Does this article ignore the part about the show being canceled?'The Owl House' Is an Unapologetically LGBTQ-Friendly Children's Show That We Need More Of
Even despite its ongoing hiatus, 'The Owl House' has the kind of LGBTQ representation we need more of in today's Disney cartoons.www.distractify.com
Anyone willing to bet how much @Vyse Inglebard is going to question what this has to do with making cartoons for children?
Oh, I know perfectly well that this has nothing to do with making cartoons for kids and EVERYTHING to do with getting Dana and the Twitterati's rocks off. Unfortunately for Dana and the Twitteratti, that shit's not profitable, which, when you really get down to it, is Disney's modus operandi. Ever wonder why they keep making live action remakes? Because it keeps making them money:'The Owl House' Is an Unapologetically LGBTQ-Friendly Children's Show That We Need More Of
Even despite its ongoing hiatus, 'The Owl House' has the kind of LGBTQ representation we need more of in today's Disney cartoons.
Anyone willing to bet how much @Vyse Inglebard is going to question what this has to do with making cartoons for children?
Even more to the point, who gives a flying fuck at this point? These people go on and on about how it's "a pretty big deal" that Luz is the FIRST EVAR bisexual Disney character, and boy do I ever agree, Slick - as soon as I heard this news, all I could think was "big fucking deal". You can cry about "civil rights" and pretend propaganda is "progress" all you like over there, Dana, as if ancient Romans weren't ass fucking anything with olive skin in 2 B.C., but the simple fact is, you and your ilk (Sugar, Stevenson, et al) have been flying the rainbow flag for so fucking long kids all but instinctually ignore your shitty cartoons and watch anything the fuck else (see: the massive popularity of stuff like SpongeBob and Teen Titans Go! among that demographic). Not because they hate homos - Christ's sake, He-Man set the drapes on fire back in the 80s and kids were still watching it - but because kids (and emotionally arrested adults) want cartoons with fun, NOT a fucking sermon to give you an excuse to dislocate your own shoulders patting yourselves on the back in a Distractify article 18 people fucking read. I mean, what's the fucking point of this? What issues does this actually raise apart from privacy concerns about Amity's x-ray vision spell around Luz in the school gym's shower room?
Season 2 makes Season 1 look like a masterpiece in comparison, and it's not even LGBT stuff (although the way lumity were literally forced to date because the obnoxious owl fucker was shipping them was cringeworthy to watch (yes, that really what happened)). Like, it's so poorly paced, characters come and go, old characters who should have had more development are barely there, some lore shit happened and we basically have another fucking story about two brothers fucking shit up, who cares even??While we're already at TOH - what are you guys' impression of it actually? It's really har to find discussions about this show that isn't about LGTB representation..
I managed to power trough the first season a couple weeks ago and man was it underdeveloped!
It feels like the only character the writers could somewhat connect with are the main three, all other characters just feel as props, their dialogue is so plain and impersonal, you could switch it around and there wouldn't be a difference. The main three are really the only ones that behave in ways that is unique to their personalities.
I'm personally very off-put by this Simpsons-style humor that got popular with Gravity Falls. This kind of forth wall-ish comments that characters do, that are designed to be quotable/memable but have barely anything to do with what is happening on screen. It's super disruptive, not funny (to me) and makes serious moments completely impactless.
Furthermore; what is this this show trying to be anyway? It starts of as a human girl being an apprentice to a wayward witch, then nothing happens with this plotline, then she goes to magic school, then nothing happens and we don't even see what she's learning there (or how), then some shit happens with the local government establishment, didn't seem to have much impact to the characters before the rescue mission, and I doubt it will after that.
They switch back and forth between Lily being a threat or a incompetent loser.
Which is basically my main problem with the show - it establishes shit but then doesn't explore it. This is especially grating with the concept and use of magic in this world, and Lus' relationship towards it. The fact that Lus cannot use magic in conventional ways and needs to find alternative usage of it is a cool and interesting concept, but we see almost nothing of it. Like how does she even participate in school activities? The school ended up being just a place where she meets her friends, nothing else.
Magic could be such an awesome plot device, it could be used as a extension of the characters, but it receives so little importance.
I wish Dana Terrace would have had more experience apart from Gravity Falls (dunno how long she worked on Duck Tales) because her lack in versatility really shows. She implements the same kind of story structure than GF and it doesn't work with the setting she had created.
Just as an extra point of frustration - the entire time I'm watching this show I'm silently thinking ''how cool would it be if the show was drawn in Dana's personal style''. It's such a missed opportunity
I Imagine that a change in style from the norm would have had forced the artist on the show out of their comfort zone, and the show could toy more with camera angels and proportion for comedic and/or dramatic effect. The show could adapt a lot more show don't tell.
All in all TOW just reminded me why I stopped being interested in mainstream cartoons. They feel so dry, forced and emotionally held back.
Story lines feel strangely calculated, I have a hard time explaining it and I'm shit at writing in general, but something about modern writing in animation feels like it doesn't occur with the intent of what the character would be feeling (thus reacting), but as how the character's action can be argumented in a debate like setting.
Dunno, to me a great deal of engagement in a character comes in how much this character feels like their capable of independent thought. Like their actions are a result of their personality + situation, and their actions are unique to those.
You'd be surprised to know how many big decisions on TV were made because one guy just didn't like something. No matter what's really going on, one guy doesn't like something, that's it and the plug gets pulled.
Hey, Dana, you know what that's called? RUNNING A BUSINESS. Which is what Disney ultimately is. And what, class, does a business truly care about at the end of the day?
: Should this depress me, Mr. Inglebard?
I'm not sorry Dana. That a show like Big City Greens beats your show in ratings. Maybe because kids actually like that show. instead of your show that is only like by weird trannies and lesbos with short hair.
Really, the 90s was one of the last eras where a studio was largely defined by the art styles of shows they put out (CN's post-Adventure Time shift into bean mouth shows aside). Disney in particular had most of their shows stick to a traditional Disney visual style. The only exceptions to this during the DA era were Gargoyles, which was driven by Greg Weisman's sensibilities in both visuals and storytelling, and Bill Kopp's Shnookums and Meat, which had a lot of Ren and Stimpy expats on board (and from what I heard, that was part of why the execs canned it after one season). But then they bought Doug from Nickelodeon and got big ratings for it, and from One Saturday Morning onward, they've been content to allow their show creators to pretty much use their own styles for the shows, with only a very few series based on movies or the shorts sticking to the traditional Disney designs.
The dumb executive is a stereotype, yes, but a lot of stereotypes are based in fact...
No one has ever written a history of the Disney Afternoon that went after Goof Troop, so I don't have a source to give you, but in the mid-90s Disney was deliberately trying to produce TV shows that weren't in the Disney style.
I didn't know David Lynch had an identical twin brother!Jack Angel, the voice actor for Smokescreen in the Transformers cartoon among other voices died.
Jack Angel (1930–2021), voice actor in “Super Friends,” “Transformers”
Jack Angel, voice actor in cartoons including “Super Friends,” “Transformers,” and “The Smurfs,” died Tuesday at the age of 90.www.legacy.com
Hey, Dana, you know what that's called? RUNNING A BUSINESS. Which is what Disney ultimately is. And what, class, does a business truly care about at the end of the day?
"MAKING A PROFIT!"
And if a particular brand isn't making any profit, what'll happen to it?
"IT'LL GET KICKED TO THE CURB LIKE YESTERDAY'S TRASH!"
Good job, hypothetical students of mine! You're now more knowledgeable about businesses than a 20-something year old showrunner at the most famous animation studio on the planet!
Yes, Jimmy. Yes, it should.
For better or worse, three seasons is today’s goal for most streamers. I haven’t seen much Owl House myself, yet the way it’s been talked about here really sounds like it’s being written character-first. A serialized story is being told, as most series from that era tend to be, yet it’s not like that story is planned to have a hard end, and the way it’s been talked about by Terrence herself implies if allowed to they could go for quite a while longer, with spin-offs and books and so on and so on.
He’s out of the coma(and in-universe he was in it for three years), so the past two season have been him adjusting to essentially being gone for those three years(and how everyone has changed since then) while also trying to get back into proper shape. I’d say they’re worth watching.
