Word: cartoonable
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Every week on TIME.com we focus on a few stories from the magazine and give you the essential websites to round out each. This week we tell you where to find tour dates for Creed and one of its tribute bands, Saturday-morning cartoon classics that predated SpongeBob SquarePants, treatment information for seasonal affective disorder, and the history behind the upcoming movie Black Hawk Down. At time.com/webguide...
...right, and any deity worth his salt would be able to discern that objective truth. But this is simply good-hearted arrogance cloaked in morality--the same kind of thinking that makes people decide that God created humans in his own image. (See the old New Yorker cartoon that shows a giraffe in a field, thinking "And God made giraffe in his own image.") The God worth worshiping is the one who pays us the compliment of self-regulation, and we might return it by minding our own business...
That dual appeal is a sign of a welcome change in animation. Cartoons have bridged kids' and adult entertainment since the heyday of Walt Disney and Chuck Jones, but the field went through a long creative slump in the '70s and '80s, as programmers churned out Saturday-morning knock-offs made mainly to shill toys (My Little Pony) or repurpose sitcom characters (The Fonz and the Happy Days Gang). Today cartoons have undergone a renaissance, as kids' channels such as Nickelodeon and Cartoon Network have given their animators the freedom of auteurs. Smarter and more idiosyncratic, these animators have created...
When most Americans think of opera, they conjure up a stereotype drawn from the characterization of sitcoms and a Bugs Bunny cartoon in which Elmer Fudd sings, “Kill the wabbit!” to the rune of Wagner. In this take on opera, large-breasted women dressed in Viking helmets sing for hours on end about being German, just like a good Romanticist should. The Early Music Society’s production of Dido and Aeneas by Henry Purcell presents an alternative vision: the opera is short, Baroque and in English. Moreover, stage director John Driscoll...
...Greater minds than mine see Charlie Brown's follies (pining for the red-haired girl, getting the football yanked away from him, having his kite eaten by a tree) as profound metaphors for man's struggle against the universe, among other things. Sort of a cartoon "Waiting for Godot," I guess. Something about the ease with which the characters got adopted by commercial interests gives me doubts about this. After so many years "Peanuts" began to feel more like comfort-art than anything challenging. But really, just entertaining the idea of Schulz's work as more than doodles means that...