“The movie is filled with Easter eggs from the first Courage series, and it is packed with quirky humor, offbeat characters, outlandish action scenes and, of course, the mystery factor that is inherent in every Scooby-Doo! plot.”
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Like the other “Tyler-ized” Magic Mirror Storytellers, the music and other track materials were abruptly cut rather than smoothly faded under the narration. This has to be an economic issue. To save time and money, the finished mixes of the earlier versions were simply cut rather than obtaining all the tracks again and slipping them in and out. Hours and dollars were saved while the record company steadied its course. It wasn’t always successful artistically, but in the case of Peter Pan, it was not as obtrusive.
Those familiar with the kind of drama and wry comedy that BBC Radio continues to present in new programming on BBC Radio 4 and from over the decades on BBC Radio 4 Extra; The Twilight Zone radio adaptations by Carl Amari and Falcon Picture Group; or the Dark Shadows audio productions and other titles from Big Finish, the style might feel similar. There is comedy, but mostly drama. If that continues to be the seriocomic format, it would be great if they looked into the Bob Bolling Little Archie adventures, the vintage Life with Archie, Pureheart the Powerful or The Man from A.R.C.H.I.E.
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The globe-trotting jewel robbery caper premise created a very episodic storyline, which turned out to allow flexibility in the long run. Ron Dias, who received an opening title credit for background color styling, recalled it as a challenging production, mired in stops and starts. Sequences were planned and dropped. One deleted song ended up on the album: “Weekend in France, Italy, England, Amsterdam, Greece.” The crossed-out countries in the title of the song are deliberate, perhaps as a behind-the-scenes nod to deleted sequences. In the Bagdasarian tradition, the other songs in the score are a blend of original and familiar tunes.
Unfortunately, aside from the December, 1935/January, 1936 experiment, and the “Mickey Mouse Birthday Party” in the fall of 1936, the Weekly does not call out which cartoons were shown in this special program, only that the program was being presented. Given that four cartoons (and one two-reel live action short) were shown, this would have a significant impact on the overall numbers of cartoons shown, and which studios’ output was being presented.
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But this didn’t stop director Ralph Bakshi from doing just this with traditional, hand-drawn animation, in his ambitious feature film, American Pop.
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It was one of the most successful animated features in history in terms of reviews and earnings, except in the United States where it couldn’t find a distribution deal because the newspaper strip characters were totally unfamiliar to American audiences.
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