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forbidden-sunlight · 3 months

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yandere! vox with fem!reader scenario

Warning: obsessive behavior, implied violence, stalking, implied emotional and physical abuse, brief mention of toxic relationship [vox/val], implied brainwashing, knowledge based on spoilers from the first two episodes of the 2024 show and the Hazbin Hotel comics.

There may be possible triggers in this story.

If you do not feel comfortable venturing any further, please hit the 'back' button on your device or computer and read something much more pleasant than a possible series of unfortunate events.

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Hey guys, welcome back to another Hazbin Hotel fic, starring Hell's one and only flat-screened overlord, Vox! Special thanks to @isuckatwritingsobenice and @lbcreations-blog for helping me shape up the rough draft of this piece, I can't wait until I get enough time off from work to watch this series! :)

So with that being said, sit back, relax, and let's go live with Vox's broadcast!

The overlord of technology has been in an on-off relationship with Valentino for a while, so any affection Vox has received from the egotistical prick is either a ploy to get him to do whatever he wanted or that the owner of the Porn Studios was in the mood to play the role of a lover before he got bored again. He had a brand and reputation to uphold in Hell, so any word about him and Val being together is kept under tight wraps. No one knows about it except maybe Velvette. God knows how many times the moth demon had wreaked havoc in the fashion designer’s office on the way to his own quarters, red smoke and all.

Of course the one tantrum when the television demon decided to not fight back and just dump Val’s ass because he was sick and tired of the bullshit, it had to happen a week until Velvette’s new clothing line was about to go live. So of course he, the most level-headed one of the Three Vs and the one responsible for the mess, had to clean it up. Yeah, just another fucking day with Val. Fuck his life.

Anyway, he’s a very busy man managing the other V’s social media networks including his own workload in his own studio. Considering that he’s now single again (at least for the moment), he saw no reason to get involved with anyone else right now unless it was to relieve some of his frustrations…privately. Late one evening and on his third cup of coffee, Vox was going through the applications that responded to Velvette’s newest job post. Same occupation, same shitty pay, but every designer and seamstress in the Pride Ring wanted to work with Hell’s queen of fashion. He was just weeding out the applicants who did not have what his associate wanted in an employee. And he’s doing it because he owed a favor, not because he can’t sleep. That was when Vox saw your resume.

He skimmed through it, raising an eyebrow in slight interest. It seemed a little embellished…but the credentials were there, at least from what he could see. And you were good-looking, so that is a bonus too. Shrugging his shoulders, he swiped his hand to the right, sending the document to the small electronic pile of Maybe and moved on to the next one. That one immediately got sent to the Rejection pile.

A few weeks later, he saw you working in Velvette’s studio through the cameras, hunched over a desk and so entirely focused on a sketchpad that you paid no mind to her chewing out to the other designers about their shitty designs for the next collection.

“You! New Girl!”

Her peevish voice addressing you was what brought you out of your reverie. Straightening your spine, you turned to her and quickly strode to her. You must have known what she wanted, because you gave her the sketchpad. Velvette flipped through it, eyeing the pages critically until her bloodshot eyes widened in delight, tapping a manicured black nail against it rapidly before dragging you to a mannequin, barking at you to start creating whatever caught her attention. And it was rare for Velvette to be pleased with anyone else’s works except her own. Her creativity is what kept her clothing line at the pinnacle of fashion. You were getting more and more interesting as he began to watch you more throughout the day. Discreetly, of course. Vox would be damned if his associate found out that he’s eyeing one of her employees.

He saw how dedicated you were to your work, how you thrived under pressure from Velvette instead of crumbling from it and that was when your creativity blossomed into its full potential. But what he admired about you the most is that you were always calm. You never raised your voice at anyone. You always looked at a problem as if you were dissecting it before making a move. Creative thinkers took risks, and so did you.

But he’s not looking for a relationship. He wants to focus on his work. He wants to make his business thrive and crush any competition who would dare to try and get one up over him. He is annoyed as fuck that you’ve caught his attention and hasn’t done anything to make him want to stop looking at you. Why won’t you leave his mind? Why is he constantly looking through your social media accounts to see what you’re up to and if there is anyone else in your life? Why?

Because he’s fucked. Fuck his life.

Vox believes that he is the brains behind the Three Vs’ success and how they could not have made it this far without his technology and other businesses. But the truth is that this overlord, the one who commanded over electronics, can be emotionally immature if he is pushed too far. You saw how he acted when Alastor made his comeback, right? If you did, well, you now know that his buttons can be pushed if he isn’t seen or acknowledged by someone. And if you were to ignore him as the Radio Demon did…you better run.

Because if there is a screen or a camera, he will use it to find you no matter where you are in Hell. There is no doubt that he will jump out of it with a static pop, begging you to give him a chance to prove himself with fat, watery tears falling down his flat-screen face.

He is an overlord, one of the Three Vs. He is good-looking, charming, a manipulator, a liar, he could use his powers to hypnotize into submission if he really wanted to and runs a successful business. What more could you possibly want when he is obviously the best choice to have as a lover in Hell? Can’t you see? You belong to him!

Taglist

@doc-tooth

@lbcreations-blog

@nixie-writes

@imperfectbloodmoon

@chroniccorvus

@angelltheninth

@hellbornediamonddreams

@riddle-simp

@blackmageoffandoms

@tired-of-life-86

@frenchtoastmafia

@lanxianschoenheit

@riotakire

@quintillion4

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fuckyeahgoodomens · 2 months

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The Radio Times magazine from the 29 July-04 August 2023 :)

THE SECOND COMING

How did Terry Pratchett and Neil gaiman overcome the small matter of Pratchett's death to make another series of their acclaimed divine comedy?

For all the dead authors in the world,” legendary comedy producer John Lloyd once said, “Terry Pratchett is the most alive.” And he’s right. Sir Terry is having an extremely busy 2023… for someone who died in 2015.

This week sees the release of Good Omens 2, the second series of Amazon’s fantasy comedy drama based on the cult novel Pratchett co-wrote with Neil Gaiman in the late 1980s. This will be followed in the autumn by a new spin-off book from Pratchett’s Discworld series, Tiffany Aching’s Guide to Being a Witch, co-written by Pratchett’s daughter Rhianna and children’s author Gabrielle Kent. The same month, we’ll also get A Stroke of the Pen, a collection of “lost” short stories written by Sir Terry for local newspapers in the 70s and 80s and recently rediscovered. Clearly, while there are no more books coming from Pratchett – a hard drive containing all drafts and unpublished work was crushed by a vintage steamroller shortly after the author’s death, as per his specific wishes – people still want to visit his vivid and addictive worlds in new ways.

Good Omens 2 will be the first test of how this can work. The original book started life as a 5,000-word short story by Gaiman, titled William the Antichrist and envisioned as a bit of a mashup of Richmal Crompton’s Just William books and the 70s horror classic The Omen. What would happen, Gaiman had mused, if the spawn of Satan had been raised, not by a powerful American diplomat, but by an extremely normal couple in an idyllic English village, far from the influence of hellish forces? He’d sent the first draft to bestselling fantasy author Pratchett, a friend of many years, and then forgotten about it as he busied himself with continuing to write his massively popular comic books, including Violent Cases, Black Orchid and The Sandman, which became a Netflix series last year.

Pratchett loved the idea, offering to either buy the concept from Gaiman or co-write it. It was, as Gaiman later said, “like Michelangelo phoning and asking if you want to paint a ceiling” The pair worked on the book together from that point on, rewriting each other as they went and communicating via long phone calls and mailed floppy discs. “The actual mechanics worked like this: I would do a bit, then Neil would take it away and do a bit more and give it back to me,” Pratchett told Locus magazine in 1991. “We’d mess about with each other’s bits and pieces.”

Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch – to give it its full title –was published in 1990 to huge acclaim. It was one of, astonishingly, five Terry Pratchett novels to be published that year (he averaged two a year, including 41 Discworld novels and many other standalone works and collaborations).

It was also, clearly, extremely filmable, and studios came knocking — though getting it made took a while. rnvo decades on from its writing, four years after Pratchett's death from Alzheimer's disease aged 66, and after several doomed attempts to get a movie version off the ground, Good Omens finally made it to TV screens in 2019, scripted and show-run by Gaiman himself. "Terry was egging me on to make it into television. He knew he was dying, and he knew that I wouldn't start it without him," Gaiman revealed in a 2019 Radio Times interview. Amazon and the BBC co-produced with Pratchett's company Narrativia and Gaiman's Blank Corporation production studios, with Michael Sheen and David Tennant cast in the central roles of Aziraphale the angel and Crowley the demon. The show was a hit, not just with fans of its two creators, but with a whole new young audience, many of whom had no interest in Discworld or Sandman. Social media networks like Tumblr and TikTok were soon awash with cosplay, artwork and fan fiction. The original novel became, for the first time, a New York Times bestseller.

A follow up was, on one level, a no-brainer. The world Pratchett and Gaiman had created was vivid, funny and accessible, and Tennant and Sheen had found an intriguing romantic spark in their chemistry not present in the novel.

There was, however, a huge problem. There wasn't a second Good Omens book to base it on. But there was the ghost of an idea.

In 1989, after the book had been sold but before it had come out, the two authors had laid on fivin beds in a hotel room at a convention in Seattle and, jet-lagged and unable to sleep, plotted out, in some detail, what would happen in a sequel, provisionally titled 668, The II Neighbour of the Beast.

"It was a good one, too" Gaiman wrote in a 2021 blog. "We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published, Sandman became SANDMAN and Discworld became DISCWORLD(TM) and there wasn't a good time."

Back in 1991, Pratchett elaborated, "We even know some of the main characters in it. But there's a huge difference between sitting there chatting away, saying, 'Hey, we could do this, we could do that,' and actually physically getting down and doing it all again." In 2019, Gaiman pillaged some of those ideas for Good Omens series one (for example, its final episode wasn't in the book at all), and had left enough threads dangling to give him an opening for a sequel. This is the well he's returned to for Good Omens 2, co-writing with comic John Finnemore - drafted in, presumably, to plug the gap left Pratchett's unparalleled comedic mind. No small task.

Projects like Good Omens 2 are an important proving ground for Pratchett's legacy: can the universes he conjured endure without their creator? And can they stay true to his spirit? Sir Terry was famously protective of his creations, and there have been remarkably few adaptations of his work considering how prolific he was. "What would be in it for me?" he asked in 2003. "Money? I've got money."

He wanted his work treated reverently and not butchered for the screen. It's why Good Omens and projects like Tiffany Aching's Guide to Being a Witch are made with trusted members of the inner circle like Neil Gaiman and Rhianna Pratchett at the helm. It's also why the author's estate, run by Pratchett's former assistant and business manager Rob Wilkins, keeps a tight rein on any licensed Pratchett material — it's a multi-million dollar media empire still run like a cottage industry.

And that's heartening. Anyone who saw BBC America's panned 2021 Pratchett adaptation The Watch will know how badly these things can go when a studio is allowed to run amok with the material without oversight. These stories deserve to be told, and these worlds deserve to be explored — properly. And there are, apparently, many plans afoot for more Pratchett on the screen. You can only hope that, somewhere, he'll be proud of the results.

After all, as he wrote himself, "No one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someone's life is only the core of their actual existence."

While those ripples continue to spread, Sir Terry Pratchett remains very much alive. MARC BURROWS

DIVINE DUO

An angel and a demon walk into a pub... Michael Sheen and David Tennant on family, friendship and Morecambe & Wise

Outside it's cold winter's day and we're in a Scottish studio, somewhere between Edinburgh and Glasgow. But inside it's lunchtime in The Dirty Donkey pub in the heart of London, with both Michael Sheen and David Tennant surveying the scene appreciatively. "This is a great pub," says Sheen eagerly, while Tennant calls it "the best Soho there can be. A slightly heightened, immaculate, perfect, dreamy Soho."

Here, a painting of the absent landlord — the late Terry Pratchett, co-creator, with Neil Gaiman, of the series' source novel — looms over punters. Around the corner is AZ Fell and Co Antiquarian and Unusual Books. It's the bookshop owned by Sheen's character, the angel Aziraphale, and the place to where Tennant's demon Crowley is inevitably drawn.

It's day 74 of an 80-day shoot for a series that no one, least of all the leading actors, ever thought would happen, due to the fact that Pratchett and Gaiman hadn't ever published any sequel to their 1990 fantasy satire. Tennant explains, "What we didn't know was that Neil and Terry had had plots and plans..."

Still, lots of good things are in Good Omens 2, which expands on the millennia-spanning multiverse of the first series. These include a surprisingly naked side of John Hamm, and roles for both Tennant's father-in-law (Peter Davison) and 21-year-old son Ty. At its heart, though, remains the brilliant banter between the two leading men — as Sheen puts it, "very Eric and Ernie !" — whose chemistry on the first series led to one of the more surprising saviours of lockdown telly.

Good Omens is back — but you've worked together a lot in the meantime. Was there a connective tissue between series one of Good Omens and Staged, your lockdown sitcom?

David: Only in as much as the first series went out, then a few months later, we were all locked in our houses. And because of the work we'd done on Good Omens, it occurred that we might do something else. I mean, Neil Gaiman takes full responsibility for Staged. Which, to some extent, he's probably right to do!

Michael: We've got to know each other through doing this. Our lives have gotten more entwined in all kinds of ways — we have children who've now become friends, and our families know each other.

There have been hints of a romantic storyline between the two characters. How much of an undercurrent is that in this series.

David: Nothing's explicit.

Michael: I felt from the very beginning that part of what would be interesting to explore is that Aziraphale is a character, a being, who just loves. How does that manifest itself in a very specific relationship with another being? Inevitably, as there is with everything in this story, there's a grey area. The fact that people see potentially a "romantic relationship", I thought that was interesting and something to explore.

There was a petition to have the first series banned because of its irreverent take on Christian tropes. Series two digs even more deeply into the Bible with the story of Job. How much of a badge of honour is it that the show riles the people who like to ban things?

David: It's not an irreligious show at all. It's actually very respectful of the structure of that sort of religious belief. The idea that it promotes Satanism [is nonsense]. None of the characters from hell are to be aspired to at all! They're a dreadful bunch of non-entities. People are very keen to be offended, aren't they? They're often looking for something to glom on to without possibly really examining what they think they're complaining about.

Michael, you're known as an activist, and you're in the middle of Making BBC drama The Way, which "taps into the social and political chaos of today's world". Is it important for you to use your plaform to discuss causes you believe in?

Michael: The Way is not a political tract, it's just set in the area that I come from. But it has to matter to you, doesn't it? More and more as I get older, [I find] it can be a real slog doing this stuff. You've got to enjoy it. And if it doesn't matter to you, then it's just going to be depressing.

David, Michael has declared himself a "not-for-profit" actor. Has he tried to persuade you to give up all your money too?

David: What an extraordinary question! One is always aware that one has a certain responsibility if one is fortunate and gets to do a job that often doesn't feel like a job. You want to do your bit whenever you can. But at the same time, I'm an actor. I'm not about to give that up to go into politics or anything. But I'll do what I can from where I live.

Well, your son and your father-in-law are also starring in this series. How about that, jobs for the boys!

David: I know! It was a delight to get to be on set with them. And certainly an unexpected one for me. Neil, on two occasions, got to bowl up to me and say, "Guess who we've cast?!"

How do you feel about your US peers going on strike?

David: It's happening because there are issues that need to be addressed. Nobody's doing this lightly. These are important issues, and they've got to be sorted out for the future of our industry. There's this idea that writers and actors are all living high on the hog. For huge swathes of our industry, that's just not the case. These people have got to be protected.

Michael: We have to be really careful that things don't slide back to the way they were pre the 1950s, when the stories that we told were all coming from one point of view and the stories of certain people, or communities within our society, weren't represented. There's a sense that now that's changed for ever and it'll never go back. But you worry when people can't afford to have the opportunities that other people have. We don't want the story that we tell about ourselves to be myopic. You want it to be as inclusive as possible

Staged series 3 recently broadcast. It felt like the show's last hurrah — or is there more mileage? Sheen and Tennant go on holiday?

David: That's the Christmas special! One Foot in the Algarve! On the Buses Go to Spain!

Michael: I don't think we were thinking beyond three, were we?

So is it time for a conscious uncoupling for you two — Eric and Ernie say goodbye?

David: Oh, never say never, will we?

Michael: And it's more Hinge and Bracket.

David: Maybe that's what we do next — The Hinge and Bracket Story. CRAIG McLEAN

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fans4wga · 9 months

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Writers Guild West Official: Era of Hollywood Mergers Hastened the Strike

August 10, 2023

Laura Blum-Smith, the Writers Guild of America West’s director of research and public policy, considers the strike a result of a tsunami of Hollywood mergers that has handed studios and streamers the power to its exploit workers.

“Harmful mergers and attempts to monopolize markets are a recurring theme in the history of media and entertainment, and they are a key part of what led 11,500 writers to go on strike more than 100 days ago against their employers,” Blum-Smith said on Thursday at an event with the Federal Trade Commission and Department of Justice over new merger guidelines unveiled in July.

She pointed to Disney, Amazon and Netflix as companies that “gained power through anticompetitive consolidation and vertical integration,” allowing them to impose “more and more precarious working conditions, increasingly short term employment and lower pay for writers and other workers across the industry.” But she sees revisions to the merger guidelines that address labor concerns a key part of the solution to prevent further mergers in the entertainment industry moving forward.

“The FTC and DOJ’s new draft merger guidelines are part of a deeply necessary effort to revive antitrust enforcement,” she added. “Compared with earlier guidelines, the new ones are much more skeptical of the idea that mergers are the natural way for companies to grow. And they focus more on the various ways mergers hurt competition, including how mergers impact workers.”

In July, the FTC and DOJ jointly released a new road map for regulatory review of mergers. They require companies to consider the impact of proposed transactions on labor, signaling that the agencies intend to review whether mergers could negatively impact wages and working conditions. FTC commissioner Alvaro Bedoya, who was joined by agency chair Lina Khan, said in a statement about the guidelines that “a merger that may substantially lessen competition for workers will not be immunized by a prediction that predicted savings from a merger will be passed on to consumers.” Historically, transactions have been considered mostly through the lens of benefits to consumers.

The guidelines lack the force of law but influence the way in which judges consider lawsuits to block proposed transactions. They also tell the public how competition enforcers will assess the potential for a merger’s harm to competition.

Antitrust enforcers have steadily been taking notice of negative impacts to labor as a result of industry consolidation. “We’ve heard concerns that a handful of companies may now again be controlling the bulk of the entertainment supply chain from content creation to distribution,” Khan said last year during a listening forum over revisions to the guidelines, in a nod to anticompetitive conduct by studios that led to the Paramount Decrees. “We’ve heard concerns that this type of consolidation and integration can enable firms to exert market power over creators and workers alike.”

Adam Conover, writer and WGA board member, said in that April 2022 forum that his show Adam Ruins Everything was killed by AT&T’s acquisition of Time Warner in 2018 when TruTV’s parent company forced the network to cut costs. He stressed that a handful of companies “now control the production and distribution of almost all entertainment content available to the American public,” allowing them to “more easily hold down our wages and set onerous terms for our employment.” It’s not just writers that are impacted by an overly consolidated Hollywood either, he explained. After Disney acquired 21st Century Fox in 2019, he said that the studios pushed the industry into ending backend participation and trapping actors in exclusive contracts preventing them from pursuing other work.

Blum-Smith said that aggressive competition enforcement is necessary as “Wall Street continues to push for more consolidation among our employers despite the industry’s history of mergers that failed to deliver any of the consumer benefits they’ve claimed that left writers and audiences worse off with less diversity of content and fewer choices.”

“More mergers will leave writers with even fewer places to sell their work and tell their stories and the remaining companies will have even more power to lower pay and worsen working conditions,” she warned. “Strong enforcement against mergers is essential to protect workers in media and workers across the country and these guidelines are an important step in the right direction.”

#sag-aftra strike #sag strike #actors strike #hollywood #wga strike #writers strike

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maxwellatoms · 6 months

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Would you trust ANY Korean studio for hand-drawn animation today? I ask because, when The Powerpuff Girls came back in 2016, I noticed how slow and stiff the Korean animation was. Since then, most Burbank cartoons animated in Korea, namely Cartoon Network shows, have been like that — mostly on 2s & with less inbetweening. Look at any Digital eMation episode of Victor and Valentino or Samurai Jack Season 5; do they animate as loosely and smoothly as Digital eMation episodes of Billy & Mandy do?

Sure I would. It would all depend on the studio and the circumstances. There are good studios and bad studios, and either of those will treat your show differently based on their perception of how valuable it is to their client. In the early 2000s Rough Draft was a top-notch studio. One of the reasons I switched over to eMation from Rough Draft was that I felt like Rough Draft was putting all of its resources into making Samurai Jack look beautiful, and we were still calling retakes on three year old issues. I knew we weren't a priority to Rough Draft, and I knew that stemmed from Cartoon Network's negotiations with them, so my griping was only going to get us so far. It seemed to me that I needed a studio that was smaller and scrappier like we were. We were putting in a lot of work on our end to make cool stuff and it wasn't ending up on the screen, so we needed people who were just as hungry on the back-end, and eMation stepped up.

There's also the fact, though, that animation itself has changed a lot in the last fifteen years. Powerpuff Girls and Samurai Jack's animation always seemed to have an air of "motion comics" to it. And frankly, that's part of what I love about it. It was all a throwback to the old UPA cartoons, which were built on strong, clear poses and made for the cost equivalent of a turkey dinner. Likewise, CN storyboard artists usually had around four weeks to write and draw their boards on paper, so there just wasn't time to take the effort to do anything too complex. It was all about snapping between those 300-ish storyboard drawings and momentarily savoring them for their humor and design mastery. Now we have tons of digital tools that make the basics of animation a lot more accessible to everyone, and have changed the entire studio pipeline. Things just won't look like they used to because nobody makes them that way anymore.

When I've had to choose an overseas animation studio, the network's production arm usually gives me one or three choices and tells me that's all there is. Deals have already been made. (Sometimes they make you pick two to save on costs, which (IMO) usually results in two studios that are less functional than any one of them would have been.) The studios usually have reels, so that gives you a basic idea of what they can do. You can (hopefully) find some other show creators who have worked with the studios and get an honest review. It's an important enough decision that it's worth whatever research you can put into it. Even over good bones, an ill-fitting skin can ruin the mood.

The most important thing to remember, I think, is that it's your job and your crew's job to make animating the show as easy as possible. Really, it's everyone's job to make the next person in line's job as simple as they can. Ideally, there shouldn't be a lot of questions because the materials you sent down the chain are clear.

So... yeah. I'd still trust Korean studios as much as I'd trust any overseas or domestic animation studio. You get out of them what you put into them by feeding them money and your own labor. It's quite possible that the shows you mentioned didn't do enough of either.

I imagine the overseas studios are hurting right now, so who knows what that landscape is even going to look like in a few years.

As with every step of the process making a TV show, you just sort of have to weigh your options and find the path.

Hmm. That got long.

#animation industry #animation studios #hot mess

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redladydeath · 1 month

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Some Vox human life headcanons that have been developing in my head over the past few weeks

He was born Vaughn Oxright in the late 1910’s/early 1920’s to a well-off, show-biz couple from Philadelphia

Was a child star from the ages of about 5 to 9, mostly doing live dance acts at mid-sized theaters across the US. That phase of his life was ended by a leg injury that never healed properly (neither he nor his parents wanted to slow down long enough for it to fully heal and he kept dancing on it until long-term damage was done), and his family had no choice but to settle back down in Philly.

First realized he was interested in men at age 11 when he became super attached to an older boy in his church’s youth group. He became very clingy and started sending the boy dozens of increasingly intense totally-not-love letters, which made the boy uncomfortable and got Vox switched out of the group. The fact that this was obviously a crush went unsaid, but not unnoticed by those involved. The rejection was devastating for Vox, and he swung hard into homophobia and petty displays of masculinity afterward.

He stayed out of show-biz during his teen years, but still participated in dozens of events and competitions— any opportunity to perform and receive praise.

Was drafted into WWII as a young man. Never saw combat on account of his old leg injury, but was instead assigned to work as an electrical engineer, building radar tech and other telecommunications materials. It was outside of his intended field of study, but he took to it quickly and became very close with the other men on his team. It was the last time in his life he could remember feeling truly happy.

Realized he was really, embarrassingly into BDSM (or at least the 40’s/50’s equivalent) via pulp novels, plus how excited he was made by the head of his team being cold/condescending towards him when he first joined. Took this secret to the grave, but always kept a stash of retro-style erotica wherever he was living.

After the war, he decided to get back into show business. Started dating and quickly married a girl from a wealthy, well-connected family. Things started off okay, but only took a few years to devolve into simmering animosity. He was self-absorbed and inattentive, she started using pills to cope. Neither of them had any interest in getting a divorce though, given the times and the damage it would do to both their reputations. They had two kids who were basically raised solely by their nanny. Their parents both loved them in their own ways, but were too wrapped up in themselves to pay them very much mind.

Vox quickly got involved in the television industry, using his good looks and charm to rapidly climb the ranks and land a job as a presenter. He was a pain to work with for anyone he deemed beneath him, but he was a great networker and could schmooze with the “important people” like nobody’s business.

Despite running in some pretty elite circles, his TV career never quite reached the heights he wanted it to. He was, objectively, quite successful, making good money and being the face of his own show, but he wanted to aim higher. He managed to finagle his way into a film role, hoping it would kick-start a new phase in his career, but despite being a great performer, Vox just wasn’t an actor. The film bombed. He didn’t take it well.

When he walked into the studio one day in the mid-50’s, ready to shoot another show, he had no idea it was to be his last day on Earth. He was just supposed to introduce a musical performance alongside his co-anchor, that was it. But for whatever reason, the crew decided that this time, they wanted them to do it using standing microphones. However, due to a mistake by one of the tech guys, Vox’s microphone was not properly grounded. When they started counting down and Vox put his hands on the mic, several hundred volts of electricity went coursing through his body. His heart stopped almost instantly. He didn’t have time to even register what had happened to him, just the sound of screams and the faint smell of burning flesh.

#mr tv man is setting up shop in my brain. please help #will probably come back and add early demon life headcanons too in a few days rip #redlady speaks #hazbin hotel #vox #hazbin hotel vox #vox hazbin hotel #hazbin vox #hazbin posting

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writergeekrhw · 7 months

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hi!! i'm sorry if you've gotten similar questions before, but i'm very curious. i've thought about going into writing for television but i don't know where to start, and i also don't want to cross picket lines/scab. do you have any advice?

Well, picket lines aren't a problem anymore, so...

Learn - Watch your favorite shows and movies. Break them down into structure. You can outline as you watch. Scene, Time of Day, Actions, Who Says What. Read great books, consider taking a class on TV writing at someplace reputable online (UCLA Extension is really good). Read about basic screenplay structure and format.

Write - Write the following: 2 spec pilots, 1 episode of an established show that's currently on the air. Maybe a feature. (You probably should buy Final Draft at this point)

Apply for programs: There are studio writing programs that train writers. Getting into one of these can definitely help. Here's a list: Fellowship & Writing Programs for Screenwriters Masterlist — The Writers Guild Foundation (wgfoundation.org)

Keep writing. I had a teacher tell me it took 10 scripts to get good. Have you written 10 full scripts? If no, keep writing. If yes, keep writing.

Consider moving to Los Angeles. Los Angeles is where you can get work as a Writers P.A. or Assistant. That's how you'll get to know writers. It's much harder to do that if you're not in L.A. But also keep in mind that Los Angeles is a very expensive city and you'll probably have to work a civilian job to survive until you get a showbiz one and that it can cost $1500/month just for a room in a shared apartment. So... consider...

Network with peers. Network with fellow aspiring writers you meet in your classes/online/etc. Join a writers group. Be a great person. Help each other. Hopefully you and your peers will all rise together and you'll be able to help each other out once you start getting jobs.

Keep writing. Never stop writing new things.

Rise through the ranks. Hopefully you'll get a Writers P.A. job at some point. Be a good person. Work hard. Make a good impression. Get promoted to either Writers Room Assistant or Showrunner's Assistant. Have a show that goes multiple years. Have your boss (eventually, don't rush it) read your amazing sample which she'll hopefully love. Get a script assignment in a later season. Write an amazing script. Have show go ANOTHER season, get promoted to Staff Writer. CONGRATULATIONS! You've made it.

Keep going. You need to continue to get promoted and staffed for multiple seasons to have a stable career and even then, it'll never stop being a hustle.

ALTERNATIVE PATH: Write the most amazing novel/play/youtube thing/graphic novel/podcast ever and have that optioned into a series and insist on being on staff as a condition of sale.

WARNING: Results are not guaranteed. The odds are NOT in your favor. Try at own risk. Los Angeles is expensive and breaks people. It can take 5-10 years from first script to first job. Or never. Abandon Hope All Ye Who Enter Here. Objects in the Rearview Mirror are Farther Away Than They Appear. Read about Survivorship Bias before taking any showbiz advice from anyone.

#ask me anything #tv writing #ask me stuff #showbiz #how to make it in showbiz #how to be a TV writer #hollywood hustle #don't try this at home #hollywood #faq

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insanityclause · 23 days

Text

Deadline’s Contenders Television, the event where stars and showrunners talk up their shows ahead of Emmy voting, has unveiled its lineup.

The event kicks off on Saturday April 13 and runs through Sunday April 14 at the Directors Guild of America in LA. There will also be a virtual livestream of the event. Full details of the event and an RSVP link can be found here.

It will give you a sense of the hits of the last twelve months, as well as some shows that you’re about to be talking about, as the networks, studios and streamers vie for some awards love.

Stars attending include Tom Hiddleston, Nicole Kidman, Brie Larson, Kristen Wiig, Rebecca Ferguson, Lily Gladstone, David Oyelowo, Common, Jimmy Fallon, Giancarlo Esposito, Joey King, Andrea Riseborough, Sebastian Maniscalco, Bill Pullman, Kiefer Sutherland, Logan Lerman, Kelsey Grammer, Matt Bomer, Jonathan Bailey, Allison Williams, Maya Erskine, Nathan Fielder, Skeet Ulrich, Jeff Probst, Omar J. Dorsey, Harriet Dyer, Patrick Brammall, Sophia Di Martino, Sarayu Blue, Ji-young Yoo and Taylor Zakhar Perez.

Shows that will be featured across the two days include Parish, Masters of the Air, Lessons in Chemistry, The Morning Show, Silo, Palm Royale, The New Look, Survivor, Colin From Accounts, A Murder at the End of the World, True Detective: Night Country, We Were the Lucky Ones, Under the Bridge, Murdaugh Murders: The Movie, Loki, Alice & Jack, Genius: MLK/X, The Tonight Show Starring Jimmy Fallon, 3 Body Problem, Mr. Monk’s Last Case: A Monk Movie, Lawmen: Bass Reeves, Frasier, Mr. & Mrs. Smith, Fallout, Expats, Red, White & Royal Blue, Fellow Travelers, The Curse, The Caine Mutiny Court-Martial, Platonic and Bookie.

There will also be numerous top showrunners and exec producers including Chuck Lorre, David Benioff, D.B. Weiss, Alexander Woo, Benny Safdie, Graham Yost, Gary Goetzman, Lee Eisenberg, Abe Sylvia, Brit Marling, Zal Batmanglij, Gina Prince-Bythewood, Francesca Sloane, Lulu Wang, Sarah Schechter and Nicholas Stoller.

The studios, networks and streamers participating include AMC, Apple TV+, CBS, CBS Studios, FX, HBO and Max, Hulu, Lifetime, Marvel Studios and Disney+, Masterpiece on PBS, National Geographic, NBCUniversal, Netflix, Peacock, Paramount+, Prime Video, Showtime, Sony Pictures Television and Warner Bros. Television.

The event is sponsored by Apple TV+, Eyepetizer Eyewear and Final Draft + ScreenCraft in partnership with Four Seasons Resort Maui and 11 Ravens.

---

Both Tom and Sophia will be there.

#tom hiddleston #loki #sophia di martino #deadline: the contenders

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5am-mist · 1 year

Note

oh my beautiful favorite bella writer, I have come back for more tee hee. would you possibly be open to write something were reader is an interviewer who is interviewing bella, flirting ensues >:33 (also take ur time bby ur work is the best <33)

Interviews

°pairing°> bella ramsey x reader

°summary°> you finally get the chance to interview the bella ramsey (who you may or may not have a huge crush on) but when they start flirting with you, you can't help but flirt back

°requested?°> yuppp!

°cw°> some small use of y/n just thought i would mention that!

~°A/N°~

OMG IM LITERALLY GIGGLING, BLUSHING AND KICKING MY FEET RN YOU'RE TOO GOOD TO ME <33 Thank you for the request and for being so patient with me i really hope this turned out how you wanted also i used she/her pronouns for bella hope thats ok! And im also just gonna apologize cause i know absolutely nothing about flirting and sorry if this isn't that good i haven't been feeling well at all lmaoo. i also made up a network you interview under so i hope thats ok! love youu <33

You were quite a well known interviewer and had developed quite the following. You'd interviewed countless celebrities at this point in your career, some more famous than others (not that it mattered to you all that much) but most of them very sweet.

The interview game was quite competitive or atleast more competitive than most would think. It was always a race to interview the most relevant celebrities. You had never been all that phased though, you enjoyed your job and yes as much as it was important for you to stay relevant you found that it was just as important that you interviewed celebrities you liked.

So that's what you did, but there was one celebrty on your mental list that you haven't interviewed. Bella Ramsey. Bella was with no doubt the celebrty you wanted to interview most, it wasn't that she didn't want to do the interview or that she was to busy no you just hadn't actually reached out to her manager yet.

You thought it was silly honestly. This was something you had wanted to do for ages but everytime you began typing the email you'd overthink and immediately stop yourself all because of the stupid crush you had on Bella.

It wasn't that stupid of a crush, it was totally justified in your mind because i mean who didn't have a crush on her? It made you so fustrated, you wanted to interview her more than anything in the world, why couldn't you just do it?

Here you were sitting infront of your laptop staring at the email you drafted to send to Bella's manager. You must've read it 1000 times, you checked every word for spelling mistakes and made sure your sentances were structured proffenssionly but it still didn't seem right. You were arguing with yourself, half of you saying this was perfect the other saying that it felt like a stranger wrote it.

You ended up scrapping it but this time you were going to do it properly. It was short and sweet and you made sure that it actually sounded like it came from you, even though you weren't 100% happy with it, you decided to send it.

The next morning when you woke up the first thing you did was check your emails and to your surprise, you already recieved a response. Bella wanted to do the interview with you!From there you and her manager discussed the time and date and you also gave her the studios address.

...

The day had finally arrived and you were ecstatic. You were going to finally get to interview the Bella Ramsey. It truly was a dream come true. The morning dragged on far longer than you'd liked but eventually the time came for you to head to the studio.

You were talking with the camera man making sure all was set and ready to go when Bella and her manager walked in. You stood there for far to long trying process that it was actually happening before snapping back to reality and going over to greet them.

Bella was nicer then you could have ever imagined. She was kind and gentle but most importantly she seemed just as happy to be here as you which gave you a sense of comfort. After telling Bella's manager that she could sit just off camera, you two decided to get started.

You waited for the camera man's signal and then began. "Hello welcome back to Zee Network I'm y/n and today im here with Bella Ramsey." you said with a smile on your face. "Hello!" they gave a quick wave and smile to the camera.

"Thank you for joing us today Bella, may i ask what has your experience been with the media lately? With release of the last of us series, you have gotten alot more recognition what is that like?" you were fiddling with the mic in your hands, another thing that you were known for was not reading from a script which normally was fine but today it really wasn't any help.

"I would say I've had a bit of a mixed experience lately. I have received many new fans and loads of support but i have also recieved a significant amount of hate. I try not to let it affect me but every now and again i will read a comment that really cuts deep. I appreciate the recognition i have gained and sometimes we just have to take the good with the bad." she told you, she seemed torn between loooking at the camera or at you but ended up deciding to look at you.

The interview continued on for a few minutes before Bella finally spoke up, "Do i make you nervous?," she had very clearly seen you fidgeting with the mic, you looked at her extremely confused what to say next. Was Bella Ramsey flirting with you? No, you were sure that you were just jumping to crazy conclusions.

"A little bit, I've wanted to do this interview for a while i guess im just a bit nervous to mess things up," you tried laughing it off. "I've also wanted to do this interview for a while, I've seen your work and you seemed like such a cool person now i know i was right,"

She absolutely was flirting with you. Now the way you saw it was you cluld continue the interview like normal and stay 100% professional or you could flirt back. You chose the latter.

You tried to do be smooth about it (trying to avoid the camera man noticing so that you wouldn't get yelled at) but still obvious enough for Bella to notice.

When the interview was over you walked over to the concessions table to grab some water but were called over by the camera man. He scolded you lightly for your behavior this interview but said he'd let it slide one time.

After being scolded by her manager Bella made her way over to you, she said she wanted to apologize but you told her it really wasn't a big deal.

"I meant what i said though, you seem cool and i'd really like to hang out sometime," now it was her turn to be nervous. "like a date?" it was an incredibly bold move but you were willing to take your chances. " yea, like a date." she flashed you a hopeful smile and of course you said yes.

Bella then handed you a small white paper with their number and a small 'can't wait to talk to you' scribbled on with black ink before scurrying off with her manager to the car that was currently waiting for them.

#bella ramsey x reader #bella ramsey #the last of us #lgbtq #tlou #hbo the last of us #tlou hbo

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incarnateirony · 9 months

Text

I think the most profane thing in all of this was the smugness of the studios. They're only just now admitting to the public that this is going to impact movie and TV schedules, and started by saying "may impact" even as recent as a week or two ago, while the older CEOs that already got out and ran in the past are now going, "No, this is about to turn into catastrophic collapse of the entire industry, if this drags on till christmas these businesses will not even have the money to order anything."

Even Zaslav is shifting uncomfortably now going, well, we need a resolution, all the projections (that we convinced investors and the stock market of) are based on September back to work date. And he said that Thursday, and they failed to come to an agreement Friday.

They have, at best, one more shot at this in the next few weeks, before that "September back to work" date of Zaslav disappears into the bullshit wormhole he's been pulling it out of.

Even *if* everyone got to work *tomorrow*, it still takes months to write, develop, put things through pre-prod. And the holidays are coming full of stop gaps. Things wouldn't even start filming till like, new years break ends. And then shows want a few buffer months of filming ahead, so you'd be looking at a Spring schedule at best. And that says nothing for piled up double bookings for creatives and actors, et al, pushing things out and out and out.

Like, let me use Supernatural for example. It used to run Sept-Apr or so, then eventually moved Oct-May. When a season ended in mid May, even before any official renewal, authors were passing around next season ideas, and had initial drafts by, say, late June of where they were going to go with arenas and assigning future writing assignments over the team. Then July and August are actually, you know, writing it and pushing it through other pre-production phases, including studios sticking their dicks in to bounce it back, and the network, and whatever else. That's why there's multiple drafts--Writer, Network, Production. Then by late August and into September they're filming, and in SPN's case, it was 8 days/episode. This varies per show, 6-10, but 8 is a good average anyway. Weekends aren't included, so you can generally get about 3 episodes in a month done, give or take. And they like to have about in the bag before air, for a plethora of reasons. So a late August filming > Sept > Early Oct is like 6-7 weeks filming for five episodes.

While minor details may change on different shows, this is a general rhythm to account on, and it's a show of good averages all around.

So with this in mind, the writers haven't written SHIT because STRIKE. So this entire quarter is bumped at least into next, and then filming into next year, and so on.

And they *might not even get back to work by SEPTEMBER*. Then comes holidays and-- you see the problem here. Even some top reality shows are sort of off the table due to their hosts being part of SAG. Reality stars are even muttering about unionizing and discontent with pay, production groups not covered are falling in under IATSE who is this close to joining the rave.

And all they had to do was agree to pay fairly months ago. But they thought people would give up, that people would accept rewashed fodder instead of losing subscribers, that they could snow investors with "free cash flow" from not ordering things, even knowing they were going to reduce ordering anyway because they were in the red from over-ordering to pad content libraries in streaming. So some +100M cash flow is actually real pitiful when it should have another zero behind it. They are feeling it, and realizing, they did a fucking dumb. Penny pinching their work crew is going to tumble several media empires at this rate, but they STILL didn't come to the table properly and for real last time.

Like they Do Not Get It. The unions aren't going to stop, or bend. The unions want double payrate, and mostly should get it, or at least real damn close. But they kept offering pennies as if they had empty coffers while raking in hundreds of millions for CEOs, and those CEOs are about to lose everything from their refusal to break from their greed.

The industry was already due for a content retraction, but the least they could do is say, yeah, sure, we'll pay the people we DO hire fairly.

A lot of authors and actors are going to find themselves struggling for work after this regardless, but it's the kind of job they've already been working other jobs around. So "starving them out" was never gonna work, the suits never got that. All they want is fair returns for when they DO get work. But companies are proving they'd rather commit suicide than do that. And now, they're panicking, realizing, maybe they shouldn't? But what do now while running out of money?

WB's current plan for example involves selling off a lot of its international and sports networks, but the irony is, that's the only thing keeping them floating, but they're reaching a point of no other choice. At this rate these studios are about to have to sell ALL their linear stations, bail from classic broadcast, and put everything into streaming. Otherwise, we're watching their slow fall.

#wga strike #sag strike

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spnscripthunt · 2 years

Text

15.14 Last Holiday

Script (Studio & Network Draft):

#admin: lets-steal-an-archive #15x14 #studio & network draft #supernaturalwiki scripts and casting sides

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spngeorg · 3 months

Text

Episode 143 - 7.17 The Born-Again Identity

Do I need to introduce this one? Really? We're all here for the return of Cas, and a massive turning point in the structure and narrative of the series. There's just so much good here, even if Cas gets shoved back in a box at the end of the episode. At least he's ~there~ again.

So much changes after this point, but first and foremost, Dean reclaims just a tiny shred of hope. And in season seven, that's huge.

LINKS!

The Superwiki page (in addition to all the usual great stuff, scroll to the bottom for LOTS of links to PR

My tag (far more robust than most other s7 episodes lolol)

The Studio and Network Draft script

thevioletcaptain’s post about DaphnE AlleN

My rewatch notes from October 2019

Lizbob’s Dean and Cas are In Love series (part 1, part 2, part 3, part 4, part 5)

Shipper Zero discusses the song choice of Turn Into Earth

Aah, shipper Zero again…

A long collaborative post about Daphne

there’s so much more in my tag, though, so please if you have an hour to kill, think about scrolling through :)

Listen now on Spotify, or wherever you enjoy podcasts!

#spn 7.17 #spn podcasts #spiders georg of the tnt loop #i came dramatically close to subtitling this one 'hope is the thing with feathers' lolol

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in-amor-veritas · 16 days

Note

Hey,

i was wondering about 14, 19, 31, 33 and 40 for the writer asks :)

hiiii ooo I just answered 31 and 33 in the post just before this but let me see what the others were

14. hahahahhaha 😈 here have a few. coincidentally I’ve been planning my next big post season fic for a long time now that I’ll start uploading once AINE is over. this isn’t the first sentence bc i don’t write linearly but….

“Did you fuck him?”

“That’s not really any of your business anymore.””

“Considering we are still married I think I have a right to know.”

19. i could give you more of that one but ill pick something that’s been in my drafts FOREVER and i swear one day ill finish it up

“Are you ready for tonight?” Wilhelm murmurs when she pulls back, tucking a stray lock of blonde behind her diamond studded ear.

Elin makes a stressed noise, pressing her face into the crook of his neck and groans. “Theoretically I am, but I don’t feel ready. I feel like there’s a thousand different things I still need to do…or double check.”

Elin’s fledgling NPO, BLOM, is holding an event tonight, which she has been stressed over for weeks since the beginning of planning. It’s rather straightforward but she had had less time to plan than normal and getting the venue and the logistical efforts had been one challenge on such late notice, but finalizing the right guest list was a whole different beast.

As she had explained to him, and as he knew, the guestlist was crucial to the success of the event. The right people with the right influences and networks plus deep enough pockets and just enough of an inferiority complex to be swayed into donating to a cause lest they look cheap.

Wilhelm had taken it on himself this time to help her finalize the list, as she had enough stress on her plate as is. He hadn’t offered initially with any self serving intentions, however as he had looked over the list of contacts his secretary had sent over he had had a thought had occurred to him.

He knew that she commonly invited representatives from the different industries, music industry included, especially from the bigger studios and he remembers that time maybe a year ago that he had seen Hugo’s name on the list.

Hugo Álvarez.

The man That Simon has been dating now for the past two years.

Two years.

Has it really been that long already?

40. Simon eyes were stars, constellations Wilhelm knew by heart.

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ptbf2002 · 2 months

Text

Warner Bros. Animation Characters

Animaniacs Belongs To Tom Ruegger, Steven Spielberg, TMS Entertainment Co., Ltd. Shanghai Morning Sun Animation Co., Ltd. Wang Film Productions Co., Ltd. StarToons International, LLC, AKOM Production, Ltd. Freelance Animators Co., Ltd. Varga Studio, Ltd. CNK International Co, Ltd. Phillippine Animation Studio Inc. Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. FOX KIDS, FOX Family Worldwide Inc. FOX Broadcasting Company, FOX Entertainment, FOX Corporation, Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Animaniacs (2020 Reboot) Belongs To Tom Ruegger, Wellesley Wild, Steven Spielberg, Digital eMation, Inc. Saerom Animation, Inc. Snipple Animation Studios, Tiger Animation, Titmouse Animation, Inc. Tonic DNA Animation, Toon City Animation, Inc. Yowza! Animation, Giant Ant Animation, Studio Yotta, Birdo Studio, Flystudio, Screen Novelties, Amblin Television, Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. Hulu, LLC. Disney Streaming, Disney Entertainment, The Walt Disney Company, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Bunnicula (TV series) Belongs To James Howe, Deborah Howe, Jessica Borutski, Snipple Animation Studios, Toon City Animation, Inc. Warner Bros. Animation Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Belongs To William Hanna, Joseph Barbera, Wang Film Productions Co., Ltd. Fil-Cartoons, Mr. Big Cartoons, Bardel Entertainment, Inc. Baer Animation Company, CNK International, Seoul Movie Co., Ltd. Toon City Animation Inc. Yearim Productions Co., Ltd. Hanho Heung-Up Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Digital eMation, Inc. Duncan Studio, Rembrandt Films, Sib Tower 12, Inc. MGM Animation/Visual Arts, Metro-Goldwyn-Mayer Cartoon Studio, Harman-Ising Productions, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. Hanna-Barbera Cartoons, Inc. Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry Tales Belongs To William Hanna, Joseph Barbera, Rob LaDuca, Jeff Davison, Toon City Animation Inc. Yearim Productions Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Tom And Jerry Show Belongs To William Hanna, Joseph Barbera, Darrell Van Citters, Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Turner Entertainment Company, Warner Bros. Animation Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tom and Jerry in New York Belongs To William Hanna, Joseph Barbera, Darrell Van Citters, Renegade Animation, Turner Entertainment Company, Warner Bros. Animation Inc. HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes Belongs To Tex Avery, Chuck Jones, Ben Hardaway, Robert McKimson, Bob Clampett, Bob Givens Harman-Ising Productions, Leon Schlesinger Productions, Warner Bros. Cartoons, Inc. DePatie–Freleng Enterprises, Format Productions, Warner Bros.-Seven Arts Animation, The Vitaphone Corporation, Vitagraph Company of America, Turner Entertainment Company, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Looney Tunes Show Belongs To Sam Register, Spike Brandt, Tony Cervone, Yearim Productions Co., Ltd. Toon City Animation Inc. Lotto Animation, Inc. Rough Draft Korea Co., Ltd. Crew 972 Ltd. Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Baby Looney Tunes Belongs to Sander Schwartz, BigStar Enterprise, Inc. Wang Film Productions Co., Ltd. DongWoo Animation Co. Ltd. Rough Draft Korea Co., Ltd. Toon Town Animation, Yearim Productions Co., Ltd. Yeson Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

DC Super Hero Girls Belongs To Shea Fontana, Lisa Yee, Aria Moffly, Lauren Faust, KAP Movies, Renegade Animation, Jam Filled Entertainment, Boat Rocker Media Inc. Mattel Television, Mattel, Inc. DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Cartoon Network, Boomerang, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Unikitty! Belongs To Phil Lord, Christopher Miller, Ed Skudder, Lynn Wang, Renegade Animation, Snipple Animation Studios, Rideback, Lord Miller Productions, VERTIGO Entertainment, LEGO System A/S, Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, HBO Max, WarnerMedia Direct, LLC. Warner Bros. Discovery Global Streaming and Interactive Entertainment, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Teen Titans Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, MOI Animation Co., Ltd. Lotto Animation, Inc. DongWoo Animation Co. Ltd. DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Tiny Toon Adventures Belongs to Tom Ruegger, Steven Spielberg, AKOM Production, Ltd. Wang Film Productions Co., Ltd. Freelance Animators Co., Ltd. Island Animation, Kennedy Cartoons, Mook DLE, TMS Entertainment Co., Ltd. StarToons International, LLC. Fil Cartoons Inc. Amblin Entertainment, Inc. Amblin Partners, LLC. Warner Bros. Animation Inc. FOX KIDS, FOX Family Worldwide Inc. FOX Broadcasting Company, FOX Entertainment, FOX Corporation, CBS Broadcasting Inc. CBS Entertainment Group, Paramount Global, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Superman: The Animated Series Belongs To Jerry Siegel, Joe Shuster, Alan Burnett, Bruce Timm, Koko Enterprises Ltd. TMS Entertainment Co., Ltd. Dong Yang Animation Co., Ltd. Group TAC Co., Ltd. DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Batman: The Animated Series Belongs To Bob Kane, Bill Finger, Eric Radomski, Bruce W. Timm, Spectrum Animation, Bandai Namco Filmworks Inc. Bandai Namco Holdings Inc. TMS Entertainment Co., Ltd. Dong Yang Animation Co., Ltd. Koko Enterprises Ltd. AKOM Production, Ltd. Jade Animation, DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. FOX KIDS, FOX Family Worldwide Inc. FOX Broadcasting Company, FOX Entertainment, FOX Corporation, Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Krypto the Superdog Belongs To Otto Binder, Curt Swan, Alan Burnett, Paul Dini, DongWoo Animation Co. Ltd. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, Starburst Animation Studios Co., Ltd. Top Draw Animation Inc. Mercury Filmworks, DC Comics, Inc. DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

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dailylooneys · 10 months

Text

Happy 80th Birthday to Private Snafu!

Snafu.......Situation Normal All........All Fouled Up!

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A series of World War 2-themed animated short films screened for young military men. They were mainly instructional, educational films, but still contained that same irreverent, slapstick comedy style of humor of the Looney Tunes & Merrie Melodies, thanks to the contributions of the boys of Termite Terrace: Chuck Jones, Bob Clampett, Friz Freleng and Frank Tashlin, and voice legend Mel Blanc.

The intention these cartoons had on the military audiences was that, the titular character, Private Snafu was an incompetent soldier that was meant to illustrate, in more straightforward way, what NOT to do (true to his name that is), with practically each short ending with Snafu getting blown.

Imagine how different it could've been if Disney had done these instead of Warner Bros., as that was the United States Army’s first choice. But that didn't happen as Leon Schlesinger would bid lower than Disney.

These shorts, of course, generally remained obscure in the minds of the mainstream audiences (until recently that is) as they never were intended to be shown in public theaters. As Martha Sigall, a staff of the ink-and-paint department at Leon Schlesinger Studios, stated these Private Snafu cartoons were top secret. They wore ID badges, did fingerprints, got FBI approval and were given ten cels rather than the usual thirty cels, to prevent them from knowing about the stories.

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Therefore, it was never made for a general audiences of kids and adults as the publicly released Looney Tunes shorts were, especially considering it’s content; mild swearing (i.e., damn, hell) and fanservice displayed all over these cartoons that couldn't have been possible in the days of the Hays Code (it's especially surprising to note that Ted Geisel, AKA Dr. Seuss, of all people, was the main writer for THESE!!! Wowie!!!!).

Fun fact: (one of the shorts titled “Censored” was shown on Cartoon Network’s trivia show Toonheads late at night with half of the scene featuring a topless Sally Lou cut out!)

And, naturally, because this was a WWII-themed series, featured a good deal of derogatory depictions/imagery of Japanese/Germans and Nazis (which will not be shown here).

It's interesting to see not only how strongly connected Private Snafu is to the Looney Tunes, considering, not only the same style of humor, but the two cameo appearances of Bugs Bunny (Gas and Three Brothers), which could make Snafu himself a Looney Tune.

This is especially considering his early bird cameo in Chuck Jones’s The Draft Horse.

Later on, Private Snafu would not only be done by Warner Bros., but also by it’s competitors, like MGM, UPA, Harman-Ising and Disney.

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Two shorts were left unproduced. One of them was originally going to be directed by none other Tex Avery at MGM. Too bad that didn’t happen!!

Though the Private Snafu series maybe a time capsule of World War 2, as oppose to being as timeless as the classic Looney Tunes cartoons are, they still serve as a fascinating historical art, a look at what our world was going through, and still included a lot of the trademark style of humor seen in the Warner Bros. cartoons that still kept it entertaining enough.

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