*Even though Spirited Away had its initial release in Japan the previous year, it had its wide-release in 2002 and was nominated for Best Animated Film (and won) for that year so that’s why I didn’t include it in the 2001 poll in case anyone was wondering.

Junior Senior - Move Your Feet 2002

"Move Your Feet" is a song by Danish pop duo Junior Senior from their debut studio album, D-D-Don't Don't Stop the Beat (2002). The song, originally released in June 2002 in the duo's native Denmark, was issued worldwide in 2003 and became Junior Senior's biggest hit, reaching #4 in Denmark, #3 in the UK, #10 in Ireland, and #20 in Australia. In 2013, the song re-entered the French Singles Chart at #11. The song was accompanied by an animated music video by British art collective Shynola, using low-resolution (90×72) pixel art produced using Deluxe Paint. The video features animated characters of the members of Junior Senior, dancing figures, and personified inanimate objects.

The second single, "Rhythm Bandits", was featured on the soundtrack for FIFA 2004, while the third single, "Shake Your Coconuts", can be found on the Looney Tunes: Back in Action soundtrack alongside "Move Your Feet", and as background menu music in the video game Worms 3D. The song "Good Girl, Bad Boy" can be heard in the film She's the Man when Viola arrives at the private school masquerading as her brother. "Move Your Feet" was also featured in the 2004 comedy film White Chicks and the 2008 comedy film Forgetting Sarah Marshall. "Move Your Feet" received a total of 82,6% yes votes!

Terrible Visions

A scrambled timeline is a timeline that has proceeded much like ours, except that some particular facet has been mixed up all over the place. For example, in the scrambled timeline we will consider today, our world's fictional stories have been told by different people, and in different ways.

Bryan Lee O'Malley, in this alternate timeline, is best known as the cartoonist responsible for Homestuck, a popular comic series about a group of children who become embroiled in a cosmic-scale video game known as Sburb. Although Homestuck is probably most often associated with the cult classic Edgar Wright-directed film adaptation released in 2016, the comics themselves are highly-regarded, and the film brought a new audience to them. Netflix has commissioned an animated continuation, The Homestuck Epilogues, which is due to be released soon.

Andrew Hussie, on the other hand, is a figure you're likelier to know if you're overly online. His "MS Paint Adventures" series - most notably including Scott Pilgrim Vs The World, which is kind of like Homestuck but weirder and hornier - have firmly remained a fixture of obsessive Twitter fandom culture. It doesn't help that the best-known iteration, Scott Pilgrim Vs The World, is infamous for stretching thousands of pages of meandering digressions out of a simple and focused narrative starting point. Scott Pilgrim fans have developed something of a toxic reputation, which is not entirely deserved - although of course Knives discourse is interminable, and back in the fandom's heyday there were reportedly incidents of fans assaulting each other "for being evil exes".

Scott Pilgrim fandom was very big back in the day, though, and consequently it was a nexus for other creative figures who would go on to surpass Hussie. Perhaps foremost among these is indie developer Toby Fox. He was literally living in Hussie's basement when he produced ROSEQUARTZ, a universally-beloved retro Goonies-like RPG about a human hybrid boy born to a race of gem-based aliens. He's now developing an episodic spiritual successor, RAZORQUEST, with more overtly dark themes. It revolves around an inheritance dispute among a demon-summoning family.

Other foundational figures in this timeline's internet culture include Alison Bechdel, who helped get the webcomic scene started. Although she's now more seriously acclaimed for her personal memoirs, her gaming webcomic Press Start To Dyke, which premiered in 1998, was once everywhere. It had a broad appeal, and at its height, it was common to see even straight guys sharing pages from it. Time has not been especially kind to it, though, and at this point its main legacy is test.png, a meme spawned by one of the comic's most ill-advised pages.

Then there's John C. McCrae, more often known by his pseudonym Wildbow. A prolific and reclusive author of doorstopping "web serials" - long-form fiction published online - McCrae's best-known serial is still his first, Wind, a noir superhero story set in an alternate history where capes are mostly just a subculture of unpowered vigilantes. Wind landed in a culture already rife with comic book deconstructions, like Alan Moore's 2002 graphic novel Worm Turns, but it nonetheless managed to stand out from the pack with its extensive cast of characters and its themes of coordination problems and the end of the world. Later McCrae web serials include Part (the first "Otherverse" serial; an urban fantasy story about a couple who die in a car accident and find that they have become ghosts), Tear (a "biopunk" story set in a collapsing underwater city), Warn (the controversial Wind sequel), and Play (the second "Otherverse" serial, set in a small Indiana town that helps hide a psychic girl from the CIA).

Last and perhaps least, we should discuss J. K. Rowling. Far and away the most famous of any of these authors, Rowling's name is inseparable from the YA series that she debuted with, the Luz Noceda books, which remain her one successful work. Although it was heavily derivative of older fantasy novels - like Jill Murphy's Academy For Little Witches, or Philip Pullman's Methods Of Rationality trilogy - Luz Noceda was still a monumental and unprecedented success in the publishing industry, and the film adaptations were consistent blockbusters. The final book, Luz Noceda and the Watcher of Rain, contained some allusions to a romantic relationship between Luz and her recently-redeemed associate Amity. Rowling confirmed that this was her intent in subsequent interviews and indicated that she had fought her publishers for it; the film would then go on to escalate matters slightly further.

There have been many lengthy and heated online arguments as to whether the references in the book itself constitute text or mere subtext. Whatever your stance on this discourse, a new complication has been introduced recently: although she has put out no official statement on the matter as of yet, it has become quite apparent from Rowling's shrinking network of contacts and her conspicuous silences that she is certainly TERF-sympathetic, and likely an outright TERF herself. For many, this is leading to a critical reevaluation of the social values inherent in the Luz Noceda series; others, to say the least, are holding off on that kind of reappraisal.

Anyway, Scott Pilgrim just beat Luz Noceda in a Twitter poll for Most Gay Media, and people are piiiiiiiiiiiiiiiiiiiiiiiiiiiiiiissed

I know I’ve spoken about my issues with ‘Peter Pan and Wendy’ (2023) before, both in my initial thoughts post about the film after it released and a couple of smaller comments since, but I’ve realised something this past week after rewatching the original Disney cartoon and the 2003 non-Disney live-action while sick, and I feel I need to talk about it.

It’s about Wendy Moira Angela Darling.

While I stand by that Ever Anderson was one of the highlights of the film and that she did a great job as Wendy, the Wendy in the film is not really the Wendy seen in Barrie’s book, nor the one in the play and other films adaptations. It’s a very different character in a lot of ways, and while it’s normal for characters to differ from adaption to adaptation - especially over the course of 70+ years - I feel like the Wendy seen in the 2023 is more like Jane, Wendy’s daughter, from Disney’s Return to Neverland sequel in 2002.

Let me preface by saying that I actually love Jane in the sequel as a character - I see a lot of myself in her, and while the sequel in itself is not really my favourite, I do have some nostalgia for it because I grew up with it and it’s a cute little story. I like that Jane is actually different from Wendy in a lot of ways; she’s a lot more headstrong and more of a tomboy, and while she’s also a storyteller at times like her mother (mostly to her brother Danny), she is a lot more practical I think and seems to be opposite to Wendy in that she’s trying to grow up too fast. Wendy believes in Peter Pan and doesn’t want to grow up, meanwhile Jane believes Peter Pan to be silly childish nonsense, that she has to grow up quickly and be more adult due to the war/her father being away - Wendy says to her, “you think you’re very grown up - but you have a great deal to learn”.

Obviously the 2023 Wendy doesn’t want to grow up, that’s still the same, but in terms of personality, temperament and the way she treats her brothers after the broken mirror incident (blaming John for it), she reminds me more of Jane than Wendy. Like Jane, she also doesn’t seem to have a good time going to Neverland (at least not at first?) and she seems to take on a lot more action than Wendy did in the animated film.

Of course, it’s not the first time that we’ve seen Wendy wielding a sword and fighting pirates - the 2003 Wendy was shown to play with wooden swords and use real ones, even remarking, “who are you to call me ‘girlie’?!”. I’m not saying that Wendy can’t be a sword wielding girl and fight because she can, it’s one of the additions I love the most about the 2003 film.

The problem with the 2023 version of Wendy is not her being a main character (she has always been a main character), nor her sword fighting and being generally bad-ass - it’s the erasure of the other qualities that make her Wendy Darling.

One of Wendy’s primary character traits is her mothering nature - she is very motherly to her brothers, and when she hears that the Lost Boys don’t have a mother, she’s aghast and agrees to be their mother. The whole “Peter is father, Wendy is mother” idea is clearly a reference to how kids in the playground will play games like “mummies and daddies” - kids imitating what they see around them. It’s all a big pretend game in Neverland for fun. It’s also undeniable that Wendy pretending to be the Lost Boys’ mother is clearly reflective of her own mother, who she adores and is portrayed as the loveliest lady ever, and how she’s imitating Mrs Darling in a lot of ways during this “game” - singing to them, telling them stories, medicine etc.

Some would argue that Wendy is “forced” into being the “mother” and that while all the boys are off having fun, she’s left playing house, which I understand. But what a lot of modern audiences and filmmakers don’t understand these days is that motherhood is NOT an anti-feminist idea - there seems to be this view that portraying a girl wanting to be a mother or expressing the wish to be married/have children is some old-fashioned misogynistic notion, which is absolutely bizarre to me.

As a feminist myself, I believe that there is no clear cut definition of “womanhood” or what it means to be a strong woman with autonomy. Some women want to have careers and not have children, and that’s fine; some women want to have children, that’s fine; some women want both, and that’s fine. What matters is that it’s the woman who is deciding what she wants.

For me, Wendy has always been this remarkable and extraordinary character to look up to because she chooses to grow up - and for her, that means having her own children to tell her stories to. That’s what she wanted, that’s why she went back to England, and that’s part of her character arc, realising that by growing up she has things to look forward to.

For some reason, when 2023!Wendy thinks “happy thoughts” to make herself fly when being walked off the plank, her vision for the future that she looks forward to involves piloting automobiles that haven’t even been invented yet and then dying alone? Which… I mean, if that’s how someone wants to live then fair enough but that’s not Wendy. That’s not the Wendy Darling I grew up loving.

A lot of my issues with the 2023 version of Wendy do in fact link with other issues of the film in general: the Lost Boys including girls, for example. Like I get wanting to be inclusive, and I 100% wanted to be a Lost Girl growing up, but the Lost Boys are boys for a reason (“girls are much too clever to fall out of their prams”), and when Wendy arrives it’s a huge deal because they’ve never actually lived with girls before, and the only concept of girls they have is their memories of “mother”, which is why Wendy becomes their mother figure - because they literally don’t have any other female figures in their lives to compare her to other than the tiny scraps they remember of their mothers.

There’s also the issue of the thing prompting Wendy not wanting to grow up being changed; in the original, it’s because it’s her last night in the nursery and moving from the nursery - aka the room she has spent her entire life thus far in - to her own room is a HUGE transitional worry that a lot of kids probably go through (usually it’s in the form of moving from toddler beds to big kid beds but still). In the 2023 version, she’s being sent off to boarding school for some reason which doesn’t really make sense to me because the Darling parents a) are so poor they have to have a dog as a nursemaid and b) love their children so much that they would never do that to them. I’m not saying that being shipped off to boarding school ISN’T a worry for a young girl or a huge deal, but it isn’t one that I think necessarily fits with the story.

There’s the fact that Wendy is no longer the storyteller; in most versions, the reason Peter visits the nursery is because he likes her stories. Instead, the reason he comes to the nursery is not because he likes her stories but because he used to live in the house? And instead of bringing her to Neverland to tell stories, he comes to take Wendy away as he apparently heard her saying she didn’t want to grow up? It just doesn’t sit right with me, but maybe that’s just my opinion.

Also, for some reason, Wendy and Peter don’t actually seem to like each other at all in the 2023 version - I’m not saying there should have been romantic hints or whatever, but even just in a friendship way they really don’t seem to care in any way about each other. They just seemed rather indifferent towards each other, and it’s kind of jarring to see.

In some ways, I feel like 2023 Wendy was made a little too bad ass and on the nose super feminist: “this magic belongs to no boy!”, slapping Peter across the face (which was just…??? Why?!?!), constantly criticising Peter/Neverland, having WAY more action and heroic moments than Peter Pan himself… maybe in a different story it could have worked but for this one, it came across forced at times, like they were intentionally trying to show “look! Look how badass she is! She can fight off grown men all by herself! She doesn’t need a boy to help her! She can do everything by herself!”

This is why I feel like the 2003 version of Wendy is the best one (so far): while they modernised her slightly by making her sword fight and express an ambition to write novels about her adventures, she was still a storyteller and motherly figure to the Lost Boys/her brothers. For me as a child, seeing Wendy be the storyteller and her journey of acceptance about having the grow up was really important to me because I could completely relate to it.

Of course, I recognize I’m very biased because this is the one I grew up with (along with the animated Wendy of course) so I’d be interested to hear other people’s thoughts!

Animated 2: Return to Neverland v The Pirate Fairy v Tinker Bell and the Legend of the NeverBeast

Return to Never Land {originial-Peter Pan (1953)} *spoilers?*

It follows Wendy's canonical daughter Jane, in every version of the story where Peter returns to the Darling's window, he meets Jane, and this story gives her her own adventure. with Wendy as a turn of the century child, it isn't too much of a stretch to assume Jane would be growing up in the middle of a deeply contentious time in British History, that being the London bombings of World War 2, and Unlike Wendy, whom needed to understand that she didn't WANT to never grow up and embrace her coming maturity as it arrives, Jane had been thrown into a position in her family where she had needed to grow up too fast, and in her trip to Neverland understand the importance of that child-like wonder she had nearly lost. As such, she starts out deeply skeptical and frustrated by the nonsensical nature of Neverland, and being more trusting of adults than of children whose attempts of 'playing with her' were little more than bullying with the thin veneer of 'just a game', which ultimately allows her to be manipulated by Hook. But even then manages to grow attached to the lost boys and connect with Peter and due to her inability to fly for most of the movie had almost fully integrated into the world of Neverland and became the first Lost Girl by the time of the third act. While it's held back by the painfully early 00's music it's ultimately a very compelling story about a child in a deeply traumatizing situation finding temporary haven in a place untouched by the war that had so deeply distorted her worldview and ultimately reclaiming her right to have a childhood after constant danger of death and destruction had nearly wrenched it from her entirely. (also there's no racist Native American stereotypes that exist just for the sake of themselves and could have easily been some sort of fantasy species but nahhh it was the 50s so native americans were SUPER okay to be racist about/s)

The Pirate Fairy {original-Tinker Bell (2008)}

>none submitted<

Tinker Bell and the Legend of the NeverBeast {original Tinker Bell (2008)}

It centres around Fawn aka the best Disney Fairy, KT Tunstell did the soundtrack which absolutely slaps and is unironically on my main playlist to this day. It made me cry when i watched it for the first and subsequent times. Its just so sweet and wholesome. Also apparently spice girl Mel B voiced a minor character in the UK release??? The voice casting alone makes this one of the franchises and films of all time.

David Tennant's Obscure Performances: Sweetnightgoodheart and its time traveling release date(s)

Heya all you David Tennant fans! I'm back with a small thread about a 2001 short film which David starred in called Sweetnightgoodheart (hereafter called SNGH).

SNGH was 9:16 in length. It was written and directed by Dan Zeff and produced by Litmus Productions in association with Bliss.com films for BBC Films. Its original title was Sweetnight Goodheart (with the two words separated) but somewhere along the way, the words were connected.

More about the title, this time from the BFI: "This entertaining short film takes a lighthearted look at the anxiety of modern relationships. The mix up of the title - a play on the familiar WWII song 'Goodnight Sweetheart' - highlights the confusion and miscommunication that is the film's premise."

Now, although I just said it was released in 2001.....if you look at the IMDb entry above very closely, I'm sure you've noticed it says 2005.

This, my friends, is wrong. And I'm about to prove it.

According to the British Film Institute, SNGH was one of the short films which made its premiere in August of 2001 at the Edinburgh International Film Festival. It was a nominee for Short Films. It also screened at the 45th Regus London Film Festival as part of their Urbania Shorts slot in November of 2001, and was a nominee for Short Cuts & Animation.

Sooooo.....unless David and everyone involved with the project are all time travelers and they somehow filmed the short in 2005 but took it back to 2001 to show at the festivals?....well, you get the picture.

After SNGH's premiere at the two festivals, it was sold to HBO and Cinemax. It was broadcast in the USA (and yes, you read that right!) on Cinemax beginning in August of 2002. It was shown every couple of months or so until July of 2004. It was first aired on HBO beginning in March of 2003 and was broadcast intermittently until June of 2004. Judging by the broadcast listings, it appears both networks used it as short "filler" material in between their full-length movie offerings. And after those two stopped airing it, PBS in the USA then aired it as part of its Imagemakers series in September of 2005. Here are some newspaper blurbs (with the newpaper titles and dates above them) to prove these broadcasts occurred:

Further proof? On Valentine's Day of 2009, the BFI screened SNGH with its other main features. That screening's entry for the short also says it was released in 2001.

I wanted to find out why IMDb would say 2005, so I poked around a bit. Oddly, its release date information specifies "Hungary" (okaaay?), while sources elsewhere have the 2005 date noted as the date of its "world premiere". The Hungary release date might well be accurate, but I'm not sure exactly what world premiere means...besides, it's obviously an error (since we've already shown it aired in the US in 2002 through 2004). So I think we can safely cross out 2005, don't you?

But ohhhh, we're not yet done on the dates, because some sources also give a release date of 2003! This date, however, is much easier to explain. The 2003 date originates from its initial broadcast on BBC2. It aired as a part of a 50-minute program called Ways To Leave Your Lover (hereafter called WTLYL) at 11:20 pm on 25 March 2003. WTLYL featured five 10-minute short films with a common thread - the end of love. in addition to SNGH, the other four films were Stag, Dog, Unscrew, and Dumping Elaine.

So...now that we've taken care of the date mix-up, let's get into the short itself!

SNGH starred David as Pete, and Kate Ashfield - who he would also go on to star with in a 2002 audio drama called The Island and in 2005's Secret Smile - as Juliet. It also starred Diana Hardcastle as Anthea, Cliff Parisi as Colman, and Thusitha Jayasundera as Yasmin. Here is the archived BBC press release for WTLYL before it was aired.

And the plot? Well, if you haven't yet seen SNGH here's a great plot synopsis which might intrigue you enough to chase it down. It's from the 23 March 2003 edition of the Sunday Times: "Dan Zeff's cautionary tale Sweetnightgoodheart observes [how] David Tennant's attempts to ditch his girlfriend (Kate Ashfield) spiral out of control." And from the

Here are also a couple of photos!

And while we're at it, here are a number of short summaries - and one longer article from the Evening Standard which includes a photo! - which appeared in various newspapers when WTLYL aired in 2003:

During my research into the origins of SNGH, I've seen the BBC series it featured in variably titled as Ways To Leave Your Lover, and Eight Ways To Leave Your Lover. This discrepancy appears both in print and on the CVs of various actors and crew involved with the project (here's an example). While not confirmed, my belief is Eight Ways to Leave Your Lover was a working title. Five films aired on the program, but I've found an additional two which didn't (which makes me think there was a third whose title I have not been able to ascertain). I believe that at some point in the process, a decision was made to remove three of the films originally scheduled to air, and the name was changed accordingly.

in addition to SNGH, the other four films aired during WTLYL were Stag, Dog, Unscrew, and Dumping Elaine. I didn't find places to watch most of them, but you can see Dog and Dumping Elaine at the links I've provided. Here's what I know about them:

---

Stag - written by Ian Iqbal Rashid and starring Stuart Laing and Nitin Ganatra: a bridegroom wakes up on the morning of his wedding in bed with the best man.

Dog - written by Andrea Arnold and starring Joanne Hill, Freddie Cunliffe and Veronica Valentine: a fifteen year-old girl finds the will to stand up for herself when she witnesses a disturbing and violent incident.

Unscrew - written by Clara Glynn and starring Douglas Henshall and Emma Fielding: a surreal short about a guy whose girlfriend unscrews his penis and takes it with her when they begin separating their belongings after their breakup.

Dumping Elaine - written by Peter Lydon and starring Susan Lynch, Matthew Delamere and Dido Miles: waitresses play Cupid.

---

SNGH is archived at the BFI on VHS and Beta, and in two master forms (16mm/35mm). You can see it there, but I'll save you a trip: while a 4.35G digital copy was made off the master, there's no access to it. The viewing copy MP4 is only 305MB.

If you've read this far, you're probably wondering how you can see it. There are plenty of ways! If you are a registered BFI Screenonline user - and registration is free for users in UK libraries, colleges and universities - you can watch it here (and perhaps download it, though I'm given to understand it's only available for download during certain times). It's also floating around the webs in various forms and qualities on Vimeo, Dailymotion, FilmNow, etc. All of these aren't the greatest of quality, but it's the best we've got. Ah, for a better quality video file taken off the master copy!

But I'd recommend watching it at Dan Zeff's own website.

And that's it for Sweetnightgoodheart. I hope you've enjoyed reading about it as much as I have writing and researching it!

10 Great Horror and Sci-Fi TV Shows You Can Stream For Free on Tubi

Farscape: The cult-beloved sci-fi series about a ragtag crew aboard a living spaceship had the magic of the Jim Henson Company helping bring its alien and robot characters to life. An Australian-American co-production, it hit U.S. airwaves on what what then called the Sci-Fi Channel in 1999; it was cancelled in 2002 but a 2004 miniseries directed by Brian Henson helped soothe the series’ abrupt ending. Watch seasons 1-4 on Tubi, as well as Farscape: The Peacekeeper Wars.

...

Red Dwarf: The cult-beloved theme continues with Red Dwarf, a long-running British comedy about the last human in existence and his companions (holographic, AI, creature, android, and otherwise) aboard a drifting mining ship. It first aired in 1988 and Tubi has all 12 seasons (including three-part 2009 special Back to Earth), though completists will need to look elsewhere for 2020 special Red Dwarf: The Promised Land. Watch seasons 1-12 on Tubi.

...

Babylon 5: Yes, it’s another title with a passionate fan following: J. Michael Straczynski’s 1990s sci-fi saga that aired first on the now-defunct Prime Time Entertainment Network before shifting to TNT. Named for the space station where its 23rd century action takes place, Babylon 5 spawned a franchise that’s still going—including several made-for-TV movies and a direct-to-video animated film released just last year, something to keep in mind if you get hooked watching the 110 episodes that make up the series itself. Watch seasons 1-5 on Tubi.

This incident has been happening in Japan for several days. Because the production team's speech issue has angered all fans. A few days ago, Japanese loyal fans began to boycott the the movie version and have been scolding it for several days. Because according to the interview, they don't really want Taichi and his Digimon back. Today, Mr. Kakudou, the director of Digimon Adventure and Digimon Adventure 02, also released the settings for the ending of 02.

Chat room about the Digimon movie and 02TV’s final reply As part of the promotion for the Digimon movie that is currently being released, a conversation between Digimon's monster designer and the producer of the movie, Digimon Adventure at the time, was released in a Twitter chat room. The purpose of this article is not to discuss the content of the film. In part of the chat room conversation, the producer (hereinafter referred to as P) made such a statement. Although not completely accurate, the general idea is: "In the final chapter of Digimon Adventure 02, the protagonists have grown up and their children have gathered together. Before that, children with partner Digimon from all over the world will also appear one after another, but looking at the world in recent years situation, I began to think that those children would later be involved in conflicts in various places and their lives would not be peaceful.” As for how this is connected to this movie, let’s not talk about it for now.

The final chapter of Digimon Adventure 02, especially the scenes 25 years after the production in 2002, is said to be as if the number of years in between was not considered at all, but in fact this is not the case. I think based on what I still remember Write these down. The process leading up to this scene was discussed with the script writers including the series director, but it was said that they had not been considered at all and were not polite to the other script writers. So let me write a little bit about what exactly I considered and how long I thought about it. First of all, based on the setting of the previous TV anime Digimon Adventure, human children and digital monsters will become partners. This number will double every year. The stage of the previous work was also 1999, which was the year of the real-time screening. The number was 8, which were the protagonists of the show. In "02", which was set in 2002, there should be 64 people becoming new partners, and 3 of them became the protagonist team of the show. In the climax of the final episode, children with partner Digimon from all over the world gathered together, totaling more than 100 people. The exact total is slightly less than everyone, as there must have been some people who were unable to participate for some reason at that time.

Based on this premise, 25 years later, not only children, but all humans, including adults, have Digimon partners. So what happens during this process? Having a partner Digimon means that it will need corresponding living space and food for at least as long as that Digimon exists in the real world. Some abilities may be quite dangerous. This is fine when the numbers are small, but once the number reaches a certain level, they may become targets of discrimination and segregation, and of course there will also be motivations for military use. In fact, conflicts and disputes occur all the time in the world. Even if this were not the case, there are still many areas in the world that are dangerous just to live in. Children with partner Digimon will be in great danger. This extends all the way to adults and even affects the way religions exist, a process that cannot always be peaceful throughout the world. It is foreseeable that even from the perspective of a relationship with the digital world that is almost the same as the real world, this may shake the stability of culture, country, etc. Why do we still need to increase the number of people who have partner Digimon despite this? That is the relationship between human evolution and Digimon. I have said it before in an interview or in an online discussion. In short, after experiencing these global dangerous situations, finally 25 years later, the partner Digimon spread to everyone in the world, which made it possible for the protagonists to meet in peace after a long absence. This is the last scene. It would be extremely difficult to describe just a small part of the process, and the plot would become very heavy, so I chose to use narration to simply describe "this road is not smooth." I think that's as far as it can go for a Sunday morning children's show. So what are the protagonists doing during this period? I also thought about it some.

At the beginning of the 21st century, the number of children with partner Digimon began to increase at an accelerated rate, and the protagonists could not remain idly by as they fell into danger. What begins as a campaign to protect the children could turn into a global run. They may be involved in various conflicts. Taichi, who has a high enough ability to overcome dangers, plays the role of solving the situation starting from local areas in this situation. Twenty-five years later, the profession that marks Taichi as an adult is diplomat, but that is not a profession limited to one country, just because I cannot find a good enough word to describe a person who stands for freedom and wants to bring peace and friendship. Due to his busy activities in many fields, he got married and had children later than his junior Daisuke, so Taichi's child in the final scene is almost the youngest. The last picture should let people understand that there is such a thinking experience behind it.

Also write about other characters’ situations. Not long ago, when the Partner Digimon spread to all humans and actually resolved many disputes, people began to study the cause of all this. Of course, Koushirou is also one of them. As evolution is understood more and more, the obstacles that stand in the way of evolution come to light. For example, this is also the reason why the Dark Masters  are extremely powerful, and this is also briefly mentioned in the novel version of Digimon Adventure. However, where does the force that hinders evolution come from? It seems to come from extraterrestrial sources. In order to find out the reason, we first needed to investigate the moon, so Yamato and Gabumon were chosen. Unlike ordinary investigations, no one knows the dangers of forces that impede evolution. Not all Digimon that become human partners can evolve into a complete Ultimate form. Digimon must have high combat capabilities and rich experience, and they must not be too big to be transported to the universe. In some cases, they must be able to travel in space. activities, so Yamato, who has such a Digimon as his partner, is one of the first suitable candidates. On the moon, Yamato said, "Next time it will be Jupiter." This was a tribute to "2001: A Space Odyssey" and wanted to show that this part is all about evolution. Before graduating from medical school, Joe senpai was responsible for the rear support of Taichi and the others, and participated in the activities of Doctors Without Borders in both the real world and the digital world. Sora, Mimi, and Hikari's final career was to ask female script writers to provide opinions. Before that, they must have supported them in the areas they were good at, such as the clothing and food of the children they were responsible for protecting. Among the juniors who were still students when Taichi and his friends officially started their activities, there was Daisuke who still wanted to eat delicious food everywhere. In response to the increasing number of crimes involving Digimon every year, Ken volunteered to join the police Digimon Countermeasures Section established at that time in order to prevent others from making the same mistakes he made. Watching Ken's activities, Iori realized that there was more to evil than just hatred, so he became a lawyer. Miyako and Takeru also have many other things to do, so they will wait for another opportunity to talk about it. We considered these plot points before finalizing the script. When I was working on the previous film that is now being released, I gave the producers a few months of handouts and simulations of who would be doing what in the 2010s, as well as simulations of the world situation, but none of it was used in the end. . seki P, who was talking in the chat room, was also present at the time. He must have heard that I said that the world would not be peaceful. Didn’t he remember it? As I said before, the purpose of this article is just to make it clear that the final scene of Episode 02 was made with many factors in mind. How the subsequent films were made is irrelevant. Maybe I will write more about Digimon Adventure and 02 at that time, but that's it for now.

Happy Birthday Scottish actor Rory McCann born 24th April 1969 in Glasgow.

Six foot six inches tall, with brown eyes and dark hair, Rory McCann began his working life at the top - as a painter on the Forth Bridge. He came to notice in a television commercial for Scotts' Porage Oats, in which he appeared as a scantily-clad hunk in a vest and kilt and little else wandering snowbound streets but warmed by the inner glow of the porage. He claims that as a consequence he was often approached by people demanding that he "lift his kilt", I can quite believe that as who out there among us has never had that asked of us?

In 2002 he was seen in the TV comedy-drama 'The Book Group' playing a wheelchair-bound lifeguard, a part for which he won a Scottish BAFTA award for the best television performance of 2002. Since then he has taken television roles as Peter the Great and a priest in 'Shameless'. He made his Hollywood debut in Oliver Stone's 'Alexander'. Rory has never been in Taggart but did appear in another well known Scottish show, Monarch of the Glen.

Of course the role he is most famous for is, apart from the porage ads,that of Sandor "The Hound" Clegane in the popular Game of Thrones.

Film role have included, Beowulf & Grendel, Hot Fuzz and xXx: Return of Xander Cage

Rory used to be the frontman of a defunct band called Thundersoup in the early 90s. In 2017 he made a musical appearance as the drummer of Texas, a Scottish rock band, in their music video of Tell That Girl. He also plays the piano, banjo, guitar, and Mandolin.

Rory divides his time between homes in London and Glencoe, eh hates technology and loves being cut off and is known for living a solitary, transient lifestyle, he describes himself as such "I'm a man's man. I go out climbing and live outdoors." He used to solo rock climb and broke multiple bones in a near-fatal rock climbing accident in Yorkshire when he was 21. And ladies he is single, he says "I don't have a mortgage, I don't have a wife and I don't have kids, so I'm quite happy bumbling along."

I have found hat he mentioned a wife to someone in a bar in England last year, saying she set up his social media account as he wasn'ttechnically minded. Rory is normally quite a private person and I can find no evidence that he is actualy married, so who knows!

In 2019 Rory was seen in the Jumanji movie with fellow Scot Karen Gillan. In 2022 he became the narrator of the ITV1 series DNA Journey., We last saw him in the film Jackdaw a british action thriller set in North East England. He has a couple of projects ready for release, The Damned set in Iceland, and voice in a new animated mini series Knuckles, based on the video game Sonic the Hedgehog.

STRAY animated adaptation in development

Gematsu Source

Annapurna Animation is developing an adaptation of the video game STRAY, the company announced.

The company, a division of Annapurna Pictures, also plans to adapt more titles from video game publisher Annapurna Interactive‘s extensive library.

The news comes as part of a larger announcement that Annapurna Animation is ramping up its creative leadership team and feature slate.

NIOMONA director Nick Bruno, industry veteran and NIMONA producer Julie Zackary, and Erica Pulcini have all joined Annapurna Animation. Zackary, a former Blue Sky Studios executive, will act as Annapurna Animation’s head of animation production. Pulcini will act as creative executive and help curate, develop, and further define Annapurna Animation’s feature film slate.

Bruno will develop an direct an untitled original feature film, and is actively developing several new original ideas under Annapurna Interactive.

FOO, the new project from director Chris Wedge, is also in development. Wedge wrote and directed Blue Sky Animation’s Bunny in 1998, before going on to direct Ice Age in 2002.

Annapurna Animation’s debut project NIMONA premiered on June 14 at the Annecy International Animation Film Festival and released globally via Netflix on June 30.

The 2002 released television special Lupin III: Episode 0 ~ First Contact ~ is coming to YouTube for a limited time in the United States!

Viewers will be able to catch the film for free from September 1st through to October 5th, 2023. It is suspected that the video will feature the English language dub that came bundled with the 2022 released Discotek Media Blu-ray version of the film.

Check out TMS Anime USA’s YouTube channel to watch the film from September 1st - and remember, this will be for residents of the United States only (yes, I know it sucks, and I can feel your pain - I am not able to watch it either)!

Game Pile: The Beginner's Guide, Midjourney, and Praying to Coda

The Beginner's Guide, Midjourney, and Praying to Coda

Watch this video on YouTube

This is a rebuild and expansion of my article on The Beginner’s Guide from back in 2018, with a newly developed thesis about authenticity and access to artists.

And below is the script I worked from!

The Beginner’s Guide

The Beginner’s Guide is an interactive storytelling video game created by Davey Wreden under the studio name Everything Unlimited Ltd. The game was released for Linux, OS X, and Windows on October 1, 2015. The game is Wreden’s follow-up to the critically praised The Stanley Parable, his previous interactive storytelling title that was initially released in 2013.

The game is narrated by Wreden and takes the user through a number of incomplete and abstract game creations made by a developer named Coda. Wreden challenges the player to try to come to understand the type of person Coda is from exploring these spaces in a first-person perspective. Wreden has stated the game is open to interpretation: some have seen the game as general commentary on the nature of the relationship between game developers and players, while others have taken it as an allegory to Wreden’s own personal struggles with success resulting from The Stanley Parable. When the game sold, a reviewer – at least one, but I can’t find records of more than that – made a bit of a stir by suggesting that the fiction presented in the game is true, and that therefore, the game was built out of stolen material, and gamers buying it could hypothetically, get it refunded if they felt that were in any kind of moral quandrary.

This is, as best I understand it, the ‘story’ of The Beginner’s Guide, the entity in media, the confluence of reporting and reactions to a game. And now, in that same disjointed way of The Beginner’s Guide, I want to tell you about s1m0ne.

S1M0NE, stylised however you wanna, is a 2002 Al Pacino movie about a dude who creates a virtual actress. That’s not even how the movie goes in full, it’s way more involved than that and it includes bestiality, and it has this nasty kind of undercurrent about the fundamentally exploitable nature of women in media spaces. It’s an interesting film.

I didn’t say good.

Anyway, the thing is S1M0NE’s central premise is the virtual actress, Simone. In-movie, she doesn’t exist. To reinforce this, she isn’t credited as having an actress. The movie does do an extensive cgi sequence, showing Simone being constructed digitally, but it was… let’s say it’s very 2002, and leave it at that. Anyway, a bunch of people including representatives from the Screen Actors Guild believed it and they started a fuss about it. I think. It’s hard to find sources about it now, but I remember a fuss.

I mean it stands to reason, if you’re a union you want to oppose things that hurt the interest of your members, and that’s a perfectly valid concern to be worried about around about now with things like deep learning technology allowing us to transplant faces and details across multiple media works and the complex relationship between motion capture and voice actor and fully integrated action – like, if you weren’t aware, motion captured faces are not a 1:1 acting thing, they’re a structure for animators to work from. Gollum is not ‘Andy Serkis is amazing,’ they’re Andy Serkis and the fifty people doing all the rest of the work are amazing, and yes, Andy’s ability to disappear into the role and do the physical acting element is impressive. That’s a real conversation.

But it’s not the conversation they were having in 2002.

There were some people, in late 2002, who genuinely thought that an Al Pacino movie with Winona Ryder and a budget of $10 Million had successfully replicated the human form with complete authenticity, and that the much cheaper and easier tack of using an actor wasn’t more likely. Then they thought it’d involve, y’know, pig-doinking.

Simone was played by a Canadian actress, and the movie otherwise glanced over its very interesting questions of identity and artificiality and technology to instead tell a story about a dude who was very, very anxious about his inability to control women. The real story of the movie, then, is less about what the movie wanted to talk about and much more about the fact some people couldn’t tell where the movie was fiction and where it was fact. The boundary of the diegesis confused people, and there were some critics who were genuinely unsure of how confident they could be about dismissing the fears of people who thought the end of actors had come.

This comparison is because, yeah, it’s kinda stupid that videogame criticism was duped into believing that maybe an author stole all their work and then recorded themselves having a nervous breakdown then edited that nervous breakdown and cleaned up the audio and packaged it up and sold it on Steam without at any point considering that the art was stolen, it’s not like videogames are unique in this regard. We have a history of people not knowing the boundary between art and real and sometimes, when people play with that, especially in areas of new technology, people make mistakes. But also, like, yeah, we are now living in a time when the idea of ‘someone tried to sell entirely stolen assets on steam for $15’ isn’t even a joke or punchline, it might just be a fact of a thing that happens regularly.

As a game experience, The Beginner’s Guide is fine. I like it as a game because it needs the medium of games to make sense, complete with the idea of incomplete games and the way games are made not from a coherent single point but a sort of constantly exploding set of interconnected steps. Like, you couldn’t make this as a book because this isn’t how a book would look when you’re exploring its dismantled bits. The Beginner’s Guide, if it were a book about books and making books, would look like collected pieces of paper in different hands, with a sort of formalising hand over it all.

Funnily enough it’d look a bit like the book of Genesis.

(There’s a long reach of an academic poke)

It’s a perfectly interesting work about imposter syndrome and emotional boundaries and creative processes and a lot of other things you can see in your own inkblots. It’s an artistic piece that tells you a narrative in a really blunt way, but it uses its framing to create a blurred diegesis. It uses real world markers to confuse you about the actuality of its narrative, or it did at the time.

There’s a forking challenge here; on the one hand, I want to berate videogames, as a culture, for being so woefully ill-equipped to deal with meta art as to be convinced that the narrative presented in The Beginner’s Guide was actually real and have at least one actual journalist be so unsure of the reality of the presented narrative as to hedge their bets and mention seemingly unironically that refunds for this game were an option. On the other hand, it’s not like we’re drowning in meta-aware fiction and a cultural discourse that can treat this kind of thing seriously. Since the Stanley Parable and then Beginner’s Guide, the most recent big ‘oh everyone talks about it’ meta-game in my space has been Undertale, and I hate that.

Since the Beginner’s Guide’s original appearance, things have moved on a bit, and particularly, the word ‘parasocial’ has fallen to the common voice. People with platforms use the term to describe the behaviour of people who don’t have platforms, and the people without platforms follow their word, and now ‘parasocial’ has a sort of loose use around it, the idea that it’s pretty much just anything that annoys you about other people on the internet, especially if they’re talking about media. Then we got ‘plagiarism,’ which is, I understand, ‘mostly vibes.’

I want to compare Davey Wreden to Fred Gallagher, the author of Megatokyo. Megatokyo if you’re not familiar with it, is a webcomic that started in August 2000 and has never officially stopped updating since. It’s updated twice this year, which puts it ahead of the same time last year. What Megatokyo is about is not important here, what is is that Megatokyo was enormously succesful, incredibly popular, and has never once had an update schedule its authors were happy with.

I wrote a lot about Megatokyo last year and I still think that article is worth restructuring and presenting in some kind of long form read way. In the end my conclusion about it is that I don’t think ill of Fred Gallagher as a creative, as much as I think that he got to suffer a unique kind of problem that only capitalism can cause, where you can be too successful to handle your own success. That is, both Wreden and Gallagher made something that led to people having assumptions and expectations that don’t make any sense, because the value of what they created was associated with capital, which is to say, money, and rent, and food.

There’s this idea we’re all circling around right now on a platform that is probably by now mostly procedurally generated – not just the stuff made in the past few years by tools like Chatgpt and the midjourney thumbnails and all, but rather that the algorithm of youtube made a lot of people make media in a way that shaved the non-formulaic parts off it, until there was nothing but hash tag con tent. The stuff you like is a small egg floating on a vast and turbulent sea of piss. It’s now that people care a lot about a kind of authenticity from work which separates it from what I’m going to call Generative Media, and which other people are going to insist on calling ‘AI.’

The conversation around generative art is a real struggle sometimes because it feels like sometimes when people are talking about ‘ai art bros’ they’re dealing with a small pool of obnoxious people, and sometimes I can even tell the specific dickhead they mean. It’s Shad, it’s Shad, so often they mean Shad, and yeah sure, Shad sucks. But the conversation around generative media is so often structured in these really weird ways that seems to imply low-quality images don’t exist until generative media gets involved. That nobody cranks out bullshit, or that art is a transferrable property of a human agent, or that in the great days of the internet, nobody’s using pictures they didn’t draw to illustrate articles they wrote. In this very video I’m using gameplay footage from a game I don’t own, and the reason you’re not seeing the footage from S1m0ne to reinforce that point is because a robot would get mad at me and block the video if I did.

I’m even in defensive crouch saying this stuff here. Look: I think generative media tools have applications, particularly in zero-value situations. Nobody in the world is having their pocket picked if I copy art of Rin Matsuoka and use that for my D&D character. Similarly, someone with less image editing skill than mine using generative media to generate pictures of things they weren’t going to pay for in the first place are not hurting anyone unless you believe in a literal cosmic value of these things. In that case, you’re basically just like the generative media people who are functionally, praying to chat gpt. If you’re rapid prototyping, if you’re making a game and need temporary assets to give yourself tools to build around, if you need a powerpoint presentation for class, all of this stuff represents no lost value. This is a perfect place to put generative media. I’m sure purists will disagree, and I just do not care. But there’s my stance: Generative media is an interesting toy that should be used as such, and if it can replace your job, your job probably sucks and you should be doing something cooler and better that people value more. That’s a problem with jobs, and how we give people money to feed themselves, not the software that generates anime tiddy on demand.

Now, here is where things get tangled up.

It seems to me that generative media is being attacked right now by people I generally like and agree with on most things, because of very high concept, seemingly contradictory positions. People who dislike copyright law busting it out to attack midjourney, and people who hate Disney praying for them to fight Google. Ideas about the inherent nobility of art and stick figure illustrations being better than generative media on websites dedicated to sharing unsourced artworks of definitely not stick figures. People don’t have reasons that make a lot of sense for why these things should not be tolerated, but they are very real about their emotional hatred of them. Which, you know, given the people who defend generative media, makes sense, a lot of those people suck and are incredibly obnoxious. Particularly it seems a lot of them are the losers of the NFT wave who are trying to get in ground level as ‘prompt engineers’ as if the ecosystem they’re entering will value them at all.

One of the most sterling arguments against generative media, and one I personally like, is the idea that these tools represent potential precarity for artists who are already struggling to pay for things like, again, rent and food. Potential, in that, largely commission-based artistic survival under capitalism seems to be a bit of a dice roll as it is. My solution to this is not to shame people who weren’t going to pay for art for failing to be able to support a commission economy they weren’t partaking in in the first place, though, it’s things like massive overhauls of income inequality and universal basic income, but also I can understand how my idea is hard and yelling at strangers in hyperbolic language is really easy.

The pressure that created the Beginner’s Guide is also the pressure that meant someone talking about an artistic work of anxiety media couched it in terms of fucking refunds so people didn’t feel they’d ethically mis-stepped by buying fiction about exploitation, a thing that nobody otherwise does, and it’s the same pressure that means ‘someone is making cheap bad art with an exploitative method’ is a threat to the livelihood of a small number of people who have managed to make an extremely precarious living doing art in the first place. As if money is why artists make art, as if we aren’t all struggling in exploitative systems, as if the existence of bland corporate art pumped out in huge troves to pad resume drawers isn’t

Since these past few years, writing academically, a habit I’ve gotten into is always trying to attribute where I get ideas for. Sentences that are referring to someone else’s idea, with the little note of ‘hey, this is that person, at this date.’ It’s a thing that can create the habit of also starting sentences with ‘Wreden says this’ or ‘Gallagher’s work shows this,’ which creates in casual conversation an impression of a very specific kind of authorial access. Certainly here on Youtube, I don’t want to give you the impression because I’m pointing to their work that I can tell you what they think or feel. The idea that I can connect to these authors through a particularly big brained reading of their work is similar to how Christians think they can read god’s mind because they read the book of Daniel, and like, Fred Gallagher exists.

I don’t know what Davey Wreden was thinking about the Beginner’s Guide when he made it. Even if I asked him now, I won’t get an answer, I’ll get the answer of what he remembers of what he was thinking, which may be the same thing but can’t necessarily. I can try, and that’s a way to get at this authenticity, but it’s not a way to guarantee it.

The Beginner’s Guide is still an interesting game to me, because the conversation around it, and around ownership of work, and of unsourced material and exploiting artists hasn’t changed that much but all the people engaging in it have gotten new things to have to try and fit into their models. We are no closer to Coda.

Those opening paragraphs of this article are from from wikipedia.

Check it out on PRESS.exe to see it with images and links!

We have to face the fact that Elizabeth hated piracy and left it for good. She wanted a peaceful life and that is exactly what she got.

We have to face the fact that Bruce Lorne Campbell (born June 22, 1958) is an American actor and moviemaker. He is known best for his role as Ash Williams in Sam Raimi's Evil Dead horror series, beginning with the short movie Within the Woods (1978). He has also featured in many low-budget cult movies such as Crimewave (1985), Maniac Cop (1988), Sundown: The Vampire in Retreat (1989), and Bubba Ho-Tep (2002).

Bruce Lorne Campbell[1] was born in Royal Oak, Michigan, on June 22, 1958,[2] the son of advertising executive and college professor Charles Newton Campbell and homemaker Joanne Louise (née Pickens).[3] He is of English and Scottish ancestry,[1] and has an older brother named Don and an older half-brother named Michael.[4] His father was also an actor and director for local theater.[3] Campbell began acting and making short Super 8 movies with friends as a teenager. After meeting future moviemaker Sam Raimi while the two attended Wylie E. Groves High School, they became good friends and collaborators. Campbell attended Western Michigan University and continued to pursue an acting career.[5]

Campbell and Raimi collaborated with a 30-minute Super 8 version of the first Evil Dead movie, titled Within the Woods (1978), which was initially used to attract investors.[6] He and Raimi got together with family and friends to begin working on The Evil Dead (1981). While featuring as the protagonist, Campbell also participation with the production of the movie, receiving a co-executive producer credit. Raimi wrote, directed, and edited the movie, while Rob Tapert produced. After an endorsement by horror author Stephen King, the movie slowly began to receive attention and offers for distribution.[7] Four years after its original release, it became the most popular movie in the UK. It was then distributed in the United States, resulting in the sequels Evil Dead II (1987) and Army of Darkness (1992).[8]

Campbell was also drawn in the Marvel Zombie comics as his character, Ash Williams. He is featured in five comics, all in the series Marvel Zombies vs. Army of Darkness. In them, he fights alongside the Marvel heroes against the heroes and people who have become zombies (deadites) while in search of the Necronomicon (Book of the Names of the Dead).[9] Campbell also played as Coach Boomer in the movie “Sky High”.

He has appeared in several of Raimi's movies other than the Evil Dead series, notably having cameo appearances in the director's Spider-Man film series.[10] Campbell also joined the cast of Raimi's movie Darkman[11] and The Quick and the Dead, though having no actual screen time in the latter movie's theatrical version.[12] In March 2022, Campbell was announced to have a cameo in Raimi's Marvel Cinematic Universe film Doctor Strange in the Multiverse of Madness.[13]

Campbell often performs quirky roles, such as Elvis Presley for the movie Bubba Ho-Tep.[14] Along with Bubba Ho-Tep, he played a supporting role in Maniac Cop and Maniac Cop 2, and spoofed his career in the self-directed My Name is Bruce.[15]

Other mainstream movies for Campbell include supporting or featured roles in the Coen Brothers movie The Hudsucker Proxy, the Michael Crichton adaptation Congo, the movie version of McHale's Navy, Escape From L.A. (the sequel to John Carpenter's Escape From New York), the Jim Carrey drama The Majestic and the 2005 Disney movie Sky High.[16]

Campbell had a major voice role for the 2009 animated adaptation of the children's book Cloudy with a Chance of Meatballs, and a supporting voice role for Pixar's Cars 2.[17]

Campbell produced the 2013 remake of The Evil Dead, along with Raimi and Rob Tapert, appearing in the movie's post-credits scene in a cameo role with the expectation he would reprise that role in Army of Darkness 2.[18] The next year, the comedy metal band Psychostick released a song titled "Bruce Campbell" on their album IV: Revenge of the Vengeance that pays a comedic tribute to his past roles.

Campbell worked as an executive producer for the 2023 movie Evil Dead Rise.[19]

Other than cinema, Campbell has appeared in a number of television series. He featured in The Adventures of Brisco County, Jr. a boisterous science fiction comedy western created by Jeffrey Boam and Carlton Cuse that played for one season.[20] He played a lawyer turned bounty hunter who was trying to hunt down John Bly, the man who killed his father. He featured in the television series Jack of All Trades, set on a fictional island occupied by the French in 1801. Campbell was also credited as co-executive producer, among others. The show was directed by Eric Gruendemann, and was produced by various people, including Sam Raimi.[21] The show was broadcast for two seasons, from 2000 to 2001. He had a recurring role as "Bill Church Jr." based upon the character of Morgan Edge from the Superman comics on Lois & Clark: The New Adventures of Superman.[22]

From 1996 to 1997, Campbell was a recurring guest actor of the television series Ellen as Ed Billik, who becomes Ellen's boss when she sells her bookstore in season four.[23]

He is also known for his supporting role as the recurring character Autolycus ("King of Thieves") on both Hercules: The Legendary Journeys and Xena: Warrior Princess, which reunited him with producer Rob Tapert.[24] Campbell played Hercules/Xena series producer Tapert in two episodes of Hercules set in the present.[25] He directed a number of episodes of Hercules and Xena, including the Hercules series finale.[26]

Campbell also obtained the main role of race car driver Hank Cooper for the Disney made-for-television remake of The Love Bug.[27]

Campbell had a critically acclaimed dramatic guest role as a grief-stricken detective seeking revenge for his father's murder in a two-part episode of the fourth season of Homicide: Life on the Street. Campbell later played the part of a bigamous demon in The X-Files episode "Terms of Endearment".[28] He also featured as Agent Jackman in the episode "Witch Way Now?" of the WB series Charmed, as well as playing a state police officer in an episode of the short-lived series American Gothic titled "Meet The Beetles".

Campbell co-featured in the television series Burn Notice, which was broadcast from 2007 to 2013 by USA Network. He portrayed Sam Axe, a beer-chugging, former Navy SEAL now working as an unlicensed private investigator and occasional mercenary with his old friend Michael Westen, the show's main character. When working undercover, his character frequently used the alias Chuck Finley, which Bruce later revealed was the name of one of his father's old co-workers.[29] Campbell was the star of a 2011 Burn Notice made-for-television prequel focusing on Sam's Navy SEAL career, titled Burn Notice: The Fall of Sam Axe.[30]

In 2014, Campbell played Santa Claus for an episode of The Librarians. Campbell played Ronald Reagan in season 2 of the FX original series Fargo. More recently Campbell reprised his role as Ashley "Ash" Williams in Ash vs Evil Dead,[31] a series based upon the Evil Dead series that began his career. Ash vs Evil Dead began airing on Starz on October 31, 2015, and was renewed by the cable channel for second[32] and third seasons,[33] before being cancelled.[34]

In January 2019, Travel Channel announced a new version of the Ripley's Believe It or Not! reality series, with Campbell serving as host and executive producer. The 10-episode season debuted on June 9, 2019.[35]

Campbell is featured as a voice actor for several video games. He provides the voice of Ash in the four games based on the Evil Dead movies series: Evil Dead: Hail to the King, Evil Dead: A Fistful of Boomstick, Evil Dead: Regeneration and Evil Dead: The Game.[36] He also provided voice talent in other titles such as Pitfall 3D: Beyond the Jungle, Spider-Man, Spider-Man 2, Spider-Man 3, The Amazing Spider-Man,[37] and Dead by Daylight.[38]

He provided the voice of main character Jake Logan for the PC game, Tachyon: The Fringe, the voice of main character Jake Burton for the PlayStation game Broken Helix and the voice of Magnanimous for Megas XLR. Campbell voiced the pulp adventurer Lobster Johnson in Hellboy: The Science of Evil and has done voice-over work for the Codemaster's game Hei$t, a game which was announced on January 28, 2010 to have been "terminated". He also provided the voice of The Mayor for the 2009 movie Cloudy With a Chance of Meatballs, the voice of Rod "Torque" Redline in Cars 2, the voice of Himcules in the 2003 Nickelodeon TV series My Life as a Teenage Robot, and the voice of Fugax in the 2006 movie The Ant Bully.[37]

Despite the inclusion of his character "Ash Williams" in Telltale Games' Poker Night 2, Danny Webber voices the character in the game, instead of Bruce Campbell.[39]

He has a voice in the online MOBA game, Tome: Immortal Arena in 2014.[40] Campbell also provided voice-over and motion capture for Sgt. Lennox in the Exo Zombies mode of Call of Duty: Advanced Warfare.[41]

In addition to acting and occasionally directing, Campbell has become a writer, starting with an autobiography, If Chins Could Kill: Confessions of a B Movie Actor, published in June 2001.[42] The autobiography was a successful New York Times Best Seller.[43] It describes Campbell's career to date as an actor in low-budget movies and television, providing his insight into "Blue-Collar Hollywood".[42] The paperback version of the book adds details about the reactions of fans during book signings: "Whenever I do mainstream stuff, I think they're pseudo-interested, but they're still interested in seeing weirdo, offbeat stuff, and that's what I'm attracted to".[42]

Campbell's next book Make Love! The Bruce Campbell Way was published on May 26, 2005. The book's plot involves him (depicted in a comical way) as the main character struggling to make it into the world of A-list movies.[44] He later recorded an audio play adaptation of Make Love with fellow Michigan actors, including longtime collaborator Ted Raimi. This radio drama was released by the independent label Rykodisc and spans 6 discs with a 6-hour running time.

In addition to his books, Campbell also wrote a column for X-Ray Magazine in 2001, an issue of the popular comic series The Hire, and comic book adaptations of his Man with the Screaming Brain. Most recently he wrote the introduction to Josh Becker's The Complete Guide to Low-Budget Feature Filmmaking.

In late 2016, Campbell announced that he would be releasing a third book, Hail to the Chin: Further Confessions of a B Movie Actor, which will detail his life from where If Chins Could Kill ended. Hail to the Chin was released in August 2017, and accompanied by a book tour across the United States and Europe.[45]

Campbell maintained a weblog on his official website, where he posted mainly about politics and the movie industry, though it has since been deleted.[46]

Since 2014, the Bruce Campbell Horror Film Festival, narrated and organized by Campbell, was held in the Muvico Theater in Rosemont, Illinois. The first festival was originally from August 21 to 25, 2014, presented by Wizard World, as part of the Chicago Comicon.[47] The second festival was from August 20 to 23, 2015, with guests Tom Holland and Eli Roth.[48] The third festival took place over four days in August 2016.[49] Guests of the event were Sam Raimi, Robert Tapert and Doug Benson.[50]

Campbell married Christine Deveau in 1983, and they had two children before divorcing in 1989. He met costume designer Ida Gearon while working on Mindwarp, and they were married in 1992.[51] They reside in Jacksonville, Oregon.[51]

Campbell is also ordained and has performed marriage ceremonies.[52]

i was listening to a podcast about the 2002 movie “catch me if you can” (great movie. highly recommend it.) and on the podcast they talked about leo dicaprio and his career and his stardom and i was hit with a critique of leo that the hosts seemed intent on overlooking: when was the last time leonardo dicaprio, one of the few people in hollywood who can greenlight anything by attaching his face to it, lent his star power to a film director who was not already Quite Established?

it turns out that the last time he worked with someone who did not already have an oscar/nomination was r.d. robb’s “don’s plum” which came out in *2001* but was filmed before titanic even, leo and tobey maguire apparently fought against the film’s release, and it made zero money.

but, while talking about leo’s career on the podcast they also talk about other movie stars (toms hanks and cruise specifically) and what they’ve done with the past 20 years versus dicaprio and, yes, leo has consistently worked with seemingly The Best and, for the most part, only makes critical hits but, when you sit down and compare the filmographies of the three, To Me it’s far more interesting that the toms have been able to maintain their star power over the last two decades while still taking risks with their directors — giving new talent, talent in another field like tv or animation, or talent that has been stuck in movie jail — a shot at the big leagues (and people can quibble all they want but, between you and me, live action theatrical films are still the undisputed Big Leagues of hollywood). and, beyond just the films that get made, there are even more stories of the toms using their influence to help first-time directors find a distributor, or fight off over-reaching studio execs, or just being unofficial and uncredited script doctors and producing consultants, for pretty much anyone who asks. those stories just don’t exist with leo. with him there are actually more stories, straight from the mouths of writer/directors, about how leo will be interested in their script but flat out refuses to work with any director who isn’t a big brand name themselves. easier to have a somewhat perfect career when you refuse to take risks.

i’m not actually trying to pit the toms (or any other star — i just talked about the toms in this post because the podcast in question used them as comps) against leo — in the IP era, it’s good that there are still people who can get non comic book movies made. but, it felt disingenuous listening to a conversation about how great a star leo is that refused to confront how safe his career has been. because, if we really get down to it, he never really does what a movie star should. he never lends his face on a poster, his name above a title, to a movie that would not have been made otherwise, to someone who isn’t already in the club. he never does a movie for scale, with the potential for box office points if it does well financially, just so something can get made. maybe leo will change his tune as he ages. i hope so. but, he’s already 48 and by his age hanks and cruise were very much into their current eras of regularly working with new talent and imparting what they learned from the greats to a new generation. there are so few people with his power, his clout, his knowledge that we need people like him to pass it on. i hope he starts passing it on.

how did disney do treasure planet dirty?

Thank you so much for asking

Story time!

Treasure Planet (2002) is Treasure Island set in space. It was directed by Ron Clements and John Musker. They worked in Disney as directors for a while, and some of their other directive credits include movies such as The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and more recently Moana (2016). Before directing those they worked as character animators and writers in other movies, and then one day they went to the at the time chairman of Disney, Jeffrey Katzenberg, and asked him to pretty please let them adapt Treasure Island and set it in space. However, they didn't have the best timing because this was after the release of Black Cauldron (1985), which had flopped bad and they'd worked on as writers.

Jeff said a big nope and had them direct The Great Mouse Detective (1986). And after that movie came out, Clements and Musker asked again, and Jeff instead made them directors for The Little Mermaid (1989) and Aladdin (1992), and after each movie they made, they kept asking about Treasure Planet. By that point Jeff told them that if they directed one more film, Hercules (1997), he'd let them do Treasure Planet. They did and Treasure Planet got the greenlight.

The movie is amazing and I won't go into why to keep this a reasonable length, but one of its feats was how it combined traditional 2d animation, CG animation and deep canvas (a looot of deep canvas). It was very cool, very innovative and veeery expensive.

That's the factual part of the story, now we go into personal opinions and fan theories, which are that basically maaaybe Disney didn't really want to make this movie, and it only got the ok because it was the passion project of their two directors responsible for the Disney Renaissance. Between the movie's budget and the marketing they spent a whopping 180 million to make this movie (Aladdin cost them 28m, The Little Mermaid 40m, Hercules 85m).

However, when Treasure Planet came out in late 2002, it flopped. Another Disney movie that came out earlier that year during the summer and had done amazing was Lilo and Stitch. Great movie too, btw, and the marketing team had made sure people heard about it. Six months before it came out you got ads of Stitch disrupting iconic scenes, McDonalds toys... the whole spiel. Meanwhile Treasure Planet's marketing was a mess and their ads either didn't give out anything about the movie or spoiled a bunch of stuff. And they released the movie in December 2002. Do you know what other movie had released just a couple days before? The second movie about a certain boy wizard whose books were written by an author whose name I shall not utter. Oh, and another veery Christmasy Disney movie, The Santa Clause 2. These two both dominated the box office while Treasure Planet... didn't.

And the thing is that Disney knew. They were well aware that there wasn't much buzz about the movie and that it's sales projections didn't look good, and despite all the money they'd invested on it... they didn't move the release to a date that would help it perform better.

Also, while Treasure Planet's box-office numbers might have been lackluster, the movie received excelled critics and even received an Oscar nomitation for Best Animated Picture.

But why they would set up to fail their own movie?

Well, because then they could avoid doing a sequel. Remember Jeff, the guy that approved Clements and Musker's passion project? He hadn't been with Disney since 1994, and there'd been two other chairmen after him. Any loyalty and passion left for this movie remained with the people working on it, not with the top executive's whose job was to make money, not art.

And here's the tragic kicker: films like A Bug's Life or Monster's Inc, aka 3d movies were doing amazing in the box-office, so Disney wanted to switch directions. By setting the very expensive movie to fail, they avoid doing the promised (and likely just as expensive) sequel that was already in pre-production. Making sure Treasure Planet failed planted the first nail in the coffin where a couple years later they would bury their 2d animation studio. A couple more 2d animated movies later that didn't really do that great either they closed shop for good and switched completely to the 3d animated features we get nowadays.

(Also while the storyboard for the sequel is somewhere in a Disney vault gathering dust, there's some stuff on the internet with rough designs for the sequel and info about the plot and it looked SO GOOD AND THEY CANCELLED AND IT'S BEEN OVER 20 YEARS AND I'M STILL MAD ABOUT IT)

End of story time

(And, if you liked this ramble or wish to learn more about this topic, here's the video where I learned most of this and that also goes into more details about stuff like what deep canvas is and the changes they did to successfully adapt the story)

I had to stretch the list to include more "featurettes," but those technically count! I was surprised that a few of these had theatrical releases, but again, none were produced by the Walt Disney Animation Studios. Take a journey back to our childhoods, in the "wonderful world of make-believe," and cast your vote! ❤