Kids named Gumball and Big City Greens:
OH GOD NO
Kid named Spielberg:
Pop Culture Timelines Go-To Thread
- Thread starter vultan
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Man... I can't help but feel that in this hypothetical reality - with not one but TWO consolidated film houses (Fox with Universal at Comcast, while Warner and Disney are one company) - things are gonna go absolutely fucking BONKERS.
That Steven will not be amused if they try to milk roger rabbit, even if he never truly owns the IP(Only adapted)
As long as the GOOD Nicktoons aren't affected, I could care less.
So about Viacom being merged with Discovery, Since Velma is butterflied away, Does that mean Pibby will happen for Warner Bros?
Let me elaborate... Mindy Kailing's Velma isn't happening within a hypothetical Warnerdisney and Viacom is already merged with Discovery inc so, Will Pibby happen for your timeline?
Edit: I apologize for bad wording and grammar.
Edit 2: check out it's tv tropes for it: https://tvtropes.org/pmwiki/pmwiki.php/WesternAnimation/Pibby
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I've updated my SEGA alt history thread. The new stuff is mostly Sonic related, but other franchises will have more coverage as I reach the Saturn era.
Here it is. Enjoy!
Here it is. Enjoy!
Sorry I stopped following the Eurovision song contest in 1990 or so. I hear that due to the rule changes since it has become more interesting lately, but about since 1996, the different member states had figured out the voting system and therefore only started to submit songs that they know would score high with the international juries. In the end the songs all sounded the same and the only real action was the voting.
The good part was that nations.like Turkey and Iceland, once they cracked the code had an equal chance of winning. The bad part was that a winning Eurovision song from Portugal still sounded exactly the same as the winning song from last year, which came from Israel. And in the meantime on the airwaves you had the emergence of rap and techno and a modest folk revival going on as well. So forgive me for dropping your and rather follow the likes of the Indigo Girls and Manu Negra
So... let me get this straight. Your thought process is...
- Zaslav doesn't get his mitts on WB, thankfully.
- This SOMEHOW results in the Mindy Kaling Velma series, a show whose announcement predates WBD's conception, not being made.
- And THIS somehow results in Pibby, the massive crossover dedicated to killing 90% of the Warner and in this timeline DISNEY animated universe, actually happening, despite Disney being notoriously protective of their IP.
I Apologize for the bad thought process, Carry on your timeline.
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In other, more sensical discussion, I've been wondering- what would have happened if WB outsourced the Looney Tunes to multiple studios in the 1960s, rather than just DFE producing and Format for outsourcing?
As for what studios would be picked and what characters they would be allowed to use, I kept my eyes on what studios WB worked with during this time (and this includes MORE than just the shorts themselves), as well as what characters were used (Daffy, Speedy, Road Runner, and Wile E. were used regularly, as was Sylvester early on. Meanwhile, Porky and the Goofy Gophers appeared in one short each, not counting Porky's appearances in the clip show short Mucho Locos). I believe that WB would assign a different character to each studio, and every Looney Tune that studio made would star THAT character. However, the characters wouldn't be EXCLUSIVE to those studios- one studio could easily make a cartoon with another studio's assigned character, as long as THEIR assigned character remained the star. Confusing, ain't it? So, who would be the studios to produce these new shorts, and what characters would they be assigned?
And as for the trademark "weird" combos during this time? Well...
As for what studios would be picked and what characters they would be allowed to use, I kept my eyes on what studios WB worked with during this time (and this includes MORE than just the shorts themselves), as well as what characters were used (Daffy, Speedy, Road Runner, and Wile E. were used regularly, as was Sylvester early on. Meanwhile, Porky and the Goofy Gophers appeared in one short each, not counting Porky's appearances in the clip show short Mucho Locos). I believe that WB would assign a different character to each studio, and every Looney Tune that studio made would star THAT character. However, the characters wouldn't be EXCLUSIVE to those studios- one studio could easily make a cartoon with another studio's assigned character, as long as THEIR assigned character remained the star. Confusing, ain't it? So, who would be the studios to produce these new shorts, and what characters would they be assigned?
- DePatie-Freleng Enterprises, obviously- they were the ones who the shorts were assigned to IOTL. Their assigned character would be Speedy Gonzales, who made up the bulk of their cartoons during this time period- not counting the Larriva Eleven. Speaking of which...
- Format Films is another obvious pick, as DFE outsourced the Road Runner cartoons to them during this time period (and briefly took over production of the Daffy/Speedy series in the interim between DFE and W7). Obviously, they would get assigned the Road Runner, with Wile E. Coyote naturally along for the ride.
- Going outside of studios that worked on the shorts, Hal Seeger and his studio worked on the wraparounds for The Porky Pig Show. As such, he gets assigned Porky Pig as his character of choice- the fact that he now had his own show elevates him past his one-short status IOTL.
- And the fourth and final studio, Cascade Productions. The animation studio known for "RAID?!?" and the Frito Bandito, they had worked on some Kool-Aid commercials starring Bugs Bunny around this time. Of note, the director of choice for these spots, and logically the potential Cascade Looney Tunes shorts, was none other than TEX AVERY. While Bugs was on lockdown during this time, I see him getting assigned another character of his creation, Daffy Duck.
- Sylvester would not get assigned to any of these studios, but he wouldn't be off-limits either. Much like the other characters, he could be in as many shorts with as many characters as desired- it's just that he couldn't be the headlining character in any of them.
- Also, NO WAY Chuck Jones is getting involved. Not only were things still sore between him and WB over Gay Purr-ee, but his studio had been acquired by MGM around this time.
And as for the trademark "weird" combos during this time? Well...
- Daffy and Speedy is an obvious choice, but with more allowed variety in characters, and more studios doing the shorts- including TWO studios doing this combo due to using both Daffy (Cascade) and Speedy (DFE), they would take up a much smaller percentage- likely at the expense of having the same overall number of yearly shorts. For instance, there were six Daffy and Speedy shorts in 1965, ten in 1966, and eight in 1967. Averaging out to eight Daffy/Speedy shorts a year, ITTL split evenly between DFE and Cascade. This would leave DFE with room to make Speedy shorts with other antagonists (such as Sylvester), while Cascade would have room to let Daffy mingle with other characters (such as Porky).
- Daffy and Goofy Gophers had one short together. Exactly one. This should tell you how well that combo stuck IOTL, and how well it's going to stick ITTL.
- Similarly, there was only one short between Speedy and the Road Runner. The Road Runner didn't really work too well outside of his own series.
- Meanwhile, the wider breathing room for more shorts outside of the mandated pairings, plus more characters, means more pairings! The traditional Daffy/Porky combo I could see being used by both Cascade and Seeger (DFE even did a single Daffy/Porky short IOTL), while Seeger could also use the lesser-used Porky/Sylvester pair. (Porky himself would be used similarly to Bob Clampett's run on the pig, technically being the leading man but letting a costar or one-off character take over. Directors didn't really like working with Porky solo.) As for new pairings, with Speedy's popularity being so popular, and having crossed over into being a nemesis for both Daffy AND Wile E. Coyote alongside Sylvester, a crossover with Porky seems inevitable. Meanwhile, Daffy could team up with Sylvester or try to outwit Wile E. Coyote (who, unlike his normal costar the Road Runner, had experience outside of his comfort zone, having previously also gone after Bugs).
- And, of course, there could be room for a handful of solo shorts with the assigned characters.
- You all know how Format did with their Road Runner shorts.
- Similarly, it's also known how DFE would have done their Speedy shorts- with Friz Freleng directing the Sylvester ones and McKimson directing the Daffy ones.
- Hal Seeger's Porky Pig Show wraparounds show the quality of animation he might have brought to the table, as well as his personalities for the characters, with Daffy returning to a bit of his screwball self- but not too much.
- The biggest and most interesting guess would be how Tex Avery would do his shorts at Cascade. It's no question that he would be the highlight of this batch. As for Daffy, his assigned star... he actually grew to despise the "screwball" archetype he created for Daffy, if his reaction to later creation Screwy Squirrel is any indication, so he might actually go for a more modern Jones-style persona- though more specifically, I think Avery's take would essentially just be another version of his Wolf character at MGM. Similarly, the mandated Daffy/Speedy shorts have a similar dynamic to Droopy shorts that often starred the Wolf as the antagonist. (Chilly Willy and Kwicky Koala prove that Avery loves this dynamic, with Kwicky in particular having a similar super speed gimmick to Speedy.)
More ideas for Tex Avery's Daffy shorts
- When not channeling the Wolf, Daffy could channel Butch, Droopy's OTHER, friendlier nemesis with solo shorts of his own. Or possibly Blackie Cat, a more Bugs Bunny-type character that's not as obnoxious as Screwy Squirrel, and whose tricks have a habit of backfiring more often, especially considering Daffy's old "screwball" persona was still the default in merchandise and, to some extent, in Seeger's shorts.
- Meanwhile, shorts between Daffy and Porky would be similar to George and Junior (especially considering how Avery's Porky shorts gave the character a childish naivate), but without the "Bend Over, Junior" running gag. This could also apply to the odd Daffy/Speedy short where they're not enemies or rivals. When Porky vanished and new characters were mandated in the W7 era, this dynamic could be used with said new characters, or potentially role reversed in the case of more serious characters. (Potential Example: Daffy and the IOTL-unmade character Jeanie the Genius in a Tex Avery-directed version of See Ya Later, Gladiator)
You guys know how Jefferson Airplane went from being one of the signature psychedelic rock bands of the 60s to regrouping as Starship in the 80s and becoming known for soft arena rock ballads like “We Built This City” and “Nothing’s Gonna Stop Us Now”?
Well what if Jim Morrison of The Doors didn’t die in 1971 and by the start of the 80s The Doors reoriented their sound to sounding more like new wave bands like Bauhaus, New Order, The Cure and The Smiths? And thanks to a mix of boomer nostalgia and early capitalization they’re actually successful?
Well what if Jim Morrison of The Doors didn’t die in 1971 and by the start of the 80s The Doors reoriented their sound to sounding more like new wave bands like Bauhaus, New Order, The Cure and The Smiths? And thanks to a mix of boomer nostalgia and early capitalization they’re actually successful?
Pretty interesting idea. I'm a bit unsure about the optics of them becoming New Wave like those acts, since even the most radical bands usually stuck to their usual sound with '80s twists or went into a more commercial direction like Starship. And even if Morrison remains a creative dynamo, I'd imagine that even he'd be struggling to keep up and adapt to the new sound.
Still, there's probably been weirder transitions in sound. We could maybe see The Doors coast on with MTV as many New Wave acts did in its early days? Could maybe be interesting to consider if this comes from a band shake-up like with Jefferson Airplane/Starship, where you have some new faces from the post-punk scene coming in.
WI: Val Lewton wasn't fired from Gone with the Wind.
Many of the moments of the OTL film that hold up the best were his invention, such as the shot of the many wounded soldiers. The film would have held up better had he stayed on. How much would change as a result of a different Gone with the Wind by Val Lewton?
Many of the moments of the OTL film that hold up the best were his invention, such as the shot of the many wounded soldiers. The film would have held up better had he stayed on. How much would change as a result of a different Gone with the Wind by Val Lewton?
Maybe the story is more focused on the war and soldiers than the personal post bellum drama it ended up