Real cartoon episode
Courage, the Cowardly Dog is the equivalent of a fever dream in the middle of the night, where the shadows and monsters lurk. It is also an animated series on Cartoon Network that ran for four years in the early s. Created and developed by John R. Dilworth Doug , it follows the life of an endlessly petrified dog ironically named Courage, voiced by comedian Marty Grabstein. Notwithstanding its 4 Season run, Courage, the Cowardly Dog was strange enough to remain in the social consciousness of millennials who grew up watching the show. It had some of the most disturbing, grotesque characters and narratives that bordered on questionably appropriate for children.
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- Shiny Helmets and Quantum Closets: Wētā FX Delivers for ‘Peacemaker’
- 'Bluey': The Australian dog cartoon that kids (and adults) can't get enough of
- The Real Ghostbusters: The 20 Scariest Episodes of the Animated Series
- The Funniest Animated Series for Adults
- The 66 Best TV Shows on Netflix to Watch Right Now (July 2022)
- ДЛЯ ПОДТВЕРЖДЕНИЯ, ЧТО ВЫ СТАРШЕ 18-ТИ, ПОЖАЛУЙСТА, АВТОРИЗИРУЙТЕСЬ ЧЕРЕЗ ВК
Shiny Helmets and Quantum Closets: Wētā FX Delivers for ‘Peacemaker’
Created by James Gunn, who wrote and directed The Suicide Squad , the show premiered on the streamer this past January 13, with a second season slated for release next year. For example:. What concepts or designs did you start with and what, if any, direction were you given? Mark Gee: Conceptually, they did shoot a set that encompassed Rob Patrick, and that was about it. It was a bit of a creative exercise. James [Gunn] gave us a briefing on what he wanted — it started off as an infinite closet, where you'd go off into infinite space.
So we started by building this closet back, populating it with all the cabinets, and then having it fall off into darkness. But it just wasn't working. Then we tried putting in a drawer back there and all these lights, playing it more like a city. When he came up with it, we thought, "Oh, this is not going to work. And it really complemented the lighting as well.
Guy Williams: We tried putting in star fields, putting in galaxies — we put in all these things to say, this is a magical space and you're sitting on a platform out in the middle of nowhere. We did all this artwork. And the second we saw it, we were just like, "Oh my God, it actually makes sense. For all the shots where you're down inside the cabinets, you can actually understand that this thing is infinitely large, because instead of seeing the ceiling lights going for 10 panels and then stopping at a wall, you see them just recede to the point where you can't even delineate the individual panels anymore.
In its own bizarre way, it was the perfect solution. AWN: And of course that's where Peacemaker gets his various helmets, which you also did. How well-defined were those before you started working on them? GW: The helmets were modeled on set by the prop team. The attention to detail they put into them was amazing — each helmet looked the same, but different. The art department and the props department did an amazing job of fabricating them.
We were just able to scan them and use them to build from. Also, James's scripts spelled out the function of every helmet in the series. The freedom that we had was in how we visualized the details — what lights came on, what the magical effects looked like. One interesting story about the helmets — specifically the X-ray vision helmet — is we were trying to figure out the quickest and cheapest way to create the X-ray shots.
Normally we'll shoot it in black and white, and just put a skeleton inside of it, but the only way to make it look really good is to use a lot of CG. So we were really dubious about the process.
Then we happened to see a music video where they just chucked a couple of skeletons inside of imagery, and it looked really good. We finally figured out that they had shot it with thermal cameras. In the show I shot before Suicide Squad , we had used a thermal camera for a few shots. So they shot all the X-ray vision stuff with thermal cameras, and it just came out looking great.
You just chuck a skeleton and some intestines and a brain and a beating heart in there, and you get a proper X-ray. It worked out really well. AWN: Speaking of hearts, when you have a project like this that has so much blood and gore, how do you approach what to show? How do you know how graphic to make it or how cartoony to make it? And there's a certain authenticity to death that is incredibly horrific and shocking, especially when it's a graphic death.
When you're making a movie, as much as you're trying to be shocking and gory, you don't want people to feel so repulsed that they walk out. So when, say, you chop off somebody's leg, it comes off cleanly and there's a little bit of blood that spurts out — it's not as visceral as a real person's leg getting ripped off. When somebody's shot in the face, there's certain things that happen that you don't want to see. So when we get into that stuff, we want it to look real, but like a real practical effect, as opposed to a real person's death.
GW: It definitely is. When we worked with James on Suicide Squad , there was a very graphic death of a character. The first half of the death wound up being cut out of the movie because it was too graphic, and the feeling was that it had gone that little bit too far.
It also wasn't necessary in order to show this bad guy getting his comeuppance in a brutal way. The second half was done in a less realistic way — it was more fantastical. So we took all what we learned on that film, and we applied it to Peacemaker. AWN: Apart from Eagly, which you said was the biggest single challenge for you, were there other components that were especially demanding? MG: The cat-cow came into its own at the end, and there were quite a few challenges there, due to the large scale and the complexity of the scenes.
GW: They were just digital challenges, but trying to make a foot-long caterpillar that's being milked for its nectar not only seem real, but relatable, took some doing. There was a lot of back and forth, and a lot of plussing up, trying to get the reality into it.
They're the hardest thing in the world to do. Because you never shoot the plate right, so you're always trying to make the exposures look right. When you put a camera on a car and drive it through a neighborhood, it's hard to make that look the same as when you're doing it on a greenscreen. MG: Honestly, apart from the stress of Eagly at the beginning, once everything was working and everyone was happy, it was one of the funnest projects that I've worked on. Suicide Squad was great, but this was just another level.
It was such a fun story, and John was great, and I just enjoyed bringing everything to life. It made it a very enjoyable project to be on. View the discussion thread. Skip to main content. AWN: Any final thoughts? Related Content. Elsewhere on AWN.
'Bluey': The Australian dog cartoon that kids (and adults) can't get enough of
The sitcom consists of 15 episodes that were co-written by Atkinson alongside Curtis and Robin Driscoll ; for the pilot , it was co-written by Ben Elton. Bean " on 15 December Based on a character originally developed by Atkinson while he was studying for his master's degree at the University of Oxford , the series centres on Mr. Bean, described by Atkinson as "a child in a grown man's body", as he solves various problems presented by everyday tasks and often causes disruption in the process. During its original five-year run, Mr. Bean met with widespread acclaim and attracted large television audiences.
The Real Ghostbusters: The 20 Scariest Episodes of the Animated Series
When characters in an ongoing story suddenly find themselves in a new fiction that views their entire history as a work of fiction, you're watching a Real World Episode. The intended effect is to make the audience believe that the characters have broken through the Fourth Wall and entered your reality, as this new fiction is a stand-in for the real world. Stories with these plots are popular because of Deconstruction and Lampshade Hanging jokes, as well as Self-Deprecation. Sometimes it's a form of raising the stakes, as at least two worlds may now be in trouble. The original world may turn out to be a product of someone's mind in the real world or it may be independent, with the real world inhabitants somehow learning about this parallel universe's story and becoming familiar with it as mere fiction , so to speak. This trope is related to, but distinct from, Refugee from TV Land. There, a character is pulled out of a Show Within a Show , whereas a Real World Episode concerns characters the viewers have been following for some time prior to this, and no indication had yet been given that they were in fact in-a-universe fictional other than the fact that they, y'know, exist in a TV series, movie, book, comic, or video game in the real-real-life. Compare Mage in Manhattan where a powerful villain from another world, but not always another fiction, comes to assault the world of the audience , Up the Real Rabbit Hole where the "topmost" universe is recognized, sometimes arbitrarily, as the "real" one , and Tomato Surprise where we learn the protagonists are not what we expected them to be. Contrast Trapped in TV Land basically the inverse of this.
The Funniest Animated Series for Adults
The first two seasons are "Bluey" are available in the U. You should watch "Bluey. Just do it. Go on.
The 66 Best TV Shows on Netflix to Watch Right Now (July 2022)
ДЛЯ ПОДТВЕРЖДЕНИЯ, ЧТО ВЫ СТАРШЕ 18-ТИ, ПОЖАЛУЙСТА, АВТОРИЗИРУЙТЕСЬ ЧЕРЕЗ ВК
This post contains spoilers for Lucifer Season 6. It was only a matter of time and a surprise final season renewal from Netflix before Henderson and the Lucifer team cooked up something truly outlandish. The episode also foreshadows the series' conclusion, which—spoiler—finds Chloe joining Lucifer in the afterlife to help wayward souls find healing and redemption for their former sins and guilt. The juxtaposition proves that just as quickly as Henderson can crack a joke, he can also handle a more somber reflection about the heart, darkness, and the messy nuance of humanity. Thrillist : Which came first, the title of the episode or exploring the cartoon narrative? Joe Henderson: Exploring the cartoon narrative. At one point [the writers' room] were all talking about the story and I think I was just like, "You have to call it 'Yabba Dabba Do Me. But we were just like, "That is a great line, that will totally define an episode.
Regular Show known as Regular Show in Space during its eighth season  is an American animated sitcom television series created by J. It aired on Cartoon Network from August 14, , to January 16, , over five season and episodes. Mordecai and Rigby spend their days slacking-off and trying to avoid work to entertain themselves by any means which leads to surrealistic , extreme, and supernatural misconduct.
Aside from dropping several TV shows at the beginning of each month, Amazon Prime Video doesn't have a ton of new weekly releases. But occasionally, an Amazon original comes knocking that deserves to appear on your radar. If a coming-of-age tale with a peak summer setting, teenage love triangle and soundtrack stocked with Taylor Swift songs sounds appealing to you, keep reading. The show centers on Belly breakout actor Lola Tung , who makes a much-anticipated annual commute to a beach house with her mom and brother.
Millennials know that this is a crucial distinction. Dickens would be proud. Austin Collins. This wonderfully strange animated miniseries debuted just a few years ago on Cartoon Network, but owing to its surprising allure, it has already established itself as an all-time great. At first, the series is mystifying.