. If there was never a Eddie and Christopher, B&T are a couple I would ship if they gave her more development. Like not gonna lie I totally swooned a little when he picked her up in the bathroom stall. Like big men short women, come on lol. We see them in bed, her in lingerie, sharing work outs. The physical side is heavily implied if you will.

So I guess my point is they brought on carbon copies of women that were supposed to fill out the identity of them if they were straight males. Luckily I don't see them dragging this B&T out. There just isnt time especially with Maddie finally coming home. Hopefully we go straight from there to Buddie angst.

Hi Nonnie! Thank you for the ask!

Oh, that's funny, I was the exact opposite. When Ana was introduced in 312, and her introduction was so over the top "Isn't this just fate, her guessing correctly what 'Eddie' stands for? Do you see how smitten Eddie is that he became a bumbling idiot?" I worried some, but then when I saw that the show was fully uninterested in her (no follow up in 313 even though that ep did have romantic themes that could have been the perfect moment to bring Ana up, and giving her half a line in 315 and then nada for the rest of s3), even when she came back, I wasn't that concerned, because the show never bothered developing her or investing in her character.

Taylor, on the other hand, it felt like the show tried with her a bit more. They took a character from s2 who already had a strong character established, they brought her in and didn't rush to have Buck and her dating, instead they had a few eps of them just being friends, so relative to Ana, the show did invest in Taylor more. But... still not enough for me to think she can be Buck's endgame. Yeah, they gave her more time and a bit more of a background, but it all feels a bit half-assed. Like in s4, where she initially rejects Buck in 412, but we never learn why, nor are we shown in 414 a reason why she would stop worrying about whatever it was that made her initially friendzone him... "I worried about you while you were in danger" is not enough, because it doesn't explain why she turned him down in the first place. And then during all of 5a, so many of the B/T scenes are awkward, just like A/E's were in s4 and the start of s5, or even actively pointing to something being wrong (I have never seen a character looking more pained or less enthusiastic to say "I love you" for the first time... TBH, technically speaking, Buck still didn't say those exact words, he half-assed it with "Good... *weirded out expression* Love you, too"). Even the episode dedicated in part to her backstory was half-assed (so much of it was "tell" instead of "show"), that I still feel like she's not Buck's endgame and can't be with this little investment from the show. BUT I do think it's still more investment than the show has ever given Ana, so that's why, if I did worry, I would about Taylor, not Ana.

And I hear you! I'm personally a monoshipper, once I have my heart set on a couple because I feel like they make each other better and can make each other happier than anyone else could, and by the time Taylor was first introduced in 206, I was already locked on Buddie. If you look at my s2 meta, you can see why I felt that even early s2 already did a lot to cement them as the people who are right for each other. But I get you, if Buddie weren't so perfect for each other, then yes, on paper, Ana and Taylor are what they would want. Ana with her background as a school teacher that Chris loves and with her common heritage with them, and Taylor with her independent, take-no-nonsense streak, they would seem like what these men need. And yet, Buck and Eddie ARE there for each other, Buck loving Chris with his whole heart and being the kind of person you know would be so respectful of his Diaz boys' background, and Eddie being the person who tells Buck things like they are, not coddling him, but also doing it with so much fondness and support, they end up giving each other everything these female LI's on paper would have, but then they give each other even more than that! They tease and they support and they get each other and are in awe of each other like no one else ever could fill those shoes.

Thank you for this, Nonnie! Hope you don't mind the length, I got a bit emotional! Have a great day! xoxox

And if you or anyone else is looking for my other ask replies, you can find them using my ask tag. xoxox

#buddie #911meta #buddie meta #911 meta #9-1-1 #evan buck buckley #evan buckley #eddie diaz #edmundo diaz #ask #anon ask #911onabc #911 on abc #911abc #911 abc

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