Hi Hi Puffy Amiyumi | Pilot | Cartoon Network

After Sam Register (the creator) pitched the idea of Hi Hi Puffy AmiYumi having their own cartoon series on Cartoon Network, the animation studio Renegade Animation created a pitch pilot, in the hopes of swaying Cartoon Network to green-light the show's production.

The pilot was sent to Cartoon Network and they accepted it and it was to air in late 2003, but for unknown reasons, the pilot was reworked and later premiered on November 19th, 2004. The series premiere was successful and was even at the time one of the highest-rated shows to premiere on Cartoon Network.

Mikey's Murphy's Law/Milo Murphy's Law | Pitch Pilot | Disney Channel

Similar to the original pitch of Phineas and Ferb, the pilot of Mikey Murphy's Law (labeled "Mikey's Law") was a storyboard pitch of what would eventually become the first episode of Milo Murphy's Law, "Going the Extra Milo". It was leaked on April 26, 2024, alongside several other pilots from other Disney Television Animated shows.

The plot is relatively the same as that of "Going the Extra Milo" (barring a few lines that went unused, as well as Milo being named Mikey back then), but includes a couple of design changes. Most notably, Zack used to look completely different. Zack was initially of Caucasian ethnicity with a small, round nose, angular cheeks, and two wavy, angular plucks of hair from a widow's peak, as opposed to the spiky, slicked hairstyle he'd have in the actual series. Interestingly, this design appears to be later used for the final design of Kevin Grant-Gomez, one of the main characters for Dan Povenmire's later show, Hamster & Gretel. Bradley's design was also notably different, having a shorter, wider head, curly hair and big, half-round glasses, looking notably similar to Carl of Phineas and Ferb.

Adventure Time | Pilot | Nickelodeon/Cartoon Network

The short focuses on a boy named Pen (later renamed Finn in the television series) and his best friend, a shapeshifting dog named Jake. One day, Lady Rainicorn, a unicorn-like creature, flies past them in tears; Pen and Jake follow her to an icy domain, where they discover that the Ice King has kidnapped Lady Rainicorn's owner, Princess Bubblegum, in the hope of marrying her. 

Shooting Star Milkshake Bar (Full Song) | Phineas And Ferb | Disney Channel

Phineas and Ferb is a 2007 television series created by Dan Povenmire and Jeff "Swampy" Marsh that tells the story of two boys who try to make their summer vacation fun in various ways. One of the episodes of this show, "Out To Launch", involves the character Lawrence naming a star after the titular duo and them setting off to find it in a rocket. During one part of the episode, the boys learn that the star they named is actually a place called the Shooting Star Milkshake Bar. This part uses a song with the same title as a montage of Phineas and Ferb enjoying their time there is shown.

A full version of the song was produced and was played at Disney's Hollywood Studios' former Phineas and Ferb meet and greet, but was never released in any form of physical media. The version is longer than the one heard on the show and has additional verses. Part of this version can be heard in a video by famous YouTube family Sen, Momo and Ai Channel when they visit the area.

On December 28th, 2020, a YouTube user by the name of "SuperSonicStyle" had uploaded the instrumental to the song. The instrumental was a secret unlockable track from the game "Phineas and Ferb in the Transport-inators of Doooom!".

On March 10th, 2024, a YouTube user by the name of "Charter School Girl" had uploaded the full version of the song.

Saved Again: Netflix Acquires Rights To The 2019 Season Of The Bold And The Beautiful For Fans Across South Africa

Set in the glamorous world of Los Angeles, The Bold And The Beautiful focuses on the wealthy and powerful Forrester family. Its company, Forrester Creations, is the leader in the fashion industry. Add in the machinations of rival businesses and families, and you've got a classic set-up.

Produced by Bradley P. Bell through Bell-Phillip Television Productions, Inc, The Bold And The Beautiful debuted by March 23, 1987 on CBS.  So far at least 9000 episodes of the American soap with a new seasons being filmed for the 2024-2025 period.

It held the record for most watched in the soap in the world with its audience reach surpassing 26 million viewers. The American soap also holds won 77 Daytime Emmy Awards, including three for Daytime Emmy Award for Outstanding Drama Series.

SABC 1 acquired rights to the American soap by the late 90s before moving to SABC 3 over 10 years after its launch due to low ratings. Around this time, SABC 3 was going through an identity crisis and the public broadcaster these two would align better.

Although The Bold And The Beautiful was able to pull a massive following in South Africa. It wasn't bringing in the revenue for the public broadcaster so much that by 2019 the show got axed with the only means to the soap EVA and Vodacom Video Play axed years later.

Following its departure from South Africa, several consumers pirated several episodes illegally through torrent sites while others had to make due with what's seen on their screen. As seen by several subscribers, Netflix has become the exclusive home to The Bold And The Beautiful. 

Netflix has held these rights since October 2023 for consumers in South Africa. After M-Net opted not to acquire the show when it exited SABC 3, the streamer added the first 100 episodes to the 2019 season which coincide with demises of EVA and Vodacom Video Play. 

Nelson Releases White Paper Proposing Several Restructuring On Disney Including Less Sequels And A Downsizing Of Disney+ Global

Nelson Peltz‘s Trian Partners, which is agitating to get two seats on Disney’s board, on Monday released a lengthy white paper analyzing the Mouse House’s financial performance — and suggesting strategic fixes.

The recommendations, according to Trian, are aimed at turning around Disney‘s total shareholder returns, which have trailed most of its peers (except Warner Bros. Discovery and Paramount Global), according to the white paper. Trian is urging Disney shareholders to vote for its two board nominees — Peltz and ex-Disney CFO Jay Rasulo — at the company’s April 3 shareholder meeting. Disney opposes the candidates put forward by Trian and another activist firm, Blackwells, as lacking “the appropriate range of talent, skill, perspective and/or expertise.”

“For more than a year, Trian has described its thoughts on strategies and goals, some of which Disney has now implemented, such as reducing excess costs, reinstating a dividend, and making the Parks business a bigger part of Disney’s growth strategy,” the Peltz-run firm says in the white paper. “We are now making our 100+ page presentation public with our comprehensive views.”

Among the proposals in the 133-page white paper (available at this link), the hedge fund says that to achieve a better return on its streaming content, Disney should take more “shots on goal” and increase creative risks outside of its core franchises, similar to Netflix. The company, Trian says, should “explore allocating more budget dollars across lower-cost, easier-to-produce projects to further balance Disney’s higher-cost franchise content; prioritizing ‘retention’ content spend should diversify away the risk of expensive streaming flops.”

Trian also recommends that Disney make fewer movie sequels. “Disney’s ‘flywheel’ spins the fastest when the company creates or acquires new intellectual property to monetize,” the white paper says. “Sequels are less risky film ventures to produce, but do not drive long-term benefits in the same way that new IP can.”

The firm continues, “The percentage of Disney films that are sequels, prequels, spin-offs or remakes has dramatically increased — suggesting a creative engine that is sputtering.” Trian is calling for “a comprehensive review of studio operations and culture” by the board, including the state of leadership, process and workflow.

Meanwhile, Trian recommends two potential paths for ESPN: One, that ESPN’s standalone streaming service, which Disney is aiming to debut by the fall of 2025, be launched “ideally with a ‘bundle’ partner like Netflix or Amazon”; or two, that ESPN should “harvest cash out of its linear business to selectively reinvest in ESPN+ and higher growth parts of Disney’s business (such as Disney+).”

Elsewhere, Trian suggests merging Disney+ and Hulu product and content organizations to cut costs — a move it claims would create cost efficiencies in the neighborhood of $1 billion. Disney is in the process of buying out NBCUniversal’s 33% stake in Hulu. In November, Disney said it would pay at least $8.61 billion to Comcast for the Hulu stake, with the final price tag — which could be higher — to be based on an assessment of Hulu’s market value by each parties’ bankers.

As it relates to the integration of Hulu content on Disney+, Trian believes the service should “phase out the Hulu tile.” “We are skeptical that keeping Disney’s best general entertainment content behind a Hulu tile optimizes user engagement,” the white paper opines.

In addition, Trian says it believes Hulu + Live TV “is a loss-leading product that has struggled to scale and adds limited strategic value.” Per the white paper, “In our view, Live is not competitively positioned compared to YouTube TV following its deal to secure NFL Sunday Ticket and is no longer positioned as a ‘low-cost alternative to cable.’”

Other suggestions in the white paper aren’t new. For example, Peltz wants Disney to achieve “Netflix-like” streaming margins of 15%-20% by 2027, something the hedge fund has previously outlined. Trian also wants to see Disney’s board “fix” its “chronic succession problems” for CEO Bob Iger, whose contract expires at the end of 2026.

Much of Trian’s white paper dwells on making the case for change on Disney’s board. For example, the hedge fund argues that Disney’s $71 billion deal for 21st Century Fox, which closed in 2019, was “strategically flawed”: “We are skeptical that Disney has delivered on its targeted synergies and EPS accretion given the deterioration of Disney’s media earnings power following the acquisition.”

The Disney/Fox deal was “arguably the result of misaligned incentives,” Trian’s white paper says. “On the same day that Disney agreed to acquire Fox, the board extended Mr. Iger’s employment agreement by four years and awarded him an ‘over-the-top’ compensation package, reasoning that doing so was ‘critical’ to driving long-term value from the acquisition,” the paper says. “In our view, the prospect of a much larger compensation package (more than double his previous package) created a strong financial incentive for Mr. Iger to pursue the Fox deal regardless of its prospects, creating a significant conflict of interest.”

Here are Trian’s agenda items for the Disney board from the white paper, divided into four categories:

Enhance Corporate Governance & Accountability

Refresh the board by adding Nelson Peltz and Jay Rasulo as independent, aligned, and focused Directors

Fix succession process and run a thorough and successful search for a CEO in time for Mr. Iger’s 2026 retirement

Align pay with performance by tying the compensation program to outcomes that drive long-term shareholder value

Form a board-level finance & strategy committee to evaluate progress on recommended initiatives and improve the Board’s monitoring of Disney’s long-term strategy

Accelerate Media Profitability

Insist management develop and articulate a clear DTC strategy with tangible goals that will achieve Netflix-like margins of 15-20% by 2027

Explore opportunities to improve DTC engagement and cost structure, including changes to product and marketing strategies and reducing redundant overhead costs

Right-size legacy media business cost structure in light of industry dynamics

Evaluate Disney’s organizational structure to improve accountability and efficiency

Review of Creative Engine

Initiate a comprehensive Board-led review of studio operations and culture, including leadership, processes and workflow

Prioritize new intellectual property to reignite the “flywheel” and drive Disney’s long-term growth

Explore additional opportunities to enhance the “flywheel” with digital cross-promotion

Clarify Strategic Focus

Issue long-term free cash flow growth target beyond FY 2024 to anchor investors on a clear strategic vision and enhance accountability

Explore strategic partnership(s) for non-core linear assets – benefits include an enhanced focus on linear assets, a preserved strategic alignment with Disney’s DTC business, and an improved growth profile for Disney

Insist on a digital strategy for ESPN that has a clear path to attractive financial returns

Refine parks strategy to include tangible return targets on the $60bn of Parks capex, plans to address new competitive threats to Walt Disney World, and a commitment to improving the guest experience at domestic parks

Could Netflix Become The Exclusive/Future Home Of Nickelodeon?

During the year, it was reported that WWE would be exiting linear television by 2025 with Raw, SmackDown and NXT alongside premium live events like WrestleMania and SummerSlam would be streaming exclusively on Netflix with more countries to be added soon.

This has boosted the media's interest on the streamer with some curious about what other projects the brand has in the pipeline. One of the brands I wouldn't really be shocked to see get purged soon would be Nickelodeon.

Nickelodeon is an international children's brand operated by Paramount Global. Since it's inception had brought animated shows like SpongeBob SquarePants, The Loud House and Legend Of Korra alongside live-action shows like Drake & Josh, iCarly and The Thundermans.

As some readers are aware, Netflix and Nickelodeon have co-produced shows like Pinky Malinky, Glitch Techs and the upcoming live-action series for Avatar: The Last Airbender. On top of distributing films like Invader Zim: Enter The Flopus and Rocko's Modern Life: Static Cling.

There was a point in time when Netflix was looking to acquire Paramount's studios before negotiations fell flat. Not long ago, Paramount announced that they'd be laying off 800 employees due to the effects of streamlining with fear lurking around their linear offering.

With WWE leaving linear television, the idea of more content being purged to streaming particularly Nickelodeon wouldn't seem far fetched a stretch. Disney had closed several channels across the world as most of their content gets integrated with Disney+.

Netflix has been doing a lot of quality control in recent months and looking to get decent content. They recently filmed a live-action series to popular anime One Piece and acquired exclusive rights to The Casagrandes Movie and The Fairly OddParents: Make A Wish.

Chicken From Outer Space | Courage The Cowardly Dog | Cartoon Network

The pilot episode begins with an elderly couple, the proto-Eustace and the proto-Muriel Bagge, who live on a farm and own a pink beagle dog named Courage. The family are spending an idyllic morning together, when the proto-Courage becomes frightened by a small mouse; this prompts Eustace to angrily scare him further by use of a voodoo mask. Courage moves outside to the porch, and watches as a UFO descends from the skies. An extraterrestrial species of fowl emerges from this UFO.

Courage runs back inside the farmhouse to alert his owners of the danger; however, when they follow Courage into the yard, the saucer has disappeared, along with the alien chicken. Eustace angrily proceeds to scare Courage once more, causing Muriel to angrily strike him with a rolling pin as punishment. Courage makes his way out to the hen house, where he discovers the Space Chicken dispatching the hens Eustace and Muriel tend to.

Courage quickly runs back to the house to alert Eustace and Muriel to the presence of the alien fowl, but when Muriel returns with Courage to the hen house, the remains of the hens have mysteriously disappeared, with only the Space Chicken in their place. While Courage attempts to deduce what happened to the other hens, Muriel unknowingly takes some of the Space Chicken's eggs. Courage is able to knock two of them onto the ground; this angers the Space Chicken, who proceeds to lock Courage in the hen house upon Muriel's departure.

While Courage is making his escape from the hen house, Muriel fries the alien eggs and serves them to herself and Eustace. Courage succeeds in escaping and begins searching for a buried object. At the house, Eustace eats the eggs and begins to sweat profusely, before his eyes seemingly change color. Courage recovers his old slingshot and rushes back to the house, while Eustace begins transforming into an alien fowl himself, laughing insanely all the while. Muriel realizes the eggs are the cause for Eustace's ailment and avoids eating them. Courage arrives back at the farmhouse and ambushes the alien, momentarily knocking him unconscious with the sling-shot. The bird quickly recuperates and a fight ensues.

Courage and the Space Chicken attempt to negotiate for Muriel's safety through numerous games, such as rock-paper-scissors and fencing, while Eustace slowly completes his transformation. A mindless Eustace slowly advances upon Muriel, while Courage succeeds in the games against the alien. After claiming victory, Courage orders him to leave Earth forever. However, the Space Chicken reveals a large beam gun and attempts to assassinate Courage with it; Courage is able to dodge the beam, leading to it bouncing back onto the chicken, seemingly destroying him. Courage then shoots the alien Eustace with the same gun, causing him to disintegrate into a pile of ash.

While Courage and Muriel are lounging peacefully in a rocking chair, a mouse is seen ingesting some of Eustace's ashes, before its eyes change color which causes Courage to scream in terror, ending the pilot with a cliffhanger. As the closing iris is shown, Courage turns to us and says one thing: "This shouldn't happen to a dog!"

Goblins Of Litter | Before Courage | Courage The Cowardly Dog | Cartoon Network

Before Courage was a scrapped prequel revival series to the Cartoon Network series, Courage the Cowardly Dog initially made for release on the Boomerang channel. Although development for the series' pilot began in late 2018, it was later shelved due to the management team at Cartoon Network prioritizing their focus to other properties.

In October 2018, Dilworth commented on a Facebook post that he was in negotiations with Boomerang for a prequel to the series. Later that month, Dilworth announced on Facebook that development on a "potential prequel" to Courage for Boomerang was expected to begin.[1] However, in May 2020, when asked about the project, Dilworth responded that it had been "transformed into another thing". Albeit not confirmed, it could be presumed that he may have referred to the Scooby Doo crossover, Straight Outta Nowhere: Scooby-Doo! Meets Courage the Cowardly Dog.

In June 2021, Dilworth revealed that the project was on turnaround as Cartoon Network's management is prioritizing their focus on other projects. In January 2022, Dilworth revealed that the project has already been dropped and fell through for the same reason.

In February 2024, Dilworth posted the animatic pilot for the series, titled "Goblins of Litter", onto his YouTube channel.

When WWE Will Start Streaming Exclusively On Netflix And Exit SuperSport, DStv And GOtv Across Africa?

Last month, it was reported US streaming giant Netflix that it had acquired the broadcasting rights for WWE shows and specials in the US, Canada, Latin America and other international markets. With growing fears looming around DStv, MultiChoice had issued a statement.

"WWE events, including RAW, Smackdown, NXT, Wrestlemania, SummerSlam and Royal Rumble will continue being available on SuperSport".  "As Africa's premium sports broadcaster, we're pleased to continue entertaining our viewers with the best in international wrestling".

In November 2022, MultiChoice and the WWE announced a major broadcast partnership and said in a statement that it will see Showmax becoming the new home of WWE Network in Africa. Only the streaming portion never to pass as seen with the linear offering on DStv.

Beginning in January 2025, Netflix will be the exclusive new home of Raw in the U.S., Canada, U.K. and Latin America, with more territories to be confirmed soon and others added overtime. Raw will be exiting linear television since it's inception 31 years ago.

Although Netflix won't get access to WWE's extensive line-up of shows when it streams in selected territories by 2025 due to an existing agreement with MultiChoice. They may be able to snatch the rights from the pay-tv company once it expires in 2027.

This means Netflix can only become the official home of the WWE Network in Africa two years after it launched elsewhere meaning by late 2027 or early 2028. Raw, SmackDown and various other content from WWE would have exited linear television after 26/7 years in Africa.

Gravity Falls | Pilot | Disney Channel

Sometime in 2010, animator Alex Hirsch began work on a pitch pilot for what would soon become the hit Disney mystery series Gravity Falls. Created in Adobe Flash, the pilot ran for 12 minutes and was essentially a cut-down version of the first official episode, "Tourist Trapped."

In a Reddit IAMA conducted by Alex Hirsch, when asked if the unaired pilot would ever be released, he replied that it "would be like showing you awkward photos from my high school prom", and that he wouldn't want it to be seen. Additionally, the pilot used licensed songs that Hirsch didn't have the right to use commercially, meaning that there may have been legal problems with releasing it, on DVD or otherwise.

Despite that, on July 25th, 2016, Alex revealed that if the puzzle that was a part of the unofficial Cipher Hunt was completed, then he would release the pilot online. It was completed about a week later,[3] and on August 3rd, 2016, it was released on The Mystery of Gravity Falls' website under the username of RETURNBACKWARDS and the password of TOTHEPASTAGAINTHREE. It was also uploaded to YouTube with little to no difficulty or conflict (albeit private).

The Rise And Fall Of Von Dutch: How The Brand Name Became A Curse?

Hulu’s docuseries The Curse of Von Dutch: A Brand to Die For dives deep into the wild story behind the brand Von Dutch, beginning with its inception in the ‘90s and following through its chaotic and messy downward spiral. Popularized in the mid-2000s, the company was and is best known for its trucker hats, though celebrities including Paris Hilton, Jay-Z, and Britney Spears were spotted in everything from Von Dutch bags to T-shirts during its heyday. Von Dutch’s success was short-lived, though: infighting over the creative vision for the brand caused internal tension at the company, and public interest dropped off by the 2010s. Here’s what you need to know about the Y2K apparel line and its demise ahead of the Hulu show.

Who Is Von Dutch?

Unbeknownst to most of the celebrities and athletes who wore the brand, the Von Dutch name and concept came from the work of Kenneth “Kenny” Robert Howard — a mechanic and car detailer who, in the 1950s, started making art under the name “Von Dutch.” Howard’s work involved painting hot rods with pinstripes, flames, and eyeballs, helping to set the stage for the subcultural movement know as Kustom Kulture. (More recent discussions of Howard have highlighted his racist and Nazi-sympathizing beliefs.)

However, Howard died in 1992, meaning he wasn’t even alive when the Von Dutch brand took off.

Who Founded Von Dutch?

After Howard’s death, several people sought to capitalize on his name and legacy. “It was basically this grab by a lot of people that claim that they came up with the idea or went through the proper steps to own something that you never really should be able to own in the first place,” Andrew Renzi, the director of The Curse of Von Dutch, told the New York Times.

One of those people was Los Angeles art collector Ed Boswell, who’s often cited as the founder of Von Dutch and appears in the docuseries to assert his stake in its success. However, the company did not begin in earnest until 1996, when Howard’s daughter sold the rights to the Von Dutch name to Michael Cassel, a former drug dealer who’d just finished a four-year prison sentence, and his mentee Robert “Bobby” Vaughn. It’s generally Cassel and Vaughn who receive credit for taking Howard’s signature and making it the logo for the Von Dutch clothing line people know today.

Many of the clothing items that Von Dutch was known for were historically associated with a working class lifestyle. But the simple addition of the Von Dutch logo transformed the trucker hat from something worn by actual truck drivers into a trendy accessory sported by the rich and famous — a tension that the stars known for popularizing the brand were likely unaware of.

“There’s implicit power dynamics in the appropriation of garments like this because you can pick and choose what garments you’re wearing, but leave behind the labor and legacy of people who originally wore these garments in the context that they wore them in,” fashion historian Emma McClendon told the New York Times.

Why Is Von Dutch Bad?

Beyond Howard’s racist and anti-semitic roots, the Hulu series attributes Von Dutch’s decline to a number of factors, suggesting that the company may have been a money-laundering scheme and also hinting that the brand did business with someone connected to drug cartels.

But it’s certain that things really began to spin out of control in 2005, when Von Dutch co-founder Bobby Vaughn shot and killed a friend who he alleged attacked him with a broken bottle. He was arrested and charged with first-degree murder, and though he was acquitted after a jury ruled Rivas’ death was justifiable homicide, the controversy marked the beginning of the end for the brand.

Who Owns Von Dutch Now?

In 2000, Cassel and Vaughn were in need of funding and decided to bring in Danish entrepreneur Tonny Sorenson, who invested in the company and took over as CEO. Sorenson hired French fashion designer Christian Audigier to help expand the brand’s reach, but Cassel and Vaughn didn’t like Audigier’s direction and worried that they were “selling out.” By the time Audigier left Von Dutch in 2004, their signature trucker hats were reportedly generating tens of millions of dollars in revenue. However, the success of Von Dutch started to wane in the later aughts, and Sorenson sold the brand to French footwear company Groupe Royer in 2009.

What Happened To Von Dutch?

Though Von Dutch never officially stopped production, public interest in the brand dropped off for nearly a decade. In 2019, the company hired Ed Goldman as the acting general manager of Von Dutch North America in order to help revive the brand and reach a new generation. With ‘90s and 2000s nostalgia at an all-time high, it certainly seems like the ideal moment for Von Dutch to attempt a comeback — and it could be working. Celebrities including Megan Thee Stallion and Saweetie have been spotted wearing Von Dutch apparel, and the brand recently collaborated with Young Thug on a streetwear collection.

Credits: Justice Namaste, Bustle

The Mandalorian Reimagined As A Game Boy Game

The Mandalorian is an American space Western television series created by Jon Favreau for the streaming service Disney+. It is the first live-action series produced in the Star Wars franchise, beginning five years after the events of Return of the Jedi (1983).

The Game Boy version (produced by Eric Wilder) follows the battered Mandalorian returns to his client to collect his reward and tend to his wounds; complications arise and what should have been a simple task becomes far more dangerous than anyone could have expected.

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Was Showmax PRO Successful In Africa?

Showmax PRO was a digital version to the current SuperSport brand distributed on DStv. It featured a range of sporting promotions including English Premier League (EPL), La Liga, World Challenge League, Serie A and Moto GP.

Unfortunately due to the revamping of the streaming service, it was announced that Showmax PRO would cease operation by the end of November with consumers getting a reduced sports offering or being redirected to DStv Stream Compact+ bouquet at the very same price.

It was also revealed Showmax would shut down internationally as MultiChoice puts more emphasis in the African market. The newly launched streamer will be a joint venture with Comcast's NBCUniversal and Sky which will see various content and software upgrades to the platform.

As some consumers are aware, Showmax joins the number of streaming services that have occurred losses including Disney+, Paramount+ and Peacock. They've never disclosed how many consumers use their streaming service much less the PRO section of the platform.

The demise of Showmax PRO may have been a matter of sustainability for which the entire streaming service is not. Should this change, MultiChoice could prioritise sports on the revamped Showmax for now it's being dominated by English Premier League.

The Fog Of Courage | Courage The Cowardly Dog | Cartoon Network

When Courage finds a mysterious amulet while digging through the yard, a Ghostly Fog covers the farm. Eustace, however, refuses to return the amulet that apparently belongs to the Fog Ghost's long lost love, Cariana. Now Courage must protect his family from the vengeful fog spirit.

Rude Removal | Dexter's Laboratory | Cartoon Network

 

"Rude Removal" is a cartoon episode originally produced in 1997 for the animated television series Dexter's Laboratory for Cartoon Network. It was intended to air as part of the second season, but was left unaired due to the characters swearing even though the swear words were censored. 

The Simpsons Brings An End To Strangulation

Nothing lasts forever. In time, the continents will crash into each other once more, the sun will swallow the planet and, at some point long after that, The Simpsons will end. But that isn’t to say that it’s incapable of moving with the times before then. Because, in yet another nod to shifting tastes, Homer Simpson has revealed that he will no longer attempt to strangle his son to death.

In the third episode of the current 35th season, Homer greets his new neighbour by shaking his hand. When the neighbour comments that he wasn’t expecting such a firm grip, Homer replies: “See Marge, strangling the boy paid off,” before acknowledging that he doesn’t actually do that any more. “Times have changed,” he adds.

The move has, inevitably, riled a number of feathers. The famously tolerant GB News shrieked that The Simpsons had gone woke by refusing to depict any more scenes of an adult human repeatedly gripping a 10-year-old child by the throat so hard that he struggles for breath and his eyes bulge. Twitter has similarly been ablaze at the snowflakes in charge of their show and their apparent disdain for child abuse.

However, it’s worth pointing out that the episode wasn’t about Homer reaching a point of realisation about never strangling Bart again. It was him pointing out that he doesn’t do it any more. And he really doesn’t. Homer hasn’t strangled Bart since season 31. An entire global pandemic has come and gone in the time since Homer last strangled Bart. The fact that nobody noticed until Homer verbally acknowledged it is either a sign that the outrage machine often operates outside the realms of basic human context, or that people don’t really watch The Simpsons any more.

Either way, despite the howls of the naysayers, this is probably the right thing to do. Homer strangling Bart never sat particularly well in the bigger picture of The Simpsons. Back in 1992, when the show was in its infancy, president George HW Bush publicly remarked that American families needed to be “a lot more like the Waltons and a lot less like the Simpsons”. The line went down badly, because it only demonstrated that Bush didn’t understand The Simpsons. Yes, they were dysfunctional and often at loggerheads with one another, but the Simpson family was bonded together by a tight and permanent love. If you watched the show, you understood this perfectly.

However, it was nevertheless a loving family where the patriarch routinely punished his son by strangling him. I basically came of age with The Simpsons – I was Bart’s age when it first started airing – and the strangulation gag always seemed a bit too near the knuckle to me. I couldn’t properly verbalise at the time, but to me it undermined the basic premise of the entire show.

What’s more, it was never actually funny. The strangulation gag was unyielding in its rigidity. Other running gags, like the prank calls to Moe, could evolve and change over the years. And yet, with staggeringly few exceptions, Homer always strangled Bart in the exact same way. It was an overdone catchphrase. Even if times hadn’t changed, it would still be the weakest part of any episode.

But times have changed, and this is a sign that The Simpsons is doing its best to keep up. It wasn’t always like this. By sticking to its guns when Hari Kondabolu made his documentary The Problem with Apu, keeping Hank Azaria as the voice of Apu Nahasapeemapetilon in the face of growing criticism, The Simpsons was dragged into a long and ugly public spat. Compare this to its quiet recasting of Black characters like Carl, Lou and Dr Hibbert, replacing Azaria with Alex Désert and Kevin Michael Richardson three years ago, and you’ll see a show that doesn’t want to get its fingers burned again. Also, it might just be coincidence, but since doing this, The Simpsons has regained a lot of its old form.

And there are always workarounds. I mentioned the strangulation development to my children, who hoover up episodes of The Simpsons in vast quantities on Disney+. At first, they were just as appalled as the worst recesses of Twitter. “It’s a classic gag!” my eight-year-old wailed. “Why are they taking this away from us?” I explained that it might not be very good for a TV show to depict scenes of a father strangling his children. Eventually they agreed. And then they suggested that Homer could punch Bart instead, or maybe throw him around a bit. So, if Matt Groening happens to be reading, maybe this could be an acceptable way forward.

Transformers: Earthspark Inked To More International Broadcasters

Hasbro has locked in ABC Australia as a new broadcast partner for its CG-animated adventure series Transformers: EarthSpark (26 x 22 minutes).

The first 10 episodes of this family-friendly show from eOne and Paramount will debut in December on linear channel ABC ME and the ABC iview streamer. The remaining 16 episodes will air next year. 

The show will join several other eOne series already in ABC’s lineup, including Peppa Pig and PJ Masks .

Hasbro has been paving the way for EarthSpark‘s Australian expansion this month, launching toys related to the show at mass retailers throughout the country.

The series premiered globally on Paramount+ in 2022, and eOne inked deals for the toon earlier this year with several international broadcasters, including Gulli (France), Channel 5 (Singapore), TV Cultura (Brazil) and Super! (Italy). In July, the

BBC picked it up for CBBC and BBC iPlayer, where it’s among the top-10 most-watched shows on the app, according to a release.

WBD Unveils European Launch Details For Max Streamer Including In France As International Boss Gerhard Zeiler Talks Up Synergies: “We Are On The Way To $5B And Who Knows Where We Will End Up?” – Mipcom Cannes

The Warner Bros. Discovery (WBD) Max streamer will launch in 22 European countries in spring 2024 and France and Belgium later next year, the media outfit revealed today.

Opening Mipcom Cannes with a keynote, interntional boss Gerhard Zeiler and EMEA Head of Streaming Leah Hooper Rosa brought highly-anticipated news of the rollout of the new streamer in the continent, which is rebranding from HBO Max with a bigger offering.

The Nordics, the Netherlands, Iberia and CEE, which already have HBO Max, will gain access to the rebranded streamer in the spring.

There will then be a “second wave” of launches later next year including in France and Belgium, which currently don’t have HBO Max, although WBD has an output deal with Amazon locally in France.

The service launched earlier this year in the U.S. and other territories. It will launch later in the UK due to the pre-existing content deal between Sky and WBD.

“The content breadth is so huge and we are enabling customers to find this content,” added Hooper Rosa. “And then they are increasing their time watching this breadth of genre, so streaming provides another avenue that compliments our distribution.”

“We promised the market $3B synergies, now we are on the way to $5B and who knows where we will end up?,” Zeiler went on to say.

He talked up the success that WBD has had with its goal to “execute as efficiently as possible” its “defining mission and vision.”

Following the Warner Bros merger with Discovery, new boss David Zaslav said he was targeting $3B synergies, which has seen the merger of teams and thousands of layoffs, but that synergy figure has crept up and up, confirmed by Zeiler today to be approaching $5B by next year.

He reiterated a “culture eats strategy for breakfast” mantra and said “we are one company not six or seven diluted units.”

Zeiler has seen something off an exodus in his international team of late but this wasn’t addressed at Mipcom. He set a new team earlier this month following a spate of exits including the likes Priya Dogra, Pierre Branco and Hannes Heyelmann alongside Robert Blair, who had worked in Warner Bros sales for 25 years.

WBD May Favor Local Partnerships Over Worldwide Max Rollout, Says JB Perette: ‘We Have The IP To Be A Survivor’

Warner Bros Discovery’s JB Perrette warns that the global streaming market faces pain and consolidation over the next three to five years, but he says that the merged group has what it takes to be among the big five groups that pull through.

And, to win the war of attrition and consolidation, WBD may choose not to fight every battle.

Perrette, WBD’s CEO and president of global streaming and games, said that the company’s Max streaming product is to be rolled out in a largely pre-determined sequence, one that arrives in Latin America and Europe before arriving in parts of Asia. But, speaking on Wednesday at the APOS conference in Indonesia, Perrette said that in some markets Max may never happen, and that WBD may favor local partnerships instead.

“If we think we’re going to have success and profitability, if our market differentiation is viable enough to make a go of it and have a profitable business over a three-to-five year timeline [then we will launch Max.] If the answer is ‘no’ because the market has ARPUs that are just too low or it is way over-served by a ton of other players, who are spending on a ton of content and losing a ton of money, we may say this is not the right time,” said Perrette.

“If we think we can be successful based on the three metrics that we have [profitability, market share and scale] then, yes, great, we’ll go and figure out how best to tackle it. But if the answer is no, we don’t see a path, then we’ll find partnerships and other ways to go to market.”

Perrette dropped a heavy hint that India, already the battleground for a seething cluster of local and international streaming players, may be prime example of a market where Max would be a player too many.

Perrette’s tactical approach flows from a macro assessment that the streaming market has gone too far too fast and that WBD, in particular, needs to return to rationality and profitability.

“We went through a decade of great oversupply and great under-pricing and we are in a period of rationalization and embracing the aggregation [process] There’s structural aggregation and there’s rebundling,” said Perrette. “I think you’re working towards a world where, over the next five to 10 years, you’re going to end up with three to five feasible players, in addition local champions in individual markets.”

Despite the chastening outlook, Perrette declared himself “very optimistic” that WBD has the strategy and content to be among the players that make it through the current tightening phase. “We lost $2 billion last year. We are now profitable in the first half of this year,” he said.

“I have high confidence. The IP we that have – between HBO, the Warner studio, all the factual content from Discovery side, to the DC Universe, “Harry Potter” — that, at the end of the day, great stories and great IP is what wins the day. Our portfolio gives us an absolute entitlement to be in that last group.”

Local product partnerships may be on the horizon too. “One of the areas we’re very focused on is we have great IP, things like DC franchises, which historically has been very English-language dominant, but where we can open and bring characters from that universe and originate local IP with a partner in that market. We think it’s not just investment entirely ourselves, but there may be creative ways to partner with existing local players,” said Perrette.