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Originally, the dolls were purchased by Walt and Roy to give to friends, business acquaintances, and special visitors to the studio and to be used for publicity photos.

Collector/ Historian Ira Gallen sent me a bunch of reels, and among these were a bunch of this pencil test and a demo reel from Don Oriolo Productions. A small scrap of paper was attached to one of the prints with the words ‘Pencil Test- Sturm/ Waldman. A complete spliced together 16mm print was labeled ‘Myron’ and another ‘Sturm’. I wonder if these were meant to be given back to these two animators.

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We get a whole lot of King Dice, though, and Wayne Brady is voicing him. He speaks to a crowded auditorium and invites the guests to make bets with him — what could be the harm in it, right? Don’t those utensils and vegetables know not to trust Dice? Not yet, apparently — The Cuphead Show has been confirmed to be a prequel to the game. The show’s producers say that you’ll see all the characters you eventually beat up, and get to know them a little better.Placemats

Upon his return to the anthill, Aardvark is shocked to hear Ant issue commands to him, telling Aardvark to go get him some lunch. “What do you think I am, your waiter?”, complains Aardvark. Ant responds by grabbing Aardvark’s nose and giving him several judo flips. “In that case”, Aardvark continues, “may I take your order?” After a hearty meal, Ant tells Aardvark to stick around until after he takes a nap, as he may be hungry again. But before Ant can reach his anthill hole, he abruptly withers back to normal size – the pills have worn off. Ant foolishly reacts by mentioning the pills aloud, and Aardvark is now in on the secret. He outraces the Ant to the anthill hole, covering the entrance, as he knows Ant can’t regain strength without the pills hidden below. The chase is on as at the beginning of the cartoon, with Ant intercepting a passing truck on the road, and jumping inside the cargo area. Aardvark also leaps aboard, shutting the cargo doors behind him to leave the Ant cornered. He challenges Ant to come out from the many boxes inside, insisting Ant is trapped. “Oh, I wouldn’t count on that”, says Ant’s voice in the darkness. The camera view switches to the outside, as we see writing on the side of the truck, advertising its owners – the Superior Vitamin Company. The results are left to the imagination, as we hear inside the sounds of Aardvark receiving another pummeling, and his hopeless pleading that maybe they could talk this thing over.

The fifth season of MHA is rolling out in two different ways. The subbed version is heading into the second arc of the season via “My Villain Academia” while the dubbed version (playing on places like Toonami and Funimation-approved sources) is in the middle of the “Class Training Arc” that put Class 1-A and 1-B against one another to see who is better in team fights.

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One of the things I’ve been working on is finding the best prints I can of Betty Boop cartoons for “The other Betty Boops” Blu-ray set. While it would be wonderful to get 35mm on all the films, there are very few 35mm prints on the public domain Bettys. We’re trying to help round out the films available so there are decent copies in HD of these shorts. We’ve been tracking down as many original non-theatrical and TV prints as able- and need to get to 20 of them to finish the set. Most we’ve found are 16mm prints, but we’ve also found quite a few 9.5mm prints from Europe that have all the original Paramount titles. The picture quality varies on these 1930s prints, but some of them are quite good.

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Each case is different, of course, but usually is traced back to the initial contractual clearance for commercial recordings. It can also be an artistic choice. Henry Mancini, who we discussed in the previous Spin about The Pink Panther, famously eschewed soundtrack albums for the RCA Victor albums of his movie scores. Instead, he arranged specific, individual tracks (each with its own beginning, middle and end as opposed to film tracks that might need to stop and start to follow visual action) with the home and radio listener in mind. Rich in themes and catchy hooks, his background music could then exist as a light jazz/easy listening album as well as soundtrack. It was only around the turn of this century that Mancini transitioned to the soundtrack format with the advent of compact discs, followed by labels such as La-La Land releasing expanded box sets of his scores with both the album and film versions.
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