disney

Mouse Goes to War!: Reason and Emotion (1943)

Studio: Walt Disney Productions

Country of Origin: United States

First Screened: August 27, 1943

After the ugliness and race-baiting of the Ducktatorswhat say we finish our look at American propaganda shorts with something with a little bit of class, by God! Reason and Emotion is a personal favourite of mine, not just because it’s a gorgeous cartoon (although it is) but because it’s that rarest of things, a piece of propaganda that actually appeals to your better nature. Propaganda shorts of this era came in many flavours. Some just plonked existing characters into war-specific settings with little commentary and had them do their thing. Some mocked and belittled the Axis powers to boost morale. And some were designed with an educational thrust to inform the public about a specific topic. In fact, even after the war had ended Disney continued making educational shorts on all kinds of subjects.

Oh yes. This is a real goddamn thing.

Reason and Emotion is, ironically enough, a propaganda short warning of the dangers of propaganda. It effectively and engagingly illustrates how propaganda works on the mind and how demagogues use emotion to suppress reason. For this reason, I almost hesitate to call it propaganda. “Anti-propaganda” might be a better term. The short was released in 1943 to great acclaim and was even nominated for an Academy Award, although it lost to the Tom and Jerry short Yankee Doodle Mouse, the first and last time the Academy ever got something wrong.

I hate to say “They Wuz Robbed” but they totally wuz.

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Disney (Re)Reviews with the Unshaved Mouse#1: Snow White

I know, I know.

“What’s the point of this Mouse?” I hear you cry. Your feelings about this are probably the same as mine towards the Beauty and the Beast reboot; All questions of quality aside, who asked for this and why does it need to exist? Why do another review of Snow White when there are so many fantastic/terrible movies I haven’t had a chance to savour/suffer for your amusement/amusement? Well, a couple of reasons. Firstly, a confession.

When I initially reviewed Snow White back in 2012, I hadn’t seen it in literally years and I based my review on memories as faded and unreliable as an old VHS tape. I’m sorry, I was young, I was reckless. Mea Culpa. Second, oh my God, FUCK 2012 Mouse.

“Hey, listen man…”

“FUCK YOU!”

That guy was an asshole. So I thought that the fifth anniversary of the blog was a good opportunity to go back and revisit my first review and show that hack who’s boss. And lastly, because when I finally got Snow White  on DVD I noticed something really enticing.

Oh yes. Oh yessssssss…

Yeah. You all thought that when I talked about Walt Disney being an immortal warlock it was just a bit. So how come there’s a DVD commentary by him when he SUPPOSEDLY DIED BEFORE DVDS WERE INVENTED?! HMM? HMMMMMMM??

“YOU FOOLS! YOU CALLED ME MAD!”

Alright let’s do this. Snow White versus Mouse 2. Place your bets.

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Disney(ish) Reviews with the Unshaved Mouse: The Hunchback of Notre Dame II

It’s not what you do, it’s how you do it. Execution is more important than concept.

Consider Disney’s The Hunchback of Notre Dame.

Doing Victor Hugo’s classic melodrama as an animated Disney musical is an objectively terrible idea. Awful. Comedically bad. You would have to really sit down and think to come up with a classic novel less suited to the genre. Dracula has more potential as a Renaissance Disney movie than Hunchback (Magical villain with a cape and animal sidekicks, heroine who yearns for more than her safe, stale existence, funny comedy relief foreigner and a happy ending, what more do you want?).

But the thing about Hunchback is that, despite the inherent cruddiness of the core concept, everything else is JUST SO GOOD. That animation! The character designs! The backgrounds! The acting! The direction! The singing! The music! YE GODS THE MUSIC!

So what if the final product resembles Hugo’s work so loosely that Disney might as well have claimed it was original IP and called it the “The Adventures of Maurice the Not-So-Pretty Bell Man”? Gorgeous movie is gorgeous.

But what if…what if all that was taken away?

What if you took away the animation, the character designs, the backgrounds, the acting, the direction, the singing, the music ye gods the music?

What if all you had left was that initial terrible, terrible idea?

Probably something like The Hunchback of Notre Dame 2, produced in 2000 but only released in 2002, presumably out of shame. This movie is why we have words like “nadir”.

Let me be clear. It’s not simply terrible compared to the original. It’s not simply terrible as a movie in its own right. It is terrible compared to other Disney Sequels.

Scared?

By God, you should be.

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Disney(ish) Reviews with the Unshaved Mouse: Pocahontas 2: Journey to a New World

I was once a mouse of honour.

Once I had a code.

My very first post on this blog, half a goddamn decade ago, set out some rules that I swore I’d follow come hell or high water:

No live action movies.

No Pixar movies.

No direct to video Disney sequels.

So here we are. Come and witness as my last scrap of virtue is torn away. Today, I review a direct to video Disney sequel, the cinematic equivalent of hiring a prostitute to dress up like your high school sweetheart, something beautiful and pure rendered tawdry and mercenary.

Oh come, come, Mouse, I hear you cry. Are they really as bad as all that? Well…

Okay, real talk time. None of the direct to video sequels made for the canon movies are as good as or better than the movies they are based on. Not one. By definition, really. I mean. If Disney Toons had somehow made a sequel to The Little Mermaid that was even better, they wouldn’t have released it straight to video, right? They’d have given it a full theatrical release and made it an official entry in the canon like The Rescuers Down Under or Winnie the Pooh (is Winnie the Pooh still in the canon? Disney?)

“Um…yes? I dunno. Look, the canon is just a marketing gimmick, who even cares?”

“Oh yeah, sure, I understand, I just dedicated FIVE YEARS OF MY LIFE to this, no biggie.”

But, y’know. I’m fair. I’m a fair mouse. Everyone says so. Believe me. And while all of the Disney cheapquels are objectively worse than the movies they were based on, that doesn’t mean that they were entirely without merit. In fact, let’s play the game that’s taking the globe by storm, Mouse Says Nice Things About Disney Sequels For As Long As He Can!

Return of Jafar: Obviously (OBVIOUSLY) not as good as Aladdin but it actually did some interesting stuff plot wise by giving Iago a character arc and actually leaving a real, lasting change to the status quo by having him become a hero. Maybe not a great movie but a very decent pilot for a better than decent TV show.

King of Thieves: Robin Williams back as the genie, some much needed delving into Aladdin’s backstory and a fairly satisfying conclusion to the story of the Agrabah gang.

Lion King 1 ½: As a sequel it busts the original’s continuity straight to hyena infested hell buuuuut…great cast, really nice animation, some genuinely funny gags and Diggah Tunnah is honestly a good enough song that it could have been in the original movie (and a good song in a Disney sequel is a rare, precious thing indeed).

Bambi 2: Patrick Stewart as the Prince of the Forest. It’s truly sad when a Disney Sequel is making better use of Patrick Stewart than the actual canon movies.

Cinderella 3: A Stitch in Time: Faced with the task of making a second sequel to Cinderella and with the imminent closure of their studio, Disney Australia went all in on a batshit insane time travel caper. They went out fighting. They went out weird. And we salute them.

And as for today’s movie…

Okay, look. We need to take a minute to talk about the plight of a certain persecuted minority. A proud people who have suffered indignity after indignity in the face of a hostile and uncaring majority.

I refer, of course, to Pocahontas fans. And I am sorry that I must add to their legacy of suffering, because the truth is this:

I prefer Pocahontas 2 to the original.

“Never thought we’d be mobbin’ for Pocahontas of all gol-durn things.”

No, I’m not joking.

No, I’m not just trolling you.

No, I’m not being contrarian.

No, I haven’t suffered some kind of head injury.

Here’s the thing, if you love Pocahontas you probably love it for the music and the animation and I’m obviously not going to pretend that Pocahontas 2 holds a single solitary candle to the original in either of those categories. But in terms of story…

Okay. It’s not perfect. It’s not even particularly good. But. This is the story of a young Native American woman who most leave her home, travel across the sea and navigate the intrigue of a strange and hostile foreign court with the survival of her entire tribe hanging in the balance. And that, to me, is automatically more compelling than the warmed-over Romeo and Juliet plot of the original.

Let’s take a look.

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Disney Reviews with the Unshaved Mouse #56: Moana

Question. Do you think that when Ron Clements and John Musker show up at the Disney studios they’re all…

‘Cos they’d kinda have to, wouldn’t they? I mean, they’ve earned that. If they wanted to stop at every cubicle and say “Oh by the way, we’re the reason you have a job. You’re welcome.” who among us would begrudge them that? With The Little Mermaid, Clements and Musker kick-started the Disney Renaissance, catapulting the animation studio back to cultural relevance and critical and commercial acclaim. And then, just for poops and giggles, they did it again in 2009, with the Princess and the Frog marking the end of the Lost Era and inaugurating the current golden age of the canon. Come to think of it, I have a feeling that Disney could have saved themselves a lot of worry and financial distress over the decades if they’d just hung a sign on the wall saying “WHEN THINGS ARE GOING BAD, JUST MAKE A PRINCESS MOVIE”. Seriously, never fails. Okay, apart from that one that almost drove the company to bankruptcy.

Totally worth it.

Where was I? Oh right, Clements and Musker. These two men wrote the book on the modern Disney Princesses movie. They are O fuckin’ G, or at least as gangsta as one can be while making movies about princesses and their talking animal friends. They are the Biggie and Tupac of this one very specific movie sub-genre.

In this analogy, Walt would be Ice-T.

Moana honestly feels less like a Disney Princess movie, and more like the Disney Princess movie, an attempt to make as definitive a version of this kind of movie as it’s possible to make. That may sound like a compliment…but…

This movie feels like it’s trying to take everything that worked about the previous nine modern Disney princesses (Merida doesn’t count FIGHT ME) and distill them into one character. Moana is all those princesses combined into one. But is she an awesome Megazord or a shambling Frankenstein’s monster?

Let’s take a look.

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Adorable Couple (2014)

Comebacks are tricky things to pull off, and tend to fail more often than they succeed. For every Elvis there’s a dozen Lil’ Kims. It takes a mixture of luck, talent and, most importantly, perseverance. The character of Mickey Mouse has been pretty vaguely defined over the years, but one thing that does stay constant about him is that he never gives up, which is appropriate for a guy who’s been trying to make a comeback for eighty years.

See, Mickey Mouse was, at one point, no question, the most popular cartoon character in the world. A beloved American icon. And that period lasted from his debut in 1928 aaaaaaaaaall the way to…1935. When he lost the top spot to a tattooed stroke victim.

“Huuuuuuukukukukukukah!”

Mickey was a perfect salesman for early talky cartoons, but his generic everyman persona was quickly outshone by more distinct, dynamic characters like Popeye, Bugs Bunny, Daffy Duck and even his fellow Disney stablemates Donald Duck and Goofy and he never regained the kind of adoration he’d had in the years after Steamboat Willie.

The uncomfortable fact is this: Mickey Mouse is pretty difficult to like. Aside from an…interesting…vocal performance by Walt Disney who decided long ago that his flagship character should sound like a castrato in agony, his ubiquity on every piece of over-priced tat the Disney corporation has tried to sell over the last nine decades has made him more mascot than character, with more in common with Ronald MacDonald and the Nesquik Bunny than his fellow cartoon stars.

 

You sold out, man.

 

This left Disney with a conundrum. They were a company famous for creating beloved cartoon characters, whose mascot was a cartoon character beloved by virtually no one. And so, over the decades, Disney tried to relaunch Mickey not just as a brand but as a character. And they tried it again…

 

And again…

 

And again…

And again…

 

And again…

 

And again…

 

And again…

 

And again…

And while some of these attempts were definitely worthwhile in their own right, no one’s going to claim that Mickey Mouse is what makes Fantasia an all-time classic.

This guy. This guy is what makes Fantasia a classic.

It seemed that Mickey was simply a character that could not be salvaged and made interesting*, and the Disney corporation’s insistence on trying to make him happen was starting to get downright sad. To put it in perspective, imagine if Warner Brothers, instead of embracing Bugs Bunny as their mascot, was still trying to make America fall in love with Bosko the Talk-Ink Kid.

“Too racist!”- 1930’s America.

But then, in 2013, Disney unveiled a new series of Mickey Mouse Shorts directed by a coterie of modern animation stars including veterans of shows such as Dexter’s Laboratory, Sym-Bionic Titan and Powerpuff Girls.

And stick cheese in my cheeks and call me a gerbil, but they actually did it. They found a way to make Mickey Mouse work in a modern cartoon. These cartoons are awesome, almost definitely the best use that’s ever been made of the character outside of some classic Golden Age shorts and honestly? I’m not even sure if that’s not just nostalgia talking. What makes them so good? Well, if I might get a little technical here, they’re really good because they’re really good. By which I mean the animation is fluid and engaging, the backdrops are gorgeously designed, the voicework is top-notch, the music is beautiful and expertly integrated into the action and they’re crammed with great jokes both visual and verbal executed with crack timing. They’re also crammed with shout-outs to Disney fans, which, with all manner of obscure character showing up for a cameo. I knew this series was for me when Mickey and Minnie went to a dance with the kids from the “All the Cats Join In” sequence from Make Mine Music. I mean, that is a deep cut.

It’s fascinating to compare and contrast the new Mickey Mouse shorts with the older classic shorts to see how they’re different and also how they’re similar. Because they are different, no question. They have a very modern sense of humour despite being set in a classic Golden Age cartoon world where everything from the animals, to the sun, to the buildings is a sentient, talking being. And they’re…I don’t want to say “dark and edgy” because that conjures up some kind of twisted Frank Millar-esque nightmare whereas these shorts are glorious, sunny little things fit for all ages. But they are darker than the original cartoons, and certainly more willing to actually see Mickey Mouse suffer for comedic effect. The characters are also more flawed. Goofy is a bit more of a jerk, Donald is much more of a jerk. But the real revelation is how the cartoons treat the character of Mickey Mouse. And the remarkable thing is, Mickey hasn’t really changed at all. He’s still the same perpetually happy, squeaky clean, goody-two shoes that he’s always been. The key difference here, is that now that’s the joke. The cartoons take Mickey’s essential lameness and find ways to mine rich humour from it. Take for example, today’s short: “Adorable Couple”.

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“You want to protect the world. But you don’t want it to change.”

The Marvel comics universe is overflowing with some of the greatest villains created in any medium, from the regal majesty of Doctor Doom to the saturnine, brooding splendour of Galactus to the cackling, twitching megalomania of Annihilus. And amongst these villains, one of the greatest is, without question…not Ultron.

Just my opinion, mind.

The character was first created in 1968 and introduced in the pages of The Avengers as the creation of Hank Pym, whose long storied history of fucking up we will touch upon at a later point in these chronicles. But make no mistake, Hank Pym fucks up in the same way that Michaelangelo painted. He fucks up like it’s what God put him on this earth to do. Created by Pym as an artificial intelligence based on his own brainwaves, Ultron decided pretty quickly that it hated Hank Pym like the Sharks hate the Jets and tried to kill him. Which, considering that Pym based it on his own mind, should tell you everything you need to know about the state of Pym’s self-esteem (dude needs a hug).  Ultron later expanded his to do list to wiping out all human life and returned to bedevil the Avengers and threaten the world again, and again, and again. My problem with Ultron is that there’s just not much “there” there. He’s an angry shouty robot who wants to kill everyone. Have there been good stories with the character? Sure. Have there been writers who found interesting things to do with him? No doubt. But Ultron’s basic default setting has just never grabbed me as particularly compelling. Nevertheless, Ultron is generally regarded as the Avengers’ ultimate arch-enemy, the Moriarty to their Holmes if Sherlock Holmes was a conglomeration of brightly coloured WW2 era adventurers, Norse gods, billionaire tech-messiahs and former circus performers (and who wouldn’t read that?). But even that’s kinda by default. Loki is a Thor villain who sometimes fights the Avengers. Red Skull is a Captain America villain who sometimes fights the Avengers. Ultron would technically be a Hank Pym villain, but since Hank has never been popular enough to headline an ongoing series of his own Ultron just kinda became an arch-enemy for the whole team, like how the rest of the family adopts your little brother’s hamster once it becomes clear he can’t look after it himself. So when it came time for Marvel to follow up The Avengers with a sequel, choosing Ultron to be the villain was about as obvious as having the Joker be the bad guy of The Dark Knight. Who else was it going to be?

Shaddup.

Now, let’s get this out of the way. For all you people who ask why I don’t, for example, review Moana the very second it comes out? This is why. To do a review justice takes time, preparation, fasting and prayerful contemplation. The review/tongue bath I gave Age of Ultron the day after it came out back in 2015 was written while I was still basking in the afterglow of explosions and Whedonisms falling on my ears like confetti and I did not see the plotholes and padding and questionable charecterisations and clear signs of executives sticking their grubby oars in. Honestly if I had it all to do again, I imagine I’d be a lot more critical. Oh hey, look at that. I have it all to do again.

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Darby O’Gill and the Little People (1959)

Americans calling my nation’s national holiday “Saint Patty’s Day” is one of those things that, as an Irishmouse, I am supposed to be Very Annoyed About. Honestly, it doesn’t bug me. Way I see it, if Irish Americans hadn’t turned March 17 into a major celebration of Irish identity and history in the eighteen hundreds, today the feast of Saint Patrick would be about as big a deal as the third Sunday of Ordinary Time so I say let ‘em call it whatever they like. At this point, it’s as much theirs as ours. Ireland and America have always had a very close relationship, culturally. This has often been a very positive thing, but it does cause problems. Picture Ireland as a man with a very quiet voice and a huge megaphone with the words “MADE IN AMERICA” emblazoned on it. Ireland has a global cultural presence and clout far, far beyond what you’d expect for a small country with a relatively paltry population and that’s largely due to the outsize influence Irish emigrants have had in the shaping of the world’s only cultural hyperpower. But what that means is that what the world perceives as “Irishness” is often filtered first through an American prism. Small Irish voice, big American megaphone. The result is that how we’re perceived by the rest of the world is often completely out of our hands.  Take a look at this picture:

The photo was taken in 1946 in County Kerry in the West of Ireland. The gentleman on the left is one Séamus Delargy, the founder of the Irish Folklore Commission, an organisation tasked with collecting and cataloguing the vast body of oral folklore, songs and poetry that had been passed down by word of mouth by the Irish people since time immemorial. The Irish Folklore Commission, incidentally, later became the Irish Folklore Department in University College Dublin where I got the degree that has made me the wealthy, eminently employable mouse I am today.

Oh, and the guy on the right is Walt Disney.

So, around the end of the second world war, Disney had set his heart on making a film based on Irish legends (Disney’s great-grandfather was from Kilkenny). He was put in touch with Delargey and over the next decade the two men corresponded continously. Delargy viewed Disney’s film as a chance to bring some of the treasure trove of Irish folklore his commission had uncovered to a wider audience, and dispatched crates of books, plays and manuscripts to Burbank. To Delargy’s disappointment however, Disney eventually decided to base his Irish film on Herminie Templeton Kavanagh’s “Darby O’Gill” books. Here we have the relationship between Irish folklore and it’s American amanuenses personified. Delargy says “Here is a huge and varied body of folktales full of magic, heroes, epic quests, tricksters and romance.” and Disney replies “That’s nice. Leprechauns, please.”

This movie’s reputation is a little hard to assess. In America, it’s fairly obscure, but amongst those who know of it it’s quite highly regarded. Hell, no less an authority than Leonard Malthin, a man who eats Disney movies and shits special limited edition Blu-Rays , called it “not only one of Disney best films, but certainly one of the best fantasies ever put to film.”

Well. Clearly SOMEONE’s never seen Hawk the Slayer.

 In Ireland it is most certainly not obscure. And our relationship to this particular movie is…complicated. It was a huge hit when it was released here, with Disney himself attending the Dublin premiere which virtually brought the city to a standstill. But it arrived at a very crucial period in Irish history, when Taoiseach Seán Lemass was trying to cast off the nation’s image as a rural backwater and promote Ireland as a modern economy ready to do business with the world. The success of this movie and it’s bucolic image of rural towns and cheerfully superstitious peasants had many in government muttering between clenched teeth: “You. Are. Not. Helping.” Today it remains a staple of Irish television, particularly around Saint Patrick’s day, and is one of those movies that almost every Irish person has seen once, along with Michael Collins and Die Hard*. But there has always been an undercurrent of resentment to this movie, with many feeling that it’s…what’s the word I’m looking for?

“Racist?”

“Ah, no.”

But “Darby O’Gill” has definitely become a shorthand for fake, inauthentic Oirishness in film. But is that reputation justified? Let’s take a look, just to be sure. To be sure.

To be sure.

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Bill Cipher reviews WEIRDMAGEDDON!

Previously on Unshaved Mouse: Mouse tried to review the series finale of Gravity Falls and it went about as well as you’d expect, with Mouse being possessed by the infinite evil of Bill Cipher who now threatens to turn the real world into an eternal playground for his cosmic malice and doom all humanity. Because it’s always something with this blog, isn’t it? Just saying, you never see this kind of shit on Alternate Ending.  Meanwhile, at the secret headquarters of the Legion of Animators.

Image result for meanwhile at the legion of doom

"JOSEPH SMITH ON A GRAM CRACKER WHAT HAVE YOU DONE DISNEY?!"

“JOSEPH SMITH ON A GRAM CRACKER WHAT HAVE YOU DONE, DISNEY?!”

"IT'S NOT MY FAULT! I SWEAR BY THE DARK POWERS IT'S NOT MY FAULT THIS TIME!"

“IT’S NOT MY FAULT! I SWEAR BY THE DARK POWERS IT’S NOT MY FAULT THIS TIME!”

"Somehow, I always knew you'd destroy the world, man."

“Somehow, I always knew you’d destroy the world, man.”

"SHUT UP HIPPY! WHY DID WE EVEN LET HIM JOIN?! HE SMELLS LIKE BEAR TURDS!"

“SHUT UP HIPPY! WHY DID WE EVEN LET HIM JOIN?! HE SMELLS LIKE BEAR TURDS!”

"It's the smell of artistic integrity, man."

“It’s the smell of artistic integrity, man.”

"Gentlemen. Calm yourselves. The situation calls for unity."

“Gentlemen. Calm yourselves. The situation calls for unity.”

"Miyazaki-san is right. We should listen to him. He is the wisest of all of us."

“Miyazaki-san is right. We should listen to him. He is the wisest of all of us.”

"Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it's power grows, and any hope of defeating it becomes slimmer by the second."

“Let us consider: An Nth level fictional construct has gained sentience and escaped to the real world. Even now it’s power grows, and any hope of defeating it becomes slimmer by the second.”

"True."

“True.”

"So I'm thinking, bail?"

“So I’m thinking: Bail?”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Listen to this man. He’s wise, he’s Japanese, he knows the score. Let’s leave this reality and never come back.”

“Groovy, man.”

“Groovy, man.”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“No! Listen to yourselves! If we abandon this world it’s only a matter of time before Bill conquers all of reality. We have to stay! We have to fight! We’re animators! Masters of the Arcane and Dark Arts! Immortal warlocks of inestimable power!”

“I’m not.”

“I’m not.”

“Shut up Park!”

“Shut up Park!”

“Sorry.”

“Sorry.”

“We have one chance to stop Bill. Listen up...”

“We have one chance to stop Bill. Listen up…”

***

HEY MONOFORMS! HOW ARE YOU DOING?! I’M SWELL! THE MOMENT OF MY ASCENSION IS NEARLY AT HAND AND NO ONE CAN STOP ME! NO ONE! WHAT, YOU THOUGHT THOSE LOSERS IN THE INTRO CAN SAVE YOU? I LET YOU READ THAT BECAUSE I LIKE TOYING WITH YOU! I KNOW ALL! I SEE ALL! I BE ALL, YO! NOW LET’S FINISH OUR LOOK AT WEIRDMAGEDDON AND SEE HOW I ESCAPED INTO YOUR REALITY AND ALSO HOW LONG YOU CAN GO READING THIS ALL-CAPS TEXT WITHOUT GETTING A HEADACHE! OH, SORRY, IS IT DIFFICULT TO READ? HOW ABOUT IF I SPEAK IN BRIGHT BLAZING YELLOW?! YEAH, THAT’S RIGHT! DON’T MAKE ME PULL OUT THE COMIC SANS! I’LL DO IT!!!

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Gravity Falls (2012-2016)

Hey everybody! Man, it is so good to be back you have nooooooo idea! I have been waiting for this for a really, really long time.You see, Gravity Falls is my favourite TV show help. Not favourite kid’s TV show. Not favourite cartoon. Favourite TV show help me. Period. Why is it so good? That’s actually an incredibly easy question. With some shows you have to explain the appeal but with Gravity Falls it’s pretty cut and dry.

  • It’s gorgeously animated.
  • Wonderfully acted.
  • Impressively scored.
  • Brilliantly written. help
  • Frickin’ hi-larious.

Gravity Falls is basically Golden-Age Treehouse of Horror: The Series, combined with some of the best ongoing mystery plotting I can ever recall seeing in a TV don’t listen to him show, regardless of demographic. The show is the creation of Alex Hirsch who was born in 1985…

Screw you, Alex Hirsch.

Just screw you.

The show is the creation of Alex Hirsch and centres on the don’t trust him adventures of the 12 year old Pine twins, Mabel (Kristen Schall) and Dipper (or “Pine Tree” to his friends) (Jason Ritter) who are sent by their parents to spend the summer with their Grand Uncle Stan who’s voiced by Alex Hirsch…

Screw you, Alex Hirsch.

Pine Tree discovers a mysterious journal it’s not me hidden in the forest and soon the twins are investigating the spooooooky goings on in Gravity Falls with the help of Grunkle Stan, loveable dim-witted handyman Soos (Alex Hir…SCREW YOU ALEX HIRSCH) and Wendy Corduroy (Linda Cardellini), a teenage girl who works at Grunkle Stan’s Mystery Shack and who Pine Tree has a massive crush on.  So it’s a pretty standard set up for a half hour cartoon; kids chasing monsters. Hanna Barbera sucked that tell Walt well dry long ago. But it’s all in the execution. Gravity Falls did what so few series have ever managed to do; it came, it told its hurry story, it wrapped it up in the most satisfying and awesome way possible and then it ended right when leave now it needed to, in stark contrast to its biggest influence.

JUST. LET. IT DIE.

JUST. LET. IT DIE.

And because I really want to do the show justice and stop reading because I’m still very busy with UNNAMED HORROR I am actually going to split this review into two parts. The first half is going to discuss the series as a whole and then review running out of time the first episode of Weirdmageddon, the three part finale, with the second review finishing off the final two episodes. Got that, meatsacks? Good, let’s get started. LAST CHANCE GET OUT OF HERE

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